Guides
Working guides for filmmakers, colorists and studios: how codecs damage an image, what the platforms actually deliver, and the workflows that put your real master in front of clients.
Make the next handoff work
Choose the workflow you need, then use the checklists and worked examples to test it.
Choose hosting by the files you publish, the people who review them and the work needed to leave.
Explore 9 focused guides →02Make review rounds lead to a decision, with a named owner, a version and an actionable record.
Explore 9 focused guides →03Separate the file used for online approval from the master required by each destination.
Explore 9 focused guides →04Make the right work easy to find, easy to watch and easy to connect with your services.
Explore 9 focused guides →05Buy an archive around recovery, editable-project dependencies and a clear retention agreement.
Explore 9 focused guides →Client review and project records
Practical review workflows, native-app evaluation and downloadable project records. New Mac V2.0 capabilities are identified as awaiting App Store approval.
Choose a video client portal for feedback, versions and delivery. Follow a practical test before moving a real project.
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Plan an offline video review on Mac: cache the right version, preserve notes and reconnect safely. Includes current release limitations.
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Evaluate a Mac video review app with your actual files, client feedback, cache storage and playback diagnostics.
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Download a video revision tracker with timecodes, versions, requested changes, completion notes and approval fields.
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Build a video review report with requests, timecodes and completion records. View a sample PDF and understand the Mac V2.0 release status.
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Plan a client screening on Apple TV. Check playback quality, source selection and where feedback is recorded.
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Compare Filestage and uncompressed.io for video review, report exports and delivery. Test one real workflow before switching.
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Evaluate a Ziflow alternative for video production without confusing film delivery with enterprise proofing and audit requirements.
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Compare a client video review workflow with Kollaborate. Keep the media-management requirements that your production depends on.
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Un processus clair pour valider une version, distinguer correction et accord final, puis conserver la décision du client.
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Préparez une remise vidéo avec les fichiers acceptés, les sous-titres, les usages et une confirmation de réception.
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Practical checklists
Compare the actual playback, move your films safely, and test the link your client will receive.
Compare storage, team members, traffic and the marketing features you need.
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Export originals, captions and analytics, then replace website embeds.
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Use a Custom HTML block and check the public player on desktop and mobile.
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Choose around portfolio playback, client delivery and marketing requirements; compare the costs and capabilities you need.
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A repeatable procedure for checking playback assets, codecs, frames and device compatibility.
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Connect, import one film, verify playback, then replace and test your published links.
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Check access, picture, sound, permissions and the viewer's actual device.
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Generate captions per interview, correct them, export an SRT and build a paper edit, with the limits stated plainly.
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Seven checks in order: names, numbers, speakers, sound cues, line length, reading speed and timing, with published limits.
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Understand the problem
The technical foundation: what a codec actually does to your footage, what the bitrate number controls, and why uploads come back looking worse than the export.
Quantization, GOP structure, chroma subsampling: how codecs shrink footage and where the damage lands.
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What Mbps actually controls, the file-size math, and the delivery ceilings platforms never print on the tin.
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The re-encode pipeline at YouTube, Instagram and Vimeo, frame comparisons, and the fixes that help.
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Bitrate to file size, with camera presets taken from Apple, Blackmagic, RED and Nikon documentation.
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The story written from timecoded transcripts, then the selects, the radio edit and the handoff to the assembly.
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The file can play anywhere its codec decodes, but the viewer's browser, operating system and screen decide whether it looks like HDR.
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Vimeo's 4K maximum is 22 Mbps against 7 Mbps for 1080p 60fps, so each 4K pixel gets about 21 percent fewer bits, and the hardest shots show it first.
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What the platforms deliver
Vimeo prints the maximum bitrate of every rendition it serves. YouTube prints nothing at all. Both generate playback renditions. These pages work from what each company documents, and say so when the answer is that it does not.
Up to 22 Mbps on the H.264 ladder, up to 16 on the HDR one, from Vimeo's own rendition table, plus the dimension gates that quietly cost you the top rung.
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The transcode pipeline in Vimeo's own words, why any platform builds a ladder, and what the ladder costs the image.
