VFX breakdown reel hosting.
The comparison is the work, so the detail has to survive.

A showreel is judged as a finished image. A breakdown is judged as a difference: the reviewer looks at the plate, then the roto, the CG pass, the lighting, the comp, and decides how much of the final frame is your work. The things that tell them are small. Edge detail on a key, grain matched between plate and CG, a thin wireframe over a render, a clean-up patch that should be invisible. Those are exactly the things a delivery encoder spends the fewest bits on.

Vimeo says that during transcoding a file is “re-encoded into several formats”, and YouTube says it “always re-encodes videos”. Vimeo also publishes its ceilings: up to 22 Mbps for 4K on its H.264 ladder and up to 16 Mbps for 4K on its HEVC ladder, figures it calls a maximum that can come in lower depending on the image. uncompressed.io does not re-encode: the player streams the file you uploaded, so the bitrate in your export dialog is the bitrate the reviewer gets, subject to their device’s decoder and connection.

The arithmetic is plain. Put plate, matte, CG and comp in a 2x2 grid inside a 3840 by 2160 frame and each panel is 1920 by 1080. On a ladder that tops out at 22 Mbps for the whole 4K frame, each of those panels shares that budget four ways, and the encoder decides where the bits go. Grain, which looks like noise to an encoder, is easily smoothed away; a plate and a comp whose grain matched in the suite can look like two different textures after upload, which is the opposite of what the breakdown is trying to prove.

Hard graphic elements break in their own way. Burned-in labels, wireframe lines and matte edges are high-contrast detail, which is where ringing shows around text and thin lines. Dark CG passes and night plates block up for the reasons covered in avoiding macroblocking in dark scenes.

A practical split: the public reel holds released shots on Public or Unlisted and embeds on your site. The restricted cut holds shots a studio allows you to show privately, on a password you send to one recruiter at a time, and you change the code when that conversation ends. If the restricted shots have to sit on your own portfolio page instead, Embed only keeps them off the public watch page, with the limits in the table above.

Breakdowns get a new shot every time a project is released. Upload the new render as a new cut of the same film in your dashboard, and the link, views, settings, embed and page placement stay as they are; only the file changes. Three things need attention: the previous file is deleted, so keep your own copy; the poster is not replaced, so pick a new frame; and any captions or notes made on the earlier cut may no longer line up with the new file. The full checklist is in updating a showreel without changing the link.

Where this host fits is narrower: a breakdown sent to named supervisors and recruiters, where the grain, edges and passes need to reach them as rendered. The wider portfolio setup, including the profile page and the player, is in video portfolio hosting for filmmakers.