Browse the modules in the order they are taught, see what you practise in each one and check what to have ready before you begin.
Modules
The six modules run from auditing an existing drive to handing a finished project over for the archive. Every module has one main exercise built on a sample project drive, and each result feeds into the next. No certificates are issued with the programme.
You inventory footage, project files and exports on a sample project drive and note duplicates, missing items and files at risk. The exercise ends with a short audit summary listing what should be kept, merged or moved. Prerequisite: access to a sample project drive.
You design a clear folder hierarchy and a file naming convention, starting from an original worked example. Then you adapt both to the way your own shoots are organised. The exercise ends with a one-page rule sheet you could hand to a new editor.
You add useful metadata to clips and exports, choosing fields that help someone searching months or years later. Practice includes tagging a small batch of footage and testing whether a colleague can find specific shots using only your tags and descriptions.
You set simple rules for tracking cuts, revisions and final exports so the team always knows which file is current. The exercise has you version a sample edit through several rounds of feedback, then check that the latest approved export is obvious.
You plan who can read, edit and approve files across shared drives and cloud storage. The outcome is a clear permissions matrix for a sample team, showing roles, folders and levels of access, which you can reuse as a starting point for your own.
You build a project handover checklist and prepare a finished project for long-term archive. Then you walk a colleague through it step by step. Their questions show what the checklist leaves unclear, and you revise it before the module ends.
The main requirement is access to a sample project drive. This can be a copy of a finished job or a practice folder with mixed footage, project files and exports. It does not need to be large, but it should be realistic.
Bring some familiarity with your editing software and the way your team currently saves files. You do not need to know metadata standards or archive practice beforehand, because the modules introduce those from the beginning.
It also helps to bring one colleague who will review your work, especially for the handover module. A second person asking honest questions makes the checklist far more useful than one written alone.
Teaching Approach →These questions help you decide where to begin and what to gather. They are not a test. Answering them honestly gives you a clearer picture of your own drives and makes every exercise more useful.
List every place your footage, project files and exports are stored, including local drives, shared storage and cloud folders. Note who has access to each one. Many teams find a location they had forgotten, or two copies of the same project in different places. Knowing this before the audit module saves time and shows the scale of the work ahead.
Pick ten recent file names from different people on your team and compare them. Do they follow a pattern? Can you tell the shoot date, the version and the status from the name alone? Your answers show how much the naming module will change daily habits, and they give you real examples to test your new convention against.
Think about the person who might open this project in two years: a new editor, a client, an archivist. What would they need to find first, and what would confuse them? Write down three things they would ask you. Those questions become the starting point for your handover checklist in the final module.
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