Set up a video review room

Video review is part of the Creative Suite, the tier for photo and video studios. A review room lets a client comment on exact frames, compare versions, and approve, so feedback stays in one place instead of scattered across emails.

Share a cut for review

Point at the frame instead of describing it

A timecode says when; sometimes you also need where. While writing a note about a moment, your client can choose Mark the frame and draw straight on the paused picture — a circle round the thing they mean, with Undo and Clear while they work and Use this mark to attach it to the note.

Notes carrying a mark show a marked label in the thread on both sides. Open one from your notes panel and the mark appears on your own player, on that frame — so "the thing on the left" is something you can see rather than guess at.

Track cuts and approval

Chapters, so people can jump around

Chapters sit right under the player, open the moment you open the film — the list and the film it belongs to on screen together. Chapters give your client a table of contents for the film — a jump menu and a segmented scrub bar — instead of scrubbing blind to find "the vows" or "the toast."

Want them numbered? Open Film settings on the film and turn on Number the chapters — every chapter title then gets a number in the jump menu and in the list your client reads under the player, so "go back to four" means something. It is a per-film choice: a long film earns numbers, a three-chapter highlight reel usually doesn't. The numbers follow the running order, so retiming a chapter renumbers the rest for you, and turning the setting off again leaves your titles exactly as you wrote them.

Drafts are yours alone — nothing you're still arranging shows up for your client. The (A draft has no number yet, for the same reason — it takes its place the moment you publish it.) The moment you publish, the chapters appear on the delivered film as a ☰ menu in the player, matching segments on the scrub bar, and a chapter index listed under the film itself, so a client (or a reviewer) can skip straight to a scene instead of asking you where it is.

Replying, back and forth

Every note and every reply carries its own Reply, so a conversation keeps going instead of stopping at the first answer. Replies sit under the note they belong to in the order they were written — when someone answers a particular reply rather than the note, their message says ↳ Replying to that person, so a busy note with several people on it stays readable.

The whole exchange stays pinned to the note's moment in the film. A reply doesn't get a timecode of its own — it's part of the conversation about that frame.

Fixing a note, or taking one back

Notes aren't set in stone. On your own notes — and your own replies — you'll find Edit and Delete, on both your panel and your client's. Your client has the same two on theirs.

Editing changes the wording only — the moment it's pinned to stays put, along with any mark on the frame. A note aimed at the wrong moment is best deleted and left again, so nobody ends up working from a note that quietly moved after they'd read it.

If you'd already marked a note resolved and its author then edits it, the note reopens and shows as Reopened. Resolved meant I've handled that — about the sentence that was there at the time — so a changed note comes back to you rather than staying ticked off.

What deleting does, and doesn't do

Deleting takes your note off both threads and out of the notes count, and it won't be included in a summary email that hasn't gone yet. It never removes anyone's reply to it. If someone has answered your note, the note is replaced by a short line saying it was withdrawn, and their answer stays underneath — otherwise their reply would be sitting there answering nothing. A note nobody has replied to just disappears.

You can only edit or delete your own notes. Clients can't change yours, and you can't change theirs — if a client's note needs to come off the review entirely, remove them from the review instead (see below), which takes their notes with them and can be undone.

While a film is uploading

On the delivery page, each film's own row tracks its transfer: a progress bar and a percentage while the bytes are moving, and the bar keeps going — without a percentage — once they've landed and the film is being prepared. There's no figure at that stage because the processor doesn't report one; a moving bar with no number means it's working, not stuck.

If a transfer drops, the row turns red, says why, and offers Retry. Retry picks the same upload back up rather than starting a new film, so the parts that already made it aren't sent twice. Closing the tab mid-upload stops it — reopen the delivery and the row will show the film still uploading, ready for you to add it again.

After you upload a cut

A film has to be processed before anyone can watch it — yours or your client's. That usually takes a few minutes, and longer for a long or high-resolution master.

While it's happening the film's page shows Cut N is processing in place of the player, with how long it's been going. You don't need to wait on that page or refresh it: the player appears on its own the moment the cut is ready.

When it is ready, it takes over automatically if you aren't in the middle of anything. If you're watching, scrubbing, or part-way through writing a note, we leave the current cut alone and offer Cut N is ready → Show it instead — switching would lose the note you were writing, since notes stay with the cut they were left on.

If a cut fails to process, the film's page says so and offers Retry ingest in Film settings → Cuts. Your master is kept, so a retry re-processes the file you already uploaded.

Rounds, and how they move

The header counts revision rounds — Round 1 of 3. A round is one loop of the client asked for changes, not one cut uploaded, so posting three cuts inside a round doesn't move the count.

Two things advance it: your client choosing Request changes, or you choosing Start round 2 in the film's header when you've posted a cut answering the current notes. Both spend one of the rounds the film is capped at.

On your phone

The app carries the half of this you do away from the desk: read the notes, answer them, and move the round on. Open More → Film review — or tap the notification itself, which now opens the film it is about instead of a browser.

Looking for one project's films? Open the project and tap Films — it lists that project's deliveries, with the same notes and round flags as the full list. A project with no films yet says so.

The list puts Needs you first: deliveries with a client note you haven't answered, or a round your client asked for. Open one, open the film, and you get the cut playing above its notes. Tap a note's timecode and the film jumps to that frame.

From there you can reply, resolve, reopen, react, and start the next round from the ⋯ menu. Writing a note works the same as on the desk — Note at 1:24 pins it to the frame you're paused on, Whole film doesn't.

Protecting a film with a password

Open the film review and turn on Password under Delivery settings. While it saves, the row reads Saving…. When it's done, Gliss shows the new password once, right under the switch. Copy it and send it to your client: we only keep a scrambled version, so there's no way to show it again later.

Once it's on, anyone opening the film's link has to enter that password first. Turn the switch off to open the film again. Turning it back on makes a new password, so the old one stops working.

If you try to leave the page while it's still saving, your browser asks first. Stay until it finishes, or the change won't stick.

Getting rid of one

Two sizes of delete, because "I uploaded the wrong cut" and "this whole job is over" are not the same problem.

One film, out of a delivery that stays. Open the film, then Film settings → Remove this film → Delete film. The delivery keeps its link, its settings and its other films; only that film, every cut of it and the notes left on it go.

The whole delivery. On the delivery page, the … menu beside Send films has Delete film review. Deleting one that still holds films asks you to type DELETE first — the dialog lists what goes with it, so you approve a number rather than a noun.

Both are permanent, and both release the streaming copies straight away, so a deleted film stops counting against your video storage. The master files are purged after a 30-day grace window.