Call Sheets

Call Sheets & Wrap Reports

The Call Sheet Generator is a built-in production hub tool designed to automatically generate, bundle, and distribute industry-standard Call Sheets based on your Project Calendar Shoot Days. It eliminates double-data entry by pulling crew, locations, weather, and specific gear loadouts directly from your project into a unified, print-ready PDF.

Key Features

• Project Integration: Dedicated tab in the Project Workspace for managing all call sheets alongside a unified Live Preview Panel.
• Shoot Day Linkage: Explicitly link call sheets to existing "Shoot Day" events on your Project Calendar with live Drift Detection.
• Auto-Populated Details: The system auto-formats Production Title, Company, Date, and Day X of Y.
• Production Defaults: The producer and director a new sheet starts with in its header — as key contacts, with their phone numbers — and a project-wide default crew call, set once in the project's Settings tab and inherited by every generated sheet.
• Weather, Logistics & Safety: Automatically fetches weather forecasts and sunrise/sunset times based on the location. Alongside the condition and the day's high/low, the builder card shows feels-like temperature, chance and amount of rain, wind direction, speed and gusts, cloud cover, humidity and the UV index — each shown only when the forecast service returns it for that day. The card names the shoot date and the basecamp it resolved, so it can never be read as today's weather at your desk, and beneath the day summary it shows an hour-by-hour strip for that shoot day: one equal-width cell per hour with the condition icon, temperature, chance of rain, snowfall in cm, wind and UV, with night hours dimmed. The strip covers the shoot window rather than all 24 hours — from three hours before the earliest call anywhere on the sheet (the crew call, a department call or pickup, a per-person override, or a cast call, pickup, costume or makeup time) to three hours after the latest wrap, per-person wrap overrides included. A sheet that names neither a call nor a wrap still shows all 24 hours, and an overnight day runs to the end of the shoot date. Snow is reported in centimetres and rain in millimetres, so the two are separate. The printed sheet carries the same detail as ONE card under the masthead: a drawn condition icon, the day's high and low at heading size, the condition, sunrise and sunset, the day's FORECAST (rain, snow, wind and UV) — and, continuing the same card, HOUR BY HOUR: the builder's strip is sampled down to six evenly-spaced hours for print, each one drawn as a sky — sun, sun-behind-cloud, cloud, fog, drizzle, light/medium/heavy rain, sleet, snow, hail, thunder or wind — with the temperature under it and the clock under that. An hour whose forecast code the sheet cannot place prints no icon rather than a guessed one, and a sheet created before this existed still prints the hours and temperatures, just without the skies. It was three separate label/value bands in three places until v0.819.0. Both halves of the card follow the same Weather & Sun switch, and print on day one of a bundle only. Since v0.829.0 the card sits in the right-hand half of the row under the day's times, with the department call times beside it — the key contacts moved up into the masthead. When the call-times list is longer than the forecast, the card's tint runs down to the bottom of the row; on a sheet with the weather switched off the call times take the full width. If you type your own weather line instead of taking the forecast, it is printed exactly as you typed it — the card only draws what it can read. Includes explicit sections for parking, basecamp, nearest hospital, and safety protocols.
• Every motif of the day, in shooting order: A day that visits three locations lists all three — each with the parking, load-in, hospital and power recorded for it in the Locations tab, in one block with the basecamp. See Locations & logistics.
• Cast & Crew Grids: Generates tabular crew and cast lists from your Contacts book, allowing individual call times per department or actor (with specific pickup/makeup routines).
• Cast the schedule doesn't call: Add stand-ins, doubles, fittings or anyone on hold straight to a call sheet, without inventing a scene for them. See Cast the schedule doesn't call.
• Scene Breakdown: Integrated scene-by-scene shooting blocks pulled from the project's active schedule.
• Daily Gear Loadout: Summarized view of specific gear scheduled for that Shoot Day, pulled directly from your project gear list.
• Multi-Day Bundling: Option to bundle multiple consecutive Shoot Days into a single exported PDF packet.
• Nothing lost when you step away: Leave the builder mid-edit and your work is kept as a draft — no Save required. See Leaving the builder before you save.
• Mobile View: Read the call sheet as a phone-shaped page instead of a pinch-to-zoom PDF, with tap-to-call contacts and tap-to-map locations.
• Share Links: Give each person their own expiring URL to the call sheet — no account needed, revocable one person at a time.

How to Create a Call Sheet

1. Navigate to the Call Sheets Tab: Open your Project Workspace and click on the "Call Sheets" tab.
2. Select a Shoot Day: Choose an existing Shoot Day event from your Project Calendar to link the Call Sheet.
3. Configure the Header: Review the auto-populated Production Title, Date, and Company details.
4. Set the Schedule: Enter the day's seven standing times — Crew Call, Breakfast, Shooting Start, Lunch, Shooting End, Dinner and Estimated Wrap. The three meals each carry their own switch, so a day with no catered dinner simply does not print one. You can also add a Scene-by-Scene shooting schedule.
5. Add Logistics & Safety: Add specific location details, parking directions, hospital information, and any required safety protocols (e.g., Stunts, Pyrotechnics).

The Notes box is one field, not four. Until September 2026 it offered Important Warnings, Safety Briefing / Hazards, Directions / Anfahrt and General Notes, and three of those asked again for something the sheet already had a proper block for — warnings belong in Special Notes (per department), hazards in the Safety Checklist (per category, each with its own mitigation line), and directions in the location details and the motif list, which print an address and parking directions per motif. So a producer answered the same question twice and the PDF printed both answers. Anything you had already typed in the three was moved into General Notes, under the heading it used to print, so nothing you wrote stopped reaching the crew.

6. Assign Crew Calls: Review the auto-populated Cast & Crew grid. Override individual call times or add specific notes for departments or personnel.
7. Generate PDF: Click "Export to PDF" to generate the industry-standard document. The resulting file is optimized for both print and mobile readability.

Dates print in the format of where you are

The document language and the date format are two different decisions, and the call sheet makes them separately.

The language — the sheet's PDF Language field under General Info in the builder — decides the words: June or Juni, Thursday or Donnerstag. The order of day, month and year comes instead from your device's time zone, because that is a property of where the sheet is handed out rather than of what it is written in. An international crew shooting in Germany gets English labels above a German-order date.

There is nothing to configure. Travel to a shoot in another country and the dates on the sheets you produce there follow you. German-language sheets read 25.6.2026 wherever they are made — no region ICU knows writes German dates any other way.

Locations & logistics

A call sheet used to carry one address: the basecamp. A day that shoots at three motifs printed one of them, and the parking, hospital and HMU base of only that one — while the answers for the other two were already sitting in the project's Locations tab.

Locations & logistics is now one block with two halves. The top answers the question everyone asks first — where is basecamp, where do I park, where is the nearest hospital, where is the nearest police station. Under it, in shooting order, comes every location the day's scheduled scenes are at, numbered in the order they are shot, and under each one the details recorded for it while scouting:

• how to get there, crew parking, unit/truck parking, unit base, load-in route
• hair & make-up, wardrobe, restrooms, catering
• power, logistics notes, and the nearest hospital

Nothing is typed twice — including by the sheet itself. The basecamp is in that list too, badged, and it shows only what the four cells above have not already said: a parking note or hospital address printed at the top is not repeated a centimetre lower. Type your own parking instruction and both appear, because yours says something the scout's does not.

The block reads the Locations tab, so correcting a parking note there corrects it on every sheet that prints it.

Scouted notes can run to several lines, and the four cells at the top of the block hold one line each. A multi-line parking direction or hospital address is joined up with " — " on its way into them rather than having its line breaks dropped, so "Enter via gate 3 / Park behind the unit truck" reads as one sentence instead of running the two lines together. The per-motif list below still prints the note on its own lines, and the sheet recognises the two as the same answer, so neither is repeated.

Where the list comes from. For each scene scheduled on the day, in order:

1. the location you linked to that scene in the Locations tab (Scenes field);
2. otherwise a match of the scene's own location text against a location's address or name;
3. otherwise the scene's location text on its own, marked Not scouted — an address nobody scouted still gets printed rather than dropped.

A location set inherits its master's address, parking, hospital and power, so a room inside a building carries the building's answers without retyping them.

A bad-weather cover location (a scene's If wet address) gets its own entry, badged, so a driver never sees a single unlabelled address.

The block appears on the PDF, in the mobile view, on shared links, and as a preview in the builder itself. A day with no scheduled scenes shows the basecamp half alone — and there the scouted parking, HMU base, power and logistics notes print at the top, because nothing below is there to carry them. The nearest hospital does the same: when you have left the call sheet's own hospital cell blank, the scouted one is shown in its place, on the phone and on a shared link as well as on the PDF. It is the one address that has to be reachable in an emergency, so it is never left to the motif list alone.

