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A call sheet is the production document distributed daily to the cast and crew. It lists where to be, when to be there, who is on call, what's being shot, and the critical safety information (nearest hospital, weather, on-set notes). The app generates them from your project data so you don't reformat the same fields every morning.

• Pulls the shoot days from the project's dates, and each day's scenes and their locations, in running order, from the Schedule sub-tab.
• Pulls crew (with roles, departments, and call times) from the project's Crew tab and from Contacts.
• Pulls the cast from the Character / Cast sub-tab — everyone whose character the day's schedule calls.
• Adds the forecast for the day at the basecamp, with sunrise and sunset.
• Captures the day's standing times — Crew Call, Breakfast, Shooting Start, Lunch, Shooting End, Dinner and Estimated Wrap — plus per-department call times.
• Goes out as a PDF, a phone-sized Mobile view, personal share links and email.
• Supports single-day call sheets (one shoot day) and multi-day call sheets (a range of consecutive days).

From the project workspace.

1. Open the project. If the Preproduction tab isn't visible, enable it via the project's '…' menu → 'Configure Tabs'.
2. Switch to the Preproduction tab, then to its farthest-right sub-tab, Call Sheets (right after Schedule).
3. Click 'Create Call Sheet'. The date picker offers Single-Day or Multi-Day mode. It lists the project's shoot days, so add shooting dates in the Schedule tab first — with none set there is nothing to pick.
4. The editor opens, pre-filled from the project: schedule, location, crew, cast.
5. Set the day's key times in the 'Schedule & Times' grid: Crew Call, Breakfast, Lunch, and Estimated Wrap. These define the day's overall envelope.
6. Confirm the locations: Basecamp, Shooting Location(s), Nearest Hospital. Coordinates power the weather widget.
7. Set per-department call times in the Department Call Times editor when a whole department needs to be on set before the general Crew Call.
8. Adjust per-crew call times where they differ from the general call (e.g. lighting in 90 minutes early).
9. Add critical notes — parking instructions, weather precautions, special equipment caveats, anything the crew needs to know.
10. Get the PDF. 'PDF' in the action bar downloads it to your own device and 'Preview' shows it first; 'Generate & publish' renders and uploads it, then opens the send dialog. The output is multi-section: header, locations, weather, crew, timeline, notes, safety info.
11. The action bar — Save draft, Save as template, Preview, PDF, Share link, Send, Mobile view, Redact Personal Info and Generate & publish — is repeated at the TOP of the form and at the foot of it, so a long call sheet can be published without scrolling to the bottom. On a phone only the bottom bar shows; it sticks to the foot of the screen.

A call sheet is long, and filling one in is rarely one sitting. You do not have to press 'Save draft' before you go look something up elsewhere in the app.

• Leave the builder with unsaved edits — another preproduction sub-tab, another workspace tab, a different project, the back button — and the call sheet is kept for you. A short confirmation says so.
• The kept sheet appears in the Call Sheets list marked Draft. Click it and the builder reopens exactly where you left off.
• There is no Cancel any more (removed in v0.824.1). It was the only way to abandon a sheet on purpose; every exit now keeps the work as a Draft. To get rid of one, delete it from the Call Sheets list.
• Closing the browser tab or quitting the app is NOT covered — there is no chance to save once the page is gone. Press 'Save draft' first if you want to be certain.
• Opening the builder and typing nothing adds nothing: an untouched call sheet never lands in your list. What the forecast fills in by itself (sunrise, sunset, the weather lines) does not count as an edit; it is saved with your next change.

A template keeps the set-up of a call sheet you reuse day after day, so the next sheet starts from it instead of from scratch.

• In the builder, press Save as template in the action bar, give it a Template name (for example "Standard Shoot Day") and save.
• A template keeps which sections are switched on, the standard call times and department call times, the logistics, team hotel and catering, the drive schedule, extras, notes, safety checklist, Vordispo, production notes, quote of the day, set medic, day type, key contacts with their per-sheet titles and notes, the PDF language and the logo choice. It never keeps the date, the scenes, the weather or who the sheet was sent to.
• Templates belong to the project and sync with it, so everyone working on the project sees them.
• Once a project has a template, From template appears next to Create Call Sheet. It opens Start from Template: Use creates a new call sheet from that template, dated today, and opens it in the builder; set the shoot date there. The bin icon beside a template (Delete template) removes it.

For shoots that span several consecutive days (festival shoots, week-long commercials, multi-location documentary segments). The editor handles each day independently while sharing the project context.

• Pick a date range when creating the call sheet to enter multi-day mode.
• Under Per-Day Details each selected day gets its own Location, Crew Call, Estimated Wrap and Day Notes. An empty field uses the sheet's default, and a day you changed is marked customized.
• The forecast is captured once, for the first day of the sheet, and prints under that day only — later days carry no weather block rather than repeating day one's.
• Export produces a single PDF in which every shoot day starts on a new page.
• Crew defined on the project flows into every day by default; per-day overrides handle different call times or department-specific schedules.

Weather is pulled live from a forecast service based on the location coordinates and the call-sheet date. No manual entry, no copy-paste.

• One forecast, two places — the Weather Analysis panel at the bottom of the Call Sheets tab shows one card per scheduled date across the whole shoot; the card inside an open call sheet is that one day in detail. Until v0.841.2 they disagreed: the panel still printed the pre-widening summary (the raw decimal high and low, “Precip: 0.4 mm”, a bare wind speed) while the in-sheet card had learned feels-like, the chance of rain as well as the amount, wind direction and gusts, snow, cloud cover, humidity and UV. The panel's cards now carry the same detail strip from the same forecast and round the temperature the same way. Two differences stay on purpose: the hour-by-hour strip is not in the panel (one card per shoot day, a 24-hour strip on each would bury the list), and the panel keeps its shoot score, which is what ranks one shoot day against another.
• Requires a location with valid coordinates. Free-text location names without coordinates don't fetch weather.
• Displays the condition plus the day's high / low temperature, with sunrise and sunset for golden-hour planning.
• Underneath that it adds the detail a shoot day actually turns on: feels-like temperature, chance and amount of rain, wind direction, speed and gusts, cloud cover, humidity and the UV index. Each figure appears only when the forecast service returns it for that day, so a sparse forecast shows fewer figures rather than blanks.
• When rain is likely — 20% or more — the chance is appended to the weather line the PDF prints. Below that the line stays short on purpose: the weather card is half of page one wide, sharing its row with the Department Call Times.
• Forecasts become reliable around 48 hours out. Earlier than that the data is indicative, not actionable.
• Weather data is embedded in the exported PDF — the crew sees the forecast even offline.
• The phone view and the shared link draw the SAME card as the PDF (since v0.841.6) — a sky per hour with the temperature under it and the clock under that, the day’s risk facts under a FORECAST caption, and the whole thing on one tinted surface. It used to draw temperature bars and unrounded temperatures. On a shared link the hourly conditions could not appear at all before then: the published payload carried the printed hourly line but not the per-hour forecast codes, so there was nothing to draw a condition from. Re-save the sheet to republish an older link. An hour whose code the sheet cannot place shows no icon rather than a guess.

