Eight chapters, nine questions each. Open the one you need and answer the one question you actually have — or read a whole chapter end to end if that is how you prefer to learn. Nothing here assumes you have done video analysis before, or that you play a particular sport.
Prefer to be shown? The app has a guided tour that walks the real screens on a demo match — open it from the ? button beside My matches on Home, or from Settings ▸ Guides & support. You can replay the whole thing or jump to a single chapter.
Use Help & support inside the app if you can — it attaches your app version and device details, which is what we need in order to look into it. Otherwise contact us.
Nine questions that get you from an empty app to a match you can watch back. Nothing here assumes you have done video analysis before.
One tap per moment, and each tap becomes a clip on its own. There is no editing stage, no exporting stage and nothing to render before you can watch it back — the tap is the edit.
Nothing in this is specific to one sport. The app stores a label, a timestamp and a clip length; what those labels mean is yours to decide, which is why the same path serves netball, padel, cricket and basketball equally well.
No. If you go straight to Record and pick a mode, the app asks which one this is for — a new one, or one you already made — before it opens the camera. That question exists so nothing you tag ends up orphaned.
Setting it up first is still the better way round, because you can name it in advance rather than at the venue.
Pick by who is at the venue, not by what you want out of it — all three produce exactly the same thing, and nothing downstream can tell which you used.
| Mode | Use it when | What it needs |
|---|---|---|
| Record & Tag | One person is doing both jobs — the phone films and you tag over the live picture. | A phone on a tripod or a high railing, and a panel of 12 buttons or fewer. |
| Tag from the Stands | Someone else is filming — a parent, a club camera, the fixed system in a padel court. | Nothing but the phone. Start the clock when play starts, pause it at each break. |
| Tag Existing Footage | It is over and you have the video, or you want to add detail to something you tagged live. | A video file, or a YouTube link on a paid plan. Pause, rewind, tag precisely. |
Most clubs end up using two: film-and-tag on Saturday for the obvious moments, then twenty minutes of Tag Existing Footage during the week to add the detail nobody had hands free for.
There is deliberately no Save button — tags are written away every few seconds, and the small chip under the name tells you when the last write happened.
If the app did close mid-match, a Restore bar appears next time you open it, offering the tags from the session that was interrupted. Footage is written in pieces as it records too, so what was filmed up to the interruption is kept rather than lost.
Only to load the app — the first time, and whenever it picks up an update. Recording, tagging, reviewing and cutting clips all happen on the device, so a ground with no signal is not a problem.
Only sharing needs a connection: syncing to teammates and streaming to a coach at home. Both catch up on their own once you are back on Wi-Fi.
Android: yes, without reservation. Take the Install app prompt in Chrome. It gets the whole screen, opens with no signal, and records exactly as a tab does.
iPhone: add it — an installed app gets far better protected storage, which matters for footage you can’t re-film — but film from Safari, not from the icon. A home-screen icon on iOS doesn’t inherit the camera permission you gave Safari and often never asks for its own. That is an Apple defect, not something you have missed.
Splitting the two costs nothing: it is all the same device, so a match filmed in Safari is already there when you open the icon to review it.
Yes, on a paid plan. One person films, another tags from the stands, tags merge into the same record, and a Tagged by filter appears in Review once more than one person has worked on it — so you can see just your own tags, or just theirs.
On the Basic plan everything stays on the one device that captured it, so this needs the cloud sync that paid plans switch on.
My matches on Home is the spine of the app. Open one and you get a workspace scoped to that match alone: a rail of everywhere you can go from there, what is already in it, its presentations and its exports. Nothing from other matches gets in the way.
Once you have a few, group them into folders — by season, by squad, by competition, by opponent — and the bar above the list filters to one of them. Data Insights can scope a whole season to one folder, which is how you compare an autumn block with a spring one.
Everything is written to the device as you go. Nothing has to upload or finish before you can open it.
The whole app is one short path, and every other chapter is a detail hanging off it. You tag a match. Each tag becomes a clip on its own. You watch the clips back, keep the good ones, and show them to someone. There is no editing stage, no exporting stage, and nothing to render before you can watch — the tap is the edit.
None of it is specific to one sport. The app stores a label, a timestamp and a clip length; what those labels mean is yours to decide, which is why the same path serves football, basketball, cricket, volleyball, tennis, hockey, rugby or netball equally well.
My matches on Home is the spine of the app — the same cards you opened this chapter from. Open one and you get a workspace scoped to that match only: a rail of everywhere you can go from there, what is already in it, its presentations and its exports. Nothing from other matches gets in the way. Once you have a few, group them into folders and the bar above the list filters to one of them.
No. If you go straight to Record and pick a mode, the app asks which one this is for — a new one, or one you already made — before it opens the camera. That question exists so nothing you tag ends up orphaned.
Setting it up first is still the better way round, because you can name it in advance rather than at the venue.
There is deliberately no Save button — tags are written away every few seconds, and the small chip under the name tells you when the last write happened.
If the app did close mid-match, a Restore bar appears next time you open it, offering the tags from the session that was interrupted. Footage is written in pieces as it records too, so what was filmed up to the interruption is kept rather than lost.
Yes, on a paid plan. One person films, another tags from the stands, tags merge into the same record, and a Tagged by filter appears in Review once more than one person has worked on it — so you can see just your own tags, or just theirs.
On the Basic plan everything stays on the one device that captured it, so this needs the cloud sync that paid plans switch on.
Nothing is lost either way. The setup card warns you first — "Already has a video and 42 tags — recording again replaces them" — and if you start recording without taking that choice, the app opens a new match rather than writing over the old one.
That is exactly what you want at half time: film the second half, then use Link recordings so the two are read as one game. See Recording & tagging.
Tag Existing Footage never replaces anything: the new tags join the ones already on the match. That is the mode for when you ran out of time to tag everything live.
Only to load the app — the first time, and whenever it picks up an update. Recording, tagging, reviewing and cutting clips all happen on the device, so a ground with no signal is not a problem.
Only sharing needs a connection: syncing to teammates and streaming to a coach at home. Both catch up on their own once you are back on Wi-Fi.
Android: yes, without reservation. Take the Install app prompt in Chrome. It gets the whole screen, opens with no signal, and records exactly as a tab does.
iPhone: add it — an installed app gets far better protected storage, which matters for footage you can’t re-film — but film from Safari, not from the icon. A home-screen icon on iOS doesn’t inherit the camera permission you gave Safari and often never asks for its own. That is an Apple defect, not something you have missed.
Splitting the two costs nothing: it is all the same device, so a match filmed in Safari is already there when you open the icon to review it.
The other chapters explain the screens. These nine explain the jobs, and the shortest route to each.
Three short sittings. Clubs that keep this up for ten weeks have a searchable season; clubs that plan something more elaborate usually stop in week three.
Thirty-five minutes a week, after the match itself. Everything else in this chapter is built on this, and nothing else in this chapter works without it.
This is what the 2nd level tag exists for. The action says what happened; the second level says who it happened to.
Ten clips of the same moment, one after another, is the most persuasive thing you can put in front of a player and the hardest to argue with. One clip is an accusation; ten is a pattern. The same is true the other way round — a reel of ten things someone did well is worth more than telling them.
A worked example. A basketball side tags Turnover and Fast Break Conceded. The grid shows turnovers flat all season but fast breaks conceded climbing in the last four games — so the problem is not losing the ball, it is what happens in the six seconds after. Clicking that row’s cells gives you the eleven clips that make the case.
