An export is the delivery: the clips, named after your shots, plus a manifest recording what made each one, a sequence an editor can import, and a declaration that the contents are synthetic.
It ships the mounted take of every shot, the same take a client approved on a review link. Those are the same take on purpose: a client must never approve one clip while the delivery contains another.
The files have names
A pack used to ship 01.mp4, 02.mp4 and a manifest, which meant the one artefact a client actually opens was numbered and silent about what any of it was.
Now a filename is built from three things, in order:
- The take’s label, where you gave it one.
- Otherwise the shot’s title.
- Otherwise the bare number.
That is why labelling a take is not decoration. It is how a delivered folder becomes readable.
The number prefix is not optional. Two shots may share a title, and somebody dropping a pack onto a timeline needs the order the lot is in, so the index keeps files unique and ordered whatever anybody types. A title made only of punctuation or emoji falls back to the bare number rather than shipping a file called 01-.
The manifest is a record, not an index
A list of the filenames would be worth very little; the files are already in the folder. What the manifest carries is everything you cannot see by watching the clip, and specifically, what each shot asked for beside what it actually got.
| Recorded | Why it is there |
|---|---|
| Aspect requested, aspect delivered | Delivered is measured off the shipped file’s own pixels. It used to be the requested value, which is how a pack ships 1536×1024 under the name 16:9 |
| Resolution requested, resolution delivered | Providers do not always hand back what was asked for, and the difference explains cost as well as quality |
| Audio requested, audio delivered | Null means the take came back silent, which is the answer to “did we get the audio we asked for?”, not a missing field |
| Provenance | How the clip was actually made: the model version, the terms in force at the time, and which key paid. Captured at submit |
| The prompt, the provider, the model | So a shot can be remade in a year by somebody who was not there |
A delivery manifest is read exactly when somebody is about to trust it on a timeline, so where nothing could be measured it says null rather than falling back to what was asked for.
The Article 50 mark
Every clip this product makes is synthetic, so every delivery says so.
EU AI Act Article 50 has applied since August 2026: the output of a generative system must be marked as artificially generated in a machine-readable form, and the obligation follows the agency rather than the brand. The declaration travels in the zip, in the manifest an agent receives, and in a folder delivered to Drive, the obligation does not stop applying because the transport changed.
It is a declaration, not a signature, and it says so in its own text. A signed C2PA manifest needs a signing certificate this workspace has not been given, and claiming a cryptographic guarantee we cannot provide would be worse than claiming none. The declaration survives being copied with the delivery and does not survive being stripped out of it, which is why the durable record is the one in our own database.
Delivering to Drive
The same delivery can go straight into the workspace’s Google Drive. It never re-renders and never spends: it uploads takes that already exist.
It answers before it finishes. The files move on our side and can take minutes, so the call returning is not the export landing.
- A shot with nothing mounted is named in the manifest rather than silently skipped. That list is usually the real answer to “why is the delivery short”.
- Partial is not failure. It means the rest of the lot did land. The useful report is which files are missing, not that the export broke.
- Asking again while one is running returns the running export rather than sending the lot twice.
Four different refusals, and only two are about the connection. Two mean there is no Drive grant or it has expired, and only a person can fix that in Settings · Workspace. The other two are about the destination, the target folder is gone, or this Google account can open that shared drive but not write to it. Telling somebody to reconnect when the real problem is a read-only shared drive sends them round a loop that cannot help.
And the timeline
The pack also carries the lot as a sequence an editor imports natively, rather than as a pile of clips somebody reassembles by hand. Into Premiere is about that file, and about the one thing it has to be honest about.