The call sheet captures the day's timing in a fixed 'Schedule & Times' grid of seven time fields — it is not a drag-and-drop block timeline.

• Seven day-level time fields, in the order the day happens: Crew Call, Breakfast, Shooting Start, Lunch, Shooting End, Dinner and Estimated Wrap.
• Breakfast, Lunch and Dinner each carry their own switch on the field's label line. They are ON by default — switching one off keeps the time you typed in the builder but leaves it off the sheet, and a sheet with no dinner time prints no dinner cell either way.
• Per-department call times are set separately in the Department Call Times editor, so a department (e.g. lighting) can be called before the general Crew Call.
• Enter each time directly — there are no blocks to add, colour-code, or reorder.
• The times flow straight into the exported PDF's schedule section.
• Crew Call, Lunch and Estimated Wrap follow the Schedule tab automatically for the shoot day matching the call sheet's date — move the meal break on the Schedule and the call sheet's Lunch follows.
• Department call times are filled from the Schedule too: Camera and Lighting from the first shot's setup times, Director 30 minutes before the crew call, plus the day's manual 'Other Depts.' time.

Three project-level settings feed every call sheet you create. They live in the Project Settings dialog — the project's '…' menu → 'Project Settings' — under "Production".

• Produced by and Directed by pick who a NEW call sheet puts in its header as key contacts, and the Key Contacts section starts switched on when either is found. Each setting picks a crew member by name; if it 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: a wrong guess there would be a wrong phone number on the line the unit rings.
• Default crew call is the time a shoot day uses when it has no call time of its own — leave it empty and the day falls back to 08:00.
• A day's own call time always wins; the default only fills the gap.
• All three are per-project, not per-account, so a second production keeps its own settings.
• Both ways of creating a call sheet use them: the schedule's "generate from shoot days" action and the "Create Call Sheet" button.
• The Produced By and Directed By boxes in General Info are gone (v0.829.0). They printed PRODUCER and DIRECTOR as typed names with no number; the header now prints the sheet's key contacts instead, one line each with a title, the name and a phone number that dials from the PDF — see "Key contacts — who to ring, and why".
• 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 (trimmed, ignoring case) becomes that person's key contact, and the typed credit is cleared. If the sheet's Key Contacts switch was off, it is turned on and every other key contact the sheet already had gets Show in header switched off — so the header prints only the adopted credits, the same people it printed before. If the switch was already on, nothing else changes: its list joins the credits in the header. A typed credit that matches nobody on the crew — a company name, say — no longer prints; add that person to the crew to name them. There is no DIRECTOR TBA line any more.
• CLIENT still closes the header's credit lines, and only when it has a value — leave it blank and the line, label included, is left off the sheet. It comes from the project's Client field, not from anything on the call sheet.

Temporary assignments are crew and gear that are present for specific shoot dates only (day-players, day-rented gimbal). The call sheet picks them up automatically based on the day's date.

• Amber styling and a TEMP badge make temporary items visually distinct from permanent crew/gear.
• Per-day power and weight totals combine permanent + temporary gear correctly.
• Removing a temporary item from the call sheet does not affect the master project — the project's Gear/Crew tab remains the source of truth.
• Temporary items live primarily in the project's Permanent ↔ Temporary toggle on the Gear and Crew tabs.
• Weights come from the gear itself: a row added from the device catalogue weighs its catalogue device unless a weight was entered for it, so the day's Total Weight and the temporary gear's Weight column fill in without typing.

The exported PDF is a clean, multi-section document assembled automatically from the day's data.

• Output sections: header, locations, weather, crew grid, schedule & call times, notes, safety info, cast / characters.
• A logo prints in the top-right corner of the first page and the document takes your brand accent colour. Per call sheet, Include Logo in General Info turns the logo off for that one sheet; it is on by default, including on sheets made before the switch existed, and switching it off reclaims the space instead of leaving a blank band.
• Logo to print chooses WHICH logo: your Company logo from Settings → You & Your Company → Signature & Branding, or a Custom logo for this sheet you upload right there — PNG, JPEG or SVG up to 2 MB — for a copy going out under a client’s or a co-production’s letterhead. Uploading a file selects it; Remove puts the sheet back on the company logo. With no company logo the custom upload still works and the switch stays live. Save as template carries the choice and the picture; the mobile view and share links carry no logo at all.
• The exported PDF is tappable. Every address on it opens in Google Maps — the page-one address table with 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 — every phone number dials, and every email address composes. Nothing about how the document looks changed: the links carry no colour and no underline, because the hospital line is red for a reason and page one is not a web page. Two deliberate exceptions: a sheet exported with Redact Personal Info on carries no number or email link at all, and a placeholder cell — TBA, n/a, a dash — is never a link, because “TBA” is a real place in Google Maps.
• Multi-day call sheets export as one PDF in which every day starts on a new page.
• Cast / Characters per shoot day are pulled from the Shot List & Schedule.
• Downloaded files name themselves. The PDF button in the action bar saves the sheet to your own device as 2026-09-19_Day3of12_Dispo_Tag_3_SNOCKS_Boxer_Briefs.pdf — shoot date, shoot day out of the project total, the sheet’s own name, then the project. The date leads so a folder of call sheets sorts into shooting order; the crew member holding eleven of them can tell them apart without opening any. Spaces become underscores and accented letters fold to their base letter, so the name survives a chat, a ticket or a shell. Anything the project cannot supply is left out rather than padded — no shoot-day list, no Day 3 of 12 segment — a multi-day sheet is named after the first day it carries, and a sheet with nothing to go on still downloads as Call-Sheet.pdf. The Download PDF button in the list is the published copy and keeps its storage name.
• Every page of the exported PDF is stamped with its shoot day and date — Day 3 of 12 · Sun, 20 Sep 2026 in the bottom-left, beside the sheet name and page counter already there. Call sheets get read in pieces: the masthead answers “which day is this” on page one, and page one is not the page that gets forwarded. Each half drops out on its own rather than printing a placeholder — no shoot-day list means the date alone, an unreadable date means the day alone. A bundled multi-day sheet prints the span it covers (Days 3–5 of 12) rather than one day, since a single footer is drawn for the whole document; each day page still carries its exact day in its own masthead.
• Generated PDFs can be shared via email, messaging, or printed for paper distribution.
• Distribution status: every send is recorded with each recipient’s name, role and status (newest first) in a panel inside the builder. New sends start as Sent; mark recipients Confirmed as acknowledgements arrive by text, call or reply — undo included. The panel counts confirmed/total per send, older sends from before status tracking stay visible read-only, and a republished sheet adds a NEW entry, never erasing who confirmed an earlier version.
• Unreachable recipients: a crew or cast member without an email address is shown in the distribute dialog — disabled, with the reason — instead of silently missing from the list, and the dialog warns how many people on the sheet cannot receive it. A cast member sharing an email with a crew member is shown too, marked as a duplicate.
• Dates print in the format of the country you are in, not the language you chose. The document language (the sheet’s PDF Language field under General Info) still decides the words — June or Juni, Thursday or Donnerstag — but the order of day, month and year follows your device’s time zone. An English call sheet made in Germany reads 25/06/2026, the same sheet made in Chicago reads 6/25/2026, and a German one reads 25.6.2026 everywhere. Nothing to set up: shoot abroad and the dates follow you.
• Download links expire. The emailed “Download PDF” button, the Download PDF button in the list and Copy PDF Link all hand out a signed link that stops working 48 hours after the sheet’s last shoot day — the same clock the share links use, so a call sheet cannot leave behind a permanent public URL to crew phone numbers and hotel addresses. If someone still needs the PDF after that, distribute the sheet again: a re-send always mints a link good for at least another 48 hours. A link already sent cannot be withdrawn early; switch on the per-recipient watermark when you need a leak traceable.