One honest warning: a quiet column usually means a quiet tagger, not a quiet match. Check tags-per-match at the top of the screen before you read anything into a thin week.
The question is always the same shape — is this getting better? — and it takes two screens.
A tennis example. Tag Second Serve at the top level and the player at the second, and the Clip Library gives you every second serve one player hit this season. Watch ten from October and ten from March back to back and the toss height tells you more than any number would have.
A padel one, because the court is small enough to see everything: tag Lob and Smash Conceded. If lobs go up and smashes conceded go down over a block, the pair have learned where to stand. That is two rows on one grid.
Make a folder in their name. Tag whatever footage of them you can get with Tag Existing Footage — set pieces and the first phase after a turnover are usually enough, and in a racket sport their serve pattern and their weaker return wing are the whole job.
One reel of eight clips, shown once, beats a document nobody reads. Keep it under five minutes: a squad will watch five minutes properly and half-watch fifteen.
Cricket is the case where this pays most, because the unit of analysis is already a repeatable event. Tag every dismissal and every boundary conceded by a bowler across three games and the field you want on Saturday argues for itself.
Six buttons. The same six every week. Not everything — a panel you cannot find without looking is a panel you will stop using by the third match.
Start from a question rather than a list of events. “How do we lose the ball?” makes a better panel than every incident in the rulebook.
| If you… | Do this next |
|---|---|
| Have your first match this weekend | Six buttons, film, tag. Nothing else. Watch it back the next day and you already have more than most clubs get all season. |
| Have three or four matches in | Add the second level to one panel and retag a single match with it. That one sitting is what unlocks player-level analysis. |
| Have six or more | Data Insights starts paying. The season grid appears at two matches, but Lately and the timing views only mean something around six. |
| Are a season in | Folders per block, the Clip Library for development questions, and a reel per player at the end of the year — which is the thing players actually remember. |
The other thing: they tag the thing they will act on. A tag you will never open a clip for is a tag that cost you attention during a live game and gave nothing back.
On a paid plan, one person films while another tags from the stands on their own phone. The tags merge into the same match, and a Tagged By filter appears in Review so each of you can see your own.
It is also how a coach tags the game they are actually coaching — badly, in gaps — while an analyst fills in the detail afterwards from the footage. The two sets sit side by side and neither overwrites the other.
On the Basic plan everything stays on the one device that captured it, so this needs the cloud sync a paid plan switches on.
Three things, in order of how often they happen.
None of these lose footage. They lose the ability to say anything true about it, which is worse, because you find out in April.
The other chapters explain the screens. This one explains the jobs — the handful of things clubs keep coming back to do, and the shortest route to each. None of it needs anything extra; it is the same few screens, used on purpose.
Two of these lean on the Clip Library and one on Data Insights, both paid-plan tabs. Everything else here works on Basic.
Everything below rests on three short sittings a week. Clubs that keep this up for ten weeks have a searchable season. Clubs that plan something more elaborate usually stop in week three.
This is what the 2nd level tag exists for. The action says what happened; the second level says who it happened to.
Ten clips of the same moment, one after another, is the most persuasive thing you can put in front of a player and the hardest to argue with. One clip is an accusation; ten is a pattern. The same is true the other way round — a reel of ten things someone did well is worth more than telling them.
One honest warning: a quiet column usually means a quiet tagger, not a quiet match. Check tags-per-match at the top of the screen before you read anything into a thin week.
The question is always the same shape — is this getting better? — and it takes two screens.
Make a folder in their name. Tag whatever footage of them you can get with Tag Existing Footage — set pieces and the first phase after a turnover are usually enough. One reel of eight clips, shown once, beats a document nobody reads.
On a paid plan, one person films while another tags from the stands on their own phone. The tags merge into the same match, and a Tagged By filter appears in Review so each of you can see your own. It is also how a coach tags the game they are actually coaching — badly, in gaps — and an analyst fills in the detail afterwards from the footage.
| If you… | Do this next |
|---|---|
| Have your first match this weekend | Six buttons, film, tag. Nothing else. Watch it back on Sunday and you have already got more than most clubs get all season. |
| Have three or four matches in | Add the second level to one panel and retag a single match with it. That one sitting is what unlocks player-level analysis. |
| Have six or more | Data Insights starts paying. The season grid appears at two matches, but Lately and the timing views only mean something around six. |
| Are a season in | Folders per block, the Clip Library for development questions, and a reel per player at the end of the year — which is the thing players remember. |
Everything that happens between arriving at the venue and having a tagged match on the device.
All three produce exactly the same thing: a list of tagged moments with timestamps.
They mix freely. A cricket club films the whole innings on a fixed camera, tags wickets and boundaries live from the stands, then adds the bowler at the second level during the week from the footage.
Everything that has to be right is on one card, and every ? on it explains the setting beside it.
When you stop, a Recording Ready card appears. It says Saving to this device… until the write has actually finished, and only then confirms — it will never tell you the footage is safe before it is.
The microphone is recorded along with the picture, and you can mute playback at any point in Review. Bear in mind that it picks up everything said near the phone, which is worth a thought before you put a clip in front of a squad.
If something takes the microphone mid-match — an incoming call is the usual culprit on Android — the picture keeps recording and the app says so rather than stopping. A silent stretch is better than a hole in the footage. It tells you again when the mic comes back, and if you were out of the app while it happened it says how long for, because the dialler hides any message raised while a call is on screen.
Balanced is the default and the right answer for almost everyone — it opens at 1080p and steps down only if the phone cannot hold it. Save space starts at 720p, which roughly halves the file, and analysis footage does not need the extra pixels. Best opens at 4K.
Only go to Best if you know why you want it. 4K is considerably more work to render a reel from and uses storage at roughly four times the rate; the app downscales it to 1080p when you download a presentation anyway, unless you turn that off in Settings.
Advanced is there when you want a particular resolution and frame rate — 50 or 60 fps for a sport where the ball moves faster than 30 frames can follow, say. Pick them, then press Test on this phone: it films a few seconds, plays them back, and tells you either that the mode works here or which closest mode will be filmed instead.
None of the four is a promise the phone can keep, and none of them needs to be. Each is the top of a list the app works down — an encoder that refuses, a camera ceiling or a failed test strikes a rung and the next one is filmed — so you get the closest thing this handset manages rather than the asked-for mode filmed badly.
Film on whatever you like — a camcorder, an action camera, the fixed system a padel court or a sports hall already has — then either tag live from the stands against the clock, or bring the file back afterwards and use Tag Existing Footage.
On a paid plan you can also point the app at a YouTube link instead of a file, which is useful when the footage is already up there and you do not want a 3 GB download. Clip download and the magnifier are not available over YouTube, because the pixels never reach us.
There is no built-in limit, but over about 45 minutes we suggest filming each period separately — half, quarter, set, innings, whatever your sport calls it. Shorter files are far safer if the phone runs low on space or the camera is interrupted, and they are quicker to review afterwards.
Rough sizes: about 4 GB an hour at 1080p, more at 4K. And it needs roughly twice the finished size free while it saves, because for a moment the footage and the working copy are both on the device.
Start recording into a match that already holds footage and the app opens a new match rather than writing over the one you have. So a game usually arrives as two recordings — and on their own, neither can answer “how did the second half compare with the first?”
