DaVinci Resolve Cloud Projects: The Complete Guide to Remote Post-Production in 2025
TL;DR: DaVinci Resolve's cloud projects enable real-time collaboration for distributed editing teams, but most editors aren't using them correctly. This guide covers proper setup, workflow optimization, and common pitfalls—turning remote post-production from a compromise into a competitive advantage.
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The Remote Editing Problem Nobody Talks About
You've finally assembled the perfect editing team—except your lead colorist is in Portland, your editor is in Austin, and your motion graphics artist is in Brooklyn. Five years ago, this would have meant endless file exports, Dropbox nightmares, and version control chaos.
Here's the thing: DaVinci Resolve's cloud projects can solve this. But most production teams either don't know they exist, or they set them up wrong and abandon them after the first frustrating attempt.
I've spent the last two years refining remote post-production workflows for distributed teams, and the difference between a properly configured cloud project and a poorly set up one is the difference between seamless collaboration and pure chaos.
Let's fix that.
What DaVinci Resolve Cloud Projects Actually Are (And Aren't)
Before we dive into setup, let's clear up the biggest misconception: DaVinci Resolve cloud projects don't store your media in the cloud. They store your project database in the cloud.
Here's what that means in practice.
What Gets Synced in Real-Time
Project metadata: bins, timelines, markers, flags
Edit decisions: cuts, transitions, effects
Color grading: nodes, grades, PowerGrades
Audio mixing: Fairlight sessions and mix parameters
User activity: who's working on what, live collaboration status
What Stays Local (Or on Shared Storage)
Media files: your actual video and audio clips
Render cache: optimized media and proxies
Generated media: rendered effects and compositions
This architecture is actually brilliant. It means you get real-time collaboration on the creative decisions while avoiding the bandwidth nightmare of streaming 4K ProRes files across the country.
But it also means you need a smart media management strategy, which we'll cover in a minute.
Setting Up Cloud Collaboration the Right Way
Here's where most teams go wrong: they rush into cloud projects without understanding the infrastructure requirements. Let's walk through the proper setup.
Choosing Your Database Backend
DaVinci Resolve cloud projects run on PostgreSQL databases. You have three main options:
1. Blackmagic Cloud (Easiest) - Managed by Blackmagic Design - Zero infrastructure management - $5/month per seat with Resolve Studio - Best for: Teams under 5 people, simple projects - Limitation: Can feel sluggish with large projects (1000+ clips)
2. Self-Hosted Cloud Database (Most Flexible) - AWS RDS, Digital Ocean, or similar - Full control over performance and scaling - Cost: $20-100/month depending on instance size - Best for: Mid-size teams (5-15 people), projects with heavy collaboration - Requires: Basic DevOps knowledge or IT support
3. Local Network Server (Fastest) - PostgreSQL on a dedicated server in your office - Best performance for teams in the same location - One-time hardware cost: $500-2000 - Best for: Large teams, 4K/8K workflows, hybrid office/remote setups
My recommendation: Start with Blackmagic Cloud to learn the workflow, then move to self-hosted AWS once you're doing 3+ projects simultaneously.
Media Management Strategies for Distributed Teams
This is the make-or-break decision. Your team needs access to the same media files, but everyone's in different locations. Here are the three approaches that actually work:
Strategy 1: Proxy Workflow (Most Common) - Editors work with H.264 proxies (1080p) - Proxies stored in Dropbox/Google Drive/Frame.io - Colorist and final export use original high-res media - Bandwidth requirement: 10-25 Mbps per editor - Best for: 4K+ projects with distributed teams
Strategy 2: Shared Cloud Storage (Premium) - All media on LucidLink, Bebop, or Studio Network Solutions - Feels like local storage, actually lives in the cloud - Bandwidth requirement: 50-100 Mbps per editor - Cost: $30-50/user/month - Best for: Teams regularly collaborating on same projects
Strategy 3: Hybrid Local-Cloud (Most Flexible) - Lead editor has full media locally - Remote editors work with proxies or specific sequences only - Final conform and color grading done locally - Best for: One primary editor with occasional remote support
In my experience, Strategy 1 (proxies) gives you 90% of the benefit at 20% of the cost. Start there unless you have specific needs requiring full-res remote access.
Workflow Optimization for Distributed Teams
Having the infrastructure is one thing. Using it effectively is another. Here are the workflow practices that separate smooth collaboration from constant conflicts.
Timeline Locking Best Practices
DaVinci Resolve lets multiple editors work in the same project simultaneously—but you need clear protocols:
The Traffic Light System: - 🟢 Green bins/timelines: Open for anyone to edit - 🟡 Yellow bins/timelines: In progress, ask before touching - 🔴 Red bins/timelines: Locked for specific editor/colorist
Use timeline colors and bin names to signal status. Example: [WIP-Sarah] Main Edit Timeline tells everyone Sarah's actively working on it.
Time-zone coordination matters more than you think. If your editor is in LA and your colorist is in New York, stagger work hours. The LA editor finalizes cuts by 3pm PT. The NYC colorist picks up color work at 7pm ET. Reduces conflicts by 80%.
The Color Grading Handoff
This is where cloud projects shine—if you do it right.
Before cloud projects, color grading handoff meant: 1. Editor exports XML or AAF 2. Colorist imports into separate project 3. Colorist relinks media (maybe) 4. Grading happens in isolation 5. Grades exported back to editor as LUTs or nodes 6. Editor applies, discovers mismatches, repeat
With cloud projects, it's: 1. Editor marks timeline as "Ready for Color" 2. Colorist opens same project, works on same timeline 3. Real-time collaboration—editor can see grades as they happen 4. No export/import/relink dance
Pro tip: Create separate timelines for color passes. Clone your locked picture edit timeline, name it "Final Edit - Color," and the colorist works on that. Protects your edit timeline from accidental changes while maintaining perfect sync.