Each location brings its pictures

One photo of the place — the first in that location's Photos, with its caption under it — sits in the top right corner of the location's card, and the scouted map under it, with whatever you drew on that map: the load-in arrow, the unit-base circle, not the bare screenshot. The address, the scene numbers and the logistics rows set alongside them. Both pictures print at the proportions you uploaded them at; nothing is cropped to a fixed strip, so a portrait establishing shot still shows the whole frame.

Only what exists is printed. A motif with no map and no photo prints exactly as before, and so does a location nobody scouted. A set inherits its master's map, the same way it already inherits the master's address — every room of a building sits on the same satellite tile — and stops as soon as you give the set a map of its own, which brings its own annotations with it. Photos are the half that does not inherit: a room is not the building, so upload the photos that belong to it.

Shared links carry no pictures. The map lives on the device it was uploaded from and the photos sit in private storage, neither of which someone opening a link can read; the addresses, parking and hospital all still travel.

Parking and hospital fill themselves in

The block's Parking Instructions and Nearest Hospital cells now fall back to the scouted location's Crew parking (or Unit parking) and Nearest hospital when you leave them blank. The builder shows the value it will print as a grey placeholder with From the Locations tab underneath. Type something and yours wins.

A route map you don't have to screenshot

Each location's detail panel has a Location Map / Sketch box you can drop an image into and annotate with pins and freehand marks. Generate route map fills that box for you: pick a second location, press the button, and you get a street map with both places pinned 1 and 2, the driving route drawn between them, and the distance and drive time along the bottom. It lands in the same box an uploaded screenshot would, so you can pin and label it exactly the same way, and it prints on the PDF exactly the same way.

It needs both locations to have coordinates. A location gets those when you open it in Production Hub, enter an address and press Locate address — it is a button, not something that happens on save, and a set with no pin of its own falls back to its master location's. If one is missing, the panel says so and points you there instead of hiding the button. Generating replaces whatever image is currently in the box.

Two honest limits. The map is a street map, not satellite: the app draws it from OpenStreetMap, which is also why © OpenStreetMap contributors is printed along the bottom edge. And if no driving route comes back — you are offline, or there is genuinely no road between the two — you still get the map with both pins, but the line between them is dashed, meaning "direct line, not a road".

Location Notes are on page one, beside the day's own note

Location Notes — Besonderes per Motiv — is the per-location block: extras, police, toilets, power, catering, parking and the nearest hospital for one specific motif. Since September 2026 it prints on page one, in a two-column band with the day's General Notes beside it, on the PDF, in the builder and in the mobile view.

It moved because of what it is for. "Gate code 4711, no parking on the north side" is an instruction for the person driving to that motif, and that person reads page one in a van at 05:40 — printing it six pages in answers nobody. It sat under the location block before that, and after Extras and Special Notes before that.

If only one of the two blocks has anything in it, that one takes the full page width; the band never leaves half a page of white.

Times that follow the Schedule

If the call sheet's date matches a shoot day on the Schedule tab, four things fill themselves in and keep themselves up to date:

Move the meal break on the Schedule and the call sheet's Lunch moves with it. Add a setup and push the day longer, and Estimated Wrap follows. You do not have to regenerate the call sheet.

Your own edits win. Type a time into any of these fields and it stops following the Schedule — a call sheet may deliberately state a different lunch than the plan. Everything you have not edited keeps updating.

Department rows are matched by department, not by name, so you can rename Camera to 2nd Unit Camera and it still receives its times. A row you delete stays deleted, and rows you add yourself are never touched.

A call sheet whose date is not a shoot day is left entirely alone.

The Schedule block is the shooting day

The sheet's Schedule block prints the day exactly as the project's Schedule tab runs it — not a list of the scene numbers involved. It was headed SCENES until v0.824.1, which described the least of what it prints: the breaks, the company moves and the relights are in it too.

• Order — the Schedule's running order. Drag a scene up the Schedule board and the sheet follows. The Shot List's creative order is deliberately separate and does not leak in.
• The blocks between the scenes — the meal break, relights, blocking rehearsals, company moves, pre-rigs and setup-change buffers each get their own row, in position, with their duration. A label you typed on a block in the Schedule is printed with it.
• Telling one block from the next — until v0.827.1 every one of them printed the same way: a centred grey italic sentence on a continuous grey field, so an ordinary afternoon of relight → company move → lunch → setup change → blocking read as one slab and the AD could not see where a block ended. Each now carries a coloured tab, its own icon — the same six you see in the Schedule tab, drawn rather than typed so they survive the PDF's fonts — and its type name in that colour at the left, with anything you typed on the block beside it. The company move and the setup change also sit on a tinted band: they are the two blocks that end the current setup, and they are the ones worth finding at a glance. The paper, the builder, your phone and a shared link all draw them the same way.
• The times lead the table — Est. Time and Duration are the second and third columns, ahead of the heading and the shot count. The clock is what the page is scanned for; it used to sit fourth, behind two values you only look up once you have already found the row. The two travel together because a duration is the second half of the span beside it. A block's clock and length print in those same two columns, so you can run one finger down either one through the scenes and the breaks without it moving — the band still reads as one continuous strip; only the values sit in their columns. The published link and the phone have no columns, so there the span simply comes second, right after the scene number, in the row's own weight.
• A time span never breaks across two lines. 10:55 – 12:40 is one value, and the PDF was setting it as three words: squeezed by a long address in the Location column it wrapped every row of the table in half. It is now held together whatever the column width.
• The type, said once — a block you insert from the Schedule's toolbar arrives carrying its own English type name as its note, before anyone has picked a language for the PDF. A German sheet printed both: Motivwechsel: Company Move, Pause: Meal Break. It now recognises the seeded name in either language and prints the type once. Anything you actually wrote ("swap to tungsten") still rides beside it.
• Times — the same calculation the Schedule tab shows, so the two cannot disagree. A scene's span begins when its setup begins, not when the camera rolls, and it includes the scene-transition time the schedule charges.
• A scene shot twice — a scene you return to after lunch appears twice, in both positions, instead of folding into its first appearance.
• Nightshifts — a time past midnight is marked +1, so an 03:00 wrap cannot be read as this morning.
• Optional scenes — a scene whose shots you all starred Optional in the Shot List prints with an orange Optional star beside its number, and the row is tinted. It is the scene the unit drops first if the day runs long, and the sheet now says so instead of leaving the AD to remember. A scene with even one committed shot is a scene you are shooting, so it stays unmarked. The Vordisposition pages carry the same mark.
• Cast — the last column names everyone the scene calls, by cast number: 1, 2, 10 · BG: 12. Principals first, then the background parts after a BG: marker, each group ascending. The Cast table below the schedule is the key — its leading # column resolves every number, beside the performer, the role and the call time. The performer and the character they play share one column (performer on top, character underneath), and the phone number and email address share a Contact column the same way, stacked behind a phone and an envelope icon. They are paired because with the cast time columns on, the table was ten columns wide and no longer fitted A4 — the columns past the edge simply printed off the page, with no warning anywhere. Numbers are assigned automatically the first time you open the project's Preproduction tab; see SHOTLIST.md § Cast numbers.
  • A character with no number prints their NAME instead, exactly as the column used to read. A project that never numbers its cast is unaffected, and a roster half-way through being numbered stays readable rather than losing the people who have no number yet.
  • In the builder the cell keeps the full ROLE (Actor) on the chip's tooltip, so you can check a number without scrolling to the cast table. On paper and on a shared link the number stands alone — that is what the key is for.
  • Each entry wraps as a unit, so a scene with a large cast makes the column taller rather than wider and the table stays inside the page — you should never have to scroll the builder sideways to read the schedule.
• Omitted shots stay off the sheet, and the total at the top of the block is the whole day, breaks included.

The block's own title says which day it is

The heading reads Schedule — Day 3 of 12 · Mon, 14 Sep 2026: the shoot day counted against the whole schedule, then the date. The masthead on page one says the same thing, but the schedule is the block people photograph and forward on its own, and a screenshot of it carries no masthead.

The same line appears in the builder, on the phone view, on a shared link and on the exported PDF, in the language the sheet is written in. A project with no shoot-day list keeps the date alone rather than guessing a number.

Vordisposition entries carry the same line, and there it matters more: a pre-call describes a day the masthead above it explicitly does not. Each upcoming day is headed with its own counter and date, followed by the time range and location you typed.

Switching a section on or off

Most blocks of a call sheet are optional, and every optional block has two switches that write the same setting. Flip either one; they always agree.

The Optional Sections panel sits near the top of the builder: one chip per block, each carrying its own switch, and a count of how many are currently on. The chips run in the order the finished call sheet prints, so a switch sits where the thing it governs appears — Key Contacts near the front, Gear List near the back. Some of them — Location Details, Weather & Sun, Cast Times, Cast Scenes, Crew Contacts and Dietary Needs among them — are details inside a section that always renders rather than blocks of their own; they sit in document order with the rest, and the difference shows up only in where their second switch lives.

