The Kadrenta handbook What Kadrenta does, how it works, and why it is built that way. The chapters are in the order they are most useful to read. Search above, or pick one below.
This chapter takes you from kadrenta.com to being signed in with a studio of your own, and introduces the places in the top bar you come back to every day: the dashboard, search, your profile, and the button that reports a problem. The last section explains what happens to a report once you send it.
A project is where a job lives: its team, its deadline, its tasks, and, if the job is a piece of film, its shots and the versions of work sitting on each one. Everything a studio does in Kadrenta hangs off a project. A project page reads top to bottom in the order the work happens, from the first task to the files that go out the door.
Review is where work gets judged. A version comes off a shot (or is uploaded straight in), it lands as a draft, your studio looks at it, and when you decide the moment is right it is published, so the people holding a link can see it, comment on it, draw on the frame, and approve it. Those are three separate acts: sending, publishing, and telling somebody. Nothing here happens by itself.
A share link is the one door between your studio and everyone outside it, whether it opens onto a review, a canvas, or a delivery of files. Nobody needs an account to open one. Looking is free and every write is an explicit button, on the other side of a link as much as inside your studio.
Every picture, video, 3D model, PDF and document in Kadrenta goes through one door, wherever it lands: a shot version, a card on a canvas, a project's own file dock, or a transfer to a client. A storage limit, a trash, a video that plays in a browser: each means the same thing wherever you meet it, because underneath they are the same file service.
Transfers is Kadrenta's way of handing finished files to a client without going through a separate service. Drop files in, give them somewhere to go, and a link appears that anybody with it can open. Unlike a review round or a card on a canvas, a transfer is not meant to stay. It always has an end date, and the files it carries clear themselves out once that date passes.
A canvas is an infinite board where you lay out cards (images, video, PDFs, notes, and cards that point at real work in a project) and connect them with wires. It is where a studio thinks out loud together: moodboards, pitch decks, a breakdown with every shot laid out, a client walkthrough. A canvas is a window onto your project, never a second copy of it. Looking at it and rearranging it is always safe, and only a handful of named buttons ever change anything outside the board itself.
What am I supposed to be doing, and what is late. That is the question this part of Kadrenta answers. A task is the smallest unit of work in the product. It can hang off a project, off a single shot inside a project, or off nothing at all, for the small errand that does not deserve a project of its own. The dashboard, the little warning chip in the top bar, and this chapter are all about the same handful of numbers: what is open, what is waiting, and what has run past its deadline.
Who do we sell to, and what are we selling them right now. That is what this part of Kadrenta answers. A client is a company, the studio you pitch to, not a person. A deal is one opportunity with that company, sitting somewhere on a funnel from first enquiry to won or lost. It is a small CRM, and kept thin: enough to know who you are talking to and what a job with them might be worth, and nothing that starts to look like invoicing or bookkeeping. That line is the last section of this chapter.
Who is in my studio, what does that cost, and what happens if I change my mind. That is what this part of Kadrenta answers. A studio holds two very different kinds of person: someone who works here as their home studio, and someone who is only helping on one job and keeps a studio of their own. The product prices only the first kind. This chapter covers what a seat is, the three roles a studio can hand out, how an invitation works, what a seat costs and when that money moves, the free plan's real ceiling, and what happens when you add or take away a seat in the middle of a paid period.
Kadrenta tells you what needs you in three places: the bell in the top bar, your mailbox, and, if you connect them, Discord or Slack. This chapter explains what goes where by default, why messages are held back for a few minutes before they are sent, and the difference between what your own crew hears about and what a client ever sees.
Kadrenta can be connected to your own Claude, so you can ask it about your studio the way you would ask a colleague, instead of clicking through screens to find something. This chapter explains what that connection can see, what it can change, and the rules that keep it from ever doing something you could not do yourself.
This handbook describes Kadrenta as it works today. If something here does not match what you see, that is worth telling us.
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