Remote workstations
The workstation stays in the building. The artist does not.
GPU-backed sessions streamed at 4K with 10-bit colour and under 25 ms of added latency — so a colourist in another country works on the same machine as the one in the suite.
Why studios move to this
Data stays put
Project files never leave the facility. A stolen laptop is a stolen laptop, not a leaked film.
Colour you can trust
10-bit 4:4:4 output with a calibrated pipeline and reference display support, so grading remotely is actually possible.
Real GPUs
Whole cards or vGPU profiles you choose, with driver versions pinned per project because DCC applications care.
Shared storage
The same high-performance filesystem the on-site machines use, at 40 GB/s aggregate.
Follow-the-sun sessions
Hand a session between artists in different time zones without closing the application.
Sized honestly
We publish per-seat bandwidth and latency requirements, including the ones that mean remote work will not be pleasant.
Bandwidth
What a seat actually needs
Pixel streaming is not video streaming: it is uncompressible detail, changing constantly, with a latency budget. Here is what to provision.
- Multiply by seat count for the site link, not by 0.6 — artists work at the same times
- Asset sync between facilities is separate and usually larger
| Work | Resolution | Sustained | Peak |
|---|---|---|---|
| CAD, modelling | 2560×1440 | 12 Mbit/s | 30 Mbit/s |
| Compositing | 3840×2160 | 28 Mbit/s | 60 Mbit/s |
| Colour grading | 3840×2160 10-bit | 45 Mbit/s | 90 Mbit/s |
| Editorial | 1920×1080 | 9 Mbit/s | 22 Mbit/s |
| Simulation review | 3840×2160 | 22 Mbit/s | 55 Mbit/s |