The section switch sits with the thing it governs. For a block of its own it is the labelled strip directly above that block, and it stays where it is when the block is off — which is the whole point: a switched-off Drive Schedule reads as switched off, rather than as something the app cannot do. Flip it and the block appears in the same spot. Team Hotel and Catering share one card, so that strip carries both switches, and the card stays as long as either one is on.

Those six have a switch in place too: Cast Times and Cast Scenes sit above the cast table whose shape they change, Crew Contacts directly under the crew grid, Location Details and Weather & Sun inside the Location & Weather tile, and Dietary Needs on the dietary summary. Until September 2026 those four could only be set from the panel at the top of the form, which meant standing on the Cast section looking for the pickup and make-up columns with nothing to flip.

They are two views of one setting — switch Extras off on its strip and its chip in the panel goes dark and the count drops by one.

Every switch reaches the exported PDF, not just the builder. That is now checked by a test that builds the real document twice per switch and compares what it prints, because three of them used to lie: Day Type hid its editor while still printing the day type it had captured, Gear List drew a block in the builder and added nothing at all to the export, and the weather had no switch.

Ten blocks are on by default, including on every call sheet you made before the switch existed: Crew Times, Weather & Sun, Tech Specs, Cast Table, Locations in Shooting Order, Shooting Schedule, Production Notes, and the three meal times Breakfast Time, Lunch Time and Dinner Time. Everything else is off until you turn it on.

The three meals are on by default for a different reason from the rest: their switch gates a time, not a block. A sheet with no dinner time prints no dinner cell either way, so an off-by -default switch could only ever hide a time somebody had typed.

The last three joined in September 2026 with the section re-order below, and all three for the same reason Tech Specs did: they had no switch anywhere at all, so they printed on every sheet the app had ever exported. Turning one off now takes it out of the builder, the PDF, the mobile view and any link you publish; turning it back on brings the content back unchanged.

The order of a call sheet

A call sheet is now two documents in one, and the split is the point.

Page one is the sheet at a glance. The masthead with the day's key contacts in it, the day's two free-text notes, its seven standing times, the department call times beside the weather, and to close the page a table of every address the day visits with its parking and its nearest hospital. Nothing else. It is what a driver reads at 05:40 and what you hold up on set. Four of those blocks are paired into two two-column bands so the addresses still reach the bottom of one page; a day with long notes, a long call-times list or five addresses will run to a second one.

It is also set to be read that way. The general call time is the largest thing on the sheet, the day's standing times are printed at heading size beside their captions, and the address count sits on the Locations heading itself rather than on a line of its own. Nothing was added or taken away to achieve that — the page carries exactly the blocks it carried before.

Lines are used sparingly and mean something. A heading is underlined only when a section prints under it, so a rule on the page always says content follows; and exactly one rule sits between the credit rail and the first time cell, where there used to be three strokes doing one job.

Everything after page one is the detail, in the order the day is worked: what is being shot, who is shooting it, the people it is for, where it happens, and the supporting blocks. The page break between the two is put in for you; you do not arrange it.

The builder, the exported PDF, the mobile view and any link you publish lay the blocks out in that same order, so two people reading one shoot day from two devices can compare notes and never disagree about where something is. In the builder that reads: General Info, the section switches, Day Type, Key Contacts, General Notes, Location Notes, Schedule & Times, Department Call Times, Weather & Sun — and then the detail sections.

Page one — at a glance

1. Confidentiality notice, if the sheet is marked confidential
2. Masthead: production, date, shoot day, call time, Day Type, and the credit rail — the day's Key Contacts, one line each (title, name, phone number), then the client. See Key contacts
3. General Notes and Location Notes, side by side in one band
4. Schedule & Times — crew call, breakfast, shooting start, lunch, shooting end, dinner, estimated wrap. It prints with no heading of its own: the captions over the times name it, and a title above them only said it twice
5. Dept. Call Times on the left half of the next band — the whole half, as ONE table that grows with the list rather than wrapping. With the weather switched off, or no forecast, they get the page to themselves and keep their old shape: half the page wide, because three narrow columns of clock values do not want a whole one, and past twelve departments two half-width tables side by side, rows split evenly, each with its own header
6. Weather & Sun on the right half of the same band — one card: icon, high/low, condition, sunrise/sunset, the day's forecast facts and an hour-by-hour row of condition icons. The two halves end level: when the call times run longer, the card's tint grows down to the bottom of the band; when they are shorter, the card keeps its own height. With no department call times it prints full width
7. Addresses — one row per address the day visits, with parking and nearest hospital. It closes page one

The pages after it — the detail

8. Shooting Schedule, the episodes it belongs to, and the script breakdown taken from it
9. Crew Times and crew contact details
10. Cast Table, its time columns and its scene column
11. Extras
12. Clients
13. Department Notes
14. Team Hotel
15. Drive Schedule
16. Directions between the day's addresses
17. Location details and the day's motifs in shooting order
18. Catering, then Dietary Needs
19. Safety Checklist
20. Production Notes
21. Tech Specs
22. Gear List, then the day's temporary/rental additions
23. Vordispo — the pre-call for tomorrow, once at the end of a multi-day bundle

The switch panel near the top of the builder lists its chips in that same order, so it reads as a map of the page below it rather than a pile of settings.

A few blocks moved on purpose. Catering sits with Dietary Needs directly under it, which is the pair a caterer reads. Extras sits under the Cast Table, beside the people they stand with on the day. Department Notes sits with the people it is addressed to rather than near the top. General Notes and Location Notes came the other way, all the way up to page one, because both are instructions for the day rather than a record of it — and so did Dept. Call Times, for the same reason: a department head checking their own call is reading page one, and an answer on page five is an answer nobody finds. Since v0.829.0 they print above the addresses, beside the weather, in the half of the page the key contacts used to hold — the contacts moved up into the masthead. Directions stays down here: a leg is two street addresses, a drive time and a route map, and there is no half-page shape that fits them. And Vordispo is last, because it is about tomorrow.

Addresses on page one, full locations further down

A shoot day with five motifs usually visits two or three actual addresses. Page one is about addresses, so sets that share one are printed together:

2 · Isarring 4, München — Studio A, Halle B Parking: Tiefgarage Am Kanal · Nearest hospital: Klinikum rechts der Isar

Grouping happens by itself. Two sets are treated as one address when they have the same street address, or when their map positions are within 30 metres of each other — the distance at which a second pin is the same building's other door rather than a second destination. The audit line above the table says what happened, in so many words: "2 addresses · 5 sets".

An address you typed always wins over the map. The 30-metre rule only ever joins two spellings of one address — "Marienplatz 1" and "Marienplatz 1, 80331 München", or "Bavariafilmplatz 7" and "Studio 5, Bavariafilmplatz 7". Two sets that name genuinely different doors — number 15 and number 17 — stay apart however close their pins sit, because a set only has a pin of its own once somebody presses Locate address: until then it shows its master location's pin, and one shared pin is not evidence that two addresses are one place. This is what used to fold every room of a building onto the master's main address even when the rooms had addresses of their own. If you do want two different addresses printed as one stop, say so with the dropdown below.

When two sets at one address disagree about the parking or the hospital, the sheet prints both answers, each labelled with the set it came from. It never picks one. A group that quietly dropped one set's hospital would be a group that lies.

A shared master location is named once. When every set at one address hangs off the same master, the set line prints the master's name once and then the sets: "ESV München-Ost e.V. · Dreifachhalle · Weight lifting room · Trimm dich Pfad · Sauna", rather than repeating the building's name in front of every room under an address that has already named it. Sets from different masters are printed exactly as they are — there the repeated name is what tells them apart.

You can overrule it. Under the motif list in the builder there is one dropdown per set: pick the address group it belongs to, or Back to automatic. Merging two addresses the matcher kept apart and splitting one it joined are the same control. Your choice is remembered with the sheet, and it is forgotten for any set the day no longer visits.

The full detail for every motif — its own address, parking directions, pictures, contacts and notes — is still printed, further down, under Location details.

Directions between locations

When the day moves between two different addresses, the sheet can print the move: how far, how long, when to leave, when you arrive, and a route map.

Sets at the same address get no entry, because there is no move to make.

Press Calculate routes in the Directions card to measure them. That is the only thing that measures anything — exporting, publishing and opening the card do not. What prints is what was last measured, so an export made on a plane prints the same numbers as the one made in the office. Each leg carries a Stale — recompute badge when an address has moved underneath it; the old numbers keep printing until you recompute, because a route that was true this morning beats a blank.

A leg whose two addresses sit on one and the same map position prints no drive time, and says so in words instead. That is not a failure of the routing service — it is a set that states its own street but was never located. A set inherits its master's pin until you open it under Locations and press Locate address, so both ends of the move end up on one point, and a route measured from a point to itself is 0 min · 0.0 km over a journey that really takes twenty minutes. The sheet declines to print that number and names the fix instead.

