Editing workflows by camera format and NLE
Pick your camera format, pick your editor, get a workflow that keeps your SSD free.
All workflows
RED RAW (R3D) editing workflow in DaVinci Resolve
RED RAW (R3D) · DaVinci Resolve
RED Komodo, V-Raptor and V-Raptor XL produce R3D files at 300 to 700 GB per hour in 6K and 8K. DaVinci Resolve handles R3D natively, but the bandwidth still bottlenecks at the disk. Sanbila keeps the originals in cloud storage and lets Resolve open lightweight proxies during the offline cut, then switches each clip back to the original through a WebDAV mount when the colorist needs the raw debayer.
Blackmagic RAW workflow in DaVinci Resolve
Blackmagic RAW · DaVinci Resolve
BRAW is the codec DaVinci Resolve grew up with. Decoding is fast, debayer is clean, and the metadata roundtrip is the most mature in the industry. The catch is the disk. A URSA Mini Pro 12K at 8:1 still writes around 250 GB per hour, and the Pocket 6K stack on a documentary shoot fills a 2 TB drive in a week. Sanbila keeps the BRAW originals on Cloudflare R2 and serves a 1080p ProRes Proxy on your machine so Resolve plays back instantly, then streams the BRAW over WebDAV when you grade.
ProRes 422 workflow in Premiere Pro
ProRes 422 / HQ · Adobe Premiere Pro
ProRes 422 is the codec broadcast and corporate teams pick when they need a clean intermediate without going RAW. A Sony FX6 in UHD at 25p writes around 250 GB per hour at ProRes 422 HQ. Premiere Pro reads ProRes natively on macOS and Windows, but the disk fills fast. Sanbila stores the originals on Cloudflare R2, generates a lighter proxy on your machine and lets Premiere stream the ProRes back for the final export.
H.264 workflow in Final Cut Pro
H.264 (.mp4, .mov) · Final Cut Pro
H.264 is the codec almost every prosumer camera writes by default. Sony A7S III, Canon R5, DJI Mavic, GoPro Hero, iPhone 17 Pro: they all ship H.264 or HEVC variants. Final Cut Pro reads H.264 natively on Apple Silicon, but a long-form documentary cut from 40 hours of source still puts pressure on the SSD. Sanbila stores the H.264 originals on Cloudflare R2 and uses Final Cut's optimized media or a Sanbila ProRes Proxy on the local SSD to keep the magnetic timeline responsive.
ARRI RAW workflow in Avid Media Composer
ARRI RAW (.ari, .mxf) · Avid Media Composer
Long-form drama and broadcast post still runs on Avid Media Composer, and the source is increasingly Alexa 35 ARRI RAW at 400 to 900 GB per hour. The traditional SAN-and-MediaFiles workflow is expensive to scale and impossible to share between cities. Sanbila keeps the ARRI RAW on Cloudflare R2, generates 1080p DNxHR LB proxies on the editor's machine, and streams the originals back through the WebDAV mount when the assistant editor conforms the AAF for online.