Four years of delivered client footage on a shelf of drives — what do people actually keep, and for how long?
One-person operation, mostly corporate and event work. Every job so far has ended with me copying the whole card dump onto a drive and putting it on a shelf, because deleting it felt irresponsible.
That is now a stack of drives, several of them old enough that I would not bet on them spinning up, and no index of what is on which. Two of them I am fairly sure are duplicates of each other but I would have to plug them in to find out.
A client came back last year wanting a re-edit from a shoot eighteen months earlier, and I did find it, which felt like vindication. It also took me most of an evening.
What is the sensible policy here? Keep everything forever, keep the project and the selects, or keep nothing once the invoice is paid?
@delete_by_contract · 6h ago
Stop making this decision per job and put it in the contract. That single change removes the anxiety, because the reason you keep everything is that deleting is an unbounded risk with no counterparty — and a retention clause bounds it.
Mine says, in plain words: raw footage is kept for a defined period after delivery, after which it is deleted unless the client has paid for archival. Project files and the delivered masters are kept longer.
What that does:
A year for raw is a common choice and it comfortably covers the re-edit case you described. The clients who genuinely need longer will pay for it, and that conversation is much easier to have at signing than after a request.
The other half is what you keep forever, which is small and cheap: the final delivered files and the project file with its assets. Those are a rounding error in storage terms and they cover most of what people actually come back for.
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