The arrival time comes from your own schedule: the unit leaves after the last scene at the address it is leaving, and arrives that many minutes later. A leg with nothing to anchor it prints its duration and no clock rather than inventing one.

Every leg has a free-text note — "follow the Crew Parking signs at the gate" — which is often worth more than the duration. Notes are yours; recomputing never touches them.

Each leg's route map prints on the PDF and shows on the published link, under the leg it belongs to. It is the same picture in both places, and it carries the © OpenStreetMap contributors credit either way.

The link does not carry the image file itself — it carries an address for it, so a six-leg day costs a few hundred characters in the shared sheet rather than the several megabytes six map files would be. Two consequences worth knowing:

• A map only loads while the link itself is alive. The maps expire when the link does, which is the last shoot day plus 48 hours. Re-share the sheet and everyone gets fresh ones.
• Maps load as the reader scrolls to them, so opening the sheet on a phone on set does not pull every map at once.

If a map cannot be published — you cleared the app's storage, or you are publishing from a different device than the one that generated it — that leg simply shows its addresses, times and your note. The rest of the sheet publishes normally; nothing fails because of a missing picture.

Public-transport times are not shown. The routing service the app uses has no transit data, and the free transit services that do are licensed for non-commercial use only. The sheet is built to print them the day that changes.

Clients

The people the work is for, as their own block — names, roles, company, and when they are expected.

Tick Client on anyone in the project crew and they are pulled in automatically, and taken out of the crew grid so nobody is listed twice. You can also add rows by hand for people who are not in the crew list at all, and edit anything that is pulled in without changing the project record.

Switching the Clients block off puts those people back in the crew grid rather than removing them from the sheet.

Department Notes (was "Special Notes")

The per-department block — Regie, Kamera, Grip, Parken, Strom — is now called Department Notes, in the app, on the sheet and in the switch panel. Nothing about it changed but the name: the same rows, the same switch, the same place on the sheet. It sits with the people it is addressed to rather than near the top, because that is who reads it.

The Confidential Notice switch is still beside it. That switch prints a banner at the very top of the document, not a block here — it sits next to Department Notes because that is where you are already writing the sensitive half of a call sheet, which is when the question comes up.

The accent colour of the exported PDF

The PDF picks up your brand colour: section titles, the rule under each one, the table headers and the call-time block. It is set in one place for the whole account — Settings → Account → Signature & Branding — which offers ten swatches, or any colour you like. Every call sheet you export takes it, so there is no per-sheet accent to keep in sync.

The ink on a coloured header is chosen for you, dark or light, whichever is readable on the colour you picked. A pale yellow accent gets dark text; a navy one gets white. Red stays red where it means something — the nearest hospital, and the confidentiality notice — regardless of the accent.

Marking a sheet confidential

Confidential Notice is the switch next to Department Notes. Turn it on and the sheet carries a standing notice at the very top — on the PDF, in the mobile view and on any link you publish — saying the call sheet is confidential and must not be shared with third parties. On a multi-day sheet it prints on every day's page, not just the first: those pages get forwarded and printed on their own, and a marking only page one carries is one the person holding page three never sees.

It is off until you turn it on, on every sheet including the ones you made before it existed. It changes nothing about who can open a link — it states the terms, it does not enforce them. To actually restrict a sheet, use Redact Personal Info, revoke the link, or don't publish one.

Tech Specs — the camera, lenses, sensor mode, codec, resolution and framerate — only became switchable in September 2026. Before that it had no switch at all, so it printed on every call sheet you exported, including the copies that go to a client or a location owner. Turn it off there and it leaves the builder, the PDF, the mobile view and any link you publish afterwards, exactly like every other block. The specs themselves stay on the call sheet; turning the switch back on brings them back unchanged.

Cast Table and Cast Times are two switches over one block, and they do different jobs. Cast Table — the strip above the cast table — decides whether the cast is on the call sheet at all, in the builder and in the exported PDF. Cast Times, the chip listed under Details inside other sections, adds the pickup, costume, make-up and camera-ready columns to that same table. Until September 2026 only the second one existed, so the only switch beside the cast table made it wider instead of taking it off the sheet, and there was no way to export a call sheet without the cast on it.

Switching Cast Table off takes the columns switch with it — there is nothing left for it to widen. The cast and their call times stay on the call sheet and come back unchanged when you switch the table on again.

Cast Scenes is the third switch over that same block, and it answers the question the other two do not: which scenes is this actor called for, where, and when. Turn it on and every cast member gains a panel listing each scene they are in on that day, taken straight from the schedule — the scene number, the time that scene starts, and the location it plays at. Nothing is typed in: the list is read from the day's shooting order every time it renders, so it cannot go stale against a schedule you have since changed. A location shown as (cover) is the scene's bad-weather address, printed only when the scene has no scouted location of its own.

Inside each scene you can set a call, costume, make-up and ready time for that scene alone. These sit beside the day-level times in the Cast Times columns rather than replacing them: the columns say when the actor's day starts, the per-scene times say when they are needed again — which is what a call-back after lunch in a different costume actually needs. Only the times you fill in are stored, and only those print; clearing one removes it. There is deliberately no per-scene pickup time — a pickup happens once, at the top of the day, from home.

The scene panel prints in the exported PDF as a Scenes column on the cast table, one line per scene with any per-scene times underneath. Someone on the sheet by hand who is in none of the day's scenes shows a dash, not a blank. Cast Scenes is off until you turn it on, on new and existing call sheets alike — it adds a column no sheet had before, so no sheet gains one by surprise.

Turning the crew call times block off

The Crew Times chip in Optional Sections controls the whole per-person crew grid — the department-grouped table of names, roles, call and wrap times. It is on by default, including on every call sheet you made before this option existed, so nothing changes unless you turn it off.

Turn it off when the sheet is not for the crew: a client-facing copy, a location-owner's copy, or a day where the only times that matter are the general crew call and the cast. Switching it off removes the block from all four places the call sheet appears at once — the builder, the exported PDF, the mobile view, and any share link you publish afterwards. On a share link this is a privacy control as much as a layout one: the crew's names, roles and times are simply not published, rather than published and hidden.

Turning it back on restores the block, and any individual call times you had typed in are still there — they are stored on the call sheet, not on the toggle.

Already-published share links pick the change up on your next Save — saving a call sheet refreshes every link that is still live, each under its own redaction setting. Update shared copies in the Share links dialog is still there for the case a save happened while you were offline.

Crew contact details on the sheet

Crew Contacts — the switch directly under the crew grid, also a chip in the Optional Sections panel — puts each crew member's phone number and email on the call sheet. It works with Crew Times, and the two of them give the crew block four shapes:

The third row is the one worth knowing about. A unit contact list is a different document from a call sheet, and it is what you want for a rental house, a location owner, or a production office that needs to reach people on a day it is not calling them. Switching the times off re-titles the block rather than leaving "Crew Call" standing over a table with no times in it.

Crew Contacts is off until you turn it on, on new and existing call sheets alike. No call sheet this app has exported has ever carried a crew phone column, so none of them gain one by surprise — and a unit's mobile numbers are not something a document starts publishing on its own.

Redact Personal Info still wins. It sits in the bar at the bottom of the builder, it is on by default, and it is the stronger control: with it on, the PDF prints the columns with [REDACTED] in them — so you can see that the switch worked and what is holding the values back — and the mobile view and any share link carry no numbers at all, because a redacted sheet never puts them on the wire in the first place. To actually print contact details you need Crew Contacts on and Redact Personal Info off.

Turning the switch off takes the columns off all four surfaces at once — the builder's hint, the exported PDF, the mobile view, and any link you publish afterwards. On a share link this is a privacy control: the numbers are not published and then hidden, they are not published.

If you used to publish contact details by unticking Redact Personal Info alone, that is no longer enough — switch Crew Contacts on as well. Before this option existed the mobile view and the shared link showed a Call button for anybody with a number on file whenever redaction was off, and the PDF showed none at all. One switch now answers for all of them.

Your logo on the exported PDF

Include Company Logo sits in General Info, next to PDF Language — both change the exported document rather than the shoot day. When it is on, the logo you uploaded under Settings → Account → Signature & Branding prints in the top-right corner of the first page of the PDF; later pages are never stamped.

It is on by default, including on every call sheet you made before this switch existed, so nothing about your existing sheets changes until you turn it off. Turning it off also reclaims the space the logo occupied, so the first page starts at the same height as every other page — you do not get a blank band where the logo used to be.

Turn it off for a sheet that goes out under someone else's letterhead: a client's call sheet, a co-production, or a rental house's copy.

The switch is per call sheet, not per account, and it is saved with the sheet — so it survives a re-publish, and Save as Template carries it onto every sheet you build from that template. If you have not uploaded a logo yet the switch is greyed out and says where to add one; nothing prints either way.