The call-sheet PDF assembles modular content sections based on what's in the project. Each section is conditionally included if the relevant data exists.

• Scene Breakdown — pulls scheduled scenes directly from the Shot List & Schedule's stripboard. Edits to scene locations in the Shot List propagate to the call sheet immediately.
• Cast & Characters — auto-populated from the day's scheduled scenes.
• Logistics — summarises parking, catering, nearest hospital, and any critical production notes.
• The PDF renderer assembles these modularly so single-day and multi-day exports both look clean.

Optional blocks are opt-in, and every one of them can be switched from two places that always agree: the Optional Sections panel near the top of the builder, and a switch sitting with the thing it governs further down the form.

• Optional Sections panel — one chip per block, each with its own switch, plus a running count of how many are on.
• Section switch — the labelled strip directly above each optional block. It stays in place when the block is off, so 'Drive Schedule' reads as switched off rather than as something the app cannot do; flip it and the block appears in the same spot.
• The chips run in the order the finished call sheet prints, so a switch sits where the thing it governs appears. Some of them (Location Details, Weather & Sun, Cast Times, Cast Scenes, Crew Contacts, Dietary Needs) are details inside a section that always renders rather than blocks of their own, so their second switch sits inside the section it changes: Cast Times and Cast Scenes above the cast table whose columns they add, Crew Contacts under the crew grid, Location Details and Weather & Sun in the Location & Weather tile, Dietary Needs on the dietary summary.
• Team Hotel and Catering share one card, so that strip carries both switches and the card stays while either one is on.
• Both surfaces write the same setting: switch Extras off on its section strip and the chip in the panel goes dark and the count drops.
• Every switch reaches the exported PDF, not just the builder — Day Type used to print the day type it had captured even when switched off, and Gear List added a block to the builder and nothing to the export.
• Tech Specs — camera, lenses, sensor mode, codec, resolution and framerate — had no switch at all until September 2026, so it printed on every sheet you exported, including the copies that go to a client or a location owner. Switching it off now removes it from the builder, the PDF, the mobile view and any link you publish afterwards; the specs themselves stay on the call sheet and come back unchanged when you switch it on.
• Cast Table and Cast Times are two switches over one block, and they do different jobs. Cast Table decides whether the cast table is on the call sheet at all — in the builder and in the exported PDF. Cast Times adds the pickup, costume, make-up and camera-ready columns to that table. Until September 2026 only the second one existed, so the only switch beside the cast table made it wider rather than taking it off the sheet.
• Switch Cast Table off and the columns switch goes 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.
• Crew Times, Weather & Sun, Tech Specs, Cast Table, Locations in Shooting Order, Shooting Schedule and Production Notes are the seven blocks that are ON until you switch them off — each printed on every call sheet made before its own switch existed, and stays that way. The Breakfast, Lunch and Dinner time switches start on too. Every other block, Dept. Call Times included, is off until you turn it on — except Key Contacts, which a new sheet starts with on when it finds a producer or director.
• Cast Scenes — the third switch over the cast block, beside Cast Table and Cast Times. It adds a panel per cast member listing every scene they are called for that day, with the scene number, the time it starts and the location, read straight from the schedule.
• Inside each scene you can set a call, costume, make-up and ready time for that scene alone — for the actor who comes back after lunch in a different costume. The day-level Cast Times columns stay as they are.
• There is no per-scene pickup time on purpose: a pickup happens once, at the top of the day, from home.
• Cast Scenes is off until you turn it on, on new and existing call sheets alike — it adds a Scenes column no sheet had before. It prints in the exported PDF, one line per scene with any per-scene times underneath.

Page one answers where, when and who to call. Everything else follows on the pages after it, in full.