Open either half from Home and choose Link recordings on its tool row. Tick the other parts of the same game.
First, check which browser you are in. Filming is built and tested in Safari on iPhone and Chrome on Android, and those are the only two we stand behind for it. Others may refuse the camera outright or cut a long recording short, and a page opened inside another app’s built-in browser — from Instagram or WhatsApp, say — often cannot reach the camera at all and closes the moment you switch apps, taking the recording with it. The app says so when you arrive on Record & Tag in one of them, with Open in Chrome or Copy link to get out. Everything else — tagging existing footage, review, presentations — works in any browser.
Otherwise it is almost always a permission that was never granted, or another app holding the camera. Press Test camera & mic on the recording screen — it asks for the permission on demand, which is the one reliable way to make an installed app on iPhone show its prompt at all. The ? beside the fullscreen button on the picture walks the rest.
Close anything else that might be using the camera (the phone’s own Camera app, a video call) and try again.
On iPhone, if you opened the app from a home-screen icon, that is the likely cause on its own — an installed app on iOS does not inherit Safari’s camera permission and frequently never asks for its own. Open the site in Safari and press Start Recording there.
No. Every tag keeps a window of footage before and after the tap, so tagging a second or two late still catches what you meant — that is exactly what the PRE setting is for, and most people are generous with it for this reason.
If it’s badly out, open the clip’s ⋮ menu in Review and set the time — there is a here button that stamps it to wherever the video is paused.
That is exactly what Tag from the Stands is for. There is no camera on that screen: you start a clock when play starts, tag with the full screen given over to buttons, and pause the clock at each break so the later periods stay in step.
Afterwards, load their video in Review and your tags line up with it and become clips, exactly as if you had filmed it yourself. If the clock didn’t start on the video’s very first frame, More ▸ Sync all clips nudges everything into place in half-second steps.
It is also the mode to use when your own phone is the camera on a tripod and you want to tag from a second device.
All three produce exactly the same thing: a list of tagged moments with timestamps. Nothing downstream cares which one you used.
| Mode | Use it when | What it needs |
|---|---|---|
| Record & Tag | One person is doing both jobs — the phone films and you tag over the live picture. | A phone on a tripod or a high railing, and a panel of 12 buttons or fewer (the picture needs the middle of the screen). |
| Tag from the Stands | Someone else is filming — a parent, a club camera, a fixed system. You tag against a clock with no video. | Nothing but the phone. Start the clock when play starts and pause it at each break. |
| Tag Existing Footage | It’s over and you have the video — or you want to add detail to something you already tagged live. | A video file, or a YouTube link on a paid plan. Pause, rewind, tag precisely, use the keyboard. |
Everything that has to be right before you start recording is on that one card. Every ? on it explains the setting beside it.
A Recording Ready card appears with the clip in it. It says Saving to this device… until the write has actually finished, and only then confirms — it will never tell you the footage is safe before it is. From there you can go straight to your clips, or save the raw file elsewhere.
We suggest filming each period separately, and the app protects that: start recording into a match that already holds footage and it opens a new match instead of writing over the one you have. So a game usually arrives as two recordings — and on their own, neither can answer “how did the second half compare with the first?”
Open either half from Home, and choose Link recordings on its tool row. Tick the other parts of the same game.
Almost always a permission that was never granted, or another app holding the camera. Press Test camera & mic on the recording screen — it asks for the permission on demand, which is the one reliable way to make an installed app on iPhone show its prompt at all. The ? beside the fullscreen button on the picture walks the rest.
Close anything else that might be using the camera (the phone’s own Camera app, a video call) and try again.
On iPhone, if you opened the app from a home-screen icon, that is the likely cause on its own — an installed app on iOS does not inherit Safari’s camera permission and frequently never asks for its own. Open the site in Safari and press Start Recording there.
1080p at 30 fps is the default and the right answer for almost everyone. Drop to 720p if the phone is short of space — it roughly halves the file and analysis footage does not need the extra pixels.
Only go to 4K if you know why you want it. It is considerably more work to render a reel from and uses storage at roughly four times the rate; the app downscales it to 1080p when you download a presentation anyway, unless you turn that off in Settings.
There is no built-in limit, but over about 45 minutes we suggest filming each period separately — half, quarter, set, innings, whatever your sport calls it. Shorter files are far safer if the phone runs low on space or the camera is interrupted, and they are quicker to review afterwards.
Rough sizes: about 4 GB an hour at 1080p, more at 4K. And it needs roughly twice the finished size free while it saves, because for a moment the footage and the working copy are both on the device.
No. Every tag keeps a window of footage before and after the tap, so tagging a second or two late still catches what you meant — that is exactly what the PRE setting is for, and most people are generous with it for this reason.
If it’s badly out, open the clip’s ⋮ menu in Review and set the time — there is a here button that stamps it to wherever the video is paused.
That is exactly what Tag from the Stands is for. There is no camera on that screen: you start a clock when play starts, tag with the full screen given over to buttons, and pause the clock at each break so the later periods stay in step.
Afterwards, load their video in Review and your tags line up with it and become clips, exactly as if you had filmed it yourself. If the clock didn’t start on the video’s very first frame, More ▸ Sync all clips nudges everything into place in half-second steps.
It is also the mode to use when your own phone is the camera on a tripod and you want to tag from a second device.
Yes. Film on whatever you like — a camcorder, an action camera, a fixed club system — then either tag live from the stands against the clock, or bring the file back afterwards and use Tag Existing Footage.
On a paid plan you can also point the app at a YouTube link instead of a file, which is useful when the footage is already up there and you don’t want a 3 GB download. Clip download and the magnifier are not available over YouTube, because the pixels never reach us.
Yes, and it is quicker than clicking. Every tag button has a key — 1–9 then a–z, shown in the badge on the button — and pressing it logs that tag. Press ? while a tagging screen is open to see the key for every button on the current panel.
Keyboard tagging is really a laptop workflow, which is what Tag Existing Footage is built for: pause, rewind a second, tag, carry on.
Yes — the microphone is recorded along with the picture, and you can mute playback at any point in Review. Bear in mind that the microphone picks up everything said near the phone, which is worth a thought before you put a clip in front of a squad.
A tag panel is one screen of buttons, and it is the single thing that makes this app fit your sport rather than somebody else’s.
A label, a timestamp, and a window of footage either side of the press.
That is why there is no editing step: the clip already exists the moment you press. Every tag carries its own PRE and POST, set once per button, so a score can keep fifteen seconds of build-up while a turnover keeps what happened next.
Every button has a key — 1–9 then a–z, shown in the badge on the button — and pressing it logs that tag. Press ? while a tagging screen is open to see the key for every button on the current panel.
It is quicker than clicking, and it is really a laptop workflow — which is what Tag Existing Footage is built for: pause, rewind a second, tag, carry on. Shortcut badges are hidden on phones, where there is no keyboard.