It affects the PDF only. The mobile view and share links do not carry a logo at all.

Key contacts — the title and the note are per sheet

Key Contacts are the two or three people the unit rings when something goes wrong, and they print in the sheet's header: the masthead's credit rail, under the production company. Switch the section on, pick them from the project crew, and each one prints on one line — the title, the name and the phone number — with the note, if you write one, after it in small muted type. The number prints in your accent colour and dials when the PDF is tapped. With Redact Personal Info on it prints [REDACTED] and dials nothing; a contact with no number prints without one, not with a dash. The CLIENT line still closes the rail when the project has a client.

Since v0.829.0 this is also where the producer and director go: the Produced By and Directed By boxes in General Info are gone, and a new call sheet starts with its producer and director as key contacts. See Producer and director are key contacts now.

The title box is empty by default and shows the person's project role as its placeholder, which is how it tells you it inherits. Type over it and this sheet alone bills them differently — 1st AD instead of Assistant Director, Regie / 1st Unit instead of Director. Nothing is written back to the project crew roster, and no other call sheet changes. Clear the box and it inherits again.

The note is free text for what the number is actually for: call before 06:00, basecamp only Tuesday, reachable by phone until 06:30. It prints after the number on the PDF, and under the contact on the mobile view and on a published link. It is production copy rather than personal data, so a share link with Redact personal info on still shows the note while the phone number itself is hidden.

If a key contact's number is missing, the fix is on the Crew tab, not here: the number on this card is the one on that person's crew row, which mirrors their linked contact.

Show in header

Every key contact card carries a Show in header switch, and it is on by default — so an older sheet's key contacts go on printing, now in the header. Switch it off and the person stays on this sheet's list, with their title, note and position kept, but prints nowhere: not on the PDF, not in the mobile view, not on a link you publish. That is for a template that carries the whole unit when a given day needs three of them. Someone with view access sees Shown in the header or Not shown in the header in place of the switch.

The Key Contacts section switch still governs all of them, on every surface: off, and no contact prints anywhere, whatever the cards say. There is no second place a switched-off contact prints — the separate Key Contacts block that sat beside the weather on page one is gone, and that half of the page went to the department call times.

One kind of older sheet opens with some switches already off: a sheet whose Key Contacts section was off while it carried a typed producer or director who is on the crew. Its list was not printing, so when those credits are adopted the rest of the list comes in switched out and the header prints the same people as before — see Producer and director are key contacts now.

Taking one person off a sheet

The Crew Times chip above is all-or-nothing. For a single day where most of the unit is called and one or two people are not — the sound recordist has wrapped, the drone operator starts on Friday, the producer is never on set — use the On sheet switch at the left of each row in the Crew Call Times grid. The header counts what is left: 8 of 12 on this sheet.

Switching someone off is a decision about this one sheet. They stay on the project crew, stay in the grid so you can put them back, and every other call sheet is untouched. Their call and wrap times grey out while they are off, and come back exactly as you typed them when you switch them on again.

Like the section chip, it removes them from all four surfaces at once — the builder grid, the exported PDF, the mobile view and any share link you publish afterwards — and on a share link it is a privacy control: their name, role and phone number are not published at all, rather than published and hidden. They also drop out of the day's dietary and allergy summary, since they are not eating with the unit.

Two lists deliberately ignore the switch, because not printed on the sheet is a different question from unreachable:

• Key Contacts — the production manager is a key contact precisely because they are not on set. Someone you switch off stays selectable, and stays in the sheet's header if you picked them.
• Distribute and Share links — who receives the sheet is a separate decision from who is printed on it, and both dialogs already ask per person.

Every call sheet made before this switch existed has everybody on it, and stays that way.

Cast the schedule doesn't call

The Cast & Call Times table is built from the schedule: it lists everyone whose character is on a shot scheduled for that day. That is the right list most of the time, and it is missing exactly the people a 1st AD adds by hand —

• a stand-in, double or stunt performer who is in nobody's scene;
• an actor called for a fitting, makeup test, rehearsal or photo call on a day they do not shoot;
• someone travelling, on hold, or covering a weather day;
• a scene you have not broken down into shots yet, where you already know who is in it.

Use Also called today, the picker under the Cast & Call Times heading. It offers the project's own cast roster — the same list the Shot List and scene editors use, with the same casting-status and availability markers — and anyone you tick is added to this call sheet.

The picker is there whether or not the day has any scheduled cast, so a prep day, a fitting day or a day whose scenes are not broken down yet can still carry a cast list.

What it does and does not do:

• It adds. It never removes. Everyone the schedule calls stays on the sheet.
• It changes this call sheet only. No scene, shot or stripboard is touched, and no other call sheet sees the person you added.
• They are cast, everywhere the sheet goes — the builder table, the exported PDF, the mobile view, the dietary and allergy summary, and the Distribute and Share-links dialogs, so a stand-in can be sent their own copy.
• They get call times like anyone else — call, pickup, costume, makeup and camera-ready, in the same row.
• On a multi-day or bundled sheet they appear on every day of it. Who shoots on which day stays the schedule's answer.
• Archived cast members are not offered. Someone you added before archiving them comes off the sheet — the builder table, the exported PDF, the mobile view, the dietary summary and the Distribute and Share-links dialogs — instead of printing with no cast number. A share link you already sent drops them the next time the sheet is saved, or at once with Update shared copies. Archiving changes nothing stored on the call sheet, so restore them and they are back on any sheet whose Also called today list you have not changed since; on any other sheet, tick them again.

In the builder table an added person is tagged Added next to their name, so you can see at a glance why someone is on the list who is not on today's stripboard. The tag is for you: the printed PDF lists them as cast, unmarked. Someone the schedule already calls does not get the tag even if you also ticked them — they are scheduled cast, and the pin only matters if the schedule later changes.

Ticking someone the day already calls is allowed and sometimes useful: the pin keeps them on this sheet even if their scene is later moved or cut.

Editing what the sheet only shows you

Most of a call sheet is borrowed. The scenes come from the Schedule, the cast from Characters, the addresses from Locations, the equipment from the Gear List, the camera line from the Camera Package, and the allergies from the crew and cast records themselves. None of that is typed on the sheet, so none of it can be corrected on the sheet — and until now nothing on the page said where it had come from. A wrong hospital address meant knowing, unaided, that hospitals are a Locations field.

Every one of those blocks now carries a link to whatever owns it:

• In the section heading — Edit in Location, Edit in Crew, Edit in Gear List, Edit in Camera Package, Edit in Script, Edit in Schedule, Edit in Character / Cast. It opens that tab.
• On the row itself — a small pencil beside a cast member, a crew member, a location or a scene. That one opens the exact record: the cast editor on that character, the Locations tab on that motif, the crew list scrolled to that person.

Getting back takes one step. Use your browser's Back button (or the back gesture on a phone) and you land in the call sheet you were building, not on the list of call sheets — the sheet reopens where you left it. Anything you had typed is kept: leaving the builder saves your work as a draft, exactly as described under Leaving the builder before you save below.

Two things the links deliberately do not do. They never appear on the exported PDF, the mobile view or a shared link — those are read by people who have no access to your project, and an edit button they cannot use is worse than none. And on a sheet you can only view, they still take you to the data, but they say Open rather than Edit.

The dietary block is the one exception to "one link, one place": it counts diets and names allergies across everybody called that day, and a constraint can sit on a crew record or on a cast record. Rather than guess, it offers both — Edit in Crew and Edit in Character / Cast.

An unscouted location has no link. It is an address lifted off a scene, with no record in the Locations tab to open yet; add it there and the link appears.

Auto-sync: keeping a sheet in step with the project

A call sheet is built from a snapshot of the project taken when you created it — crew, cast, locations, hotels, vehicles, gear and tech specs as they were at that moment. That is deliberate: a sheet you sent out yesterday should not silently rewrite itself because somebody edited the project today.

When the project moves on, the builder says so — "Project data has changed since this call sheet was created", with a Sync now button — and publishing while the snapshot is behind asks you to confirm first.

If you would rather not be asked, tick Auto-sync with project data in the preview panel at the top of the builder. With it on:

• The sheet refreshes itself whenever the project changes underneath it, including while you have the builder open.
• It also refreshes once the snapshot has simply gone stale — older than 30 minutes — so a builder left open over a lunch break picks the project back up on its own.
• The drift banner and the Outdated Data confirmation before publishing both stay out of your way. You told the app to handle it, so it stops asking.
• Last synced in the preview panel keeps reporting the snapshot's real age either way. That is the number to glance at if you want to confirm auto-sync is keeping up.

Auto-sync is saved per call sheet, and it never runs on a sheet you can only view — a view-only collaborator's copy is left exactly as they found it.