• Production Notes print FIRST on page one, directly under the masthead (changed 2026-09-15). Nothing prints if the field is empty. A long note competes with the addresses under it — roughly 1,500 characters still leaves the address table on page one, around 2,500 pushes it, and the nearest hospital goes with it.
• Page one is the overview, and only the overview, in five rows: the masthead with the general call time and the day's key contacts; the day's General Notes beside the Location Notes; the day's seven standing times; the Department Call Times on the left with the weather card on the right; and the ADDRESSES the day visits with their parking and nearest hospital, closing the page. It is the page somebody reads standing in a van at half past five.
• Everything else starts on page two: the Shooting Schedule with its episodes and script breakdown, Crew, the Cast Table, Extras, Department Notes, Team Hotel, the Drive Schedule, the full location detail for every motif, Catering and Dietary Needs, the Safety Checklist, Tech Specs, and the Gear List with the day's temporary additions.
• Two of those rows are two columns wide, and each collapses on its own. No location notes, the weather switched off or no department call times, and the surviving half takes the full page width — rebuilt at that width, so the forecast re-draws and the call times go back to their half-page table rather than a half-page layout being stretched across a whole one.
• General Notes and Location Notes moved UP to page one in v0.824.0. Both are instructions for the day rather than a record of it: "gate code 4711, no parking on the north side" is written for the person driving to the motif, and that person reads page one.
• Department Call Times moved up to page one too, in v0.825.0, and since v0.829.0 prints ABOVE the addresses, beside the weather, in the half of the page the key contacts used to hold. A department head checking their own call is reading page one; an answer on page five is an answer nobody finds. Directions stays on the later pages — a leg is two street addresses, a drive time and a route map, and there is no half-page shape that fits them.
• Beside the weather, the call times use their whole half of the page as ONE table and grow with the list; they never split in two there. The two halves of that row end level: when the list is longer than the forecast, the weather panel's tint grows down to the bottom of the row, and when it is shorter the weather keeps its own height. With the weather switched off (or no forecast) the call times get the page to themselves and keep the old shape — HALF the page wide, because three narrow columns of clock values across a full width is mostly the gaps between its own cells, wrapping past twelve departments into two half-width tables side by side, rows split evenly and the header repeated in both.
• The day's standing times print with no heading. CREW CALL / BREAKFAST / SHOOTING START / LUNCH / SHOOTING END / EST. WRAP are their own captions, and a "Global Schedule" title above them spent a line of page one saying it twice. The band's own accent stroke is what marks it off.
• A section heading is underlined only when there is a section under it. A heading whose block printed nothing carries no rule, so a line on the page always means content follows it.
• Sets at the same address collapse into ONE entry on page one. A day shooting a café, a stairwell and an alley on one square prints one address, with the three set names under it, instead of three near-identical blocks. The full detail for each set is still on the later pages, in full.
• Every address is numbered, and the number means the same place everywhere on the sheet: "2 · Isarring 4" on page one and "2 · Isarring 4" in the location detail are the same stop.
• The Optional Sections panel lists its chips in that same order, so it reads as a map of the document rather than a pile of settings.
• 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 the notice prints on every day's page, not only the first: those pages get forwarded and printed separately, and a marking the person holding page three never sees is not a marking.
• The key contacts print in the MASTHEAD, one line each under the production company: the title (the per-sheet title, else the crew role), the name and the phone number — in the accent colour, and it dials — then the per-sheet note in small muted type. CLIENT closes the rail when set. They replaced the PRODUCER and DIRECTOR credits in v0.829.0, and the separate Key Contacts block beside the weather is gone. Under Redact Personal Info a number prints [REDACTED] with no link; a contact without a number prints without one.
• The weather prints as ONE card, not three rows: a drawn condition icon, the high and low at heading size, the condition, sunrise and sunset, the day's rain/wind/UV facts, and an hour-by-hour row of SKIES continuing the same card — sun, cloud, rain in three strengths, snow, hail, thunder, wind — with the temperature and clock under each. A weather line you typed yourself is printed exactly as typed, and an hour the forecast cannot place prints no icon rather than a wrong one.
• Page one is set to be read at arm's length. The general call time is the largest thing on the sheet, the day's standing times are set at heading size beside their captions, and the address count — "2 addresses · 6 sets" — sits on the LOCATIONS heading itself rather than on a line of its own.

Script Version prints a line on the at-a-glance masthead — "CURRENT SCRIPT VERSION: WHITE, REV. 9/2/12" — so nobody arrives with the wrong pages. It is off until you turn it on.

• The field is free text, because productions write the convention in their own shorthand: a colour and a revision date, sometimes a number, sometimes both.
• It sits beside Day Type in the builder, since both are lines of the same masthead.
• Nothing prints unless the switch is on AND you have typed a version — a toggle that hid only the editor while the captured value kept going out is a defect this app has already paid for once.
• It appears on the exported PDF, in the phone view and behind a shared link.

When the day moves between two different addresses, the sheet can print the move: distance, drive time, when to leave, when you arrive, a route map and your own note.

• One entry per move between ADDRESSES. Sets at the same address get no entry, because there is no move to make — which is the same grouping page one uses.
• Press "Calculate routes" in the Directions card to measure them. That button is the only thing that measures anything: opening the card, exporting the PDF and publishing a link all print what was last measured, so an export made offline carries the same numbers as one made in the office.
• "Leave 13:40 → Arrive 14:05" comes from your own schedule. The unit leaves after the LAST scene at the address it is leaving, not the first, and a meal break is not a departure. A leg with nothing to anchor it prints its drive time and no clock rather than inventing one.
• A leg badged "Stale — recompute" has had an address move underneath it. The old numbers keep printing until you recompute — a route that was true this morning is worth more than a blank.
• Every leg has a note of its own: "follow the Crew Parking signs at the gate" is often worth more than the duration. Recomputing never touches your notes.
• A location with no map position gets a row that says so in words, with the two addresses and your note, instead of an empty cell.
• Two addresses that share ONE map position get their own row saying so, and no drive time. It happens when a set states its own street but was never located: a set inherits its master's pin until you open it in Locations and press "Locate address", so both ends of the move sit on one point. A route measured between a point and itself would print "0 min" over a real journey, so the sheet declines to measure it and tells you which end to locate.
• Each leg's route map prints on the PDF AND shows on the published link, under the leg it belongs to — the same picture, with the openrouteservice and © OpenStreetMap credit, in both places.
• The link carries an address for each map rather than the image itself, so a six-leg day costs a few hundred characters instead of several megabytes. Maps load only as you scroll to them, and they expire when the link does — last shoot day plus 48 hours. Re-share the sheet for fresh ones. If a map cannot be published, that leg still shows its addresses, times and your note; nothing else fails.
• Public-transport times are not shown. The routing service the app uses has no transit data, and the free services that do are licensed for non-commercial use only.
• On the phone view and the shared link, every leg used to show a dash at each end („— → —“, often with „0 min · 0.0 km“) — fixed in v0.842.1. Pressing Calculate routes stores the MEASUREMENT only; which addresses a leg runs between is worked out fresh from the day’s locations on every read, and those two surfaces were showing the stored half on its own. A link published before v0.842.1 still shows the old rows until you open the sheet and save it, which re-publishes it. The Leave → Arrive line stays PDF-and-builder only: it needs the day’s running order, which neither reading surface is given — the distance, the duration, both addresses, the route map and your note show on all four.
• Directions between two sets that share one map position print no drive time, and say why: until Locate address is pressed on each set they both stand on the master location’s pin, and one point cannot be a distance from itself. The PDF, the builder, the day view and the published link all carry the same sentence (v0.844.2).

An optional block listing clients and agency by name, role, company and expected time — pulled from the crew you flag, or typed in by hand.

• Tick "Client" on anyone in the project crew and they appear in this block automatically, with their role and call time.
• Somebody flagged as a client is taken OUT of the crew grid, so nobody is listed twice. Switch the Clients block off and they go back into the crew grid rather than disappearing from the sheet.
• You can add rows by hand for people who are not in the project crew at all, and you can edit anything pulled in — a different title, a different time — without changing the project record.
• The block is off by default. A call sheet that never had one keeps printing exactly as it did.
• Someone with no time prints as "On Call", the same as everywhere else on the sheet.

The PDF takes its accent from your brand colour, set once for the whole account.