Yes. Nothing in the app knows what sport you play — it stores a label, a timestamp and a clip length, and everything downstream reads those three things. Rename the buttons to your sport’s moments, set your own colours and clip lengths, tick Score on whatever counts as a score, and clips, filters, stats, presentations and the CSV all follow without any other change. Editing panels is free on every plan for exactly this reason.
| Sport | A starting panel |
|---|---|
| Basketball | Fast Break · Half-Court Set · Shot · Score · Turnover · Defensive Rebound |
| Cricket | Wicket · Boundary · Dot Ball · Dropped Catch · Appeal · Over Start |
| Volleyball | Serve · Reception · Set · Attack · Block · Point Won |
| Tennis | First Serve · Second Serve · Long Rally · Winner · Unforced Error · Break Point |
| Hockey | Build Up · Circle Entry · Shot · Score · Penalty Corner · Turnover |
| Rugby / Netball | Phase Play · Line Break · Set Piece · Score · Turnover · Penalty |
The quickest route is to open the Match panel and edit it rather than starting from an empty one, since its shape — your side on the left, the opposition mirrored on the right — suits most team sports as it stands. For an individual sport, put everything in one column and ignore the side switch.
Six to ten is the sweet spot for filming — you have to find them without looking. Start from a question rather than trying to tag everything: "how do we lose possession?" makes a better panel than a list of every event in the sport.
Use nouns, not judgements. “Turnover” is countable; “bad pass” is a judgement you will end up arguing with.
A cricket panel is the clearest case of the two pulling in opposite directions: a Wicket wants long PRE because the set-up ball matters, while Dropped Catch wants POST, because what the batter did with the life is the point.
Press the action, then press who did it. The timestamp stays on the first press, so taking a moment over the second choice costs nothing — and after six seconds the action commits on its own.
Both levels are ordinary panels: actions in one, names or units in the other, and you choose which is which in the tagger’s setup. Level 2 shows up as the 2nd Level Tag on the clip, in the CSV, as a filter in Review and the Clip Library, and as its own tab in Data Insights.
It does not have to be players. Phases, units, zones of the court, serve types, bowlers, the receiving pair — anything you would otherwise need a separate button for every combination of. That is the whole point: per-player detail without a panel of 200 buttons.
Because the camera preview needs the middle of the screen, so only the two columns either side are free — twelve buttons' worth. The panel isn’t lost: it works in Tag from the Stands and Tag Existing Footage, where nothing is sharing the screen.
The line under the preview tells you which side of that line the panel you are editing currently sits on.
Nothing — tags you have already recorded keep the labels they were recorded with. Renaming a button only changes what future presses are called.
That is worth knowing before you rename something part-way through a season, because the season grid groups by the exact label. If you do need to fix one, you can rename an individual clip’s action in Review from its ⋮ menu.
Export writes your panels to a small .json file;
whoever you send it to uses Import, which adds yours alongside
theirs rather than over them (a clashing name gets a “(2)”).
That is how a club keeps one vocabulary — same labels everywhere — which is what makes season-wide numbers mean anything at all.
A tag panel is one screen of buttons. You already have two built — a small Match panel for filming with, and a 32-button Individual Actions panel for going back through footage — so you never have to make one to tag your first match. Everything about them is editable, and that is what makes the app work for any sport: the buttons it ships with are football’s because the defaults had to be something. Rewriting them is free on every plan.
Both levels are ordinary panels: actions in one, names or units in the other, and you choose which is which in the tagger’s setup. Level 2 shows up as the 2nd Level Tag on the clip, in the CSV, as a filter in Review and the Clip Library, and as its own tab in Data Insights.
It does not have to be players. Phases, units, zones of the playing area, set-piece types, bowlers, servers, line-ups — anything you would otherwise need a separate button for every combination of. That is the whole point: per-player detail without a panel of 200 buttons.
Yes. Nothing in the app knows what sport you play — it stores a label, a timestamp and a clip length, and everything downstream reads those three things. Rename the buttons to your sport’s moments, set your own colours and clip lengths, tick Score on whatever counts as a score, and clips, filters, stats, presentations and the CSV all follow without any other change. Editing panels is free on every plan for exactly this reason.
| Sport | A starting panel |
|---|---|
| Basketball | Fast Break · Half-Court Set · Shot · Score · Turnover · Defensive Rebound |
| Cricket | Wicket · Boundary · Dot Ball · Dropped Catch · Appeal · Over Start |
| Volleyball | Serve · Reception · Set · Attack · Block · Point Won |
| Tennis | First Serve · Second Serve · Long Rally · Winner · Unforced Error · Break Point |
| Hockey | Build Up · Circle Entry · Shot · Score · Penalty Corner · Turnover |
| Rugby / Netball | Phase Play · Line Break · Set Piece · Score · Turnover · Penalty |
The quickest route is to open the Match panel and edit it rather than starting from an empty one, since its shape — your side on the left, the opposition mirrored on the right — suits most team sports as it stands. For an individual sport, put everything in one column and ignore the side switch.
Six to ten is the sweet spot for filming — you have to find them without looking. Start from a question rather than trying to tag everything: "how do we lose possession?" makes a better panel than a list of every event in the sport.
Use nouns, not judgements. “Turnover” is countable; “bad pass” is a judgement you will end up arguing with.
Nothing — tags you have already recorded keep the labels they were recorded with. Renaming a button only changes what future presses are called.
That is worth knowing before you rename something part-way through a season, because the season grid groups by the exact label. If you do need to fix one, you can rename an individual clip’s action in Review from its ⋮ menu.
Export writes your panels to a small .json file;
whoever you send it to uses Import, which adds yours alongside
theirs rather than over them (a clashing name gets a “(2)”).
That is how a club keeps one vocabulary — same labels everywhere — which is what makes season-wide numbers mean anything at all.
Because the camera preview needs the middle of the screen, so only the two columns either side are free — twelve buttons' worth. The panel isn’t lost: it works in Tag from the Stands and Tag Existing Footage, where nothing is sharing the screen.
The line under the preview tells you which side of that line the panel you are editing currently sits on.
Review works inside one game. The Clip Library works across all of them. These nine cover both, and the handful of things that go wrong in each.
Open a match from its workspace, or from the Review tab and pick from the list. Every tag is a row in the clip list and a coloured tick on the match timeline, so the shape of the game is readable at a glance. Press anywhere on that timeline and drag to scrub, or tap a tick to jump straight to the moment.
A linked game opens as one match. If you filmed the halves separately and linked them, opening either part gives you every clip from the whole game on one clock.
The Filters button opens three rows, all multi-select, and the count on the button tells you filters are on without opening it:
The clip list, Play All and Select all all follow the filter, which makes “filter to every break point, tick all, save to a presentation” a single pass rather than three.
Each clip’s ⋮ menu is the editor for that clip alone: change PRE / POST, set the time (with a here button that stamps the current video position), rename the action or the 2nd level tag, preview it, or delete the tag.
If it is happening to every clip of that action, fix it at the source instead: change the tag’s PRE in the Tag Panels tab, so future matches are right too.
Deleting a tag removes the tag, not the footage. Deleting a whole saved match is different — that goes to the bin for 10 days first.
This happens when the tag clock and the footage didn’t start at the same instant — normally after tagging from the stands. Open More ▸ Sync all clips and nudge everything by half-second or one-second steps until a clip lands where it should; the offset applies to every clip at once.
If only the later period is out, there is a separate 2nd Half Only nudge. That is the case where the camera kept rolling through the interval but your tag clock was paused, so the break’s length has to be added back to the second-period tags alone.
Footage lives on the device that filmed it (and, on a paid plan, in your club’s cloud storage). If you are on a different phone or laptop, or the video was removed to free up space, the tags are all there but the picture is not.