Your own edits win regardless. Anything you typed over a snapshot value is kept as an override and survives a sync: auto-sync refreshes what came from the project, never what you wrote over it.

The action bar, at both ends of the form

Save Draft, Save as Template, Preview, PDF, Share link, Send, Mobile view, the Redact Personal Info switch and Generate & Publish sit in one bar — and that bar is repeated at the top of the form and at the foot of it, so you do not have to scroll to the bottom of a long call sheet to publish it. The two copies are the same controls and do the same thing; press whichever is nearer.

On a phone only the bottom bar shows. It sticks to the foot of the screen, so everything is already within reach and a second copy would take up most of the display.

What the downloaded PDF is called

PDF in the action bar saves the sheet to your own device, and the file is named for the day it belongs to rather than for the sheet you happened to name it:

2026-09-19_Day3of12_Dispo_Tag_3_SNOCKS_Boxer_Briefs.pdf

Four parts, in this order: the shoot date, the shoot day out of the project's total, the call sheet's own name, and the project.

• The date leads because it is what sorts a folder of call sheets into shooting order — the crew member who has been sent eleven of them can read the folder without opening any of them.
• The day counter is the same Day 3 of 12 the sheet's masthead prints, written without spaces.
• Spaces and punctuation become underscores, and accented letters fold to their base letter (Drehtag Süd → Drehtag_Sud), so the name survives being pasted into a chat, a ticket or a shell.

Each part is left out when the project cannot supply it, rather than printed as a placeholder: a project with no shoot-day list simply has no Day 3 of 12 segment. A multi-day sheet is named after the first day it carries. A sheet with nothing to go on at all still downloads, as Call-Sheet.pdf.

This is the local download only. The Download button in the call-sheet list opens the published copy from its signed link, and that file keeps the storage name it was published under — see The PDF download link expires.

Leaving the builder before you save

Call sheets are long, and filling one in is rarely one sitting. You do not have to press Save Draft before you look something up somewhere else in the app.

If you leave the builder while you have unsaved edits — switching to another pre-production tab, to another tab of the project workspace, opening a different project, or going back — the call sheet is kept for you. It appears in the Call Sheets list marked Draft, and clicking it reopens the builder exactly where you left off. A short confirmation tells you it happened.

There is no longer a way to leave without keeping the work. The builder used to carry a Cancel button that asked whether to discard your changes; it was the only way to abandon a call sheet on purpose, and it is gone as of v0.824.1. Every exit now keeps the sheet as a Draft. To get rid of one you decided against, delete it from the Call Sheets list.

One thing this deliberately does not cover:

• Closing the browser or quitting the app. There is no chance to save when the page is gone. Press Save Draft before you close the window if you want to be certain.

Nothing is saved if you only opened the builder and typed nothing — an untouched call sheet is not added to your list.

Production defaults (Settings → Production)

Three settings live on the project itself rather than on any one call sheet. Open the project's Settings tab and find the Production tile:

They are per-project, so a second production keeps its own producer, director and default.

Precedence. A shoot day's own call time always wins. The default only fills the gap for days that were never given one, and changing it does not rewrite days that already have a time. The same applies to a department or cast call time set on the sheet — those override the day, which overrides the project default.

Before these fields existed the generated header simply printed blank credits and every day without an explicit call time resolved to a hard-coded 08:00 that nothing in the app could change.

Producer and director are key contacts now

Until v0.829.0, General Info had two free-text boxes, Produced By and Directed By, printed as PRODUCER and DIRECTOR lines in the masthead — with no phone number, while the people the unit actually rings sat in a separate Key Contacts block further down. That was one fact in two systems. The boxes are gone: the masthead prints the sheet's key contacts, with their numbers, and the producer and director are key contacts like anyone else.

• A new call sheet starts with its producer and director in the header — whether you press Create Call Sheet in the builder or generate one from the Schedule — and the Key Contacts section starts switched on when either is found. The Produced by and Directed by settings above pick a crew member by name. If a setting names nobody on the crew, the first crew role naming a producer, or a director, is used instead — never a Director of Photography, an assistant director, an art director or a casting director, because a wrong guess here is a wrong phone number on the line the unit rings.
• An existing sheet adopts its typed credits when you open it in the builder. A Produced By or Directed By whose text matches a crew member's name — ignoring case and stray spaces — becomes that person's key contact, and the typed credit is cleared, so taking the contact off later sticks. If the sheet's Key Contacts section was off, it is switched on and every other key contact the sheet already had gets Show in header switched off: the header prints only the adopted credits, the same people the sheet printed before, and the others stay on the list for you to switch back in. If the section was already on, nothing else changes — the contacts it already printed join the credits in the header. Opening the sheet saves nothing by itself: the adopted contacts are saved with your next edit, and every export from the open builder already prints them. A typed credit that matches nobody on the crew — a company name, say — no longer prints; to name that person, add them to the crew and pick them.
• Templates save the key contacts, with their per-sheet title, note and header switch, instead of the credits. A template saved before this change still hands its credits over, and they are adopted as key contacts when the sheet opens.
• There is no TBA line any more. DIRECTOR used to print TBA when it was blank; a key contact is a person picked from the crew, and one nobody picked is not a person to announce.

CLIENT still closes the rail, and only when it has a value: leave it blank and the line — label included — is simply absent from the exported sheet. It used to fall back to N/A, which reads as there is a client, we have not named them yet — wrong for the many shoots that have none: a self-produced short, an in-house piece, a personal job. The client comes from the project's Client field, not from anything on the call sheet.

Mobile view

The PDF is the right artefact for the production office wall and the archive. On a phone it is the wrong one — a landscape A4 document you have to pinch-zoom to read a single call time.

Press Mobile view in the call sheet builder's bottom bar to read the same call sheet as a phone-shaped page:

• The day's seven standing times — crew call, breakfast, shooting start, lunch, shooting end, dinner and wrap — are shown large at the top, in the same order the PDF's header band prints them, with the shoot day number. Each appears only when the sheet has a time for it, and the three meals also follow their own switches.
• Every address is tappable — basecamp, parking, the nearest hospital, the team hotel, the lunch location, every motif in the shooting-order list, both ends of each Directions leg, each pickup and drop-off in the drive schedule, each Vordispo location, and the parking/hospital/police rows inside each location's notes. A blank or whitespace-only field stays plain text rather than opening an empty map search, and so does a placeholder like TBA or a dash.
• Every phone number dials and every email address composes — key contacts, the crew grid, the cast cards and the clients block. Numbers are taken as written, punctuation and all: +49 (0)89 / 12 34-56 dials +49 89 12 34 56.
• Crew call times are grouped by department, so you can find your own row quickly — and each crew row with a number carries its own tap-to-call button, because the person you need on set is usually the 1st AC, not the producer.
• Cast required is a card per person: performer, character, the call time (their own override when they have one, otherwise the crew call), the pickup / costume / make-up / ready times when those columns are on, and — when Cast Scenes is on — every scene they are called for with its time and place. Background cast are tagged (BG) in text, exactly as the PDF prints them.
• The scenes are the shooting day in schedule order, breaks and setup blocks included, each with its heading, time span, location and cast. A bad-weather location is labelled rather than silently swapped.
• Episodes, the script breakdown, the gear list, the temporary gear and the day's weight/power totals come through as well, off the same data the PDF prints them from.
• The weather — the forecast line, sunrise and sunset, and the hour-by-hour detail — appears on the first shoot day, the same day the PDF puts it on.
• The optional blocks the producer switched on come through too: day type, department call times, team hotel, catering, the drive schedule and its return legs, extras, the safety checklist, location notes, special notes, Vordispo, the technical specs and the production notes. A block switched off in the builder is off here and off on any share link — the switch is applied when the link is published, not when the page is drawn.
• Multi-day call sheets render one block per selected day, with that day's overrides already applied — the same values the PDF prints, because both are built from the same resolver.

The blocks appear in the PDF's own order, so the two readings of one day can be laid side by side without disagreeing. Tables that are too wide for a phone — the cast table is up to ten columns on paper — are rendered as cards rather than as something you scroll sideways.

It is the PDF's design, at every width

The mobile view and a share link are the same page, and since v0.828.0 it carries the printed sheet's look as well as its content.

