How to share BRAW or RED footage with clients
Finish it first, then stream the master.

That sounds like a limitation and it is mostly a clarification. Camera RAW is a set of decisions that have not been made yet: a debayer, a white point, a tone curve, an exposure read. A client reviewing a cut is not reviewing those. They are reviewing a film. The right file to put in front of them is the one where those decisions are already made, made by you, at a bitrate high enough that nothing else takes them apart.

Where it stops being a clarification is grading and conforming. If the person at the other end is going to touch the image, they need the negative, not a picture of it. That case has its own answer, further down this page, and it is not always this website.

Put the two halves beside each other. Ten minutes of V-RAPTOR 8K HQ is about 268 GB. The same ten minutes exported at the 80 Mbps HEVC baseline is about 6 GB. That is not a fair fight, and it is not supposed to be: one is the material every future decision comes out of, and the other is the one file a client clicks. The mistake is sending the first one when the question on the table only needed the second.

It also settles the storage question before it becomes an argument. A review library of graded masters is small. Twelve finished films at 6 GB each is 72 GB, which sits inside a 100 GB plan with room left. A review library of camera originals is not small, and the honest place for the bulk of what you shot is the local disks and the RAID the edit is already running from.

The third step deserves the extra sentence. On a platform that builds a rendition ladder, exporting above its ceiling is wasted effort: the ladder re-encodes your file down to its own target and your careful bitrate never leaves your machine. That is why so many filmmakers have quietly trained themselves to export small. Here the file is stored as uploaded and served as uploaded, with no encode step at either end, so the bitrate is a real decision again rather than an offering to somebody else’s encoder.

Read those three honestly and the split is obvious. The graded HEVC master goes up, gets a link, and carries every conversation about the cut, the pacing and the sign-off. The camera originals stay on your storage for the duration of post, and travel only to the one or two people who are going to work on the image, by whichever route gets them there fastest. On a Friday deadline with four terabytes of mags, that route is a courier, and this page will not pretend otherwise.

Two sibling guides go deeper on the native path per format: BRAW client review and R3D remote review. If your question is about the handoff at the end of the job rather than the review in the middle of it, delivering final files to clients covers what a complete delivery contains. And if the person reviewing is a colorist, video hosting for colorists takes up where this page stops.

Storage is the only meter. There are no bandwidth caps, no per-view charge, and external client viewers never need a paid seat, so a film shown to a room does not cost more than a film shown to one person. Starter is free: 5 GB of hot storage, one film at a time, no credit card, which is enough to test the whole chain with one real export before you pay anything. The paid ladder is Lite at $9 a month or $90 a year for 100 GB, Pro at $25 or $250 for 500 GB, Max at $75 or $750 for 1.5 TB hot plus 1 TB cold, and Studio at $250 or $2,500 for 2 TB hot plus 2 TB cold. Beyond a plan, storage blocks are $40 per TB hot and $20 per TB cold a month, and an extra seat is $25 a month. The full rate cards are on the pricing page.

Sized against the numbers above, a year of finished work is not a storage problem. Twelve ten-minute films at the 80 Mbps baseline is about 72 GB of review masters. The pressure comes entirely from camera originals, which is the other reason the workflow on this page starts with an export rather than an upload.