Use Local Video + Tags CSV to point the app at the file, or open it on the device that filmed it. On a paid plan, anything shared with the team streams to any signed-in device without downloading.
That is the Clip Library. Type an action — “Wicket”, “Turnover”, “Break Point” — and every instance from everything you have saved comes back in one list you can play in place.
The Clip Library is a paid-plan tab — on the Basic plan the tab is still there, greyed out and wearing a padlock, so you can see what it is rather than wonder where it went. Everything it does for one match is still available in Review.
A row marked no video still counts and still tells you where the moment is — its footage simply is not on this device.
On a paid plan it syncs and simply appears on the laptop — nothing to move by hand.
On the Basic plan, open the workspace and use the Export row: download the Match video and the Tags CSV. On the laptop, open Review ▸ Local Video + Tags CSV and load both. The CSV is deliberately free on every plan, because it is the bridge that makes the phone-to-laptop workflow possible at all.
Compare ticks two clips and plays them side by side. It is the single most useful control in the app for coaching a technique: the same player’s serve in October and in March, or your setter’s hands against the one you are about to play.
Merge is for when one passage of play collected three or four tags a few seconds apart and you would rather watch it as one continuous clip. Tick them and merge — you get a single clip spanning the lot instead of three overlapping ones.
Merging is refused across the join of a linked game, because there is no continuous stretch of footage to merge.
Review is where something you tagged becomes something you can actually watch. Open it from the workspace, or from the Review tab and pick from the list.
A linked game opens as one match. If you filmed the halves separately and linked them, opening either part gives you every clip from the whole game on one clock — and clicking a clip from another part swaps the footage underneath and carries on playing.
The Filters button opens three rows, all multi-select — tap as many as you like, and the count on the button tells you filters are on without opening it: Action Type, 2nd Level Tag, and Tagged By (which only appears when more than one person has worked on it). The clip list, Play All and Select all all follow the filter, which makes “filter to every shot, tick all, save to a presentation” a single pass.
This happens when the tag clock and the footage didn’t start at the same instant — normally after tagging from the stands. Open More ▸ Sync all clips and nudge everything by half-second or one-second steps until a clip lands where it should; the offset applies to every clip at once.
If only the later period is out, there is a separate 2nd Half Only nudge. That is the case where the camera kept rolling through the interval but your tag clock was paused, so the break’s length has to be added back to the second-period tags alone.
Open that clip’s ⋮ menu and raise PRE. It changes only that clip. If it is happening to every clip of that action, fix it once at the source instead: change the tag’s PRE in the Tag Panels tab so future matches are right too.
Clip length can also be adjusted inside a presentation, where the video jumps to the new edge so you can see exactly what you are adding.
Footage lives on the device that filmed it (and, on a paid plan, in your club’s cloud storage). If you are on a different phone or laptop, or the video was removed to free up space, the tags are all there but the picture is not.
Use Local Video + Tags CSV to point the app at the file, or open it on the device that filmed it. On a paid plan, anything shared with the team streams to any signed-in device without downloading.
On a paid plan it syncs and simply appears on the laptop — nothing to move by hand.
On the Basic plan, open the workspace and use the Export row: download the Match video and the Tags CSV. On the laptop, open Review ▸ Local Video + Tags CSV and load both. The CSV is deliberately free on every plan, because it is the bridge that makes the phone-to-laptop workflow possible at all.
For when one passage of play collected three or four tags a few seconds apart and you would rather watch it as one continuous clip. Tick them and merge — you get a single clip spanning the lot instead of three overlapping ones.
Yes — ⋮ ▸ Delete tag on the clip. It removes the tag, not the footage. Deleting a whole saved match is different: that goes to the bin for 10 days first (Settings ▸ Recently deleted).
Review works inside one match. The Clip Library works across all of them. Type an action — “Score”, “Turnover”, “Set Piece” — and every instance from everything you have saved comes back in one list you can play in place.
| Clip | Match | Time | |
|---|---|---|---|
| Attack No. 11 | Match · 23 Aug | 00:07 | |
| Attack No. 4 | Match · 23 Aug | 00:21 | |
| — | Attack No. 11no video | Match · 14 Aug | 12:55 |
| — | Attack No. 7no video | Match · 14 Aug | 28:04 |
The Clip Library is a paid-plan tab — on the Basic plan the tab is still there, greyed out and wearing a padlock, so you can see what it is rather than wonder where it went. Everything it does for one match is still available in Review.
The tags are on this device but the footage isn’t — either it was filmed on another device, or the video was removed to free space. The row is marked no video; it still counts towards your search and still tells you where and when.
Load the video in (Review ▸ Local Video + Tags CSV), or open it on the device that filmed it.
Because the two labels aren’t identical — “Ball Lost” and “Ball loss” are two different actions as far as every counting screen is concerned. Matching is exact and case-sensitive on purpose, so that the same word on two different panels is gathered together and a near-miss isn’t quietly merged.
Fix it at the source in Tag Panels, and rename the odd clip out from its ⋮ menu in Review.
Two screens that face opposite ways: one reads everything you have ever tagged, the other turns eight clips of it into something a squad will watch.
Everything you have tagged, laid out three ways — and every number on every view opens the clips behind it, which is the part that matters.
It is a paid-plan tab — reading a whole season back across matches is what a paid tier buys. The per-match numbers are on every plan, Basic included: Match Stats, the tags CSV and the tag report PDF.
Three filters cut across all of it: scope to a folder, narrow the span to recent matches, or put one 2nd level tag under the lens so every view recomputes as if only that player existed.
Three routes. Export CSV here gives the whole season grid for a spreadsheet (paid). A single match’s Tags CSV and Tag report (PDF) are free on every plan, from its Export row. And in Review, More ▸ Export selected CSV exports just the clips currently filtered.
Read it across. A row is one action over every match, oldest on the left, and the shape of the row is the finding — not any single cell.
A basketball reading, to make it concrete: Fast Break steady, Second Chance Points climbing, Defensive Rebound flat. The offence is not better — you are just missing more and getting the ball back.
When things happen — measured as a share of match length rather than in minutes, so a 40-minute game and a 90-minute one sit on the same axis, and a set, an innings and a quarter are all comparable.
It needs recordings of five minutes or more with tags spread through them. To get the period split, open Match stats and enter the time the second period started; sports with more than two periods can enter each break. A linked game needs no time entered at all — the join is the boundary.
Everything you tagged at the second level, ranked by tags per match they appear in rather than by total — so someone who played five matches is not buried under someone who played twenty.
Open one and you get every action recorded against them, plus their own grid. Put them under the lens and every other view recomputes as if only they existed.
It needs you to have tagged at the second level at all — turn on two-level tagging in the Stand Tagger or in Tag Existing Footage.
Match stats (from the workspace, or Review ▸ More) answers "what happened in this one" — totals by action and by 2nd level tag, the period split, and the busiest windows. It is also where you enter the scoreline and the break time.
Data Insights answers “what is true across the season”. Same grammar, same colours, wider question.
A presentation is a running order of clips with marks drawn on them. It stores references to moments rather than copies of footage, which is what keeps it tiny and lets it span several matches.
Keep it short. Six to eight clips is a squad meeting; twenty is a lecture nobody remembers.
Because a presentation stores references rather than copies, the video behind each clip has to be reachable: on this device, streaming from your club’s storage on a paid plan, or loaded by hand with the Load video button.
