Cards come off the camera once. From then on the footage lives in Osmo Cloud, an AI editor can cut it from a brief, and human editors pull any cut into DaVinci Resolve, change it, and push it back. Every version is kept. Color only downloads the seconds the final cut uses.
osmo-dit copies and verifies every card, and makes small editing proxies that keep the camera's name and timecode.The same words everywhere: the app, the Resolve panel, this site, the agent.
| edit_vN | a version. Every push makes the next one; latest is the newest. Nothing is ever overwritten. |
| pull | bring a version into Resolve: its timeline and the proxies it uses. |
| push | send your timeline back as the next edit_v. The note fills itself in from your changes. |
| clone | the whole project on your drive: every version and its footage. sync brings a clone up to date. |
| full / light / raw | 1080p proxies / 540p proxies (laptops, slow internet) / camera originals (color). |
| cutting | someone has the project pulled in Resolve right now. |
| notes, round | review comments on a version / the agent cutting the next version from them. |
| lock, prep | picture lock / the agent preparing the locked cut for the colorist. |
Think of it as Google Docs version history for a timeline, with one rule: nothing is ever overwritten.
Every push is the next numbered version: edit_v1, edit_v2, edit_v3... The newest is the cut. Old ones are never changed or deleted, and any of them can be opened again.
Each version says which one it was cut from ("from edit_v7"), so you can see what changed between them.
When someone has the project open in Resolve, everyone sees "Nik is cutting". That's the cue to wait or talk, so two people don't cut at once.
Osmo Version Control keeps a project like a folder you own: every version as its own Resolve timeline (.drt) with its notes, and the footage, on any drive.
His cut is edit_v8, the newest.
Hers is edit_v9, now the newest, and she's told: "It's from edit_v7, and edit_v8 (Nik) came after that. Compare them."
shows exactly what's different ("head trimmed 12 frames at 0:42, 1 clip moved"). If Nik's changes matter, she opens edit_v8 and redoes hers on top. Nobody's work disappears; both versions stay.
| part | what it is | why |
|---|---|---|
| OTIO | The timeline in an open format: which clips, which source timecode, where. | The AI reads it, diffs are made from it, color conform comes from it. It works in Resolve and Premiere. |
| .drt | Resolve's own timeline file, attached automatically on every push from Resolve. | Keeps what OTIO can't: effects, color, titles, speed ramps, the mix. Pull opens it when it's there. |
| files | Never inside a version. Clips point at the original file names plus timecode. | Each person's machine links to its own copy: editing proxies for editors, camera originals for color. |
Projects: open a project, start a New edit or a First cut from the picks, and watch the agent cut live. When it's done you get an email with a watch link: play it on your phone, tap a line to jump there, pin notes to a moment, send them for the next version.
Send them a cut from its review page (Share). They watch that one cut on any phone, no account, nothing else in the project, and leave notes pinned to a moment. You get one email per burst of notes, and one click turns them into the next version. Links last 30 days; you can turn them off any time.
Setup once. Then in Resolve: Workspace > Scripts > Edit > Osmo > Pull, Push, Changes. Or all of it in the Osmo Version Control app.
Lock picture on the final edit_v (⋯ on the project page), then Prep for color: the agent opens it in Resolve on the camera originals, follows this project's color rules (the colorist's prep guide; Company 3's by default), checks its work, renders the conform, EDL and reference, and emails the colorist one download link. Editors never pull raws. If the agent can't, the same checklist is there to do by hand.
Every project page shows every version, who's cutting, and what changed from the version before. Grades travel between versions: in the Osmo panel's Changes, Bring in the grades from the colorist's version puts them on your cut, clip by clip, without touching the edit.
| thing | where |
|---|---|
| footage, proxies, previews, .drt files | Osmo Cloud (cloud.osmo.inc, stored on Wasabi), in each project's folder. Osmo files sit in its _osmo subfolder. |
| projects, versions, reviews | post.osmo.inc, on Cloudflare |
| transcripts and picks | transcripts.osmo.inc (the same system) |
| the AI editor | The Mac mini in the server room. It runs Claude with the editing tools, renders previews, and uploads them. |
| your local copies | ~/Movies/Osmo Cache/<project>/media. Safe to delete; pull downloads them again. |
At most $10 per AI edit, $40 a day, and 2 tries per job. Spend shows on the projects page, next to the agents at work.
Every 5 minutes it checks the mini, transcription, stuck or failing jobs, failing edits and spend. It emails once when something breaks, again every 6 hours, and once when it's fixed. The same problems show on the projects page.
The mini turns itself back on, logs in, and restarts the AI editor on its own.
Monday 9am: the week in one email. Cuts made and what they cost, versions pushed and by whom, picture locks, footage indexed, anything that failed.
Every change runs about 200 automatic checks, including a full pull and push inside real Resolve, before it goes live.