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Artifact by artifact: grain, banding, blocked shadows, motion smear and a flatter mix, each traced to a published ceiling.
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Vimeo's own recommended settings first, then the uncomfortable part: the ceiling it will deliver no matter what you feed it.
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Notices, then outreach, then seven days, then embeds that stop playing. The escalation as Vimeo documents it, with the arithmetic.
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Nobody can tell you, because YouTube has never published the number. Everything it does publish, and how to reason about the gap.
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Four reasons it is the wrong tool for a screener, and the honest case for keeping the film on YouTube for the audience.
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Diagnose it in four checks, including the dimension gates that quietly deny a film its top rung, then take the ladder out of the path.
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Artifacts, diagnosed
Banding, grain turned to a wash, blocked shadows, washed-out colour and a mix that lost its air. Each one has a mechanism, and some of them are your export rather than the platform. These pages tell you which.
A two-minute test that tells your grade from the encoder's quantiser, then eight fixes in order of how much they help.
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Why grain is the first thing a rate-limited encoder stops paying for, and the export choices that let it survive.
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Bitrate starvation in the bottom stops, explained properly, with eight steps before you upload and one structural fix.
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Two causes, easy to tell apart, and only one of them is the platform's fault.
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What the file format actually documents about colr, gama and untagged media, and the part no browser vendor documents at all.
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Vimeo asks you to upload 320 kb/s and publishes a delivered maximum of 256. The rendition your viewer lands on decides the rest.
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Each film plays from one file with no lower-quality copy, so a slow connection pauses to load: the arithmetic, three honest fixes, and when Vimeo or YouTube is the better choice.
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The category
What it takes to stream a master without touching it, and what that means for a portfolio that has to look like your reel, not like a preview of it.
How to check for an additional re-encode, and what source-file playback requires.
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Clean links, brandless embeds, full-bitrate playback: a portfolio that shows the work as finished.
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Where a grade actually lives, what each platform publishes about its ladder, and Apple's own spec as the industry yardstick.
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Nobody documents it. What each vendor does write down, the Windows decoder spec in detail, and how to test it on the client's machine.
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The chain of custody from export to approval, the four generations that can break it, and the settings that survive each one.
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Vimeo's 4K H.264 rung stops at 22 Mbps and YouTube publishes no delivered figure at all. What a host with no rendition ladder does instead.
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The arithmetic of 25 MB a second, and the two ceilings that are actually real. Both of them belong to the viewer, not the platform.
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Vimeo generates no 8K transcode for an SDR upload, by its own rule. What the 5 TB ceiling buys you in runtime at each published 8K rate.
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A grade dies in the shadows first, where a capped encode spends its fewest bits. Plus how to verify what the client actually received.
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Seven hosts judged by job: portfolio, client delivery, review, marketing and audience, with when to pick each one.
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Switching tools
Costs, caps and expiry rules measured against each vendor's own published numbers, plus the migration paths that do the re-uploading for you.
The monthly bandwidth threshold, enterprise pricing walls, and the one-click library import that moves your films for you.
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No re-encoding: your export streams byte for byte, priced against Vimeo's September 2026 plans, with the cases where Vimeo still wins.
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Vimeo's 2 TB monthly threshold counted in plays of a real master, what happens when you cross it, and a host with no delivery meter.
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What Vimeo has published, what is only reported from renewal emails, and what each side meters, so you decide on the product.
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Nobody sells unlimited storage; Vimeo's cap is a lifetime total. A ten-year library priced on both meters, honestly.
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Connect Vimeo once and files move server to server, originals where your plan exposes them; what moves, what stays, which plans allow it.
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Files first, links second, cancel last: what Vimeo's own pages say happens on lapse and the move that makes each line harmless.
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Three routes out, the plan each one needs, and a two-minute check that tells a source file from a Vimeo re-encode.
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An eight-step checklist: find which films still have a source, pull or move them while paid, verify, back up, then cancel.
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The per-gigabyte math on repeat deliveries, and when flat-rate hosting beats a courier.
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Size caps and expiring links versus a master that stays where clients can stream it.