• Section titles, the rule under each one, the table headers and the call-time block all carry the accent colour.
• It comes from one place: Settings → You & Your Company → Signature & Branding. Pick one of the ten swatches there or any colour you like, and every call sheet you export takes it — there is no per-sheet accent to keep in sync.
• A custom accent colour is part of Pro. On the Free plan the swatches are locked and PDFs use the standard blue; a colour you saved earlier is kept for when your plan allows it.
• The ink on a coloured header is chosen for you: dark text on a pale accent, white on a dark one, so a yellow accent never prints white-on-yellow.
• Red still means red. The nearest hospital and the confidentiality notice keep their colour whatever accent you pick.

Page one lists the addresses the day goes to, not every set. Sets at the same address share one entry, and you can correct the grouping when the automatic answer is wrong.

• The grouping is automatic. Sets whose addresses match are put together, and so are sets whose map pins sit within about thirty metres of each other — which is what catches "Marienplatz 1" and "Marienplatz 1, 80331 München" being one courtyard written two ways.
• Thirty metres is a courtyard or two entrances of one block. Opposite sides of a street stay apart, because crossing one with a trolley is a real move.
• An address you typed always wins over the map. The distance rule only joins two SPELLINGS of one address, so sets that name genuinely different doors — number 15 and number 17 — stay apart however close their pins are. This matters most for the sets under a master location: a set only gets a pin of its own once somebody presses "Locate address", so until then it shows its master's pin, and every room of a building used to collapse onto the master's main address even when the rooms had addresses of their own.
• When the automatic answer is wrong, fix it under "Addresses on page one" in the Locations section: each set has a dropdown naming the address it prints under. Point two sets at the same address to join them; choose "Its own address" to split one out.
• A split you make by hand is never undone by the distance rule. If you separated a studio's two stages because the walk between the entrances matters, they stay separate.
• Parking and the nearest hospital are shown per address. When the sets at one address disagree about either, BOTH answers print, each labelled with the set it came from — the sheet will not pick one for you.
• Above the table you will see something like "2 addresses · 5 sets". That line is there so you can tell at a glance that nothing was dropped.
• When every set at one address hangs off the same master location, the master is named ONCE on the set line. A sports club with four rooms used to print "ESV München-Ost e.V. · Dreifachhalle · ESV München-Ost e.V. · Weight lifting room · …" — four lines in which the only new word each time was the last one. It now reads "ESV München-Ost e.V. · Dreifachhalle · Weight lifting room · Trimm dich Pfad · Sauna". Sets from different masters are left exactly as they are, because there the repeated name IS the information.
• "Back to automatic" clears every correction you made and returns to the matcher's own answer.

List the cars the team picks up, with their station, times and drivers.

• Switch on Rental Cars with the section switches. The block sits right after Team Hotel, and it is off until you switch it on.
• Add rental car adds a card, once per car: company and station, phone, address, vehicle, licence plate, reservation numbers, pick-up and return with date and time, the return station if it differs, the drivers and notes.
• Type the drivers, separated by commas, or pick them with Add from crew.
• The PDF prints a RENTAL CARS block after Team Hotel. Its address opens the map, and Navigate beside it opens directions.
• The web view and the share link show the same block with a map and a navigate button. The PDF prints the reservation numbers, and a share link never shows them.
• The cars belong to this sheet: a duplicate, a template and a new revision keep them, and a revision names the change under Rental cars.

The person to call before the hospital — an optional name and number under the page-one address table.

• Off until you turn it on. It prints under the address table, whose last column is the nearest hospital, because the two are one answer: the medic is on the floor, the hospital is a drive.
• Three fields — name, number, and an optional note for the rest (“on set from 08:00”, “first-aid point at basecamp”). Either of the first two alone still prints; with neither filled in, nothing prints at all.
• Assign from crew fills the name and number from someone already on the project, so a crew member who holds the first-aid ticket is two clicks rather than a retyped phone number. Both fields stay editable afterwards, and a medic booked through a medical supplier — the usual case — is typed straight in. The picker is not shown on a project with no crew. Picking someone with no number on file clears the number rather than leaving the last person's standing under a new name.
• Set in the same red as the hospital line. The brand accent never touches it — that colour is reserved for the lines somebody reads under pressure.
• The number is NOT masked by Redact Personal Info, unlike every other phone on the sheet. It is there so whoever holds page one can dial it without knowing who the medic is, and a masked emergency number is worse than none because the page still says there is a medic. The same holds for a published link, where the reader is least likely to know who to call.
• To keep the number off a circulated sheet, switch the section off — that is a decision, where a blanked number would be an accident.
• It dials from the exported PDF and from the phone view, like every other number on the document.

An optional one-liner at the foot of page one — picked for you from a built-in pool, or written by hand.

• Off until you turn it on. It prints under the address table, so it can never push an address or a hospital onto page two.
• Leave the field empty and the sheet picks a line for you. The pick comes from the sheet itself, not from chance, so the same call sheet always shows the same quote — on the PDF, in the app, on the phone and on any link you publish.
• Type your own line and it prints exactly as typed, with whatever attribution you put beside it. Leave the attribution blank and no byline is printed.
• "Surprise me" pulls another line from the pool and writes it into the field, so it is yours from then on and will not change again. "Back to automatic" clears both fields.
• The pool is in English: the attributed lines are quotations, and a quotation translated is no longer a quotation. Type your own if you want it in another language.
• To have no quote at all, switch the section off — an empty field is a request for one, not the absence of one.

A call sheet used to carry one address — the basecamp. A day that visits three motifs printed one of them, and the parking, hospital and HMU base of only that one, while the answers for the other two already sat in the Locations tab. Locations & logistics is now one block with two halves: the basecamp cells everyone reads first, and under them, in shooting order, every location the day visits.

