The result is the two-link delivery: “photos here, video here,” two brands’ worth of platform chrome, and a client experience split in half. Here is why that undersells the work, and a workflow for delivering both mediums as one thing, from the day of the shoot to the request for a file a year later.
Why the two-link delivery undersells the work
The client experiences the project as one thing: the day, the campaign, the launch. Splitting the delivery splits the impression, doubles the passwords, and buries one medium below the other. It also doubles your subscriptions and gives your archive two homes.
The three ways to unify (worst to best)
- Embed video links inside a photo gallery. The video plays on someone else’s platform with someone else’s compression and branding. A patch, not a solution.
- Zip everything into a transfer link. Unified, technically. Also a filename list as the reveal of your best work.
- A platform with real modes for both. Photos get a designed gallery; video gets a real player; both live in one link under one brand. This category is new, and it fixes the split.
Step one: one folder per project
The workflow starts before anything is delivered. Put every file from the project in one place: the edited photos, the RAWs, the video, the cutdowns, the behind-the-scenes frames. Subfolders keep them apart; the project folder keeps them together. On FRGMT a view is a selection from that folder rather than a copy, so the same folder can carry a gallery for the photos, a player for the videos and a review link for the cut in progress, without uploading anything twice.
Name the folder the way you will search for it in three years: client, project and date. Hybrid projects are the ones clients come back to most often, because they contain the most things to ask for.
Step two: photos first, the video later
Photos are almost always finished first. An event gallery can be ready in a few weeks while the video takes a few months, and a commercial client wants campaign photos for the launch before the long-form edit is approved. Do not hold the photos back to deliver everything at once.
Deliver the gallery as soon as it is ready, and tell the client the video will arrive in the same place. When the edit is done, add it to that delivery. The client keeps the link they already bookmarked, and the project ends with one link rather than two emails three months apart.
Step three: decide which medium leads
Every hybrid delivery has a lead medium, and the presentation should follow it. There are two honest shapes, and the choice is per project rather than per studio.
| Shape | Use it when | What the client sees |
|---|---|---|
| Gallery with video | the photos are the main deliverable | a photo grid with videos playing inline |
| Cinema with photos | the video is the main deliverable | a player first, with the photos in a gallery below |
On FRGMT both are views on the same folder. A Gallery takes videos alongside photos in the grid, and a Cinema view carries a gallery section for the photos and a list of files to download under the player. If one project needs both, make both: a Gallery for the guests and a Cinema view for the client, each holding the files that suit it.
Step four: feedback on each medium, in its own way
Photos and video are reviewed differently, and a hybrid delivery should not force one method on both. Clients pick photos: they star the frames they want for the album, for retouching, or for print, and the list comes back to you as filenames. Clients review video by moment: a note at 1:42, a pin on a spot in the frame, a question about the music in the second act.
On FRGMT the gallery carries Selects for the photos, and a React view on the same folder carries timestamped comments on each cut. The client stars photos in one and comments on the edit in the other, and both land with you in the same project. Review is included on every plan, including Free.
Step five: split downloads by size
A hybrid project is large, and the client rarely needs all of it on one device. A parent wants the web photos on their phone. The client wants the video on the laptop and the full-resolution photos for the album designer. The agency wants the master and the cutdowns for the media buyer.
- Offer the photos at web size and full resolution; most clients only need the web copies.
- Let the video be watched in the player and downloaded as the original when it is wanted.
- On FRGMT the web-size download holds the photos only, so a phone never pulls a video by accident.
- Selects can be downloaded on their own, which is usually what the album designer asks for.
Step six: keep the project in one place afterwards
A hybrid project gets asked for again. The event client wants the highlight video for next year’s promotion, the agency wants last year’s photos for a new campaign, and a family member wants a print. When both mediums live in one folder, every one of those requests is a single link resent rather than a search through two accounts. On FRGMT an archived delivery leaves the dashboard and its client links keep working, so finishing a project and keeping it reachable are not in tension.
The event case
Events are the sharpest version of the problem: gallery Selects for the album, a highlight video that plays as a reveal, and a client who should receive one link, not homework. The unified delivery: the gallery arrives a few weeks after the day, in Sets for arrivals, the main event, portraits and the evening. The highlight video is added when the edit lands, and the full-length video after it. The client stars their album picks, the families download web copies, and the videos sit in the same place. One password, one branded email, one link to forward to the rest of the family.
The brand-shoot case
Campaign deliveries mix video, photos, and cutdowns per placement. One folder per campaign, with a React view for timestamped comments on the video and a delivery view ordered the way the client reviews, keeps the revision loop and the deliverables in one place. The photos often go out first for the launch assets, the hero video goes through review rounds, and the cutdowns and vertical edits follow once the hero is approved. Agencies and in-house teams run the same folders, the way FRGMT handles video delivery for production companies and brands.
What to look for
- One library under both mediums, so nothing uploads twice.
- A photo-led view and a video-led view, switchable per project.
- An upload that accepts the video master, not just the photos. FRGMT takes files up to 100 GB each, resumable if the upload drops, so the highlight video goes up next to the gallery without a size gate.
- One link, one password, one brand.
- Full-resolution downloads for both.
- Persistence, so next year’s “can you resend” is a non-event.
Coming from two platforms today? On Starter and above, FRGMT imports directly from Dropbox (folders and all) and Google Drive (the files you pick), so your photos and video land in one library instead of two dashboards.
Going deeper on one medium? See deliver photos to clients and deliver video to clients.
This is the exact problem FRGMT is built around: Gallery when photos lead, Cinema when video leads, photos and videos inline in both, one link either way. See how it works.
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