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Only on a paid plan, only if you switched it on before uploading, and only while you keep paying. The four conditions, from Vimeo's own pages.
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A verdict by job: what Vimeo wins outright, where its storage ceilings and delivery meter bite, and Vimeo's own counterweight.
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Four honest answers, one per job: review, reach, one-time sends, and hosting finished work at master quality.
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What each platform publishes about uploads, what it admits about re-encoding, and what you can get back out.
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Unlisted is a link, not a lock, and the player branding cannot be removed at all. What a delivery page does instead, and when to stay for the reach.
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Vimeo asks for 60 Mbps on a 4K upload and documents 22 Mbps on the way out. The head-to-head, including the four rows we lose.
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No. Vimeo has not announced a closure, but its On Demand storefront ends 20 November 2026. What ends, what is uncertain.
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The four wind-down dates, what happens to sellers' videos and buyers, and how to get masters and screeners out in time.
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20 November 2026. The four shutdown dates and what each one changes.
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Download masters, export the only buyer list Vimeo allows, open a new store and tell past buyers before 20 November 2026.
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Six alternatives ranked by verified prices and sale fees, and who should pick each.
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What a $10 film costs to sell at 10, 100 and 1,000 sales a month on six platforms, and where a percentage beats a flat fee.
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Which alternatives take 0% of a film sale, what each charges instead, and the card fees that still apply.
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Vimeo OTT charges $1 per subscriber and 10% of single sales. When a flat plan with the shop included and 0% of sales costs less, and when OTT fits better.
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Pay per film, subscription or ad-supported, plus a list of platforms with prices from their official pages.
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What pay-per-view hosting means for a film, the options, and what 100 sales actually cost on each.
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A cut of each sale, a flat monthly store, or a subscription channel. Real fees, and where a flat fee starts to win.
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Festivals, aggregators or direct sale: what each gives an independent film, what it costs, and how to price it.
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What a buyer gets when they download, what you cannot protect, and what stores keep at $10, $25 and $50.
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Included with every paid plan, 0% of each sale: setup from payment account to first sale, what buyers see, and what it does not do.
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What changed and when, the five things a seller needs next, and On Demand against Vimeo OTT Starter, sourced.
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One worked example, 100 buyers a month at USD 12 and 20 hours uploaded, with every assumption stated and one-sentence conclusion.
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Five steps before 20 November 2026: export buyers and sales, download originals, re-host, re-grant prior buyers, set prices.
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For teams moved to the USD 400 a month plan or past the 2 TB threshold: what Max and Studio give, in a plain table.
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How On Demand works step by step, the pricing rules, and the list of what it does not offer.
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Label every copy as source or Vimeo-converted, make a second copy while Vimeo stays live, and keep one on your own drive.
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Vimeo Free: 1 GB for life, Public or Private only. Our free plan: 5 GB, one film at a time, password links, no card.
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No. Vimeo lists Password, Unlisted and Embed only as paid settings. The same modes here work on every plan, free included.
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Vimeo's three fixes (compress, delete, upgrade), and archiving finished films in cold storage priced per terabyte.
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Creator lists 7 TB of storage but only 50 GB for private and embedded videos, plus 1 TB of bandwidth a month.
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Vimeo's three documented causes, most likely first: a privacy hash or domain, a lapsed plan, a bandwidth suspension.
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SproutVideo bills per GB past its allowance, Vimeo has a 2 TB threshold and outreach. Both models, and when to stay.
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Plan internal ownership, external review, storage and handover for an in-house video library.
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Camera and codec workflows
Camera originals need a compatible playback workflow; bitrate alone does not establish browser support. These are the workflows that get them in front of clients anyway, at full fidelity.
Show clients Blackmagic RAW in the macOS app, no proxy and no transcode, at the camera's own data rate.
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Full-debayer RED playback in the macOS app for remote clients, no review copy rendered first.
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Editing, reviewing and delivering N-RAW from the Z8 and Z9, from card to client.
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Official data rates by flavor, why browsers cannot play it, and how to deliver it untouched.