• The crew call is a filled block in your production's brand colour, set several times larger than the times beside it. It is the single most-read value on a call sheet, and the PDF has always given it a block of its own on page one; on a phone it used to be one of seven identical numbers, so at 05:30 it looked like dinner.
• Your brand colour is used wherever the PDF uses it — the block above and the header bar of every table. If you have chosen a pale brand colour, the text on it turns dark rather than staying white, so a yellow or a mint stays readable. Set it under Settings → Account → Signature & Branding; the accent currently applies to the in-app mobile view.
• Tables change shape instead of scrolling. Narrower than about 640px, each row becomes its own card with the column headings as labels inside it; wider than that, the real table returns. Nothing on this page scrolls sideways at any width — verified at 320, 375, 768 and 1280px.
• The forecast is one card — icon, high and low, the condition, sunrise and sunset, and the hour-by-hour forecast drawn as bars that wrap onto a second line instead of scrolling. A forecast line you typed yourself is printed exactly as you wrote it; nothing is guessed.
• Key contacts sit in the masthead card, under the day's times and a Key contacts label — where the PDF prints them — each with Call and Email buttons and the per-sheet note, and the client line after them. The separate key-contacts section further down is gone, and the department call times card now comes before the weather card, as on page one. They reach a share link too: with Redact Personal Info on, the names, titles and notes are published and the numbers are not — so the crew can see who to ask for without the link carrying anyone's mobile number. A contact switched out of the header is not published at all, and the link no longer carries the old producer and director credits.

Dietary requirements are published too — know what that means. They render in the in-app mobile view and on a share link, so a link now carries everything the PDF prints. Dietary rows are health data: diets are counts without names, but allergies name the person, because a caterer has to know which plate goes to whom. The block is off by default and is published only for a sheet where you switched Dietary requirements on, so nothing starts circulating by itself — but on a sheet where it is on, anyone holding the link can read those names, with no account needed. Switch the block off for that sheet if you do not want that.

The button is available to view-only collaborators as well as editors, since a crew member reading the sheet on set is exactly who needs it.

Redaction applies here too, and fails closed. Personal phone numbers and email addresses are hidden unless Redact Personal Info is switched off in the builder; the view says so explicitly when they are hidden. The mobile view shows the same notes block the PDF prints — General — so what a producer writes reaches the people reading the sheet on set, not only the producer who exported it. The same sweep runs over the free text inside the new blocks — catering notes, extras notes, special notes, safety mitigations, location notes and the production notes — because those are boxes a producer types a contact number into.

The exported PDF is tappable too

The PDF is read on a phone far more often than on paper — it arrives as a mail attachment and is opened in the mail client. So every place on it opens in Maps, every number dials and every email address composes, from the same text that prints:

• Addresses — the page-one address table, its parking and hospital columns, the basecamp band, each motif in the shooting-order list, both ends of every Directions leg, the team hotel and the lunch location.
• Phone numbers — the key contacts in the masthead, the crew table and the cast table when crew contacts are switched on, the clients block, and the hotel.
• Email addresses — the crew, cast and clients tables.

Nothing about how the document looks changed. The links carry no colour and no underline: the hospital line is red because it is the line somebody reads under pressure, and turning a third of page one hyperlink-blue would cost more on paper than it buys on glass. Your reader just gets a hand cursor where a value is a place, a number or a mailbox.

Two things the links deliberately will not do:

• A redacted sheet carries none of them. With Redact Personal Info on, the numbers and email addresses are not on the document at all — and a link would be a second copy of the value your eye cannot check. There is none.
• A placeholder is never a link. An unfilled cell prints TBA, and "TBA" is a real place in Google Maps. Those cells stay dead text, as do —, n/a and anything else that stands for "nothing here yet".

Revisions — numbering what goes out

The first time you publish a call sheet it becomes the Original. Every publish after that is numbered — Rev 1, Rev 2 — and the sheet keeps a record of exactly what moved between them: what was added, what was removed, and what changed, down to the individual field.

While you edit, the Revisions panel beside the builder shows:

• which revision the sheet is currently at, and when it was published;
• every change you have made since that publish, grouped by shoot day, with the old and new value;
• which revision publishing would issue next.

So you can see what the unit is about to be asked to re-read before you send it.

Publishing again with nothing changed keeps the number. The PDF is re-rendered and the shared links are refreshed, but a re-issue of the same document is not a new version.

On paper, from Rev 1 onward the marker prints in red in the PDF masthead. The Original carries none — it is the copy everybody already has, and the marker exists to say "this is not that one".

On a shared link, the reader sees a "Rev 2 — what changed" block above the sheet, listing what to look at. That list names fields, never values: the new call time is on the sheet itself. On a copy where phone numbers and email addresses are hidden, contact changes are left off the list entirely rather than described.

Duplicating a call sheet gives you an unpublished copy. A duplicate is a starting point, not a document that has been issued, so it carries no revision, no publish time and no history.

Revisions are not the same thing as the drift banner. Drift means the project changed underneath the sheet, and the answer is Sync. A revision means the sheet changed since it was issued, and the answer is Publish.

Share links (no account needed)

Mobile view only works for people who already have the app and access to the project. Everyone else — the driver, the location owner, a day-player casual — still gets an emailed PDF. Share link closes that gap.

Press Share link in the builder's bottom bar. You get one row per person on the call sheet, plus anyone who already holds a link:

• Create link mints that person's own URL (/cs/<token>). The token is 256 bits of randomness — it is the credential, so treat the link like a key.
• Copy puts it on the clipboard; the URL is also shown as selectable text, because clipboard access is blocked in some webviews.
• Revoke kills exactly that person's link and nobody else's. Revoke all kills every live link for the sheet — the "it leaked" button.
• Update shared copies re-publishes the current call sheet to everyone who already holds a link. You rarely need it now — see Links keep themselves current below — but it is the right button after a stretch offline.
• The eye button on each row decides whether that person sees phone numbers and emails. See Different redaction for different people below.
• Hide for all crew / Show to all cast set a whole group at once. People who have left the sheet are deliberately left out of the group actions — they are exactly who you are most likely to be cutting off, so you change them one at a time.

Links keep themselves current

Saving the call sheet refreshes every live link. Change a call time, move a location, and the people already holding links get the new sheet on their next look — no re-sending, no "update" button to remember.

• A page someone already has open updates itself, without them reloading. It re-reads about once a minute while they are actually looking at it, and stops entirely while the tab is in the background.
• The page says how current it is — "Updated 4 minutes ago" under the title, with a Refresh button beside it.
• A save that changes nothing a recipient can see costs nothing. Renaming a template or regenerating the PDF does not re-publish.
• If the refresh cannot run — you are offline, which is normal on set — the save still succeeds and the app tells you the links were not refreshed. Press Update shared copies when you have signal.
• Revoked links stay revoked. A refresh never brings one back.

Different redaction for different people

Redact Personal Info in the bottom bar sets the default for the whole sheet. Each row in Share links can then override it:

• The eye button on a row switches that person's copy between hidden and visible. The row says which is in force, and whether it came from the sheet or from a choice you made for that person.
• Typical use: the crew see each other's numbers, the cast see none — or everyone is redacted except the director.
• Changing it on a live link rewrites that person's copy and keeps their URL, so a link you already sent keeps working.
• Changing it on someone with no link yet mints nothing. The choice is remembered and applied when you create their link.
• A person you have not decided about follows the sheet. Flip the bottom-bar switch later and they move with it; someone you set explicitly stays where you put them.

Rules the app enforces for you:

• Links expire 48 hours after the last shoot day. A multi-day bundle stays open through the final morning; nothing lives forever.
• A revoked, expired or unknown token all look the same to the visitor — "this call sheet is not available". That is deliberate: a distinguishable error tells a stranger which tokens exist.
• Redaction is honoured per recipient, and it removes data rather than hiding it. Where redaction applies to a person, crew and cast phone numbers and email addresses are absent from their published copy, not merely hidden in the layout — and the same applies to the free-text General note, which is scanned for numbers and addresses before it is published. One exception, stated plainly: the logistics fields — basecamp, parking, nearest hospital and parking directions — are published as written. They are deliberately not scanned, because the scanner is a pattern match and cannot tell a crew member's mobile from the hospital's switchboard; redacting them would strip the emergency number this page exists to carry, and the basecamp address is the map link. Treat those four boxes as public and keep personal contact details out of them.
• Someone who has left the crew stays listed while their link is live, because they are exactly who you want to be able to revoke.
• The shared page is noindex and boots without the app shell — no sign-in prompt, no sync engine, no sidebar.

What is not published: the PDF URL, the distribution history (which carries recipient email addresses), templates, and drift state. The shared snapshot is an explicit allow-list, so a new field added to a call sheet cannot leak to the public simply by existing.

Password-protecting a link

A share link is an unguessable 256-bit token. That is strong against guessing and does nothing about forwarding — once the link is in a WhatsApp group it opens for whoever is in that group. A password is the second factor you hand out separately.

Set one in Share links → Password:

• One password per call sheet, not per person. Everyone is asked for it by default.
• The lock button on a row unlocks that one person. The row says whether they are asked for the password and whether that came from the sheet or from a choice you made for them. The typical case is the 1st AD who has to open the sheet on a borrowed phone.
• The panel says how many links the password currently protects — "protects 11 of 12 links" — before you send anything.
• Setting, changing or removing a password re-stamps every live link, so links you handed out before the password existed start asking for it straight away. Nobody's URL changes.

