DaVinci Resolve NAS Setup: The Complete Collaborative Workflow Guide (2026)

DaVinci Resolve collaborative storage on a NAS fails in a specific, predictable way. And almost every studio hits it for the same reason. Resolve is not designed for shared file-based project access. It uses a network database architecture (PostgreSQL), and getting that database running correctly on NAS hardware is the step most guides skip or explain poorly. This guide covers the complete setup: PostgreSQL project server configuration, file location mapping, cross-platform path mapping for mixed Mac/Windows studios, proxy strategy, and troubleshooting dropped frames. It applies to Synology and QNAP NAS with SMB or NFS shares. Australian pricing and model recommendations are in the AU section below.

For a full overview covering hardware, setup, and workflow planning, see our complete NAS video editing guide.

Why DaVinci Resolve Collaboration Is Different From Other NLEs

Premiere Pro locks project files at the file level. Two editors can't open the same `.prproj` simultaneously without risk of conflict. Final Cut Pro has no multi-user model at all: one person at a time, hand it over when you're done. DaVinci Resolve does something different. For single-user workflows it uses a file-based project format (`.drp`). For collaborative workflows it switches to a completely different model: a PostgreSQL client-server database that runs on the network, with every editor connecting to it as a database client.

What this means in practice is that you do not open a file. You connect to a network library. When you open DaVinci Resolve on your workstation, it connects to the PostgreSQL server running on your NAS, authenticates, and shows you the shared project library. Multiple editors can connect simultaneously, and Resolve uses bin locking to manage who is working where. It is a proper multi-user database, not a file-sharing workaround.

The catch: PostgreSQL has to be running on a server that is always on and reachable. If you run PostgreSQL on an editor's workstation instead of the NAS, every other editor loses access to the project library when that workstation sleeps, restarts, or goes home for the day. The NAS is the right home for it.

What You Need Before You Start

Hardware minimums

Before touching any software configuration, confirm your hardware covers the basics:

• NAS with Docker support: PostgreSQL runs as a Docker container on the NAS. QNAP supports this via Container Station; Synology via Container Manager. Not all NAS models support Docker. Check before purchasing. The QNAP TVS-h874 and Synology DS1825+ are both well-established in Resolve workflows and support Docker without caveats.
• 10GbE on the NAS and workstations: 1GbE is not sufficient for 4K collaborative editing. You need 10GbE NICs in your editing workstations and a 10GbE switch between them and the NAS. Some QNAP units have 10GbE built in; others require a PCIe network card. Check the specific model. See the connection speed guide for a full breakdown of what each tier actually delivers.
• Local NVMe in each editing workstation: Render cache must never live on the NAS. Every workstation needs fast local NVMe storage for cache. At minimum 500GB, more for heavy workloads.
• Cat6A cabling minimum: Cat5e will work at 10GbE over short runs but Cat6A is the right cable for anything beyond 10 metres or in an environment with interference.

Network requirements

Network speed requirements scale with editor count and format:

• 1GbE: Solo editor, H.264/HEVC proxy-only workflows. Not suitable for native 4K or collaborative setups.
• 10GbE: 2-4 editors working native 4K. This is the realistic minimum for any collaborative Resolve workflow with modern formats.
• 25GbE+: 5+ editors, or 3+ editors on heavy formats like BRAW 3:1, ProRes 4444, or EXR sequences. The aggregate bandwidth of multiple editors scrubbing simultaneously adds up fast.

Beyond raw bandwidth, latency matters for the PostgreSQL connection. The database is sensitive to network latency. A high-latency VPN over the internet is not a substitute for a proper local network. For remote editors, Blackmagic Cloud (Resolve's managed remote collaboration service) is the right tool; it handles the database complexity so you do not have to.

Jumbo frames (MTU 9000) are worth enabling on both the NAS and workstation NICs. They reduce packet overhead and improve throughput for large file transfers. Enable them consistently across all network devices on the segment, or not at all: mismatched MTU settings cause more problems than they solve.

