Projects, films and shots

A project page is one page, split into chapters, each with its own chip at the top. There are ten: General Tasks, Pre‑Production, Shot Breakdowns, Production, Post‑Production, Deliverables, Canvas, Links, Transfers, and Project Details. Pressing a chip does not jump to it. It switches it off: the chapter folds away, and pressing it again brings it back as it stood. Nothing is deleted or lost by switching a chapter off. It is a way to keep a page you use for tasks only from being nine chapters long.

The order is not alphabetical. It follows the order a job happens in. Shot breakdowns sit between pre‑production and production because that is when a breakdown gets made, and deliverables sit after the four task lists because they are what those lists are building toward.

Press + Add Project on the dashboard to start one. One popup asks for the name, type, client, status, deadline and team. If the client company does not exist yet, you can type a new one on the spot without leaving the popup.

Every project has at least one film. For an ordinary job that is a single film with all its shots in it, and the film itself is invisible. Its name never appears anywhere, because there is nothing to tell it apart from.

The film layer exists for two reasons: shot numbers only have to be unique within one film, and the full edit needs a place to live. A campaign with a 30‑second cut and a 60‑second cut is two films in one project, each with its own shot 010. Only then does the product start naming the film in front of a shot's number, 30 seconds · 010, because that is the moment two things could otherwise be confused for one.

When you start a new breakdown you pick one of three shapes:

• Shot breakdown: numbered shots, 010, 020, 030 and up.
• Single film: no numbered shots at all, only the full edit. This is for an eight‑ or ten‑second job that is one continuous piece of film, not a breakdown pretending to have one shot in it.
• R&D: research shots, numbered 010-R&D, 020-R&D and so on. A studio's research pass is kept apart from the shots it is research for, and it always sorts above the ordinary breakdowns in the film strip.

None of this is a setting stored on the film. It is read straight off which shots exist. A single film that grows its first numbered shot becomes a breakdown; there is nothing to switch.

Shots are numbered in tens, the same way studios keep them on disk: 010/, 020/, 030/ are the folders renders get written into and the numbers people say out loud in meetings. The gaps between the tens are there so a shot can be slid in later. Insert one between 010 and 020 and it becomes 015. And a shot number is never renumbered, because by the time anyone would want to, it is already in filenames, folders and conversations outside the product.

Adding a shot means picking a place, never typing a number. The popup asks where it goes (Before 010, Between 010 and 020, After 050 (at the end)), built from the shots that already exist, and works out the number itself. If two neighbours sit right up against each other with no room between them, that slot is shown but greyed out rather than rounded to something else. Numbers run up to 990.

Every film also carries one row with no number at all: the full edit, always shown as EDIT. It is created the moment the film is, it cannot be deleted on its own, and it goes only when the whole film goes. The row says so in words rather than leaving the delete button off.

A shot can carry an owner: one person, shown as a caption on the row. This is not a permission. Naming somebody as the shot's owner changes nothing about what they may do. It only answers "whose is this" when you are scanning a breakdown of eighty shots and most of them have nobody on them yet.

Open a shot and drop work onto it, an image, a video, a 3D file, a document, and each kind of file gets its own version chain. Image v2 never replaces video v1; they are separate pieces of work that happen to sit on the same shot. The Current badge always marks the newest version that has not been thrown away. It is worked out fresh every time rather than stored as a flag, so deleting v4 puts v3 back in front without anything going stale.

A version number is never reused, even after the version behind it is deleted. Bin v3 and the next upload becomes v4, not a second v3, because a note somewhere that says "fixed in v3" has to keep meaning the same file six months later. If a shot's oldest surviving version is v005, the version list says so: "4 thrown away, so the numbers skip."

Removing a version is a separate, immediate action from removing the shot itself. When the version is standing in a review round, it asks a second question: whether to take it out of that round too. That box is unticked by default, because throwing away a working file should never quietly reach into a client's conversation about it.

Tick the versions you want to act on and two buttons sit side by side on the same row: Send to review and Transfer files. One is let the client judge it, the other is hand it over. Sending to review always lands as a draft; publishing it to the outside is a separate press on the review page, never something a shot upload does on its own. Sending as a transfer costs no extra storage. A delivery points at the same file the version already uses rather than copying it.

The first time a shot is sent anywhere, you are asked once whether the round is internal (for the studio only) or client (for the people outside it). Every version sent after that inherits the same answer without asking again. That is what keeps an internal shot from picking up a client-visible round by accident on the fifth upload.

The ☰ button sits in two places, and it opens a different list in each. On a project chapter it opens the studio's list of things every project needs: tick what applies and each line becomes a task. On the Tasks heading inside an opened shot it opens a second, separate list, the things every shot needs (scene blocking, lighting, shading, animation, to start). A studio builds each list once, in its own settings. Every new breakdown offers to put the shot list on every shot it creates, so a fresh breakdown of forty shots does not start as forty empty rows.

A studio can set up its own folder trees once (Renders / Source files / Reference / Delivery) and call one onto any project. A studio types out the literal paths it always wants, and applying a template creates them under the project's file dock. There is no per‑shot or per‑film pattern, and nothing is seeded automatically for a new studio.

The Links chapter is a place to paste an address that belongs to the project but lives outside Kadrenta: a Pinterest board, a Miro board, a network path, a Drive folder. Paste it and press Enter; naming it is optional. A badge in front of each row shows what kind of address it looks like, worked out fresh from the address itself each time, so correcting a typo never leaves an old badge behind. These addresses are only turned into clickable links when they can open safely. Otherwise the row shows the text as text.

Archive is the one soft, undoable step a project can take. It takes the project off the active list. Nothing about its shots, tasks or files is touched, and it can be restored from the project's own settings at any time. If a project's work‑file dock holds files, archiving can optionally put those into the bin as well, and the popup says so.

Archiving also closes every live share link and delivery hanging off the project, so a job that has been tidied away has no open doors to the outside. Before you press the button, the popup counts what is open: "One share link on this project is still open to the outside, and archiving closes it. Restoring the project opens it again." It stays silent when there is nothing to warn about.

The archive at /app/archive is a single flat list across everything a studio has put away: projects, lost deals, and boards, sorted by size or by how recently something was filed there. It is flat rather than a tree: a project that is archived carries everything that belongs to it along with its own row, so opening the archive answers "what is taking up room" in one list. A shot, a task, a single version or a review round is never a row of its own here. They travel with the job they belong to.

Only from the archive can something be thrown away permanently, and that popup says what goes and how much room it frees before it lets you type the project's name to confirm: "3 shots, 40 tasks and 12 files go with this job. That frees 2.1 GB, and none of it comes back."