A clip whose source is a YouTube link will play but cannot be downloaded as part of a rendered reel — the pixels never pass through us.
Marks are drawn in broadcast gold by default, and each one has its own time window — it fades in when it matters and out when it does not, instead of sitting on screen for the whole clip.
Rendering is real work: it decodes and re-encodes every frame. It runs in a small tray in the corner so you can keep using the app, and it saves the file on its own when it finishes — but a render dies with the page it started on, so do not close the tab.
Three routes, depending on your plan. Play it from your own device in the room — free, and often the best version, because you can pause and talk. Download it as one video file and send that anywhere (paid). Or, on a paid plan, share it to the squad so it appears in their own accounts — Player accounts see exactly what is shared with them and nothing else.
Data Insights reads everything you have tagged and lays it out three ways. It is a paid-plan tab — reading a whole season back across matches is what a paid tier buys. The per-match numbers are not: Match Stats, the tags CSV and the tag report PDF are on every plan, Basic included.
| Action | 14/04 | 14/05 | 14/06 | 14/07 | 14/08 | 23/08 | All | /match | Lately |
|---|---|---|---|---|---|---|---|---|---|
| Attack | 3 | 3 | 4 | 5 | 5 | 2 | 22 | 3.7 | ▲ 3.3→4.0 |
| Build Up | 2 | 2 | 2 | 3 | 3 | 1 | 13 | 2.2 | ▲ 2.0→2.3 |
| Shot | 2 | 2 | 1 | 3 | 3 | 1 | 12 | 2.0 | ▲ 1.7→2.3 |
| Ball Lost | 1 | 2 | 2 | 2 | 3 | 1 | 11 | 1.8 | ▲ 1.7→2.0 |
| Goal | 1 | 1 | 2 | 2 | 2 | 1 | 9 | 1.5 | ▲ 1.3→1.7 |
| Every tag | 12 | 15 | 17 | 21 | 24 | 9 | 98 | 16.3 |
Season grid is the one above. It needs at least two saved matches before it appears, because a grid of one column is a list.
Timing answers when things happen. It measures in shares of a match rather than minutes, so a 90-minute game and a 40-minute one sit on the same axis. Three readings: match shape, every match overlaid; where each action lives, which answers “we concede late” in a single line; and the period split, for matches that carry a break mark.
2nd Level ranks everything you tagged at the second level by tags per match they appear in rather than by total — so someone who played five matches isn’t buried under someone who played twenty. Open one and you get every action recorded against them, plus their own grid.
Every number on every view opens the clips behind it.
Linked recordings count once. Two halves of the same game, linked together, are one column in the grid and one match in every average — and the period split lands exactly on the join between them, with no time to enter.
Each one has a floor below which it would mislead rather than inform. The season grid needs at least two saved matches. Timing needs recordings of five minutes or more with tags spread through them. 2nd Level needs you to have tagged at the second level at all — turn on two-level tagging in the Stand Tagger or in Tag Existing Footage.
Match stats (from the workspace, or Review ▸ More) answers "what happened in this one" — totals by action and by 2nd level tag, the period split, and the busiest windows. It is also where you enter the scoreline and the break time.
Data Insights answers “what is true across the season”. Same grammar, same colours, wider question.
Open Match stats and enter the time the second period started. That one number turns on the period split there and in Data Insights ▸ Timing. Sports with more than two periods can enter each break.
Three ways. Export CSV here gives the whole season grid for a spreadsheet (paid). A single match’s Tags CSV and Tag report (PDF) are free on every plan, from its Export row. And in Review, More ▸ Export selected CSV exports just the clips currently filtered.
A presentation is a running order of clips with marks drawn onto them. It can be built from one match or, on a paid plan, from clips pulled out of several.
A presentation stores references to moments, not copies of the footage — that is what keeps it tiny and lets it span several matches. So the video behind each clip has to be reachable: on this device, streaming from your club’s storage on a paid plan, or loaded by hand with the Load video button.
If a clip came from something whose source is a YouTube link, it will play but cannot be downloaded as part of a rendered reel — the pixels never pass through us.
Rendering is real work — it decodes and re-encodes every frame. It runs in the background in a small tray in the corner, so you can keep using the rest of the app while it goes, and it saves the file on its own when it finishes.
Two things that help: leave Download quality on 1080p in Settings (4K footage is downscaled, which renders considerably faster and looks identical on a phone or a projector), and don’t close the tab — a render dies with the page it started on.
Yes — that is what the time window on each mark is for. Select the mark and set when it comes in and goes out from the options bar under the picture. Or attach it to a freeze, and it appears there and nowhere else.
Three routes, depending on your plan. Play it from your own device in the room — free, and often the best version, because you can pause and talk. Download it as one video file and send that anywhere (paid). Or, on a paid plan, share it to the squad so it appears in their own accounts — Player accounts see exactly what is shared with them and nothing else.
Everything about people rather than footage: who is on the club, what each of them can reach, and which parts of the app a plan unlocks.
Sign in with Google, or with an email and password. The quiet link on the first screen — use this device on its own, offline — skips accounts entirely; you can sign in later without losing anything you made before.
Then one question: are you starting a club, or is it just you? Anyone you invite never sees it — their club already holds the name, the sport, their role and the plan, so they land straight on Home.
| Role | Who it is for | What they can reach |
|---|---|---|
| Coach / Analyst | Anyone doing the analysis. The default, and the only role with everything. | The full app — all three capture modes, Tag Panels, Review, Clip Library, Data Insights and Presentations. |
| Game Recorder | Whoever is filming on the day — a parent, a substitute, anyone available. | Home and Record only. Everything they capture lands in your club’s storage. |
| Player | The squad. | Watch-back only: Home, Review and Presentations, limited to what has been shared with them. |
Owning the club is separate from your role. The owner holds the roster and the billing, and always carries the Coach / Analyst toolkit — there is no way to demote yourself out of the screen that manages the club. If the person who pays genuinely does not do the analysis, hand the club on with Make owner rather than trying to step down inside it.
Which one does my assistant coach need? Coach / Analyst, if they are going to tag, review or build presentations — it uses one of your coach seats. Player is a watch-only account and will not let them tag anything. The roles are named after what they can do, not after seniority at the club.
Manage Team reads down the page in the order the work happens.
Each row’s ⋮ holds everything you can do to that person afterwards: Groups…, Copy join link, Change role…, Make owner and Remove. The owner’s own row has no menu, deliberately — a club with nobody holding it could not be managed by anyone.
Make a group for each age band in Manage Team and put the players in it — either from the group itself, or from ⋮ ▸ Groups… on a player’s row.
Then share each match with the group rather than with everyone. A player only ever sees what has been shared with them, so the two age groups stay apart on one subscription.
Every match and every presentation carries an audience, and the icon that shows it is the control that changes it — on the card itself.
Coaches, analysts and recorders see everything unless somebody deliberately narrows one match to particular staff. That is opt-in and one match at a time, for the coach working across age groups; the club’s owner is never locked out.
Whether you need consent, and from whom, is a decision for your club and the rules you play under — and it is worth settling before the first match rather than after. We publish a parental consent form you can print and hand to parents; it opens beside the consent tick the app shows when you register a youth team.
If you become aware that footage has been stored without the consent it needed, tell us and we will remove it.
⋮ ▸ Change role… on their row. They keep their groups, their join link and everything they have already done — you don’t have to remove them and add them back, which used to be the only way and lost both.