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Make a constant frame rate copy of phone and screen footage before the edit, because this host plays your export at the frame rate you exported and changes nothing.
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Camera by camera
What each camera records, which of those files a browser or the macOS app can play, and the review export to send a client. Camera figures come from each manufacturer's documentation, read in September 2026.
8K R3D data rates from RED's guide, the R3D path for a compatible Mac, and a 4K HEVC review file for everyone else.
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6K tops out at 40 fps, ProRes is 422 HQ and 422: which file to master from and what to send a browser client.
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6K at 80 fps, internal ProRes up to 4444 XQ, and which of those files the macOS app can actually play.
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BRAW and ProRes for the grade, a graded HEVC file for the client, and the formats no browser will open.
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Eight frame sizes, BRAW or ProRes, and whether a 6K source should go to the client as 4K.
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BRAW only, plus an 8-bit H.264 proxy that plays anywhere but is not a picture to sign off on.
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12K BRAW at up to 578 MB/s, the storage arithmetic, and why the client review file is 4K.
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Internal ProRes, 10-bit 4:2:2 HEVC and external RAW: which files play where, and the export to send.
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Six file types that split three ways for review: N-RAW and ProRes 422 HQ in the macOS app, ProRes RAW in neither.
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SDR, HLG and N-Log map to three colour spaces, and that decides what the review export has to do.
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6K N-RAW at High or Normal quality, ProRes 422 HQ up to 5376 x 3024, and a 4K review file for browser clients.
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XAVC S-I, HS and S from Sony's help guide, why S-Log3 needs a grade first, and the HEVC file to send.
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The Super 35 body's formats, base ISO 800 and 2500, and a review export sized to what you shot.
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UHD formats from Sony's help guide, 8-bit versus 10-bit modes for graded work, and the export a client should see.
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The incumbent, examined
What still works, what the legacy docs quietly admit, and the marker-sync workflows that cover Resolve and Final Cut today.
The state of the integration after V4, with receipts, and what Resolve users run instead.
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Where the FCP workflow stands in 2026, and a marker export that drags straight into your timeline.
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What each team size costs on Frame.io's per-member plans, who takes a seat, who does not, and when to stay.
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Delivery and protection
The final-delivery checklist, and screener sharing that holds up when the file absolutely cannot leak early.
Transfer links, cloud drives and hosting compared for the handoff a client actually paid for.
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Evaluate final-file delivery, review copies, storage and project handover before replacing Frame.io.
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A transfer is an event with a countdown, hosting is a place. The 3-day window, the rolling caps, and what Ultimate can already do.
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Preview capped at 30 minutes, 100 GB and 1080p depending on the plan, versus a watch page with no preview to cap.
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No, and the gap has a shape: review software against hosting. What Frame.io does better, and what neither one covers.
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One bills per member with storage attached to members, the other per plan with a bandwidth threshold. Both companies' published figures, and the two questions neither one answers.
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Passwords, expiry, session watermarks and forensic marks designed to help investigate a recovered copy.
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How platform licences reach your footage, what Law 25 really covers, and the contract clause that closes the door.
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What re-hydration means, the arithmetic for a year of masters and rushes, and how tape and the big-cloud archive tiers really price out.
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WeTransfer previews stop at 300 MB, Drive plays nothing above 1080p. The workflow that survives, and when a transfer tool still wins.
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The loss never happens on the wire. It happens in the squeeze before you send. Five tools measured on what the client actually opens.
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One link that screens the cut and hands over the file, with an honest read on review tools, couriers, drives and consumer hosting.
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YouTube publishes upload recommendations and nothing at all about what your client receives. Four steps, and one setting YouTube does not have.
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Send v2 down the link they already have. What the swap keeps, what it deletes for good, and why there is no processing wait.
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ProRes playback depends on the browser and device. Host the master for exact-file download, put something playable beside it, and hand over one link.
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No, and the honest proof is four vendors' own supported-format lists, where ProRes is absent rather than refused.
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Camera RAW never plays in a tab. Finish to a high-bitrate master first, with RED and Blackmagic data rates from their own manuals.
