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Creative operations guide for dropshippers

How to archive ad source files after a freelancer leaves

Archive three things together: the editable project, the rights record for every external element, and a documented replacement path for dependencies you cannot redistribute. Before accepting the handoff, have another editor reopen, modify, and export the project using only the archive.

By ATIYO editorial system Source and product-claim checks completed

Direct answer

What should a complete ad source-file archive contain?

A complete archive should contain the editing project, original media, linked graphics, proxies, approved exports, license evidence, contractor agreements, dependency manifests, replacement notes, and a readable project map. Preserve stable filenames and relative folder paths. For fonts, stock media, templates, plug-ins, or other dependencies that cannot legally be transferred, record the exact provider, asset ID, licensing account, required access, placement, and approved substitute instead of copying the restricted file. The archive is not complete until someone other than the departing freelancer can reopen it, relink its media, replace a restricted element, change the creative, and produce a working export.

01

How should the archive folders be organized?

Use one predictable package that separates project files, media, rights evidence, and replacement instructions. This lets a future editor understand the project without access to the freelancer’s computer or memory.

Start with a campaign-level folder named with the product, angle, and archive date. Inside it, create: 00_README, 01_PROJECT_FILES, 02_ORIGINAL_MEDIA, 03_LINKED_ASSETS, 04_PROXIES, 05_EXPORTS, 06_LICENSE_EVIDENCE, 07_MANIFESTS, and 08_REPLACEMENT_NOTES. Keep an approved master and a lightweight reference export so the next editor can see what the restored project should produce.

The README should identify the primary project file, editing application and version, required plug-ins, sequence or composition names, fonts, color settings, and export preset. Include known issues and exact reopening instructions. Use stable filenames and relative folder paths; Premiere’s relinking guidance notes that renamed files or changed folder structures can create extra manual relinking work.

Do not overwrite previous project states. Put the accepted version in a clearly marked current folder and retain relevant autosaves or milestone versions separately. Apply consistent revision rules across campaigns rather than relying on names such as final_final2.

  1. Create the folder structure before requesting the handoff.
  2. Place one human-readable project map in 00_README.
  3. Identify the accepted project file and export explicitly.
  4. Record application, plug-in, codec, and font dependencies.
  5. Freeze filenames and folder paths after the reopening test.

02

How do you collect an actually editable project?

Use the editing application’s collection or consolidation function, then inspect the resulting package. Copying a Premiere, After Effects, or Final Cut project file alone may leave source footage and other dependencies on the freelancer’s drive.

Premiere’s Project Manager can collect project media for transfer or consolidate and transcode it. After Effects provides Collect Files for gathering source footage. Apple advises consolidating source media and custom Motion content before moving a Final Cut Pro library; plug-ins and special fonts may still need separate installation on the receiving Mac.

Ask the freelancer to retain original footage, voice-over, product images, supplier media, graphics, audio, and the media used inside nested sequences or compositions. Proxies should be labeled as proxies rather than mistaken for originals. If storage is limited, distinguish between an archival package containing reusable takes and a trimmed working package. Removing unused clips can also remove footage that might support future hooks, crops, or demonstrations.

Include the approved master, platform variants, captions, thumbnails, and a reference export. Exports are useful for comparison, but they do not replace the editable project or original media.

  1. Run the application’s collect, consolidate, or media-management function.
  2. Open the collected package and check for offline media.
  3. Confirm that originals and proxies are distinguishable.
  4. Preserve unused takes that have realistic reuse value.
  5. Document anything that must be installed or acquired separately.

03

What should the license manifest record?

Create one manifest row for every element that came from outside your business. The purpose is to show where the element appears, who supplied or licensed it, what use was permitted, and how the evidence can be found.

Useful fields include asset ID, asset type, timeline or composition location, original filename, creator or provider, provider asset ID, source URL, licensing account, license date, permitted media, territory or duration, restrictions, evidence path, archive status, and replacement suggestion. Status should distinguish included, reference only, and replacement required.

Save receipts, talent releases, supplier permissions, contractor agreements, and the terms associated with the purchase. When available, preserve a dated PDF or screenshot rather than relying only on a vendor page that may later change. Adobe Stock, for example, provides a license history and File IDs that can help identify previously licensed assets.

A file in the package is not proof that your business has the necessary usage rights. Under U.S. copyright law, ownership initially rests with the author, subject to exceptions such as qualifying works made for hire, and copyright transfers generally require a signed writing. Keep the freelancer’s signed scope, amendments, and rights assignment with the package. Ask a qualified lawyer about uncertain ownership or licensing terms; this guide is not legal advice.

  1. List every stock clip, music track, font, template, supplier image, voice, and creator asset.
  2. Attach a persistent provider ID whenever one exists.
  3. Record whose account acquired the license.
  4. Save the supporting receipt, agreement, or permission.
  5. Flag missing or ambiguous evidence for review rather than guessing.

04

Which dependencies should remain linked instead of copied?

Do not redistribute an underlying font, stock file, or template merely because it appears in the project. If its terms do not permit transfer, preserve a reference and replacement path while requiring the next editor to obtain authorized access.

Canva’s Content License Agreement places conditions on transferring designs containing licensed content and restricts distributing content as a standalone item. It also limits use of Canva font software outside an appropriately licensed Canva environment. Adobe likewise states that Adobe Fonts files cannot be packaged or shared with another designer, even though properly licensed fonts may be used in commercial video work.

