Remote Collaboration for Video Teams.
Editors work from home while the media stays at the studio. We set up the workflows that make that practical, whether desktop streaming, proxies over VPN or cloud storage, with access controls built in.
Quick answer
Clouds Agency is a creative agency in Los Angeles. Remote editing setups for Los Angeles post houses, VFX teams and video agencies: Teradici, Parsec, proxy workflows, VPN and Frame.io.
Approaches
Three ways to work remotely.
Which one fits depends on team size, internet speed, budget and the kind of work. Many studios end up using two of them.
Remote Desktop Streaming
Best for VFX, color, audioTools: Teradici / HP Anyware, Parsec
The workstation stays in the studio and the editor connects to it over an encrypted stream. Files stay in the facility, because the editor only receives video of the screen.
Bandwidth requirement
As a rough guide, 50 Mbps or more in both directions
Advantages
- No file transfers
- Full workstation performance
- Footage stays inside the facility
- Works with any software
Considerations
- Needs a stable, low-latency connection
- Per-seat licensing
- The studio workstation has to stay on
Proxy Workflow + VPN
Best for editing, finishingTools: WireGuard / OpenVPN, Frame.io, Premiere Pro
Editors download small proxy files and cut on their own machines while full-resolution media stays on your NAS. The final export happens at the studio or over the VPN against the NAS.
Bandwidth requirement
Roughly 10 Mbps download for proxies
Advantages
- Low bandwidth needs
- Editors can work offline
- Works on ordinary internet
- Low cost per seat
Considerations
- Proxy generation has to be set up
- The final conform happens on site or over the VPN
- Needs disciplined file management
Cloud NLE / Storage
Best for larger teamsTools: LucidLink, EditShare Cloud, Resolve Cloud
Project files and media sit in cloud storage that mounts like a local drive. Editors work natively and changes sync. No NAS is needed at the studio.
Bandwidth requirement
Roughly 500 Mbps upload at the studio end
Advantages
- Remote-first by design
- No NAS to maintain
- Capacity scales on demand
- Suits distributed teams
Considerations
- Storage cost grows with capacity
- Needs steady upload bandwidth at the studio
- Latency can affect real-time playback
Security
Unreleased footage needs tighter access.
Remote access to unreleased footage and client deliverables creates risk if it is set up carelessly. We build remote workflows with content security requirements in mind from the start, so they do not have to be added later.
Studios preparing for TPN can use the access controls, logging and encryption we set up as part of their documentation.
Encrypted Tunnels
Remote sessions run over TLS 1.3 or WireGuard.
IP Allowlisting
Access is limited to approved IP addresses or VPN endpoints. The NAS and workstations are not exposed to the open internet.
Session Logging
Remote sessions are logged with time, IP address and user. Assessors usually ask for access logs.
MFA
Multi-factor authentication on every remote access tool, so a stolen password is not enough.
Role-Based Access
Editors see the projects they are assigned. Freelancers do not get the whole NAS.
Session Timeout
Idle sessions end automatically.
Who we help
Teams we set this up for.
Post-Production Studios
Remote colorists, mixers and finishing editors, each limited to their own project files.
VFX and Animation Teams
Render farm access, plate review and compositing connected back to compute at the studio.
Music Video Production
Director review, editor feedback rounds and delivery without everyone in the same room.
Independent Editors
Home setups for freelancers working on client-hosted media, without exposing the NAS.
Tools We Deploy
- Teradici
- HP Anyware
- Parsec
- WireGuard
- Frame.io
- LucidLink
- Resilio Sync
- Tailscale
Questions people ask
What do you need to know before designing this?
Internet speeds at the studio and at your editors' homes, what storage you have now, which editing software you use, how many people work remotely and what security your clients require.
Can we try it with one editor first?
Yes. Starting with one editor on one project is a sensible way to test the approach before the rest of the team switches.
Do we need new hardware?
Sometimes: a faster internet line at the studio, a firewall that supports VPN, or licenses for desktop streaming. We list what is needed before you buy anything.
Which tool do you recommend?
It depends on the work. Desktop streaming suits VFX and color, proxies suit editing, and cloud storage suits larger distributed teams. The comparison above shows the tradeoffs.
Do you support the setup afterward?
We can stay on for support and new-user onboarding, or hand over documentation to your IT person.
Problems we fix
- How Remote Editing Teams Stay in SyncRemote post-production is now the norm, not the exception. The right combination of tools and infrastructure keeps distributed teams productive without compromising security.Read the guide
- Remote Dailies Without Losing Footage ControlHow to share dailies and review cuts remotely while keeping control of footage: who sees what, link settings, watermarking basics, expiry and TPN.Read the guide
- Frame.io Slow Uploads: Large File Transfer FixesFrame.io uploads slow or stalling? Check your uplink, wired connection, browser, batch size and the Frame.io Drive app, and learn how to plan big transfers.Read the guide
- Remote Review and Approval Workflows That Protect ContentHow to run remote review and approval for cuts, color and mix without losing control of unreleased footage: link settings, roles, version control and sign-off.Read the guide
- Remote Editing with Frame.io: A Complete Setup and Workflow GuideA practical guide to setting up Frame.io for remote review, client approvals, and collaborative editorial workflows from initial project setup through final delivery.Read the guide
Set up remote editing for your team.
We start with a conversation about your team, your media and your security requirements.