Wrap deliverables
What does the editor actually receive at wrap?
A separate file, not a modified one. A shot log builds a timestamp-synced record from the taps made on set: a Premiere-ready XML, a PDF, and a CSV. It never opens the camera's own media files to write into them, never touches camera timecode, and never renames a single clip on the card. The editor gets a new sequence or document that points at the footage; the footage itself arrives exactly as the camera wrote it.
Why that is the honest design, not a missing feature
Some tools in this space do more invasive things: burning markers directly into camera-native media, or managing a rename pass on the card. That trade-off is real. Touching the original media is also a category of risk that a tool which only ever produces new, separate files simply does not have. One bad write into a camera file and you have put a corrupted card in front of an assistant editor who now has to figure out whether the footage or the tool broke it. Never opening those files at all means that failure mode cannot happen, by construction, not by careful handling.
What it does not do
- Does not write into the camera's own media files or embed anything inside them.
- Does not touch camera timecode. Every export carries its own wall-clock and camera timecode fields side by side, but nothing on the card itself changes.
- Does not rename footage on the card. Clip numbers in the log are matched to what the camera already named its files, never the other way around.
The deep mechanics of what actually rides on each marker, how a multi-camera sequence syncs, and why a good take does not duplicate the media bin are on the shot log to Premiere XML page.
Three files, one log
Nothing on the card changes, ever
Log takes on your phone as you shoot, free, no account. At wrap, a free account exports a Premiere XML, a PDF shot log, and a CSV, all built from the same taps, none of them touching the footage itself, within a small free quota.
Open Clapper →