Sanbila for YouTube creators
Ship the weekly upload from a 1 TB laptop without ever running out of disk.
What slows down a YouTube editing workflow
A single 4K weekly upload eats a few hundred gigabytes of A-roll, B-roll, screen captures and stock footage.
External SSDs disconnect mid-edit, lose timecode sync, or fail at the worst moment before publishing.
Sponsorship cycles mean the same B-roll comes back five videos later and has to be found in a previous month's drive.
Travel vlogs from a GoPro, an A7S III and an iPhone all need a sane place to live without filling the laptop.
How Sanbila fits a YouTube creator workflow
Upload every shot, every B-roll capture and every screen recording to Sanbila the same day you record. The originals live on Cloudflare R2 with a Backblaze B2 backup, so the laptop SSD only ever holds the proxy version of the week's video. Cutting in Final Cut Pro or Premiere stays responsive on a base M3 MacBook, with the magnetic timeline jumping clip to clip in real time. At export the Smart Relink pulls only the clips used in the cut at full 4K resolution, which is roughly 30 to 60 GB for a weekly twenty-minute video, streamed directly into Compressor or Media Encoder.
Recommended plan
The Solo plan at 49 USD per month covers a typical weekly YouTube creator: 2 TB of cloud storage, 50 active projects, and one editor. A creator publishing one twenty-minute video per week with two cameras lands around 200 to 400 GB of new source per week, which fits the Solo storage with room for stock and archive. Move to Studio if you bring in an editor or thumbnail designer to collaborate on the same projects.
Recommended workflows
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.
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.
Sanbila by the numbers
Real specs from the live Sanbila product, not marketing claims.
YouTube creator questions
Can I cut a vlog on my MacBook in Final Cut without any external SSD plugged in?
Yes. Once your originals are in Sanbila, the laptop only needs the local proxy. A weekly twenty-minute vlog cut at 1080p ProRes Proxy sits around 30 GB on the SSD. The MacBook stays portable and the cafe outlet is enough for a full editing day.
What happens to my old videos six months later when a brand wants a repurpose?
The originals stay on R2. Open the previous project in Sanbila, generate fresh proxies for the scenes you want to recut, drop them in a new Final Cut event, and export the repurposed cut. Nothing is lost and you do not have to dig through last year's external drives.
Does Sanbila handle screen recordings and AE renders the same way?
Yes. Screen captures, After Effects renders, motion graphics and overlays all upload to Sanbila as part of the project virtual folder. They share the same proxy logic and the same Smart Relink at export, so the project is self-contained in the cloud.
For
Sanbila for documentary editors
Keep five hundred hours of rushes in the cloud, cut on a laptop, conform on a finishing station.
Sanbila for wedding videographers
Cover a ceremony with three cameras, edit the same week, deliver in pro quality.
Sanbila for motion designers
Source plates in the cloud, AE renders archived, Premiere edits responsive.