A YouTube alternative for sending videos to clients.
Unlisted is a link, not a lock.

The processing window is the part that bites client work specifically. You finish a grade at six in the evening, upload, paste the link into an email, and the client opens it twenty minutes later. Google’s own processing page describes what they see: the video is initially processed in low quality, and while the higher-resolution pass runs it may seem to be missing higher qualities for several hours. The approval happens against a version that has not finished being made.

The second half of the problem is that there is no number to argue with. Google publishes recommended upload bitrates, 35 to 45 Mbps for 4K at 24, 25 or 30 fps and 8 Mbps for 1080p, and those describe what you send. It publishes nothing about what it sends back out. We checked six help pages on 5 September 2026 and found no delivered bitrate at any resolution, which is why this page prints none. When a colourist says the blacks went muddy, there is no published spec either of you can point at.

Our side of that comparison is deliberately boring. There is no transcode and no rendition ladder anywhere in the product. The player is handed the stored file and plays it, so the client watches the exact export you approved, at the bitrate you exported it at, the moment the upload finishes. The trade is the other side of the same coin: with no lower rendition to fall back on, a thin connection buffers rather than quietly switching to a mushier copy.

Embedding a client cut on your own studio site looks like it should solve the branding problem. It does not, and Google is direct about why. The modestbranding parameter is deprecated and has no effect, and the player now determines the appropriate branding treatment based on a combination of factors including player size. The API terms add a rule most people have never read: you must not display overlays, frames, or other visual elements in front of any part of a YouTube embedded player, including player controls.

Related videos are the other half. In embeds they cannot be turned off. Google’s documentation states that after the relevant change you will not be able to disable related videos, and that setting rel to 0 only makes them come from the same channel as the video that just played. On the watch page, autoplay means another related video will automatically play after a video ends. Whatever appears after your client’s film is chosen by a recommendation system with no interest in your deliverable.

Advertising is the case people assume does not apply to them. It can. YouTube states it may also place ads on videos in channels not in the YouTube Partner Program, describes a gradual rollout on a limited set of brand-safe videos on channels below the higher eligibility criteria, and states there will be no revenue share until the channel is in the Partner Program. A small studio channel is exactly that profile. An ad in front of a client’s unreleased campaign film is a bad first frame you are not being paid for.

Here the player carries no platform logo and no watermark, on any plan including the free one. The only logo it can show is your own PNG, and it is off until you switch it on. Eleven embed switches control the rest: custom logo, title, views, share button, play button, volume, AirPlay, fullscreen, autoplay, muted and loop, plus three colour pickers for primary, accent and background. The address is of the form uncompressed.io/your-handle/film-slug, and re-exporting replaces the file on the same link, so the URL, every embed of it and the view count survive the new version.

The economics are dull, which is the point of them. Free Starter is 5 GB and one film at a time. Lite is $9 a month or $90 a year for 100 GB, and Pro is $25 or $250 for 500 GB. Nothing about your bill moves when the film gets watched, because views, uploads and viewers are unmetered on every plan including the free one. The bill moves when the library grows, which is the only quantity a delivery page actually consumes.

One caveat worth carrying into any conversation about large files: 8K plays when the viewer’s hardware decodes it, and camera RAW never streams anywhere. Pick the delivery codec for the person pressing play on a laptop in a meeting, not for the person who cut it in a grading suite. That is true on every platform, ours included.