• What it lists — each location the day's scheduled scenes are at, numbered in the order they are shot, with the scene numbers shot there.
• What it prints per location — 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. Only the fields you actually filled in appear.
• Where the details come from — the Locations tab, not the call sheet. Nothing is typed twice, and correcting a parking note there corrects it on every sheet that prints it.
• How a scene finds its location — first the location you linked to that scene (the Scenes field on a location), otherwise a match of the scene's own location text against any name that location answers to — the qualified „Master · Set“ label the Location field suggests, its plain name, or its address — otherwise the text on its own, marked Not scouted. An address nobody scouted is still printed rather than dropped.
• Which one is the basecamp — the location named in the cells at the top also appears in the list below, badged Basecamp. It shows only what those cells have not already said, so nothing is printed twice. A parking instruction you typed yourself still appears next to the scouted one, because yours says something different.
• Sets inherit — a location set carries its master's address, parking, hospital, power and scouted MAP, so a room inside a building needs none of them retyped and shows the satellite picture of the street it is on. Its own map, once you give it one, replaces the master's along with that map's annotations. Photos do not inherit: a room is not the building.
• One base per location, printed once — most of these fields are inherited, so a studio with a unit base and three stages under it used to print the same base under every stage. A detail an earlier motif already printed is now left off the motifs below it. Give a stage its own base and that one prints too, because it says something the master's does not — the rule compares the text, not the field. On a sheet grouped by address, „first“ means first on the page, which is not always first in shooting order. The nearest hospital is the deliberate exception: it repeats under every motif, because it is the line somebody reads under pressure.
• Bad weather — a scene's If wet address gets its own entry, badged, so a driver never sees a single unlabelled address.
• Where it appears — the PDF, the mobile view, shared links, and as a preview in the builder, as one block on all four. 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 instead — nothing below is there to carry them.
• Parking and hospital fill themselves in — the basecamp block's Parking Instructions and Nearest Hospital cells fall back to the scouted location's Crew parking and Nearest hospital when you leave them blank. The builder shows what will print as a grey placeholder marked From the Locations tab. Type something and yours wins. Those two cells hold a single line, while the scouted fields behind them may run to several; a multi-line note is joined up with “ — ” rather than losing its line breaks, so the two lines never run together into one word. On a day with no scheduled scenes there is no motif list underneath to carry them, so the hospital is shown from the scouted record there too — on the phone and on a shared link, not only on the PDF.
• Pictures per location — the first of a location's photos prints in the top right corner of its card, at the proportions you uploaded it at rather than cropped to a strip, with its caption, and the scouted map under it with your annotations on it. The text sets alongside them. Only what exists is printed. Shared links carry neither — the map is on the device it was uploaded from and the photos sit in private storage.
• Generate route map — the Location Map / Sketch box no longer has to be filled by hand. Pick a second location, press Generate route map, and the app draws a street map with both places pinned 1 and 2, the driving route between them, and the distance and drive time along the bottom. It lands in the same box an upload would, so it annotates and prints identically. Both locations need coordinates, which they get from saving an address in Production Hub; if one is missing the panel says so rather than hiding the button. It is a street map, not satellite, drawn from OpenStreetMap — hence the credit printed along its bottom edge — and when no driving route comes back the line between the pins is dashed, meaning direct line rather than a road.
• Location Notes sit directly underneath — the per-location block (“Besonderes per Motiv”: extras, police, toilets, power, catering, parking and the nearest hospital for that one motif) has its own slot right below this block, and prints there too, on the PDF and in the mobile view. It used to sit much further down, after Extras and Special Notes.

The block — headed SCENES until v0.824.1, now SCHEDULE — used to print the day's scene numbers in ascending order with times it worked out for itself from shot durations alone: no breaks, no relights, no setup time. It now prints the day exactly as the Schedule tab runs it, which is what the heading says.

• Order — the Schedule's running order. Drag a scene up the Schedule board and the call sheet follows. The Shot List's creative order is deliberately separate and no longer leaks in.
• The Plot column — it was headed Heading until v0.841.0 and printed the scene's slug line (INT. KITCHEN — DAY), which is where and when and nothing else. Each scene now carries a logline, one sentence of plot typed in the Scene modal, and the column prints the slug line with that sentence one size down underneath. The column still skims as a list of slug lines and the plot is there when a row is actually read; a sheet whose scenes have no loglines looks exactly as it did before. The Cast column got narrower to pay for it: the two used to share the leftover width equally, so the Plot column could never be wider than the Cast one however much plot there was. Cast is now a fixed narrow column whose numbers wrap — it has printed cast numbers rather than names since v0.808.0 and was still sized for the names.
• 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. Type a label on a block in the Schedule and the call sheet prints it.
• Where a company move goes — the band used to read COMPANY MOVE and a duration and nothing else, so the one thing the unit needed off it, the destination, sat two rows down in the next scene's Location column. It now names the place the next scene is shot at and prints its address as a tappable Maps link. Nothing to fill in: it is read off the running order, so re-ordering the day updates it. A different location at the SAME address — two sets of one studio — says “same address” and leaves the street out, with the Maps link on the destination's name instead. Nothing is printed when the move closes the day, when the next scene names no location, or when it is the place you are already standing. On a sheet with bad-weather locations on, the destination is the cover location, so the band and the scene row under it never name two different places.
• Telling one block from the next — every block used to print the same way: a centred grey italic sentence on a continuous grey field, so an afternoon of relight, company move, lunch, setup change and blocking read as one slab. Each now carries a coloured tab, its own icon — the same six the Schedule tab shows, drawn as artwork rather than typed so they survive the PDF fonts — and its type name in that colour on the left, with whatever 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. The PDF, the builder, the phone view 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 found the row. The two travel together because a duration is the second half of the span beside it. A block prints its clock and its length in those same two columns, so one finger runs down either through the scenes and the breaks alike; the band still reads as one continuous strip. The published link and the phone have no columns, so there the span simply comes second, right after the scene number, in the row 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 inserted from the Schedule toolbar arrives carrying its own English type name as its note, before anyone has chosen a language for the PDF, so a German sheet printed "Motivwechsel: Company Move". The seeded name is now recognised in either language and the type prints once; anything you actually wrote ("swap to tungsten") still rides beside it.
• Times — the same calculation the Schedule tab shows, so the two can never disagree. A scene's span starts when its setup starts, 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 collapsing into its first appearance.
• Nightshifts — a time past midnight is marked +1 so an 03:00 wrap can't be read as this morning.
• Optional scenes — a scene whose shots are all starred Optional in the Shot List prints with an orange Optional star beside its number, and its row is tinted. That is the scene the unit drops first if the day runs long. 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 column — the last column names everyone the scene calls, as cast NUMBERS: ascending, principals first and background parts after a 'BG:' marker. The Cast table below it is the key. A character with no number still prints their name — see the cast-numbers section of its own.
• Which day it is — the block's own heading reads "Schedule — Day 3 of 12 · Mon, 14 Sep 2026": the shoot day counted against the whole schedule, then the date. The schedule is the block people photograph and forward on its own, and a screenshot of it carries none of page one's masthead. The builder, the phone view, a shared link and the exported PDF all print the same line; a project with no shoot-day list keeps the date alone. Vordisposition entries carry it too, and there it matters more — a pre-call describes a day the masthead above it does not.
• Omitted shots stay off the sheet, and the day's total at the top is now the whole day, breaks included.

The Schedule block cites cast NUMBERS rather than spelling every name into a scene row: 1, 2, 10 · BG: 12. The Cast table below it is the key — its leading # column resolves every number beside the performer, the role and the call time. Numbers are assigned automatically the moment a project's Preproduction tab is opened — in roster order, continuing from the highest number already in use. The Character / Cast sub-tab is where you change one by hand.

