WorkflowProduction clients7 min readSeptember 24, 2026

Film Project Folder Structure and Naming

A folder structure and naming convention for film and TV productions that keeps editors, assistants and post supervisors sane, with a ready-to-use template.

Updated October 16, 2026Last verified October 17, 2026

The Short Answer

Use one top-level folder per project, a small number of numbered folders under it that follow the order of the work, and one naming pattern that sorts correctly by date and version. Keep camera originals read-only, keep project files separate from media, and write the rules on a single page that goes into the folder itself. The best structure is the one everyone on the team follows without being reminded.

Principles

  1. Number the top level. Numbers force a sort order that matches the work, so everyone sees the same thing.
  2. Separate originals from everything else. Camera originals, audio originals and generated files such as proxies, caches and renders live apart, so you can back up and clean them differently.
  3. Do not nest deeply. Three or four levels is plenty. Deep trees are slow to browse and break paths.
  4. Use the same names across tools. Premiere, Resolve, Avid and your audio software will all relink better when names do not change.
  5. Write it down. Put a README in the project root.

A Template That Scales

Copy this table into a README and adjust it to your project.

FolderWhat goes in it
00_ADMINContracts, call sheets, budgets, delivery schedule, music licences, the README
01_SCRIPTScript drafts, scene lists, shot lists
02_CAMERA_ORIGINALSOne folder per shoot day, then per camera and card, untouched, read-only
03_SOUND_ORIGINALSLocation sound and ADR, per shoot day
04_DAILIES_AND_PROXIESTranscodes and review copies, labeled by day
05_EDITProject files, bins, autosaves and exports for reviews
06_GRAPHICS_VFXTitles, motion graphics, VFX plates and shots
07_MUSIC_AND_SFXLicensed music, composer deliveries, effects libraries
08_COLORColor project, LUTs, grades, color notes
09_AUDIO_POSTSound sessions, mixes, stems
10_DELIVERABLESMasters, captions, trailers, QC reports, organized by buyer
11_ARCHIVEFinal packaged project and notes for long-term storage

The numbers are a suggestion. Add or drop folders, but keep the order and never rename a folder in the middle of the project.

Shoot Days and Cards

Under 02_CAMERA_ORIGINALS, use the day, the camera and the card:

  • D01_2026-10-12 / A_CAM / A001
  • D01_2026-10-12 / B_CAM / B001

Keep the card's own folder structure intact. Many cameras store metadata beside the clips, and some post tools need it. This is the same convention described in our camera card offload checklist.

Naming Rules

A pattern that sorts correctly and reads clearly:

PROJECT_ELEMENT_DESCRIPTION_VERSION_DATE

Examples:

  • WINTERLIGHT_EDIT_Reel1_v04_2026-10-12.prproj
  • WINTERLIGHT_MIX_Stereo_v02_2026-10-14.wav
  • WINTERLIGHT_TRAILER_9x16_30s_v03.mp4

Rules that save arguments:

  • Dates as YYYY-MM-DD. They sort in order in every operating system.
  • Two-digit version numbers with a v. Use v01, v02 and so on. Never use "final", "FINAL2" or "really final".
  • No spaces or special characters. Use underscores or hyphens (no spaces). Avoid characters like slashes, colons and quotation marks, which some systems reject.
  • No accented characters in file names that move between systems, because they can break relinking.
  • Keep names short enough that the full path does not run into limits in older software.
  • Leave camera clip names alone. They are the key to relinking. Put descriptions in metadata, not the file name.

Versioning Without a Mess

  • Save a new version of the project file at the end of each editing day, not every hour. Let the software handle autosaves.
  • Move old versions into an OLD folder inside 05_EDIT instead of deleting them.
  • Name exports with the version of the cut they came from.
  • Note changes in a short text file or in the cut notes, so someone can tell what v07 changed.

Shared Storage and Permissions

If several people work on shared storage, folder structure and permissions go together.

  • Give editors write access to 05_EDIT and read-only access to originals.
  • Give the colorist and sound team their own folders and read-only access to the edit.
  • Keep deliverables read-only once they are approved.
  • Never let anyone work from their own desktop copy of a project file, because versions will diverge.

For storage choices, see editorial suite shared storage, and for relinking trouble after a move, media offline after moving drives in Premiere.

Set It Up in 15 Minutes

  1. Create the numbered folders on the project drive or shared volume.
  2. Copy the table above into a README inside 00_ADMIN and add the naming pattern.
  3. Make the originals folders read-only for everyone except the person offloading cards.
  4. Create the first shoot day folder and one empty example for each camera, so the pattern is visible.
  5. Send the team a short message with the README link and ask them to use it from day one. Fix problems in the first week, because the structure becomes much harder to change once the edit is linked.

Handover Notes for Post

Place a short README in 00_ADMIN with:

  1. The project name and the naming pattern
  2. The frame rate, resolution and color settings
  3. Who owns which folder
  4. Where originals are backed up and when they were last verified
  5. Any special rules, such as aliases for titles under NDA

Common Mistakes

  • Storing originals inside the edit project folder, which then gets zipped and emailed
  • Renaming folders after the project has been linked in Premiere, Resolve or Avid
  • Different team members inventing their own versions of the template
  • Putting spaces, slashes or colons in names
  • Folders named "misc", "new" or "stuff"
  • Never cleaning caches, so the project grows without anyone noticing

Want a person to help?

If your team is spending time on messy media, we help set up folder structures, naming rules and asset management that editors will actually follow. See our digital asset management consulting, or tell us about your setup and a real person on our team will reply.

Set up a film project folder structure

  1. Create the numbered top-level folders

    Make folders for admin, originals, dailies, edit, graphics, music, color, audio, deliverables and archive.

  2. Write the naming rules

    Choose a pattern with project, element, description, version and date, and put it in a README.

  3. Set up shoot day structure

    Create day, camera and card folders under camera originals and keep card structure intact.

  4. Set permissions

    Give editors write access to the edit folder, and make originals and approved deliverables read-only.

  5. Version daily

    Save a new project version each day and move old versions to an OLD folder.

  6. Review with the team

    Walk the editors, assistants and sound team through the structure before the first day of ingest.

Questions people ask

What is the best folder structure for a film project?

A numbered top level that follows the order of the work, with camera originals separate from project files, proxies and exports. Keep it shallow, document it in a README and use it consistently.

Should I rename camera clips?

Generally no. Post tools often relink by the original clip name, so renaming can cause media offline problems. Put descriptions in metadata or a log, not in the camera's file names.

How should I format dates in file names?

Use YYYY-MM-DD, for example 2026-10-16. It sorts chronologically in any operating system and avoids confusion between day-month and month-day formats.

How do I avoid FINAL_v2_REALLYFINAL file names?

Use two-digit version numbers (v01, v02), save a new version at the end of each work day, move old versions into an OLD folder and note what changed in each version.

Written by the team at Clouds Agency, a Los Angeles creative and production consulting agency.

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