Render farm in your office
ProRes RAW, Red R3D, BRAW, and ARRI MXF decode on hardware blocks — NVENC, the ProRes engine, the Apple Media Engine. The CPU stays free for noise reduction and neural effects.
✦Video editing
The render rig stays plugged in. Edit 4K from the couch.
Premiere, DaVinci Resolve, Final Cut — at full colour and full GPU, on the iPad on your lap. H.265 4:4:4 chroma and 48 kHz audio in lockstep. The same timeline you left on the workstation.
4:4:4
chroma · no subsampling
<5ms
scrub latency · LAN
48 kHz
audio · sub-frame sync
HDR
passthrough · wide gamut
✦Colour
Chroma subsampling is invisible — until you grade.
Most video on the internet is encoded 4:2:0 — one colour sample per 2×2 block of pixels. Fine for entertainment, wrong the moment you reach for the colour wheel. Edges between red and green smear, skin tones drift toward yellow, and the vectorscope lies to you. Remio's H.265 stream carries 4:4:4 chroma end to end, so the reference monitor you see in streamed Resolve is the one your client sees in the suite.
Your grade is what you see — no surprise hue shift on conform.
Your RTX 4090 or M2 Ultra does the work.
Remote editing separates compute from interaction. The render rig stays in the studio on gigabit fibre; the client travels with you. Remio is the wire between the two.
Every effect, every plugin
Boris FX Sapphire, Red Giant, Neat Video, Magic Bullet, Frame.io — all installed on the host, all at host GPU speed. Your dongle stays plugged into the workstation; licence keys never move.
Local-feeling scrub
Scrubbing is the most latency-sensitive edit action. Remio's input path is separate from the video path — your scrub reaches the host in single-digit milliseconds. The playhead tracks under your finger or jog wheel with no perceptible delay on LAN.
Client review on the same wire
Share the streaming session with a colourist on a second iPad. The reviewer sees pixels in the same colour space the colourist grades in — no transcode, no Vimeo round trip, no "it looked different in the conform".
✦Apple Pencil
A pressure-sensitive surface for grading wheels.
An iPad with Apple Pencil is a startlingly good colour surface. The Pencil reports pressure, tilt, and azimuth — Remio passes all three to the host as precision cursor events, mapped 1:1 with no smoothing or acceleration. Pull a curve point in Resolve's RGB curves and it follows the tip exactly. Paint a power-window mask and the spline lays down where you draw.
Scopes on the iPad, timeline on the workstation — both at 60 fps.
✦Audio
48 kHz, low buffer, no drift.
Out-of-sync audio is the single most common complaint about remote editing tools. Remio's audio path rides the same hardware clock as the video — they leave the host on the same frame and arrive together.
Original sample rate preserved
Most tools resample audio through software — 48 kHz becomes 44.1 kHz with a shifted frequency response. Remio passes 48 kHz straight through. Music mixed for picture and dialogue ADR play back exactly as they sound on the studio monitors.
Sub-frame video alignment
Audio and video leave the encoder on the same timestamp and arrive at the renderer on the same timestamp. Lip-sync drift over a 4-hour session stays under 5 ms — well below the 40 ms human perception threshold.
Multichannel passthrough
5.1 and 7.1 mixes pass through as discrete channels — no downmix to stereo. Plug a multichannel interface into the client and Remio routes the channels appropriately. Dolby Atmos is supported on macOS clients with spatial audio drivers.
Bidirectional for narration
Record voiceover from the client side straight into the host's NLE — the client microphone appears as a normal input device. Useful for scratch narration on the road or client notes captured onto the timeline during review.
✦Real workflows
The same edit, three places, one weekend.
A composite of three editor workflows we've seen since Remio shipped. Names changed, projects abstracted, hardware specs preserved.
Resolve grading on a 14" MacBook Pro
A senior colourist runs Resolve Studio on an M2 Ultra Mac Studio with a Sumo reference monitor and a Tangent Wave 2 panel. From the train she works on a 14" MacBook Pro — the grade is bit-identical because both sessions read the same project files on the same Mac Studio.
Premiere multi-cam on iPad Pro 13"
A doc editor runs Premiere on a 13900K + RTX 4090 tower with native R3D 8K footage. On the iPad Pro he splits program left, source right — Pencil scrubs the source, finger taps the cut points. Export runs on the tower while the iPad closes for lunch.
FCP colour on an M2 Mac mini
A wedding videographer runs FCP on an M2 Mac mini in the office closet. From the kitchen table he edits on a MacBook Air with an iPad propped alongside mirroring the video scopes panel — both displays updating at 60 fps with no lag.
✦Questions
Questions editors ask first
Direct answers, no marketing detour.
How accurate is colour over a stream?
Remio uses H.265 with 4:4:4 chroma — full colour resolution. Most remote tools use 4:2:0, which is fine for entertainment video but visibly wrong when grading. HDR passes through to wide-gamut displays (Liquid Retina XDR, Pro Display XDR). For broadcast-spec work, calibrate the client display with a colorimeter the same way you would the host monitor.
Will audio drift over a long session?
No. Audio and video share a hardware clock at the host. Drift over 4 hours is measured in single-digit milliseconds — under 5 ms typically, well below the 40 ms human perception threshold. Sample rate is preserved at 48 kHz; nothing is software-resampled.
Do I still need a proxy workflow?
Probably not. Proxies exist because edit laptops can't decode native 4K H.265 or ProRes in real time. With Remio, decoding happens on the host — so proxies become optional. Most editors switch to native-only after verifying the timeline plays back smoothly. Some still use proxies for cellular-hotspot work where bandwidth is constrained.
How fast is rendering remote vs in-suite?
Identical. Rendering happens on the host's CPU and GPU — Remio is only streaming pixels to your eyes. An M2 Ultra renders at full M2 Ultra speed whether you're in front of it or 3000 miles away. The client device is irrelevant to render time.
Can I scrub 8K timelines smoothly?
Yes, on hardware that can drive 8K. An M2 Ultra or RTX 4090 with 64 GB+ RAM scrubs 8K ProRes in Resolve in real time. The stream itself is capped at the client's display resolution (4K on iPad Pro, 6K on Studio Display) — so the underlying 8K timeline is downsampled gracefully for display while remaining 8K in the project file.
Are my plugins compatible? (Boris FX, Red Giant, Frame.io)
Yes. Every plugin installed on the host continues to work — Remio doesn't touch the host's software stack. Licence keys, dongles, network-licensed seats, and SaaS plugins like Frame.io behave normally. The host is the licensed seat; the client is just a screen.
The render rig stays plugged in. You go anywhere.
Install Remio Host on the workstation with the GPU and the dongle, the client on the iPad or MacBook you carry, and pair once with a 4-digit code — free, no account, no card.
Free foreverNo accountPaired in 30 seconds