Setting Up the PostgreSQL Project Server on Your NAS

The PostgreSQL setup is the part most guides skip or hand-wave. Here it is step by step:

1. Assign your NAS a static IP address. The PostgreSQL connection from each workstation uses the NAS IP. If the IP changes via DHCP, every editor loses their project library connection. Set a static IP on the NAS before anything else.
2. Deploy a PostgreSQL Docker container on the NAS. In QNAP Container Station or Synology Container Manager, pull the official PostgreSQL Docker image. Version 13 or higher is recommended. Set a database name, username, and password. Record these, you will enter them on every workstation.
3. Open PostgreSQL's port on the NAS firewall. PostgreSQL uses port 5432 by default. Ensure the NAS firewall allows inbound connections on this port from your studio network. Do not expose port 5432 to the internet.
4. Set the database container to start automatically. In your container settings, enable auto-start so PostgreSQL comes back online after a NAS reboot without manual intervention.
5. Connect DaVinci Resolve on each workstation. Open Resolve → Project Library (the grid icon at the bottom left) → Add Network Library. Enter the NAS static IP address, the database name, username, and password you set in step 2. Resolve will display a green status indicator when the connection is live.
6. Create your first shared project. In the shared library, create a project as normal. It now lives in the PostgreSQL database, not a local file.

Where Every File Should Live. The Resolve NAS File Map

Once your database is running, the next question is where each type of file lives. Resolve generates several categories of data, and putting them in the wrong place causes either network saturation or project instability. Here is the complete file map:

File Type	Where It Lives	Why
Camera originals / source media	NAS. Shared HDD RAID pool	Large sequential files, shared access by all editors
PostgreSQL database	NAS. SSD pool or NVMe cache tier	Needs low-latency reads, must be always-on
Render Cache / CacheClip	Local NVMe on each workstation	High IOPS, user-specific. Never put this on the NAS
Optimised Media	Local NVMe (solo) or NAS SSD (team)	Depends on team size. See proxy section below
Proxy Media	NAS. Shared volume	Generated once, shared by all editors. Makes sense on NAS
Gallery Stills	Local (or NAS if shared grading)	Usually personal to the colourist; NAS if team shares grades
Deliver / Export output	NAS	Shared review access; archives with the project

Proxies vs Optimised Media. Which Should You Use on a NAS?

This is one of the most-discussed questions on the DaVinci Resolve subreddit, and the answer depends on your team size and network speed rather than one being universally better than the other.

Optimised Media transcodes your camera originals to Apple ProRes or DNxHR. Higher quality, larger file sizes. The benefit is that editing from Optimised Media feels identical to editing from a local SSD; the NAS serves large sequential reads that it handles efficiently. The downside is file size: BRAW 12:1 footage becomes ProRes 422 HQ, which can quadruple the storage requirement.

Proxy Media creates smaller, lower-resolution versions for editing. The originals are relinked at export for the final render. Proxies are much smaller files, which means more editors can access the NAS simultaneously without saturating the network. Each editor's proxy stream requires less bandwidth.

The framework for deciding:

• Solo editor on 10GbE NAS: Optimised Media locally on workstation NVMe. Fast editing, no network pressure.
• 2-3 editors on 10GbE NAS: Proxies stored on the NAS shared volume. Generated once by one editor, used by all. Efficient use of the network.
• 4+ editors, or remote editors: Proxies are mandatory. For remote workflows, LucidLink handles the delivery of proxies over the internet with less complexity than a self-hosted VPN + PostgreSQL setup.

Path Mapping. The Cross-Platform Gotcha

If your studio runs both Macs and Windows workstations. Increasingly common as Resolve on Windows is popular for colour work. Path mapping is not optional. It is the difference between everyone seeing the media and everyone seeing "Media Offline."

DaVinci Resolve stores absolute file paths in the project database. A Mac sees the NAS share at /Volumes/Media/ProjectA/clip.braw. A Windows machine sees the same share at P:\Media\ProjectA\clip.braw. Without path mapping, Resolve on one platform cannot locate the files the other platform added to the project.