For each restricted dependency, record the exact display name, provider, asset ID, source page, account holder, subscription or license requirement, and where it appears. Add a screenshot of the element in context and an approved substitute. For a font, note fallback fonts and expected line-break changes. For music, identify edit points that must move if the replacement has a different duration.

Templates and cloud-hosted designs need readable reconstruction notes. State which text, colors, media slots, animations, and dimensions were customized. If a supplier asset has unclear paid-ad permission, quarantine it from future variants until permission is documented or the element is replaced.

  1. Classify each dependency as transferable, separately licensed, or unclear.
  2. Include transferable files only when the applicable terms permit it.
  3. Reference restricted dependencies without copying their binaries.
  4. Provide at least one practical replacement option.
  5. Escalate unclear rights instead of assuming commercial use is allowed.

05

How do you test whether the archive will survive the handoff?

Have someone other than the freelancer perform a clean-reopen test from a new location. The test should prove both technical editability and the usefulness of the rights and replacement documentation.

Copy the package to another computer or isolated folder. Verify any supplied checksum list, open the documented project version, and record every missing-media, font, codec, and plug-in warning. A checksum is a value used to detect whether stored data has changed; it does not prove ownership or licensing.

Relink only from the archive—not from the freelancer’s original drive. Replace one restricted element using the notes, change a headline or offer, render a short section, and produce one complete platform export. Compare that output with the included reference master. Return unresolved warnings, absent evidence, and incomplete replacement instructions for correction before marking the handoff accepted.

After acceptance, keep multiple copies rather than treating a shared cloud folder as the only archive. CISA’s backup guidance describes the 3-2-1 approach: three copies, using two types of storage, with one copy stored offsite. Also test restoration periodically; a backup that has never been reopened remains an assumption.

  1. Copy the archive to a clean test location.
  2. Verify file integrity and open the documented project.
  3. Relink every included dependency from the package.
  4. Replace one non-transferable element.
  5. Make a visible creative change and export the full ad.
  6. Record the test date, tester, warnings, and acceptance status.

06

Where does ATIYO fit in the archive workflow?

ATIYO can preserve the operating context around an archived creative, but it does not replace the licensed source package or the editing application.

Use ATIYO to connect the campaign roadmap, creative brief, brand context, asset references, iterations, replacement decisions, and reusable learnings. The source-package location, archive status, rights-review notes, and clean-reopen result can remain associated with the creative work instead of living only in a freelancer’s messages.

The actual project files and evidence still need an appropriate storage and backup location. Follow the separate guidance for uploading and storing assets in the Vault, and maintain clear naming and revision rules across exports and source packages.

Media performance remains in the ad platform. ATIYO preserves the creative context and learnings around the asset; it does not connect to ad accounts, buy media, calculate ROAS, or replace the platform’s reporting.

  1. Link the approved archive to the relevant creative brief or iteration.
  2. Record the source-package owner, version, and acceptance date.
  3. Capture replacement decisions and reusable production learnings.
  4. Keep platform performance records in the relevant ad platform.

Frequently asked questions

Questions about this workflow

Is a final exported ad enough for an archive?

No. An export can document the approved result, but it does not preserve editable timelines, layers, original media, font dependencies, licenses, or replacement instructions.

Should the freelancer send every font and stock file?

Only when redistribution is permitted. Otherwise, request the exact font or asset name, provider ID, licensing account, placement screenshot, access requirements, and an approved replacement.

Should unused footage be retained?

Retain unused takes that could support credible future hooks, formats, crops, or product demonstrations. If you also create a smaller trimmed package, label it clearly so nobody mistakes it for the complete archive.

When should the handoff be accepted?

Accept it after an independent editor can reopen the package, relink included media, replace a restricted dependency, make a change, and export the ad without relying on the departing freelancer’s drive.

Does possession of a project file prove copyright ownership?

No. Keep the applicable signed contract, rights assignment, licenses, releases, and permissions. Obtain legal advice when ownership or permitted use is unclear.

Primary and official sources

Sources used in this guide

External product facts were checked against the organizations’ own documentation. Features can change; confirm current details before making a purchase or campaign decision.

  1. U.S. Copyright Office — Copyright Ownership and Transfer Consulted for authorship, work-made-for-hire, and written-transfer principles.
  2. Adobe — Relink offline media automatically in Premiere Consulted for filename, folder-location, and relinking considerations.
  3. Adobe — Move Premiere projects to another computer Consulted for Project Manager collection and consolidation guidance.
  4. Adobe — Improve performance in After Effects Consulted for After Effects Collect Files guidance.
  5. Apple — Move a Final Cut Pro library Consulted for consolidating media and handling external dependencies.
  6. Adobe Stock — License history and asset records Consulted for Adobe Stock license history and File ID records.
  7. Canva Content License Agreement Consulted for restrictions affecting content transfer, standalone distribution, and Canva font software.
  8. Adobe Fonts — Font licensing FAQ Consulted for commercial video use and restrictions on sharing font files.
  9. NIST — Standard Guide for Forensic Digital Image Management Consulted for the role of hash values in integrity checking.
  10. CISA — Data Backup Options Consulted for the 3-2-1 backup approach.

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ATIYO keeps the brand context and production decisions connected. It does not buy media, connect to ad accounts, or invent performance results.

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