Sanbila for wedding videographers

Cover a ceremony with three cameras, edit the same week, deliver in pro quality.

The reality of a wedding shoot post

Three cameras rolling for two hours of ceremony produce six hours of multicam material in 4K, between 600 GB and 1.5 TB per wedding.
Couples expect a highlight reel within ten days and the full edit within four to six weeks.
Travel between venue, hotel and studio means the footage cannot live on one fixed editing rig.
Archiving a year of weddings on external drives ends with a shelf of dying SSDs and lost projects.

How Sanbila fits a wedding videographer workflow

Drop the cards into Sanbila the night of the wedding, from the hotel room. By morning every angle is in Cloudflare R2 with deduplication on shared takes. The next day you open Premiere or Final Cut on your travel laptop, pull a ProRes Proxy multicam from the Sanbila virtual folder, and cut the highlight reel offline at full responsiveness. When the highlight is locked, Smart Relink streams the originals to render the four-minute teaser in 4K. The full ceremony cut comes a few weeks later from the same project, and the masters stay archived in the cloud for the couple's anniversary repurpose three years later.

Recommended plan

Wedding videographers usually fit the Solo plan at 49 USD per month: 2 TB of cloud storage, 50 active projects. One wedding lands around 800 GB to 1.5 TB of unique material after deduplication, which means Solo holds three to four full weddings concurrently plus the highlight reels. Move to Studio if you run multiple shooters under one brand and want shared project access.

Recommended workflows

ProRes 422 workflow in Premiere Pro

ProRes 422 is the codec broadcast and corporate teams pick when they need a clean intermediate without going RAW. A Sony FX6 in UHD at 25p writes around 250 GB per hour at ProRes 422 HQ. Premiere Pro reads ProRes natively on macOS and Windows, but the disk fills fast. Sanbila stores the originals on Cloudflare R2, generates a lighter proxy on your machine and lets Premiere stream the ProRes back for the final export.

H.264 workflow in Final Cut Pro

H.264 is the codec almost every prosumer camera writes by default. Sony A7S III, Canon R5, DJI Mavic, GoPro Hero, iPhone 17 Pro: they all ship H.264 or HEVC variants. Final Cut Pro reads H.264 natively on Apple Silicon, but a long-form documentary cut from 40 hours of source still puts pressure on the SSD. Sanbila stores the H.264 originals on Cloudflare R2 and uses Final Cut's optimized media or a Sanbila ProRes Proxy on the local SSD to keep the magnetic timeline responsive.

Sanbila by the numbers

Real specs from the live Sanbila product, not marketing claims.

NLEs supported (Premiere Pro, DaVinci Resolve, Final Cut Pro, Avid)

Proxy presets — from 540p H.264 to 1080p DNxHR LB

File formats supported (MP4, MOV, MXF, R3D, BRAW, WAV…)

85%

Average disk savings vs editing on 4K originals

Egress fees on Cloudflare R2 — stream originals at zero cost

Parallel R2 connections on macOS (4 on Windows / Linux), 4 MB block cache

Wedding videographer questions

Can I deliver the highlight reel from a hotel room the morning after the ceremony?

Yes. The proxies generate on your travel laptop overnight while the originals upload to R2. By morning the offline cut is responsive on the laptop SSD. The teaser export pulls 4K from R2 in stream mode for the final render, which fits a typical hotel broadband.

How does Sanbila handle a multicam wedding with three different camera bodies?

Each camera body uploads in parallel and lives in the same virtual folder. The multicam clip in Premiere or Final Cut syncs by timecode or by audio waveform exactly as on a local mount. The proxies stay in sync because the source timecode is preserved through the proxy generation.

What if a couple comes back three years later for an anniversary edit?

The wedding originals stay on R2 with Backblaze B2 backup. Reopen the project in Sanbila, generate fresh proxies for the scenes you want to recut, and deliver the anniversary teaser. The hard drives on the shelf are no longer relevant to the workflow.