• Ascending, principals first, background after the BG: marker — the same reading on the exported PDF, in the builder’s own schedule table, and on a shared link.
• Beside the number is the person: the performer on top, the character they play underneath, both in ONE column. The phone number and the email address share a Contact column the same way — stacked, each behind its own icon. They were paired because with the time columns on, the table was ten columns wide and no longer fitted A4: the remainder printed past the right edge of the page, with no error anywhere.
• 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 down to the cast table. On paper and on a shared link the number stands alone — that is what the key is for.
• The # column is not governed by the Cast Times or Cast Scenes switches. It prints whenever the cast table does, because the schedule above it is unreadable without it.
• The number never reaches the sheet’s drift snapshot, so numbering a roster does not raise "Project data has changed" on call sheets you already saved.

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, on new call sheets and on every sheet made before the option existed.

• Turn it off for a sheet that is not for the crew — a client copy, a location owner's copy, or a day where only the general crew call and the cast times matter.
• One click removes the block from all four surfaces at once: the builder, the exported PDF, the mobile view, and any share link you publish afterwards.
• On a share link it is a privacy control, not just a layout one — the crew's names, roles and times are never published, rather than published and hidden.
• Individual call times you typed are kept while the block is off; turning it back on restores them.
• Share links already published keep what they were published with. Publish again to apply the change.

Crew Contacts — the switch 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 together with Crew Times, and the two give the crew block four shapes.

• Crew Times on, Crew Contacts off: names, roles, call and wrap times — the sheet you have always exported.
• Both on: the same table with a Contact column added — the phone number over the email address, each behind its own icon. One column rather than two so the table fits the page: with two, a long email address was wide enough on its own to push the last column past the page edge.
• Crew Times off, Crew Contacts on: a contact list — names, roles and the contact column, no times, printed under its own Crew Contacts heading. That is the sheet for a rental house, a location owner, or a production office that has to reach people on a day it is not calling them.
• Both off: no crew on the sheet at all.
• Crew Contacts is off until you turn it on, on new and existing call sheets alike — no sheet this app has exported has ever carried a crew phone column, so none of them gain one by surprise.
• Redact Personal Info still wins, and it is on by default: with it on the PDF prints the columns with [REDACTED] in them, and the mobile view and any share link carry no numbers at all. To actually print contact details you need Crew Contacts on and Redact Personal Info off.
• No Status column — the crew table used to carry one, third from the left, and it said Confirmed about nearly every row: anyone the Crew tab marks off or unavailable for that date is already left off the sheet, so the only other things it could say were Tentative and the day-player badge. The phone view and the shared link never had it, so all four surfaces now show the same table. Whether somebody is tentative on a given day is still set and read in the Crew tab’s schedule matrix, where it decides something. A day player is still marked, on the name rather than in a column — they print as „Charlie Tag [TEMP]“.

On the phone view and behind a shared link, a person's name is a save-to-contacts control. Tapping it downloads a contact card for that one person carrying their phone number, email and what they do on the job — cast and crew alike.

• The card is a standard .vcf, which iOS, Android, macOS Contacts, Google Contacts and Outlook all open.
• It carries the number, the email and the function: a crew member's role, or for cast the character they play.
• The display name is suffixed with the production — “Ana Meyer — Gaffer (Tatort)” — so the entry does not merge into the person's card from another job.
• It is the same card the bulk Contacts (.vcf) crew export writes, so a person saved from the sheet and the same person out of that export are identical.
• A name is only a control when that person has a phone number or an email. With neither, it stays plain text rather than saving an entry nobody can contact.
• With Redact Personal Info on, no name is a control at all — that switch exists to keep exactly this data off a circulated sheet.

Walkie Channels — the switch under the crew grid, also a chip in the Optional Sections panel — prints the radio channel each department is on beside that department's name in the crew table. It is off until you turn it on, and it appears on the PDF, the phone view and the shared link together.

• Production is channel 1, Lighting 3 and Camera 5 — the numbers a set calls out.
• Every other department counts up into the gaps around them, in the order the sheet reads: Grip 2, Sound 4, Art 6, HMU & Costume 7, Post 8, Other 9. Nothing is skipped, because a radio has a fixed dial and a wasted channel is a real one.
• Each department has a field you can type over. The field is empty and shows its automatic channel as a hint, so you can see what will print without committing to it.
• Clearing a field hands that department back to the automatic assignment.
• An override frees the number it moved away from: put Camera on 9 and 5 goes to the next department that needs one.
• The field is free text, not a number picker — 2A, Ch 6 and SIMPLEX all print as typed.

The Crew Times chip is all-or-nothing. For a day where most of the unit is called and one or two people are not, 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 applies to this one sheet only. 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.
• 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.
• Key Contacts ignores the switch on purpose: the production manager is a key contact precisely because they are not on set.
• Distribute and Share links ignore it too — 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.

Key Contacts are the two or three people the unit rings when something goes wrong, and they print in the call sheet's HEADER — the masthead, under the production company. Switch the section on, then pick them from the project crew. Each one prints on one line with a title, their name and their phone number, followed — if you write one — by a note.

• The title box is empty by default and shows the person's project role as its placeholder, which means it inherits. Type over it and this sheet alone bills them differently — "1st AD" instead of "Assistant Director", "Regie / 1st Unit" instead of "Director". The project crew roster is not touched, and no other call sheet changes.
• Clear the box again and it goes back to inheriting the crew role.
• The note is free text for what the number is for: "call before 06:00", "basecamp only Tuesday", "reachable by phone until she is on set at 06:30". It prints after the number on the PDF, and under the contact on the mobile view and on a published link.
• The note is production copy, not personal data, so a share link with Redact personal info on still shows it while the phone number is hidden.
• A key contact does not have to be on set — the production manager is a key contact precisely because they are not. Switching someone off in Crew Call Times leaves them selectable here.
• A phone number here comes from the person's crew row, which mirrors their linked contact. If a number is missing, open the Crew tab and check the contact link.
• Each contact card has a Show in header switch, ON by default — so an existing sheet's key contacts go on printing, now in the header. The one exception is a sheet whose Key Contacts switch was off when its typed credits were adopted: its other contacts start switched off, so the header prints the same people as before. Switch it off and the person stays on this sheet's list, with their title, note and position kept, but prints nowhere: not in the PDF, not in the phone view, not on a published link. Read-only viewers see "Shown in the header" or "Not shown in the header" instead of the switch.
• The Key Contacts section switch governs the header contacts on every surface — the PDF, the phone view and the published link. Switched off, no key contact prints anywhere, whatever the cards say.
• In the PDF the number prints in your accent colour and dials when tapped. With Redact Personal Info on it prints [REDACTED] with no link, and a contact with no number prints without one — no dash.
• The producer and director are key contacts now: a new call sheet starts with both in its header, and an older sheet's typed Produced By / Directed By become key contacts when they match a crew member's name. See "Producer, director & the default crew call".