The line is simple: everything that happens on one device is free. Everything that travels between devices or people is paid. The Basic plan does not expire and does not nag.
Compare the tiers on the pricing page. When you are signed into a club the plan comes down from the club rather than being set per device.
Because it is the bridge that makes two whole workflows possible at all. A stand-tagger’s timestamps are useless without a way to carry them to the footage, and a coach who films on a phone but works on a laptop needs the same road. Gating it would break both while protecting nothing — the tags are a few kilobytes of text.
Custom tag panels are free for the same kind of reason: without them the app would fit one sport and no other.
Everything held on the device stays on the device and keeps working — tags, panels, presentations, and any footage still stored there. What stops is syncing and the paid-only features above. Take a backup from Settings ▸ Download my data before any change of plan, and download the footage you can’t re-film.
Game Recorders are free and unlimited on the paid plans. They reach Home and Record and nothing else, and everything they film lands in your club’s storage — so add whoever is available on the day without thinking about the cost. On the Basic plan there is nothing to share access to, so whoever holds the signed-in device is the recorder.
An account can be signed in on a limited number of devices at once — three on Basic (the phone that films, the laptop that reviews, and one spare), more on the paid plans. Only coach and owner accounts count against that allowance; players and recorders sign in on whatever they own.
Signing a device out from Settings ▸ Devices deletes nothing on it; it just stops it syncing.
Sign in with Google, or with an email and password. The quiet link on the first screen — use this device on its own, offline — skips accounts entirely; you can sign in later without losing anything you made before.
Then one question: are you starting a club, or is it just you? Anyone you invite never sees it — their club already holds the name, the sport, their role and the plan, so they land straight on Home.
| Role | Who it’s for | What they can reach |
|---|---|---|
| Coach / Analyst | Anyone doing the analysis. The default, and the only role with everything. | The full app — all three capture modes, Tag Panels, Review, Clip Library, Data Insights and Presentations. |
| Game Recorder | Whoever is filming on the day — a parent, a substitute, or anyone else available. | Home and Record only. Everything they capture lands in your club’s storage. |
| Player | The squad. | Watch-back only: Home, Review and Presentations, limited to what has been shared with them. |
Owning the club is separate from your role. The owner holds the roster and the billing, and always carries the Coach / Analyst toolkit — there is no way to demote yourself out of the screen that manages the club. If the person who pays genuinely doesn’t do the analysis, hand the club on with Make owner rather than trying to step down inside it.
One tab holds the whole club, and it reads down the page in the order the work happens.
Every match and every presentation carries an audience, and the icon that shows it is the control that changes it — on the card itself. A padlock means staff only; a pair of shoulders means players can see it, and the tooltip names which. Tap either to change it.
Once a match is filed to the club, a second icon sits beside it and answers a different question — where the footage is, rather than who may watch it. A cloud with an arrow means it has not gone up yet and a tap sends it; it shows progress while it is uploading, says so when it is holding for Wi-Fi, and settles to a plain cloud once coaches can stream it. Before the match belongs to a club there is only one button, because footage cannot go anywhere until the match is filed — so that button files it.
An account can be signed in on a limited number of devices at once — three on Basic (the phone that films, the laptop that reviews, and one spare — an iPhone counts the installed app and Safari separately), more on the paid plans. Signing a device out from Settings ▸ Devices deletes nothing on it; it just stops it syncing.
Yes — Game Recorders are free and unlimited on the paid plans. They can reach Home and Record and nothing else, and everything they film lands in your club’s storage. Add whoever is available on the day without thinking about the cost.
On the Basic plan there is nothing to share access to, so there are no invites at all — whoever is holding the signed-in device is the recorder.
Coach / Analyst, if they are going to tag, review or build presentations. It uses one of your coach seats. Player is a watch-only account and won’t let them tag anything — the roles are named after what they can do, not seniority at the club.
⋮ ▸ Change role… on their row. They keep their groups, their join link and everything they have already done — you don’t have to remove them and add them back, which used to be the only way and lost both.
Make a group for each age band in Manage Team and put the players in it — either from the group itself, or from ⋮ ▸ Groups… on a player’s row.
Then share each match with the group rather than with everyone. A player only ever sees what has been shared with them, so the two age groups stay apart on one subscription.
Anything shared with the team stays with the team — it belongs to the club, not to the account that filmed it. Removing someone from the roster stops their access; it doesn’t take the work with them.
That is a decision for your club and the rules you play under, and it is worth settling before the first match rather than after. We publish a parental consent form you can print and hand to parents — it opens beside the consent tick the app shows when you register a youth team.
The line is simple: everything that happens on one device is free. Everything that travels between devices or people is paid. The Basic plan doesn’t expire and doesn’t nag.
Compare the tiers on the pricing page. You can change plan from Settings ▸ Billing, which also carries Delete my account; when you are signed into a club, the plan comes down from the club rather than being set per device.
Because it is the bridge that makes two whole workflows possible at all. A stand-tagger’s timestamps are useless without a way to carry them to the footage, and a coach who films on a phone but works on a laptop needs the same road. Gating it would break both while protecting nothing — the tags are a few kilobytes of text.
Custom tag panels are free for the same kind of reason: without them the app would fit one sport and no other.
Nothing you have already made. The Clip Library, Data Insights and Manage Team tabs are locked — still in the nav, greyed out with a padlock, so nothing vanishes and you can see what a paid plan would open. YouTube can’t be used as a source, and presentations can’t be downloaded as a video (they still play). The per-match numbers stay: Match Stats, the tags CSV and the tag report PDF are all still there. Everything stays on the device that made it.
Everything held on the device stays on the device and keeps working — tags, panels, presentations, and any footage still stored there. What stops is syncing and the paid-only features above. Take a backup from Settings ▸ Download my data before any change of plan, and download the footage you can’t re-film.
The unglamorous chapter, and the one that saves a season. Most of it is about the difference in size between a tag and a video.
Two different things are stored, and almost everything else follows from how differently sized they are.
On a paid plan, Add footage on a match offers two routes, and they are not the same thing:
A direct upload survives a reload: the transfer is kept for a week and picks up where it stopped. The one thing that cannot survive is the file handle itself on some phones, so the card may ask you to pick the same file again — one tap, and it carries on from where it was rather than starting over.
On the Basic plan, footage exists in exactly one place. If the phone is lost, or the browser clears its storage, the video goes with it. Download anything you cannot re-film — the Match video button in the Export row — and take the backup from Settings ▸ Download my data, which holds tags, panels and presentations but not video.
Check the device’s own Settings, not the app. Browsers report the ceiling they are willing to give one website, which is not the free space on the phone — on a phone with 12 GB genuinely free that figure can read as barely 1 GB. We used to quote it and it stopped people filming matches that would have fitted, so we stopped quoting it.
What the app does tell you honestly: how big this recording will be, based on your own footage from this phone; how much we are holding; and, on a paid plan, how much of your cloud allowance is used — because that is a ceiling we set and can measure exactly.
Settings ▸ Download my data writes a single file with every panel, presentation and tag — a backup, a way to move to another device, or simply your own copy. Restore from a backup loads one back, replacing what is currently on the device.
Folders group your work by season, squad, competition or opponent. The bar above each list filters to one, the search box above it filters by name as you type, and Data Insights can scope a whole season to a single folder.
