A living, breathing record of everything your organisation films. Every moment saved, understood and catalogued, ready for whoever needs it, whenever that is.
Private to your organisation. No public listings, ever.
An archive is only as useful as what it knows about itself. Creative Recall™ watches every moment as it arrives and writes the description: what's in it, where it is, the season, the weather, how it feels.
Without that layer, an archive is just filenames in a folder.
Slow drone pass over Wigan town centre, rooftops and terraced streets giving way to parkland as traffic threads through below.
No search, no prompt. Open a moment and Creative Recall™ has already worked out what it belongs with.
Every shoot you commission, every event your team films, every ordinary day worth keeping: it all lives in one private archive that keeps growing and keeps remembering.
Type what you're picturing (something like "quiet morning, town centre") and get the moment, not a folder of filenames to open one by one.
Preview anything in the browser, then take the file you want, ready for the edit or the post.
Your archive is yours alone. Nothing public, nothing indexed, nothing shared between organisations.
Footage stays grouped by the shoot it came from: a campaign, an event, a service. Search inside one, or across every project you've ever commissioned.
One step from you. The rest happens by itself.
Aposs, your editor or your own team adds the footage. The archive separates it into individual moments.
Creative Recall™ watches each one and writes what's in it, where it is and how it feels. Nothing waits to be catalogued.
Search by feeling, not filename: "triumphant," "quiet," "golden hour." Watch it, then download it ready to edit or post.
Regeneration campaigns, service communications, civic milestones and community events. Commissioned once, findable for years.
Whether people are identifiable is recorded on every moment, so service and care footage stays usable without becoming a liability.
Open days, graduations, research and campus life, still findable long after the academic year that made them.
Resident communications and regeneration footage that stays useful long after the hoardings come down.
Every shoot you deliver stays organised by client and campaign, so the next brief starts from footage you already have.
Facilities, people and projects across locations, ready for the next announcement, report or recruitment campaign.
Some of it made the edit. All of it happened.
Every shoot produces far more than any one edit needs, whether it wraps in an afternoon or runs for weeks. Kept properly, every angle and every quiet moment in between stays available for the day someone has a reason to look.
A drone shot of the high street is ordinary footage this morning. In ten years it's the clearest record of how the street used to look. Keeping it means the choice is still yours when that day comes.
People move between roles and teams change shape. Everything anyone knew about the footage lives in the archive, so whoever comes to it next arrives fully briefed.
Taken together it becomes a running record of your organisation, told as it happens and growing every time someone uploads. Not a folder filling up. A story building.
More footage means more for Creative Recall™ to recognise: the places you keep returning to, the seasons you always film. Year ten is worth more than year one, by some distance.
The controls your information governance, communications and IT teams will ask about, in place from the first upload.
Each archive is separate. Nothing public, nothing indexed, nothing shared between organisations.
Administrators, contributors and view-only accounts, each seeing only what they should.
Require it for everyone in your organisation, or for the accounts that need it most.
Give an agency or editor access to one project or one edit, for as long as the job lasts.
Every upload, change and download is logged, and can be exported for your own records.
Deleted footage waits in a recycle bin before it goes, so nothing disappears by accident.
Same archive, same Creative Recall™, same interface. The difference is what you need to do with the footage once you've found it.
For teams who need footage for websites, social, presentations and internal comms. Find the shot, download it, use it. No codecs to think about.
For agencies, production companies and in-house creative teams who grade, reframe and finish footage themselves.
Moving from Aposs Archive to Aposs Archive Pro is a switch, not a migration: your footage, descriptions and logins stay exactly where they are.
A Mac app for editors. When an edit is signed off, drop its XML on the app and every shot the film used goes to the archive, graded, with spare seconds either side. Nobody spends an afternoon finding drives and exporting clips by hand.
Included with Aposs Archive Pro
Export an XML from Final Cut Pro or Premiere Pro and drop it on the app. It finds every shot in the timeline and exactly which part of each camera file was used.
Each shot comes out as an ungraded ProRes master and a graded MP4 at your edit’s frame rate, with spare seconds either side. A one-second cutaway becomes a clip someone can actually use.
Files go straight to secure storage, however large. The archive rebuilds the finished edit and Creative Recall™ describes every shot. Lose the Wi-Fi halfway and it carries on where it stopped.
Anything else, we’ll cover in your demonstration.
Book a demoOnly the people you give access to. Every organisation's archive is separate. Nothing public, nothing indexed by search engines, and no client ever sees another's moments.
No. Creative Recall™ describes each moment as it arrives, so footage is searchable immediately rather than queued for someone to catalogue. You can edit anything it writes.
Both. Commissioned footage and anything your team films go into the same archive, described the same way.
The common ones: MP4, MOV, M4V and WebM. If your agency delivers something else, we'll help you get it in.
Yes. Watch anything in the browser, then download it ready for whatever you edit with, whether that's desktop software or an app on your phone.
Aposs Archive gives you graded, ready-to-use footage. Aposs Archive Pro adds the ungraded ProRes masters behind it, for anyone who needs to regrade, reframe or finish a shot professionally, plus finished-edit browsing and time-limited access for outside editors. It's the same archive either way, and you can move up whenever you need to.
On Archive Pro, yes. Give a freelancer or production company access to just the projects or edits they need, with an end date. They can preview, search and download, never see anything else, and every download is recorded.
Not on Archive Pro. The Aposs Archive Publisher is a Mac app that reads a finished edit from Final Cut Pro or Premiere Pro, cuts every shot it used from the original camera files and uploads them, linked to the film. It comes with Archive Pro only, because it delivers the ProRes masters that plan is built around.
It can come with you. Anything sitting on drives or in cloud storage can be brought in and described the same way, so your back catalogue becomes searchable too.
One archive for everything your organisation has ever filmed.
