From one videographer to another
I know where every file is, and what I should be working on today.
I run a video company in Florida and I built Proofbin for it. The cut, the client's notes, the shoot date and the messages from my editor all hang off the job they belong to. Nothing sits loose in my email or on somebody's desktop.
- Review by the client, in the browser
- Notes pinned to the frame
- Drawings on the frame
- Files on the job they belong to
- Free plan no card
- Your team included
What is inside
- ReviewNotes pinned to the frame
- DrawingsCircle it on the frame
- Comparev2 next to v3
- Client portalNo account for your client
- CalendarDrag the job to a new day
- ChatsMessages hang off the job
- TasksNotes and steps on every job
- iPhone appAnswer from the truck
- Your teamEveryone included
- Your driveApproved work lands on it
Four moments of the same job. This is the part I use every week.
-
A client asks for a cut on Friday. The message becomes the job, with the date already on it, so nobody writes it down twice.
-
When I do not know what I should be working on, I open the calendar and the day tells me. Move the shoot and the job moves with it.
-
The note lands on the frame it is about, so you are not reading "around the middle somewhere" and guessing which middle.
-
One approval, and the file lands in the client's portal and on my own drive at the same time.
Nobody on your team costs extra.
We charge the account. It is not counting people, so it has no reason to.
Most review tools are sold by the seat. A second editor costs more, a producer costs more, and the client who only wants to watch the cut costs more too. You end up deciding who gets to see the work by what it adds to the bill, which is a bad way to run a job.
Put your editors, your producer, your assistant and every client you have in it. The price does not move.
- They say "the part with the truck." You do not watch the whole cut twice looking for it.
- Draw on the frame. Circle the logo instead of describing where the logo is.
- You see the fix, you do not take somebody's word for it. v2 and v3 run next to each other.
- Nothing to keep in sync. You are not the person who remembers to update the other app.
Your client gets a portal, not a folder full of links.
To them, the place they pick up the work is part of what they paid for.
It carries their name, their logo and their colors, so it reads as their company and not as a file service. They open the link you sent and they are in. No account to make, no password to reset, no invitation lost in spam.
On the free plan the portal carries our mark. On a paid plan it carries yours.
- One link that keeps working. Send it once, add work to it later.
- Approve with one button. That is the whole ceremony.
- Video and stills together. Browsed like a website instead of unzipped.
- The work is not public until your client says so. It plays for the people you sent it to.
The approved cut lands on your own drive.
The copy you keep after the job closes, made without anybody remembering to make it.
Point a client at a drive you own, once. From then on, the moment a cut is approved the original file is copied there on its own, at the size you delivered it, filed under that client.
Then we check that copy against the original before it counts as done. So what sits on your drive is the file, not a half written one you find out about the day you need it.
- You set it once. Choose the folder for that client and leave it alone.
- Approval is the trigger. The click that ends the review starts the copy.
- The original, not a small version. The same file you would hand over on a drive.
- Older work catches up. Connect a drive today and what was already approved goes too.
iPhone app
Answer from the truck.
Most notes come in while I am on a shoot. The app carries the same review, the same chat and the same calendar as the web, so I can watch the cut, answer the client and move the job forward before I get back to the desk.
Coming to the App Store. Your account works the same on the web and on the phone.
Ernesto Perez, founder.
Who built it, and why.
I have been doing video for the past ten years. I shoot and I edit, most weeks both, and I run a small video company.
The filming was never what went wrong. The files, the notes and the clients were. The task lived in one app, the cut in another, the client's notes in my email, and I was the only one who knew where anything was. Work does not get lost inside those tools, it gets lost in the space between them.
So I built Proofbin to keep all of it on the job it belongs to. We still run every job through it. When something in it is annoying, I feel it before you do.
Three plans. Nobody on your team costs extra.
You pay for the video you keep, not for who looks at it.
For trying it on a real job.
- 1 hour of video
- Review, calendar, chat and a client portal
- Unlimited people on your side
- The portal carries the Proofbin mark
For a studio running one brand and a full roster of clients.
- 10 hours of video
- Your own brand on every client portal
- Unlimited people, clients and portals
- Everything in the free plan, without the limits
For a studio running several brands under one roof.
- Workspaces. Separate brands, clients and teams, one bill
- Most months it is $29.99. A much bigger month than usual costs more that month
- Everything in Proofbin
Hit your limit and nothing gets deleted. Move the approved work to your own drive, or move up a plan.
Questions.
The ones a videographer actually asks before signing up.
Is the free plan a trial?
No. There is no clock on it and no card. One hour of video, and the client portal carries our mark instead of yours.
Do my clients need an account?
No. They open the link you send them and they are in. No password to reset, and they never show up on your bill.
Do you charge per seat?
No. Bring your editors, your producer, your assistant and every client you have. The price is for the account, on every plan, including the free one.
Can somebody pass my client's video around?
Not by copying the address. The cut only plays inside the portal you sent, which matters when the work is not public yet.
Do I end up with my own copy of the work?
Yes. Point a client at a drive you own and every approved cut is copied there on its own, at the size you delivered it. We check that copy against the original before it counts as done.
What happens when I hit my limit?
Nothing gets deleted and nothing stops working. You move the approved work to a drive you own, or you move up a plan.
What is a workspace?
If you run one studio you do not need it. It is for the person running two brands that should not see each other's clients, and who still wants one bill.
Who is behind Proofbin?
Me, Ernesto Perez. I have been doing video for ten years and I built it for my own work. We use it on real client jobs every week.
Put one job through it.
Take a job you already have, upload the cut, send the link, and see where it ends up on Friday. The free plan is enough to run that test.