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Five causes in order of likelihood, each with a check and a fix, and the structural change that stops it happening again.
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Frame.io's own V4 docs say archival storage is not supported going forward. Finished work does not belong in a review tool.
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Your client is watching a preview, not your file. The caps are published: 1080p on free, and playback truncated for non-owners.
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Google publishes one number, 1920 x 1080, and nothing about how long processing takes. What is documented, and what is folklore.
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A real head-to-head first: 300 MB of preview against 100 GB. Three of the four verdicts here are not us.
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MASV bills on download, so a file pulled three times costs three times. The break-even, computed from its published rates.
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A file that size is ProRes, DNxHR or RAW, so it downloads rather than streams. Host the master, put a playable export beside it.
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Master, captions, cutdowns, stills, project files: what a post shop actually owes at the end of a job, and who keeps a copy of each.
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The quality does not go in your export. It goes at the handoff, and again at the platform's own re-encode. Where each one bites.
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Generate a first pass with AI, fix the names and the numbers by hand, then deliver the format the client's platform wants. The whole loop.
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The procedure start to finish: generate the track, fix what the model got wrong in the order that matters, publish it on the link, hand over the .srt or .vtt.
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Type the line and land on the frame where it is said, instead of scrubbing an hour of rushes to find it again.
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One becomes pixels the moment you render, the other stays editable forever. A decision table by destination, and the hybrid most jobs actually ship.
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An SRT is written alongside the picture rather than pulled out of it. Three routes to one, and the two faults that break a hand-made file.
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Five shapes times three cut lengths is fifteen files. A naming convention, a safe-area rule, and one approval per shape so the wrong crop never goes live.
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Gmail stops at 25 MB and substitutes a Drive link. What the client needs is a link that plays, not a file that arrives.
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Hightail is still sold and still priced, so the question is not whether it works. It is what happens after the download.
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Google calls the preview a scaled-down version of the complete file. That is the whole problem, in Google's own words.
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Two billing shapes on documented limits, with MASV's rates in full and no WeTransfer price, because its own pricing page would not load.
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The download switch only hides the button, so send a marked or lower-resolution preview first and swap in the master behind the same link once you are paid.
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Put a visible mark in the preview export, then replace it with the clean master on the same link after payment. The client's notes and approvals stay.
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Sharing and access
Passwords, screeners, embed-only films and revocation, each checked on the server rather than hidden in the page. What each setting actually stops, and what none of them can undo once a file has been downloaded.
Four steps, on any plan including the free one. How the check works on the server, and the honest limits of a shared code.
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One link you wrote yourself, one code you can kill. Per-film gates only, with a plain account of what a password does not stop.
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Audit recipient shares, collection access and ordinary film visibility separately when withdrawing a video link.
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At most they type a code you gave them. Which tools force a signup and which do not, measured against each vendor's own pages.
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The film plays in the iframe while the watch page returns 404 to everyone else. What that protects, and what it does not.
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Separate visible marks, capture controls and forensic attribution before relying on a protected video screener.
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In a browser you cannot, and the standards documents say so plainly. Why DRM is not capture prevention, and what makes a copy traceable instead.
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A count is easy, a name is a different problem. An anonymous link cannot identify a viewer, so identity has to be collected before playback.
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How to frame an unfinished cut, what quality to send, one link per person, and an honest account of what the security actually buys you.
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The embargo is a contract, not a control. One link per named journalist, attribution instead of prevention, and a record that holds up afterwards.
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Four clause types translated into delivery mechanics: who may watch, how copies are kept, what happens at the end, and where software cannot help.
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Prepare a festival screener with clear access, readable subtitles and a dependable submission record.
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One password for the whole group, downloads off, a new code when the run ends, and what festivals actually test.
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No festival page we checked covers private screeners. What the published rules actually test, and why to ask in writing.
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A gated link, downloads off, a room link for notes, access withdrawn afterwards, and why a viewing is not an approval right.
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Lock the link, list every copy, send a takedown notice to each host, then review who had access.
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Yes. Anything a browser plays can be saved or recorded. What raises the effort, and when a film should never reach a browser.