You cannot read the password back. Only a one-way hash of it is stored, so the app can check a password but can never show you one — not on this device, not on another, not to support. If you forget it, Set a new password, which replaces it for everyone at once.

Getting the password to the crew. Two ways, and the difference is worth a moment's thought:

• Send it yourself, by text, by voice, on the call sheet's own WhatsApp group. The password then travels a different route from the link, which is what makes it a real second lock: someone who is forwarded the email still cannot open the sheet.

• Let the email carry it. When you press Send, the dialog asks for the password — it is not stored, so you type it once per send — and checks it against the sheet before anything goes out, so a typo can never be mailed to the unit. Each protected person's email then shows the link and the password together. Only people whose link actually asks for one get it; anyone you unlocked gets the normal email.

  Be clear-eyed about what that costs: a forwarded email carries the link and its key in the same message. The password stops being a second factor and becomes a speed bump — it still keeps out someone who only has the URL, and it no longer keeps out anyone who has the mail. The email says so, in as many words, under the password. For a sheet with a home address, a cast list or a hospital on it, sending the password separately is the safer habit.

The check happens on the server, not in the page: a protected link returns no call sheet at all until the right password is supplied, so the contents never reach a browser that has not earned them. A wrong password says only that it is wrong — it never confirms whether the link itself is real.

Per-Recipient Watermarking

When distributing, enable "Watermark each copy with the recipient" (off by default) and every selected person receives their own PDF with their name and email rendered diagonally across each page. A call sheet carries locations, schedule, cast and crew contacts — if a copy leaks, the watermark tells you whose it was. The watermark is embedded in the PDF itself (the same mechanism as the invoice draft marks), so it survives printing and re-saving. Generating takes a moment per person; if a watermarked copy fails to generate, that recipient is marked failed rather than silently receiving the clean PDF.

Sending a call sheet by email

Send is the other half of Share link, and since v0.811.0 it is the same list. The Send dialog shows every person on the call sheet — not just the ones with an address — with the same per-person eye button for personal info that the Share-links dialog has. It is not a copy of that setting: it is the same stored decision, so whichever dialog you set it in, the other one shows it.

• Publish first. Generate & Publish renders the PDF and uploads it; the Send button only appears once a PDF exists. Publishing on its own emails nobody — it is the step that makes a sheet sendable, not the send.
• The list remembers who it went to. It preselects everyone holding a live link plus everyone in your last send, so a revised sheet reaches the same unit in two clicks. Nobody unreachable is ever preselected.
• Sending mints the links. Anyone selected without a live link gets one, so their View live call sheet button works. Anyone who already has one keeps the same URL, refreshed — a link you sent last week does not break.
• The PDF arrives attached, fetched by the server from the copy you published. If it is too large to attach, the email still goes out and falls back to the download button; it never claims an attachment it is not carrying.
• It comes from callsheet@cine-power-planner.com, and replies go to you — not to that address.

Each email is addressed to one person, not to a list:

• Greeted by first name — "Hi Maximilian," not "Hi Maximilian von Hohenberg-Schwarzenfeld,". Someone whose contact record has no real name (just an email address) gets no greeting line rather than being addressed by their address.

• The right call time, in three tiers. The email uses that person's own call time; failing that, their department's row from Department call times; failing that, the unit's crew call. A personal time is labelled Your call, a department one Your call (Licht) — named after your own row — and the unit's Crew call. The label is the point: a 05:30 pre-call printed under the words "Crew call" is how somebody arrives at the wrong time.

  Departments come from the crew member's role, the same mapping the crew grid and the PDF group by — DoP, 1st AC and 2nd AC are all Camera, so one Kamera row covers all three. It matches in either language: a row typed "Kamera" still works when the app is in English, and vice versa.

  A department row applies to someone only when its label names their role (Gaffer, or Oberbeleuchter*in) or their department (Light, Licht), matched exactly apart from case, spacing and &/und. A row naming the role wins over one naming the department. A label that names neither — "Regie", say — applies to nobody, and those people get the unit's time instead. That is deliberate: guessing would hand somebody another department's call time, and being an hour out is worse than being general.

• The first location of the day, in shooting order — not the basecamp. A day whose scenes have no scouted locations falls back to the basecamp.

Each recipient's View live call sheet button opens their link, under their redaction setting. That is the practical difference from the PDF: the live page always shows the current sheet, and you can revoke one person's access without disturbing anyone else.

Distribution status

Every email send is recorded in a Distribution status panel inside the builder — newest send first, with each recipient's name, role and status. New sends start as Sent; when an acknowledgement arrives (by text, call or reply), mark that person Confirmed with one click — and undo it if you were too quick. The panel counts confirmed/total per send, so "who hasn't acknowledged?" has an answer the night before the shoot day.

Two guarantees: sends recorded before status tracking existed stay visible (read-only), and republishing a sheet adds a new entry — who confirmed an earlier version is never erased.

When you distribute, people without an email address are shown too — disabled, with the reason — instead of quietly missing from the list, and the dialog warns how many people on the sheet cannot receive it. Add the missing address in Contacts to include them.

The PDF download link expires

Every route the PDF leaves the app by — the Download PDF button in the distribution email, Download in the call-sheet list, and Copy PDF Link — hands out a signed link with a deadline, not a permanent public URL.

• It stops working 48 hours after the sheet's last shoot day, the same clock the /cs/<token> share links run on. That is the point: a call sheet carries crew mobile numbers and hotel addresses, and a permanent URL to it would keep working for anyone who ever saw the link — including after the job ends.
• A sheet whose shoot day has already passed still distributes. Re-sending always mints a link good for at least another 48 hours, so "the link died and the gaffer still needs it" is answered by distributing the sheet again.
• Download and Copy PDF Link always mint a fresh link at the moment you click, so a sheet published weeks ago never hands you a dead URL.
• A link that is already out cannot be withdrawn early. This is the one thing the share links can do that the PDF link cannot — a signature is valid until it expires. When a leak has to be traceable, switch on per-recipient watermarking before distributing; when it has to be revocable, send the share link instead of the PDF.

Privacy & Security

To prevent exposure of sensitive personal identifying information (PII) if a Call Sheet is leaked:

• The system adheres to privacy settings in your Contact book.
• Specific sensitive fields are auto-redacted unless explicitly overridden by the producer/UPM.
• PDFs live in a private storage bucket. Reaching one requires a signed link issued by someone on the project; the bucket answers an unsigned request with an error, so a guessed or stale URL gets nothing.

Notes

• Generating a call sheet requires accurate location data to correctly fetch the weather forecast.
• This feature relies on your existing Contacts and Calendar data structures to auto-populate the layout.

Import external call sheets (Day Briefs)

When you crew on someone ELSE's production, you receive their call sheet as a PDF or email. Import external (Call Sheets tab header) turns it into a compact Day Brief using your own AI key (AI Integration — cloud provider or the on-device Gemma model):

1. Import — paste the dispo text or pick the PDF (text layer extracted locally; scanned PDFs are pointed to the OCR tool under PDF Tools). Press Create day brief, review the recognized summary, and save. Briefs appear as cards above your own call sheets (max 20 per project) and sync with the project.
2. The brief — deliberately short: warnings first, then timeline, locations with Google-Maps links and indoor/outdoor tags, drive legs, hotels, key contacts, notes.
3. Weather + gear warnings per location — for shoot dates from today up to 15 days ahead, every shooting location gets its own forecast for that date and derived warnings: rain → rubber boots + rain jacket, snow, ice risk, cold → winter jacket, heat → sunscreen/hat/water, strong wind → secure rigs, fog — plus terrain hints read from the dispo itself (mud → rubber boots, forest/mountain/long walk → hiking boots). If all locations are indoor, the brief says so and skips outdoor gear warnings. Dates further out show a "forecast not yet available" hint.
   • Breakfast + parking — hotels show their breakfast window and parking, and locations show their parking, on the card (and in the digest + PDF). If the hotel breakfast opens at or after your crew call, the brief warns you to arrange an early or packed breakfast; a very tight window (under 45 minutes before call) gets a gentler "plan grab-and-go" note.
4. Drive legs — hotel → first set and set → set with typical durations and distances, honestly labeled without live traffic; departures in rush-hour windows (06–10 / 15–19) get a ~25 % buffer hint. Each leg links to the map.
5. Own notes — add what the dispo forgot ("shooting in a pig pen — bring overshoes"), optionally flagged Important; notes render with the warnings and are included in the email and PDF.
6. Live shoot-day mode — opened ON the shoot date, the brief shows where the timeline says you should currently be, what comes next, and the next location. Tap Locate me (optional, asks for location only then) to see the distance from your current position and get a Directions from here link.
7. Send brief to team — pick recipients from your project crew, optionally add a personal message, and send: the team receives the core infos + warnings as text plus a compact one-page PDF of the brief. Sending is queued offline-safe.

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Last Updated: 2026-09-13 Version: 0.829.1