The fix is straightforward: in DaVinci Resolve, go to File → Project Settings → Master Settings → Path Mapping. Add a translation rule for each operating system: when the path starts with /Volumes/Media, translate it to P:\Media and vice versa. Do this on every workstation in the studio, with consistent share names and mount points across all machines. Inconsistent mount point names are the most common cause of ongoing path mapping failures. Pick a convention and enforce it when you onboard each new workstation.

Enabling Multi-User Collaboration in Resolve

Once PostgreSQL is running, media is placed correctly, and path mapping is configured, enabling Resolve's multi-user collaboration mode is the last step:

1. In the shared project library, right-click a project and select Collaboration → Enable Multi-User Collaboration. This activates bin locking and the collaborative mode features.
2. Understand bin locking: when one editor opens a bin, it is locked to them. Other editors can view the contents but cannot make changes. This is Resolve's mechanism for preventing conflicting edits. It is not the same as file locking in Premiere, which locks the entire project. In Resolve, other bins remain fully accessible while one is locked.
3. Use Resolve's built-in chat to coordinate when editors are working in adjacent parts of the project. This is easy to overlook but saves a lot of "why did my timeline just change" confusion in active multi-editor sessions.
4. Understand what simultaneous editing actually looks like: two editors can work on different bins and timelines at the same time. Two editors cannot work in the same bin simultaneously. One must release the lock first. Structure your project so each editor has a defined workspace (separate bins for assembly, graphics, colour) and the workflow becomes natural.

Troubleshooting. Dropped Frames and Slow Playback from NAS

When playback drops frames or feels sluggish from a NAS, the cause is almost always one of a small set of issues. Work through this decision tree before assuming you need faster hardware:

• Dropped frames on playback? → Run iPerf3 between the workstation and NAS first. If throughput is below what your format requires (check the transfer speed estimator for your codec), the network is the bottleneck. If throughput is fine, the problem is elsewhere.
• Network speed is fine but still dropping frames? → Check render cache location. Open Resolve Preferences → System → Working Folders and confirm Cache directory points to a local NVMe path, not the NAS. This is the fix for the majority of unexplained Resolve performance problems on shared storage.
• Imports are slow despite good network speed? → Check whether you are using SMB or NFS. SMB is standard and works well. Enable Jumbo Frames (MTU 9000) on both the NAS and workstation NICs. They must match. Mismatched MTU degrades throughput significantly.
• Multi-user lag when others are scrubbing simultaneously? → Bandwidth saturation. Multiple editors scrubbing native 4K BRAW or ProRes is a heavy aggregate load on a single 10GbE link. Switch to proxies on the NAS for editing, relink to originals at export. If your workflow cannot tolerate proxies, evaluate 25GbE infrastructure.
• "Media Offline" after reconnecting or moving to a different workstation? → Path mapping issue. Review the path mapping rules in Project Settings and confirm the NAS volume is mounted at the same path on the affected workstation.
• Database unstable or Resolve loses connection to the project library? → The PostgreSQL container is on a workstation, not the NAS. Migrate it. See the setup section above.

Recommended NAS Models for DaVinci Resolve (2026)

The NAS model matters less than the network infrastructure around it, but some units are better suited to Resolve collaborative workflows than others. For a full comparison of brands and connection options, see the QNAP vs Synology for Mac video editing guide. For Resolve specifically:

• QNAP TVS-h874: 8-bay, ZFS filesystem (QuTS Hero), 10GbE built-in, Docker support via Container Station, M.2 NVMe cache slots. Handles a 4-6 editor Resolve setup well. Mac editors who also want Thunderbolt direct-attach should look at the QNAP Thunderbolt-equipped models alongside a 10GbE switch for network editors.
• Synology DS1825+: 8-bay, strong SMB performance, Docker support via Container Manager, expandable. Well-established in Resolve workflows. The Synology/Resolve combination is thoroughly documented and community-tested. Does not support Thunderbolt, so network (10GbE) is the only connection option.
• OWC Jellyfish: Purpose-built shared storage for video production. More expensive than consumer NAS, but comes preconfigured for multi-editor workflows and has dedicated technical support. Worth evaluating for studios with 6+ editors or where IT setup time is a real cost.

For sizing help on drive count and capacity, use the RAID capacity calculator or the video editing storage guide.