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Each person gets their own review link that you can remove on its own. Nothing checks who holds a link, so a forwarded link works.
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One review link per investor that you can revoke alone, downloads off, the recut behind the same link, and analytics that show visitors, not names.
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Send a pitch reel to producers and networks on an unlisted or password link with no ads or related videos, and recut it behind the same address.
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Storage and archive
Working storage, delivery storage and archive are three different jobs that get called one word. What belongs in each tier, what a finished project is worth keeping, how long to hold a client's files, and why a storage product and a host behave so differently the moment somebody presses play.
Working storage, delivery storage and archive do three different jobs. What belongs in each, and what breaks when one product is asked to do two of them.
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The codec decides the answer, not the resolution: the same 4K minute can be dozens of times larger in one format than another. The arithmetic, by format.
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The pass you run once per delivered job: a keep list, a delete list, a format that still opens in five years, and a restore you actually test.
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One run per timeline: every clip the timeline uses, the project file and the master, whole and never re-encoded, straight into cold storage.
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There is no standard period, only five clocks: the contract, the re-cut, the tax records, the licences, and the platform quietly deleting on your behalf.
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Storage is priced to hold bytes, hosting is priced to move them to a viewer. Delivery caps, preview limits and retention rules, set side by side.
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Yes for project folders and second copies. No for a client judging a graded cut in a browser, and the published caps are what separate the two answers.
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Answered by what each host meters: storage, bandwidth, seats or videos. The published figures, and the ones no vendor publishes at all.
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Card offload, two drives, one off-site copy: why a RAID counts as one copy and where cold storage fits.
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A worked sizing from Apple's ProRes figures: originals at your shooting ratio, proxies, renders and exports.
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Codecs and export settings
On a host that never re-encodes, the codec and the container you export are the ones your client watches. That makes ordinary export decisions load-bearing. Each page here works from what the vendors and the standards documents actually say, and states plainly where nobody documents anything at all.
Editing tools make proxies because the master is too heavy to scrub. Apple's own documentation on what one is, and why delivery does not need one.
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File size against certainty about the client's machine. Per-browser support from MDN, and the size-saving claim nobody publishes a source for.
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With no upload ceiling to export under, the settings are about the viewer's decoder and nothing else. YouTube's and Vimeo's published tables, read for what they are.
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A table by codec and destination, and the reason the number survives the trip when nothing re-encodes it on the way.
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Container against codec, settled once. MP4 descends from QuickTime, and the wrapper on its own never costs an image anything.
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DNxHR is hosted for download rather than streamed. A playable review cut and the master on one page, with no Avid data rate we could not verify.
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What the Academy's published specification asks for in a caption file, how to make one, and which rules we could not verify.
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Safari plays HEVC on any Mac from High Sierra but AV1 only with a hardware decoder, so the client's device picks the codec on a host that never re-encodes.
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4:2:2 keeps twice the color samples of 4:2:0: keep it in the grade and the master, and stream a Main10 4:2:0 export.
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CRF holds the quality and lets the file size vary; a 2-pass VBR target holds the size and lets quality vary. Why HandBrake recommends the first and our presets use the second.
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HandBrake's own RF ranges by resolution, Constant Quality, encoder presets and frame rate modes, and which of them matter when nothing re-encodes the file.
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23.976 is exactly 24000/1001, 0.1 percent slower than 24: what that costs over an hour and why the rate is settled in the edit.
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A 60 fps export plays here at the frame rate and bitrate you exported, with no re-encode; smooth playback depends on the viewer's decoder and connection.
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Rec. 709 for SDR films; Rec. 2020 goes with PQ or HLG at 10 or 12 bits, and nothing here rewrites the tag you exported.
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The Deliver page values we use for a web master, and a free script that saves them as a preset and uploads your latest render.
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Export File has no bitrate control, so the review copy goes through a free HEVC 10-bit Compressor setting, and the client's notes come back as a Final Cut bundle.
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H.264 and HEVC allow frames up to 8,192 x 4,320, but Windows' built-in decoders stop at 4,096 x 2,304, so test on the client's machine and keep a 4K cut ready.
