Project Architect
A workflow panel inside Adobe Premiere Pro and/or DaVinci Resolve. It structures the project. Rushes on disk are not moved, renamed, or altered.
Project Architect organizes the Premiere Pro bin or DaVinci Resolve Media Pool by media type, camera brand and model, and shoot day when you enable those options. SAFE simulates. DIRECT applies. Every SAFE or DIRECT run can write a plain-text (.txt) report - simple or detailed - for project traceability.
After ingest, the bin is a mix of cameras, days, WAV recorders, MP3 music, proxies, logos, and duplicates. Cutting has not started. Sorting already has.
Same engine. Different setups. Pick the scenario that matches your craft.
Situation
You inherit chaos: a messy project, dozens of loose bins, duplicates mixed with rushes.
Settings
Group by camera / format. Turn on duplicates / repeated imports. SAFE first on a large project.
What changes
Media by type first (01, 02, 03…). Technical leftovers in 99_OTHERS. Then a camera / format tree, with duplicates and multi-imports isolated.
Situation
Africa, anywhere in the field: a paper notebook says day 1 giraffe, day 2 lions hunting, day 3 crocodiles. You come home with cards full of mixed rushes.
Settings
Group by shoot day. Add camera / format if you shot with more than one body. SAFE first on a big ingest.
What changes
One video bin per shoot day. Your notes stick to the run: open day 2, you are with the lions. Reports and logs keep who, when, what for the edit and the archive.
Situation
High-end cinema cameras and long schedules: Sony Venice 1 and Venice 2, Burano, ARRI Alexa, RED, plus daily proxies and re-imports.
Settings
Group by camera / format and day. Turn on duplicates / repeated imports when the project has been touched often.
What changes
Day bins for video rushes. Linked proxies stay with their masters. Duplicates and multi-imports are isolated so the editor sees the day that matters, not the noise.
Situation
Three bodies, a drone, Zoom WAV recorders, and MP3 music in the same project.
Settings
Whole project or the wedding bins. Group by camera / format and shoot day. SAFE first if you want the report.
What changes
WAV and MP3 land in separate audio format bins. Cameras are sorted. You are ready to sync multicam in Premiere or Resolve on a clean tree. Project Architect does not sync angles for you.
Situation
Sony, DJI, Canon across several days. Sometimes two identical bodies of the same model on the same day.
Settings
Group by camera / format and day. Serial-number split when the camera writes a serial in the metadata.
What changes
A readable brand / model / day tree. Identical bodies split by serial suffix when available; otherwise they stay under the model folder. Exports can go to _OTHER_VIDEOS. Unknowns land in TO_CHECK.
Situation
Client logos from 2018, PSDs, icons, image sequences, MOGRTs mixed with a few shoots.
Settings
Camera / format and shoot day only affect video rushes. Logos, audio, and stills are never filed by camera or day: they stay by type and format, so a 2012 logo or old music track cannot invent fake shoot days and pollute the project.
What changes
Stills and PSDs under images (by format: JPG, PNG…). Image sequences under VFX_SEQ. MOGRTs under graphic elements. Adjustment layers and similar Project items in 99_OTHERS.
Situation
One camera, a lav, a tight turnaround.
Settings
Group by day only when dates matter.
What changes
No heavy camera tree. A dated video bin, audio easy to reach. Simple, fast, enough.
When the trial ends, Pro features turn off. Simple sort by media type stays free, and projects already organized stay organized. Useful feedback on a real project can extend Pro access.
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