3 hours of 4K ProRes 422 HQ
ProRes 422 HQ, UHD 4K, 30 fps, about 707 Mbps.
Result: about 954 GB before margin, or 1.05 TB with a 10% buffer. Use a 2 TB SSD for room to offload and verify.
Preset bitrate:
Optional: set your own bitrate; it overrides the selected preset.
Rates are planning values. Labels identify published constant rates, target bitrates, maximum bitrates, or approximate VBR camera settings.
| Family | Preset | Resolution | Frame rate | Bitrate | Basis |
|---|
ProRes 422 HQ, UHD 4K, 30 fps, about 707 Mbps.
Result: about 954 GB before margin, or 1.05 TB with a 10% buffer. Use a 2 TB SSD for room to offload and verify.
HEVC/H.265, UHD 4K, 30 fps, about 25 Mbps target VBR.
Result: about 11.3 GB before margin, or 12.4 GB with a 10% buffer. A 128 GB card can hold many short takes.
H.264, 1080p, 30 fps, about 12 Mbps target VBR.
Result: about 8.1 GB before margin, or 8.9 GB with a 10% buffer. A 32 GB card is usually enough for one copy.
At 707 Mbps ProRes 422 HQ with a 10% margin, a 256 GB card holds about 43 minutes, while a 1 TB SSD holds about 2.9 hours.
Recommendation: plan one extra card or drive when recording long interviews, proxies, or dual-system audio.
Planning storage for video shoots and edits can be tricky because resolution, codec, compression mode, frame rate, and bitrate all change file size. Use duration mode when you know how long the shoot is. Use capacity mode when you need to know how long a 128 GB card, 256 GB card, 512 GB card, 1 TB SSD, or custom drive can record.
If you are capturing multiple formats at once, such as camera originals and proxy files, run the calculator twice and add the totals together. Separate audio is usually small compared with video, but multi-track audio, sidecar files, thumbnails, proxies, and file-system overhead are good reasons to keep a 10% to 20% buffer.
file size = bitrate × duration ÷ 8
GB = bytes ÷ 1,000,000,000; GiB = bytes ÷ 1,073,741,824
Mbps means megabits per second. MB/s means megabytes per second. Divide Mbps by 8 to get MB/s. Variable-bitrate codecs such as H.264, H.265, BRAW, and REDCODE can differ from the estimate because motion, detail, ISO noise, encoder settings, and maximum bitrate limits change the actual data rate.
Last reviewed: 23 June 2026. Published or vendor-derived rates are used where practical, including Apple ProRes data-rate guidance, Avid DNxHD/DNxHR documentation, Digital Cinema Package JPEG 2000 limits, and camera-format guidance from manufacturers such as Blackmagic Design and RED. H.264 and HEVC presets are target or approximate VBR planning values based on common camera and platform bitrate guidance, not guaranteed file sizes.
The calculator treats preset rates as megabits per second, multiplies by duration, and applies the selected safety margin after the base file-size calculation. Uncompressed RGB/YUV rates are calculated from resolution, frame rate, chroma sampling, and bit depth assumptions, so they scale directly when you change those controls.
Source references: Apple ProRes support and data-rate guidance, Avid DNxHR codec bandwidth specifications, DCI digital cinema specifications, Blackmagic RAW overview, and REDCODE RAW overview.
At 4K/30p, ProRes 422 HQ sits around 707 Mbps—roughly 318 GB per hour of footage.
Going from 30p to 60p often doubles bitrate for intra codecs, so storage needs can jump 2×.
H.265/HEVC can cut storage roughly in half versus H.264 at similar perceptual quality.
Stereo 48 kHz/24-bit PCM adds about 2.3 Mbps—small compared to video, but worth adding to totals.
Hard drives slow down across the platter; SSDs keep steadier speeds for long record times.
Multiply bitrate by duration, divide by 8 to convert bits to bytes, then convert to GB, GiB, or TB. This calculator applies that formula and can add a production safety margin.
It depends on codec and bitrate. 4K H.265 may be around 11 GB per hour at 25 Mbps, while 4K ProRes 422 HQ at about 707 Mbps is roughly 318 GB per hour before margin.
At common 4K 30p rates, ProRes 422 HQ is about 707 Mbps, or roughly 318 GB per hour in decimal storage units.
Yes. For many intra-frame and camera formats, doubling frame rate roughly doubles bitrate and storage. Long-GOP H.264 or H.265 may scale less predictably because compression depends on motion and encoder settings.
Usually yes. H.265/HEVC often reaches similar visible quality at a lower bitrate than H.264, but compatibility and editing performance may be worse.
Use the storage-to-record-time mode, choose a card or SSD size, and the tool estimates record time from the selected codec bitrate and safety margin.
Audio is usually small compared with video. Stereo 48 kHz/24-bit PCM is about 2.3 Mbps, but multi-track audio, proxies, sidecars, and overhead can justify adding a safety margin.
Many codecs are variable bitrate, and cameras may use different wrappers, metadata, audio, GOP structure, or maximum bitrate limits. Treat presets as planning estimates unless your camera manual gives an exact data rate.