Version Control and Project Archiving
Here's an underrated advantage of cloud projects: built-in version history.
Every time you or a team member makes significant changes, create a project snapshot. Right-click the project in the Project Manager and select "Create Version."
Name your versions descriptively:
- V1_Rough_Cut_20241203
- V2_Client_Review_20241210
- V3_Revisions_20241215
- V4_Final_Locked_Picture_20241220
- V5_Color_Final_20241222
If a client comes back with "actually, we liked version 2 better," you're not scrambling through backups. You're opening a saved version.
For archiving: Once a project is complete, export a project archive (File > Project Archive) and store it alongside your media archive. This creates a self-contained backup independent of your cloud database.
Common Pitfalls and How to Solve Them
I've watched teams nearly abandon cloud workflows because of issues that have simple fixes. Let's tackle the big ones.
Problem: "Resolve Keeps Saying Media Offline"
What's happening: Your team members have media in different locations. You have clips on /Users/kevin/Media/ProjectX/ but your colorist has them on /Users/sarah/Footage/ProjectX/.
The fix: Establish a standard folder structure from day one. Everyone uses:
/ProjectX/
/Media/
/A-Roll/
/B-Roll/
/Audio/
/Proxies/
/Exports/
Use relative paths in Resolve when possible. Right-click clips, choose "Relink Clips," and select "Set Relative Path." Now Resolve looks for media relative to project location, not absolute system paths.
Problem: "The Database Is So Slow"
What's happening: You're using an underpowered PostgreSQL instance, or you have 10,000 clips in a single bin.
The fix: - Upgrade your database instance (AWS: move from db.t3.micro to db.t3.small) - Organize bins properly—no more than 500 clips per bin - Archive old/unused media from the project database - Use Smart Bins for organization instead of duplicating clips
Problem: "Changes Aren't Syncing in Real-Time"
What's happening: Either network latency, or someone's working in offline mode.
The fix: - Check everyone's using the same project database (sounds obvious, but I've seen teams accidentally working on different databases) - Network latency under 100ms is ideal; over 300ms will feel sluggish - Make sure "Live Save" is enabled (Preferences > User > Project Save and Load) - If working remotely on spotty internet, disable Live Save temporarily, then manually sync when stable
Problem: "Our Cloud Storage Costs Are Insane"
What's happening: You're storing full-res 4K masters in the cloud when you should be using proxies.
The fix: - Generate proxies locally (H.264, 1080p, 5-10 Mbps) - Upload only proxies to shared cloud storage - Original media stays on local NAS or external drives - Use "Relink to Proxy Media" for remote editors - For final export, lead editor relinks to originals
Real-World Use Case: Documentary Team Across Three States
Let me show you how this works in practice.
The team: - Field shooter in Colorado (captures footage) - Lead editor in Austin (assembles rough cuts) - Story producer in New York (provides notes and direction) - Colorist in Portland (final grade)
The workflow: 1. Shooter generates 1080p proxies in-camera, uploads to Frame.io 2. Editor downloads proxies, imports into cloud project, starts cutting 3. Producer reviews in Frame.io, leaves timestamped comments 4. Editor makes revisions in shared cloud project 5. Once picture locked, editor uploads original 4K media to shared storage 6. Colorist opens same project, relinks to 4K originals, grades 7. Lead editor exports final deliverable with color grades intact
Time saved vs. traditional workflow: 15-20 hours per project in file transfers, exports, and "did you get my latest version?" emails.
Cost: ~$100/month (Blackmagic Cloud + Frame.io subscription + proxy storage)
Getting Started: Your First Cloud Project
Ready to try this yourself? Here's a one-week implementation roadmap:
Day 1: Infrastructure Setup - Sign up for Blackmagic Cloud or set up PostgreSQL database - Configure database connection in Resolve (Preferences > System > Database) - Create your first cloud project
Day 2-3: Media Strategy - Decide on proxy workflow or cloud storage approach - Set up shared storage (Dropbox, Frame.io, etc.) - Create standard folder structure and test media access
Day 4: Collaboration Protocol - Document timeline locking rules for your team - Set up naming conventions for bins and timelines - Test simultaneous editing with a colleague
Day 5-7: Real Project - Start a real project using cloud workflow - Expect some friction—this is normal - Document what works and what needs adjustment
Pro tip: Don't convert your biggest, most complex project to cloud workflow first. Start with something mid-size and medium-stakes. Learn the system before you bet the farm on it.
The Bottom Line: Why This Matters in 2025
Remote work isn't going away. The production companies that master distributed workflows will win the best talent—because they can hire the best colorist in Portland and the best editor in Austin instead of settling for whoever's local.
DaVinci Resolve cloud projects aren't perfect. They require thoughtful setup, clear communication, and realistic expectations about what "cloud collaboration" actually means. But when implemented properly, they transform remote post-production from a necessary compromise into a genuine competitive advantage.
The teams I work with who've adopted these workflows report: - 30-40% faster project turnaround (less time wrangling files) - Better collaboration quality (real-time feedback instead of version chaos) - Access to specialized talent regardless of location - Reduced stress and miscommunication
Start small. Test the workflow. Build your infrastructure intentionally. And by mid-2025, you'll wonder how you ever edited any other way.
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Want help setting up cloud workflows for your team? We've implemented these systems for production companies ranging from 2-person documentary teams to 15-person agencies. Let's talk about what would work for your specific setup.