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A browser link decides for itself what a 5.1 track sounds like, so stream a stereo mix you approved and hand over the 5.1 file.
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Broadcast, podcast and music each publish their own loudness target, so the right number depends on where the film ends up; the mix plays here at the level you set.
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Delivery by discipline
A couple, an estate agent, a marketing team, a director in another time zone and a record label all need different things from one delivery page. What changes between them, what stays the same, and where each job actually goes wrong.
One link that still works in five years, plays at export quality on a phone, and hands over the original when you switch the download on.
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Agents will not make an account. The link opens, plays and downloads, and the next listing replaces the cut without changing the URL.
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Master, cutdowns, captions and an unbranded embed off one page, with an honest read on what Wistia still does better.
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Ninety-minute cuts, funders who will never install anything, and a review cycle measured in months rather than days.
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The grade at full bitrate before release, locked to viewing, watermarked per session, and revoked the day the embargo lifts.
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Give each talk its own film: the organizer takes the originals, then an embed on the event site that never needs editing, captions, and recuts on the same link.
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Sundance wants a streaming link and a password that keep working for eight months. How to set one up so it still plays when the panel gets to it.
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The watch page sizes the player to the file, so a 9:16 export plays upright at the bitrate you exported, one film per shape.
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Portfolio and showreel
A reel is fine detail, and the delivery bitrate decides whether the grain, the halation and the shadow separation survive the trip. These pages cover hosting the work itself: what each platform reserves the right to put around your film, and what a page built from your own films can and cannot do.
Hero, featured and standard tags build the page from your film list. Honest about the one thing missing: no custom domain.
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Judged by job, with Vimeo's published per-rung playback maximums charted. Two of the verdicts send you elsewhere.
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YouTube's Terms grant a standing right to run ads, and related videos cannot be disabled. What the documents actually say.
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No resolution or bitrate ceiling here, and the caveat that matters: 8K plays only when the viewer's own hardware decodes it.
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5 GB and one film, limits before virtues, plus a straight list of who should use YouTube or Vimeo's free tier instead.
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Spiky traffic against Vimeo's 2 TB monthly threshold, including the exemption Vimeo publishes for creative professionals.
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Build a before and after that survives delivery, then verify what the client received. No web player is a grading reference.
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Four tags, and the one that catches everybody: new uploads land on Hidden, which is why a new page looks empty.
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No platform mark on any plan against Vimeo's two separate branding gates. Vimeo Portfolios still wins on custom domains.
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Partly. Shares are public and brandable, so the fair answer is where it stops: per-member pricing, and a page built around review.
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One account switch, off by default, that starts the hero as it comes into view. Plus the browser rule behind every silent hero.
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Views, embeds and settings survive the recut. The poster, the captions and the old timecoded notes do not, and the old file is gone.
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The address comes from the film's title, not a hash, and it is editable. Set it before you circulate the link, because renaming breaks it.
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Scrub to the moment and capture it with no re-encode in the path, so the still carries your grade. The step is 0.04 seconds, not one frame.
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Each school's link rules, sourced: password or none, downloads, player controls, portal and runtime.
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No single number fits every discipline. School runtime limits where they exist, and the rules that matter more than length.
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Shots, lighting range, movement, formats, credits, what to cut, and why the reel should play at the bitrate you exported.
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What an editor's reel must prove: rhythm, story, sound and range, plus the mix and one link that survives every recut.
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What a director's site needs, and how Hero, Featured, Standard and Hidden tags plus clean links build it.
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Why re-encoding hurts gradients, small type and fast motion most, what to export, and how to host the reel as rendered.
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Structure and label plates, passes and final, stream them at your export bitrate, and gate NDA shots per film.
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Unbranded player and embeds
What each host reserves the right to put on your film, which plan buys it back, and how a plain iframe behaves once it is sitting on somebody else's website. Includes the two limits we have not solved: no custom domain, and branding that belongs to an account rather than to a client.
Two different Vimeo gates at two different tiers, told apart properly. Vimeo Portfolios is the honest answer when you need your own domain.