Settings ▸ Recently deleted ▸ Open bin. Items are kept for 10 days so a mistake costs nothing, and the footage comes back with them.
To be clear: on the Basic plan, no. Footage lives only on the device that filmed it.
On a paid plan, anything you share goes to your club’s cloud storage and is reachable from every device on the team — a coach at home streams it without downloading three gigabytes. Review, Retag, the Clip Library and presentations all play the cloud copy when this device has no file of its own, so a match filmed on somebody else’s phone opens on yours without a transfer step.
It asks before it spends mobile data. On Wi-Fi it just plays. Off it, you are asked once — Stream now lasts the visit, and there is a Always use mobile data on this device answer if you would rather never be asked again on this phone. A download asks separately and names the size of the whole file, because that is a different amount of data from streaming a few clips.
Download the video on a match fetches the cloud copy when this device has none, rather than telling you the video is gone.
One thing to know if you move a club down to Basic: the cloud copies are kept, not deleted, but Basic does not stream them. Footage held on a device still plays, and moving back to a paid plan brings the rest straight back.
No. We don’t view, index, moderate or train anything on your footage, and we don’t licence it to anyone. The single exception is a specific clip named in a safety report, which we have to look at in order to act on it — and each occasion is logged.
Almost always one of three things: the device ran out of storage, a call or another camera app took the camera, or the browser was closed mid-match. The app saves as it goes, so what was filmed up to that point is kept rather than lost.
The fix for next time is usually aeroplane mode or Do Not Disturb, and filming each period as a separate file. If it keeps happening, send us a report from Settings ▸ Diagnostics ▸ Copy report — it carries what went wrong and on which device, which usually tells us immediately.
A phone writes a recording’s length into the file only when it stops, and sometimes gets it wrong — a short recording can come off a phone declaring a length of hundreds of hours. Video editors then refuse it.
Settings ▸ Repair a video file reads the real length back out of the footage and writes it in properly. It rewrites the timing only — the picture and sound are untouched, your original is never changed, and you get a new copy named …-repaired.
The app is cached on your device so it works with no signal, which means an update lands on the next launch while online. Close it completely and reopen it on Wi-Fi. If it is installed to the home screen, closing the tab isn’t enough — close it from the app switcher.
If a warning appeared and vanished while you were filming, come out of fullscreen and check Settings ▸ Diagnostics — it keeps a log of anything that went wrong on this device, and Copy report puts the lot on your clipboard.
For anything else, use Help & support inside the app if you can: it attaches your app version and device details, which is what we need in order to look into it. Otherwise contact us.
Two different things are stored, and almost everything in this chapter follows from how differently sized they are.
On a paid plan, Add footage offers two routes for a file you already have. Send a file straight to the cloud uploads from where the file sits and stores nothing in this browser — the right one when the club is meant to watch it. Upload a video file saves it into this browser first, so it plays here with no network. A direct upload survives a reload and resumes where it stopped; on some phones the card asks you to pick the same file again first, which carries on rather than restarting.
On the Basic plan, footage exists in exactly one place. If the phone is lost, or the browser clears its storage, the video goes with it. Download anything you can’t re-film — the Match video button in the Export row — and take the backup from Settings ▸ Download my data, which holds tags, panels and presentations but not video.
Settings ▸ Download my data writes a single file with every panel, presentation and tag — use it as a backup, to move to another device, or simply to keep your own copy. Restore from a backup loads one back, replacing what is currently on the device.
Check the device’s own Settings, not the app. Browsers report the ceiling they are willing to give one website, which is not the free space on the phone — on a phone with 12 GB genuinely free that figure can read as barely 1 GB. We used to quote it and it stopped people filming matches that would have fitted, so we stopped quoting it.
What the app does tell you honestly: how big this recording will be, based on your own footage from this phone; how much we are holding; and, on a paid plan, how much of your cloud allowance is used — because that is a ceiling we set and can measure exactly.
To be clear: on the Basic plan, no. Footage lives only on the device that filmed it.
On a paid plan, anything you share goes to your club’s cloud storage and is reachable from every device on the team — a coach at home streams it without downloading three gigabytes. Review, Retag, the Clip Library and presentations all play the cloud copy when this device has no file of its own.
It asks before it spends mobile data: on Wi-Fi it plays, off it you are asked once, and a download asks separately because it is a different amount of data. Download the video fetches the cloud copy when this device has none.
A club moved down to Basic keeps its cloud copies but cannot stream them. Footage on a device still plays, and moving back brings the rest straight back.
Settings ▸ Recently deleted ▸ Open bin. Items are kept for 10 days so a mistake costs nothing, and the footage comes back with them.
No. We don’t view, index, moderate or train anything on your footage, and we don’t licence it to anyone. The single exception is a specific clip named in a safety report, which we have to look at in order to act on it — and each occasion is logged.
Two different scopes, at the bottom of Settings. Delete my data erases everything this app holds on this device. Delete my account closes the account itself — your details, your membership of every team, and what we hold in the cloud. Anything you shared with a team stays with the team, because it belongs to the club.
Neither can be undone, so download a copy first if there is any chance you’ll want it.
Almost always one of three things: the device ran out of storage, a call or another camera app took the camera, or the browser was closed mid-match. The app saves as it goes, so what was filmed up to that point is kept rather than lost.
The fix for next time is usually aeroplane mode or Do Not Disturb, and filming each period as a separate file. If it keeps happening, send us a report from Settings ▸ Diagnostics ▸ Copy report — it carries what went wrong and on which device, which usually tells us immediately.
A phone writes a recording’s length into the file only when it stops, and sometimes gets it wrong — a short recording can come off a phone declaring a length of hundreds of hours. Video editors then refuse it.
Settings ▸ Repair a video file reads the real length back out of the footage and writes it in properly. It rewrites the timing only — the picture and sound are untouched, your original is never changed, and you get a new copy named …-repaired.
The app is cached on your device so it works with no signal, which means an update lands on the next launch while online. Close it completely and reopen it on Wi-Fi. If it is installed to the home screen, closing the tab isn’t enough — close it from the app switcher.
iPhone: open the app in Safari, press Share, then Add to Home Screen. Android: open it in Chrome and take the Install app prompt, or use the menu’s Add to home screen.
It is worth doing. Installed, it launches like any other app, gets the whole screen for tagging, opens with no signal at all, and — on iPhone especially — gets far better protected storage than a browser tab.
One exception on iPhone: record from Safari, not from the home-screen icon. An installed app on iOS does not inherit the camera permission you gave Safari, and on current iOS versions it often never asks for its own, or opens the camera to a black frame. Everything is stored on the same device either way, so film in Safari and review from the icon.
Come out of fullscreen and check Settings ▸ Diagnostics — it keeps a log of anything that went wrong on this device, and Copy report puts the lot on your clipboard for an email to us.
Use Help & support on Home if you can — it attaches your app version and device details, which is what we need in order to look into it. Otherwise contact us.
Shortcut badges are hidden on phones, where there is no keyboard — plug one in or dock a tablet and they appear for good.
Dates are written day-first everywhere in the app — 03/05/2026 is 3 May — and there is no setting for it, so a date means the same thing on every device your club uses.
The guided tour builds a small demo match in the background and walks the real screens with it, so you can see Review, the Clip Library and a presentation working before you have tagged anything of your own. Reopen it any time from the ? beside My matches, and jump to a single chapter rather than replaying the lot.