If you're using your NAS for DaVinci Resolve, it's worth knowing that the same hardware can also run local AI models for script writing, colour grading notes, and metadata generation. See: Can You Run a Local LLM on a NAS? and How to Run Ollama on a Synology NAS.

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🇦🇺 Australian Buyers: NAS Models and Pricing for DaVinci Resolve

For a DaVinci Resolve collaborative setup, 10GbE networking is the key requirement. Not the NAS brand. The QNAP TVS-h874 (8-bay, built-in 10GbE, ZFS via QuTS Hero) is the most capable option available from Australian retailers. Scorptec and Mwave stock it; Umart and PLE carry QNAP ranges with varying availability. The Synology DS925+ supports 10GbE via PCIe expansion (E10G22-T1-Mini, ~$149 AU) and is a viable option for 2-3 editor setups. For current AU pricing, see the Best NAS Australia guide or check Mwave and Scorptec directly for current QNAP TVS-h series pricing.

Related reading: our NAS buyer's guide.

If you're exploring AI and machine learning use cases, see our guide on Can a NAS run AI workloads?.

Related reading: our NAS explainer.

Can I use DaVinci Resolve on a NAS without setting up PostgreSQL?

Yes, for a single user. A solo editor can store all media on the NAS and use a local project library on their own workstation. No PostgreSQL required. Resolve opens and saves projects as local files, and accesses footage from the NAS over the network. PostgreSQL is only required when two or more editors need to access the same project simultaneously. If you are working solo and occasionally handing off a project to another editor (who then works alone), file-based projects with sequential handoff work fine without a database server.

Does DaVinci Resolve work with Synology NAS?

Yes. You will need to run PostgreSQL via Docker (Container Manager on DSM 7+), connect all workstations via 10GbE, and configure path mapping if you have a mixed Mac/PC studio. The Synology DS1825+ and DS1823XS+ are both commonly used in Resolve collaborative setups. The main limitation is Thunderbolt: Synology does not support Thunderbolt connections, so 10GbE is the only high-speed option. For studios where all editing is done over the network rather than direct-attach, this is not a practical limitation. For Mac editors who want direct-attach Thunderbolt speeds, QNAP is the relevant brand.

Should render cache go on the NAS or on local SSD in DaVinci Resolve?

Always local NVMe or SSD on each workstation. Never the NAS. Render cache in Resolve is high-IOPS and user-specific. It is generated per-workstation and only ever accessed by that workstation. Putting it on the NAS wastes bandwidth (every render operation saturates the network link for every other editor) and slows down the generating workstation significantly. Set it explicitly in Resolve Preferences → System → Working Folders and point it to a local NVMe path. This single setting resolves the majority of unexplained Resolve performance problems on shared NAS storage.

How many editors can share a NAS with DaVinci Resolve?

With 10GbE and a proxy workflow, 3-4 editors is a practical target for most studio setups. With native 4K BRAW or ProRes 422 HQ, the aggregate bandwidth of 3 editors scrubbing simultaneously can approach the limits of a single 10GbE link. For 5+ editors on native high-resolution formats, evaluate 25GbE network infrastructure or a purpose-built shared storage system like OWC Jellyfish. The number also depends on your NAS's drive configuration. A pool of 8 spinning drives has different throughput characteristics than a pure SSD pool. The transfer speed estimator can help you model your specific codec and editor count.

If you're still deciding on a brand, our Synology vs QNAP comparison guide breaks down which platform suits different use cases in Australia.

What is the difference between Blackmagic Cloud and a local NAS for Resolve collaboration?

A local NAS is on-premise storage that your team accesses over your studio's local network. You set it up, manage it, and it is fast. 10GbE gives you performance comparable to local storage for most formats. Blackmagic Cloud is Resolve's managed remote collaboration service, designed for teams that need to work from different locations. It handles the PostgreSQL complexity for you and works over the internet. The tradeoff is cost and upload speed constraints. On Australian NBN connections with 17-20 Mbps upload, syncing large projects to Blackmagic Cloud is slow. For studios where all editors are in the same building, a local NAS with PostgreSQL is faster, cheaper, and more reliable than any cloud collaboration service.