Store raw footage in a date‑project hierarchy on a high‑throughput NAS, and keep shared assets in a version‑controlled library synced via a lightweight proxy workflow.
Step‑by‑step workflow
1. Create a root folder \\\\NAS\\Media\\2026\\YYMMDD_ProjectName.
2. Sub‑folder layout
- 00_Raw – original camera files (unchanged).
- 01_Proxies – DNxHR LB or ProRes Proxy files.
- 02_Assets – LUTs, graphics, sound libraries.
- 03_Edit – Premiere Pro or DaVinci Resolve project files.
- 04_Exports – final renders and delivery versions.
3. Generate proxies on the NAS with FFmpeg:
```bash
ffmpeg -i "$in" -c:v dnxhd -profile:v dnxhr_lb -vf "scale=1280:-2" -c:a copy "$out"
```
Use -threads $(nproc) to saturate CPU.
4. Link proxies in Premiere Pro via Project Settings → Ingest → Create Proxies and point to 01_Proxies.
5. Version‑control assets with Git LFS or Perforce: git lfs track ".png" ".wav"; commit after each major update.
6. Synchronize across editors using Resilio Sync or Syncthing with a 1 GB/s LAN limit to avoid saturating the network.
7. Archive raw footage to an S3‑compatible cold bucket (aws s3 cp ... --storage-class GLACIER) after 30 days.
Storage comparison
| Option | Throughput | Cost/GB / mo | Latency | Ideal use |
|--------|------------|--------------|---------|-----------|
| NVMe SSD (local) | >3 GB/s | high | <1 ms | active proxy editing |
| 10 GbE NAS (RAID‑10) | 1–1.5 GB/s | medium | 2–5 ms | raw & proxy pool |
| Cloud bucket (S3) | 200 MB/s (WAN) | low | 50 ms | long‑term archive |
Gotcha: moving the 01_Proxies folder after a session starts breaks Premiere’s automatic relink, forcing a manual re‑link that can corrupt timeline references.