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Hiding the logo needs Starter, your own logo needs Standard. One iframe here has neither gate, on every plan including free.
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Check player branding, controls, mobile behavior and access separately before embedding a client video.
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Squarespace re-encodes every upload to 1080p at most, so native video cannot carry 4K. The embed route needs Core or higher.
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Webflow's only upload path is a 30 MB background component, and its video element takes no uploads at all. The arithmetic is brutal.
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Wistia's own words: it serves the optimized assets it creates, not your upload. Its published ceilings, and why a funnel team should stay.
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No bandwidth line and no rendition ladder: the trade on slow connections, and when marketing teams should stay on SproutVideo.
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Wix Video transcodes to H.264 and documents 1920x1080 as its top size. Embed HTML, and the fix for an iframe that won't resize.
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Framer's Embed component with an unbranded player: URL or HTML tab, captions, and a link that survives a recut.
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Showit caps MP4 uploads at 8 MB. Put the full reel in the Embed Code Widget as one iframe with no platform logo.
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Bars mean the embed's box and the film have different shapes. Match the aspect ratio, then choose what fills any space left.
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The embed URL parameters for autoplay and loop, and what Chrome, iOS and MDN say about autoplay.
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Review and approval
Choosing software your client can actually open, and what separates a review room from a link with a comment box under it.
The buying criteria first, then an honest read on Frame.io's per-member pricing, and a room where the share link is the authorization.
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A note pinned to 00:01:14 names a frame instead of describing one. What that saves per round, and how the note reaches the timeline.
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One link, notes left on the frame, no account for the client to create. The short answer first, then the parts that go wrong.
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An emailed note costs a transcription pass and a guess at which shot it means. What replaces the thread, and what to do about the client who replies anyway.
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v3 beside v4 on the same frame, with one approval recorded against each version. What the comparison settles, and what it cannot.
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An approval is worth what it points at: a named version, a person, a time. The record that survives the argument three months later.
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What review actually costs a one-person post shop, with the per-seat pricing of the usual tools set out plainly, including where they still win.
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A signed panel pulls the round of notes and writes each one onto the timeline as a marker at its own timecode. Install, pull, cut.
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A script in the Workflow Integrations menu does the same job for Resolve: notes land on the timeline, at frame, with the comment attached.
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Compare review decisions, reviewer access and revision records before moving a video team from Frame.io.
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Six stakeholders, two of them contradicting each other, and one record of who asked for what. How to run the round so the next one is shorter.
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Replace the file behind the link they already have instead of mailing another cut. What the swap keeps, and what it drops for good.
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Four copyable emails covering feedback, approval, reminders and a version-specific project closeout record.
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No rule fixes the number. Define what one round is, with sample contract wording and a review record both sides can point to.
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The drawing is saved with its note and both sides see it. Plus the limits: seconds, not frames, and which drawings show inline.
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Export at wrap, one gated link per shoot day, timecoded notes from the director, and a same-link fix when the LUT was wrong.
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Pin the note to the moment, draw on the frame, name the element and the beat, and use the words animators use.
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How to write rough cut notes an editor can act on, and send them as timecoded, threaded notes that become timeline markers.
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A downloadable reference behind a password, with timecode burned in, and a plan for changes after picture lock.
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Wipster reviewers already skip the account. The real differences: a free review room, per-version approvals, Resolve markers.
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Clients review free on both. What each bills per user, member caps and storage, and who should pick which.
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Replay is a per-user add-on on Dropbox Plus or higher. A review room on every plan, with notes landing as editor markers.
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Vimeo Review dropped accounts and timestamped comments in 2026. What it documents, and where our review room differs.
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Frame.io Free gives 2 members, 2 GB and 2 projects. Which job it suits, and when a free one-film review room fits better.
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Head to head
Donnez au monteur le moment, le problème et le résultat attendu, sans perdre le contexte entre deux versions.
Reliez chaque demande client à la modification réalisée, à la nouvelle version et à la décision finale.
Conservez les demandes client, les corrections réalisées et la version acceptée dans un dossier de projet lisible.