Everything starts with a client — the root of the tree. A client owns its files, its projects, and its reference media, so opening one scopes everything you see to that single relationship instead of the whole company.

Two things hang off a client before any project exists: a drive for the files themselves, and a library of resources — the media your editors reach for while cutting. They look similar from the outside. They do different jobs.

Drive is the file browser: the shared workspace drive where camera originals, exports, and final masters actually live. A client’s drive root shows one project folder per production, plus whatever custom folders you make — and inside a project folder you can browse that project’s deliverables and resources too, so working files and review material sit in the same tree rather than two systems.

Getting files in and out doesn’t need a second tool. A transfer link turns any selection of files or folders into a download page for someone outside the workspace, with an expiry date, an optional password, and a download limit. A dropzone is the same idea reversed — send the link, and whatever the other side uploads lands straight in that folder.

Uploads go directly to storage in parallel chunks and resume if they drop, so full card dumps and R3D rolls are ordinary traffic. The desktop app covers the step before that: back up a card to two drives at once, with folder structure built automatically, and every file it copied is tracked in the same drive you browse in the morning.

Resources are the production media an editor keeps on hand — B-roll, logos, stock, music, alternate takes. Each project has its own resource library, and you can widen the same view to every project for one client or the entire workspace, so a clip that was found once stays findable. Inside a project, resources group into scenes, and you can rate, tag, search, and move them between projects.

What makes them worth separating from drive files is where they can go: a resource can be attached to a comment in Review. Pick a clip, set in and out points, and it plays as an overlay on the deliverable at the exact moment the note appears — the reviewer sees the frame and the reference at the same time, instead of reading “use the take from the other folder.”

Under each client sit its projects — one per production, each with its own crew, assignments, and deadlines. A project is where work actually ships, so anything you open there is scoped to that job, and editors only reach the drive folders attached to projects they’re assigned to.

Every project gets the same two shapes as the client, scoped down: a drive folder created with it, and its own resources. When you attach a clip to a comment you can search this project, everything for the client, or all projects at once — so shared assets don’t have to be re-uploaded per job.

Inside a project are the deliverables — the videos, galleries, and graphics you owe. Each one is a single piece of output with its own review surface and its own deadline, which is also where the deadlines on your calendar come from.

Because feedback lives on the deliverable, you can review, approve, and iterate without losing the thread. Decisions stay next to the work they were made about.

Every cut is uploaded as its own version, so nothing is overwritten and you can always go back to what the client saw last week.

Comments land frame-accurate on the version they belong to — timestamps, replies, and approvals stay with the frame they’re about. This is where the whole tree pays off: the note, the cut it refers to, and the resource that answers it are all one click apart, because they were connected from the client down.