Video hosting for a production company website, with no bandwidth cap.
Storage is the meter. Delivery is not.

Our Terms put it in one sentence: storage is the only meter, there are no bandwidth caps, and streaming is unlimited on every plan. The pricing page says the same thing in the language a buyer reads first: no bandwidth caps, no per-view charge. What differs between plans is how much you keep online. The free Starter plan holds 5 GB and one film at a time. Lite is $9 a month for 100 GB, Pro is $25 for 500 GB, Max is $75 for 1.5 TB hot plus 1 TB cold, and uncompressed.io Studio is $250 for 2 TB hot plus 2 TB cold. Extra room is $40 per TB hot and $20 per TB cold, a month. Views are not on that list, in any tier.

There is no fair-use number hiding behind those sentences. There is no soft cap, no per-viewer seat for the people watching, and no threshold that opens a conversation. External client viewers do not require a paid team seat. That is the whole model, and the rest of this page is about why the shape of a production company’s traffic makes it worth more than it looks.

The mechanics are ordinary. A case study page goes into a client’s newsletter. A trade publication embeds the film. A festival links the director. The agency that hired you puts the work on its own site pointing at your player. Each of those is a good week for the business and a bad week for a meter, because the meter is counting exactly the thing you were trying to cause.

That is the asymmetry worth naming plainly. A storage meter charges you for ambition: more films kept online costs more, and you decide that in advance. A bandwidth meter charges you for success, and somebody else decides when. For a company whose whole marketing plan is getting the work seen by as many buyers as possible, the second meter is pointed the wrong way round.

Read the bottom row before anything else. At a 100 Mbps master, 2,000 GB of delivery is 888 complete plays of a three-minute film. That is not a viral month. That is one good campaign, or one shortlist, or one client newsletter with a decent open rate. The better the picture you insist on serving, the sooner the month ends.

This is exactly where a platform that re-encodes changes the sum in its own favour, and it is fair to say so. Vimeo serves a ladder from 240p up to 4K and publishes a maximum delivery bitrate for each rung, with 22 Mbps at the top, adding that those figures are maximums and a video can transcode lower depending on the complexity of the image. Delivering at 22 Mbps instead of 100 stretches 2,000 GB roughly four and a half times further. The trade is the whole point of this site: the viewer is not receiving your master, they are receiving the platform’s version of it. The full escalation, and the same arithmetic run at Vimeo’s own published ceilings rather than at master bitrates, is on the 2 TB limit page.

It would be easy to write this page as though 2 TB were an inevitable wall. It is not, and pretending otherwise would be dishonest. Vimeo publishes exemptions from the threshold for creative professionals, provided no more than roughly half the use is monetization or commercial, for nonprofits with annual budgets under $1M holding 501(c)(3) status, and for users who come in through certain strategic partnerships, naming GoDaddy and Constant Contact. Vimeo also states that over 99% of its users never reach the threshold at all.

So the first thing a production company should do is read that clause against its own site rather than against a comparison page. If your embeds sit on a portfolio and the commercial half of the test is comfortably satisfied, the cap may simply not be your problem, and switching platforms to avoid it would be solving something you do not have. The reason to keep reading is narrower: the exemption is a judgement call made by someone else, it is phrased in terms that require interpretation, and it does not change what the viewer receives at the top of the ladder.

Two limits, stated plainly. First, there is no custom-domain feature. Every account gets uncompressed.io/yourname and a free subdomain at yourname.uncompressed.io, provisioned automatically at signup, and that is the end of the address options. You cannot put work.yourcompany.com in front of it. For a company whose domain is part of its identity, that is a real limitation and it is the first thing to weigh. Vimeo’s answer to the same requirement is showcase domain customisation, available on Standard and above.

Second, the built-in portfolio page is a portfolio page. It builds itself from the films you have uploaded: tag one Hero and it runs full width, tag two Featured and they sit side by side, everything else lands three across. You can drop text, images, buttons, spacers and a contact form between the rows, and set your own fonts and colours. That is genuinely enough for a director or a DP. It is not enough for a company that needs a blog and a services architecture and search-visible case studies.

The recommendation follows from that, and it is not a fallback. If you need a real website, keep the website you have, built on whatever builder or CMS your team already knows, and embed the player into it. The embed carries no platform branding, no ads and no suggested videos on any plan, so the page still reads as yours. You get the site you need and the delivery model you want, and the meter stays on storage. That is a good outcome, not a compromise.

One trade belongs in this section rather than in the small print. Because the player streams a single file instead of a ladder of re-encoded renditions, there is no adaptive step-down. A viewer on a weak connection buffers and then plays your file at full quality; they are not quietly moved to a soft version of your grade. For a pitch, a case study or a reel, that is the right default. For a page whose audience is enormous, unknown and on unpredictable connections, an adaptive platform is doing something this one deliberately does not. The wider comparison for portfolio pages is on the portfolio hosting guide.