The Cast & Call Times table lists everyone whose character is on a shot scheduled for that day. Use the Also called today picker under its heading to add anyone the schedule does not call — a stand-in, double or stunt performer, an actor in for a fitting, makeup test, rehearsal or photo call, someone travelling or on hold, or a scene you have not broken down into shots yet.

• The picker offers the project's own cast roster, with the same casting-status chips and availability lights as the scene and shot-list cast pickers.
• It is there whether or not the day has scheduled cast, so a prep day or a fitting day can still carry a cast list.
• It adds and never removes — everyone the schedule calls stays on the sheet.
• It changes this one call sheet. 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 take call, pickup, costume, makeup and camera-ready times in the same row as anyone else.
• On a multi-day or bundled sheet they appear on every day of it. Who shoots on which day stays the schedule's answer.
• An added person is tagged Added next to their name in the builder, so you can see why someone is on the list who is not on today's stripboard. The printed PDF lists them as cast, unmarked.
• Someone the schedule already calls is badged In scenes in the picker and gets no Added tag. Ticking them anyway is allowed — the pin keeps them on this sheet even if their scene is later moved or cut.
• Archived cast members are not offered. Someone you added before archiving them comes off the sheet everywhere it goes instead of printing with no cast number; a share link you already sent follows when the sheet is next saved, or at once with Update shared copies. Archiving changes nothing stored on the call sheet: restore them and they are back on any sheet whose Also called today list you have not changed since — otherwise tick them again.
• A call sheet made before this picker existed has nobody pinned, and stays that way.

An opt-in block that gives catering the numbers they need.

1. In the call sheet builder, turn on the 'Dietary Needs' section toggle. It is off by default.
2. Export the PDF. A DIETARY REQUIREMENTS block appears under CATERING / LUNCH.
3. Diets print as counts only — 'Vegetarian: 6' — because a caterer needs the number, not a list of who.
4. Allergies print with names, because the kitchen has to know which plate goes to whom.
5. The block reads live crew and cast — everyone on the sheet plus the cast required that day — so it is always current at the moment you export.
6. Building the sheet, you also see each person's diet and allergy chips on their own row, in both the crew grid and the cast list. That view is internal and always on; it does not need the toggle.

A call sheet is built from a snapshot of the project taken when you created it, so a sheet you already sent out never rewrites itself behind your back. When the project moves on the builder says "Project data has changed since this call sheet was created" and offers Sync now, and publishing behind the project asks you to confirm. Tick Auto-sync with project data in the preview panel to hand that job to the app instead.

• With auto-sync on, the sheet refreshes itself whenever the project changes underneath it — including changes made 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 break picks the project back up on its own.
• The drift banner and the "Outdated Data" confirmation before publishing both stop appearing. Asking you to sync is exactly the job you delegated.
• The out-of-sync warning triangle on the call sheet's card in the list stands down too, for the same reason. The card keeps reporting freshness through its "Updated" line.
• "Last synced" in the preview panel still reports the snapshot's real age. Glance at it if you want to confirm auto-sync is keeping up.
• Your own edits always win: anything you typed over a snapshot value is kept as an override and survives every sync. Auto-sync refreshes what came from the project, never what you wrote over it.
• The setting 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.

On a shared project, the call-sheet editor participates in the field-lock stream. A 'Locked by <name>' badge appears next to a field while another collaborator is focused on it. Editing the same call sheet in parallel works smoothly because locks are per-input, not per-section.

• General Info — title, mode, PDF language, dates.
• Department Call Times editor — per-department call and wrap times.
• Location Detail editor — location name, address, notes.
• Distinct fields lock independently. Two collaborators can edit different call times on the same call sheet at the same time.
• Per-recipient watermarking: when distributing, enable "Watermark each copy with the recipient" and every person gets their own PDF with their name and email rendered diagonally across each page — a leaked call sheet is traceable to its copy. Off by default; if a watermarked copy fails to generate, that person is marked failed rather than silently receiving the clean PDF

The PDF is the right artefact for the production office wall, but on a phone it is an A4 page you have to pinch-zoom to read one call time. The Mobile view button in the call sheet builder renders the same call sheet as a phone-shaped page, carrying the same blocks the PDF prints.

• Open a call sheet, then press Mobile view in the bottom bar — it is available even when you only have view access.
• Crew call, breakfast, lunch and wrap are shown large at the top in the PDF’s own order; breakfast and lunch appear only when the sheet has a time for them.
• Every address is tappable — basecamp, parking, nearest hospital, team hotel, lunch location, every motif in the shooting-order list, both ends of each Directions leg, every pickup and drop-off in the drive schedule, every Vordispo location, and the parking/hospital/police rows in each location’s notes. Every phone number dials and every email address composes, in the key contacts, the crew grid, the cast table and the clients block. A blank field, or a placeholder like TBA or a dash, stays plain text rather than opening a map search for nothing.
• Crew call times are grouped by department so you can find your own row quickly, and each crew row with a number has its own Call button.
• The optional blocks you switched on come through too: day type, department call times, team hotel, catering, drive schedule and return legs, extras, safety checklist, location notes, special notes, Vordispo, technical specs and 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.
• The cast table is here: one row per person — a card on a phone — with the performer, the character, their call time, the pickup/costume/make-up/ready times when those columns are on, and — with Cast Scenes on — every scene they are called for. Background cast are tagged (BG), as on paper. With the time columns on the table is too wide for the page, so it stays one card per person at every width.
• The scenes, the episodes, the script breakdown, the gear list, the temporary gear, the day’s weight/power totals and the weather now come through too, in the PDF’s own order. Wide tables become cards — nothing scrolls sideways on a phone.
• Dietary requirements reach a share link too, so a link carries everything the PDF prints. Diets are counts without names; 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 on a sheet where you switched it on.
• Multi-day call sheets show one block per selected day, with that day’s overrides already applied — the same values the PDF prints.
• Personal phone numbers and email addresses are hidden unless Redact Personal Info is switched off in the builder.
• The crew call is set apart as a filled block in your production's brand colour, so it is the one value you can read at arm's length — the same treatment it gets on page one of the PDF.
• Tables adapt instead of scrolling: below roughly 640px each row becomes its own card with the column headings as labels inside it, and above that the real table returns with the brand-coloured header bar — the schedule, the crew, the gear, the drive schedule and every other table the PDF prints, with breaks and department names as rows across the whole table. A table with more than seven columns stays cards at every width, because it cannot fit the page without squeezing a name or splitting a phone number — in practice, the cast table with its time columns. Nothing scrolls sideways at any width.
• The forecast is drawn as one card — icon, high/low, condition, sunrise and sunset, and the hourly forecast as a row of sky icons with the temperature and the clock under each, wrapping onto further lines rather than scrolling. A forecast line you typed yourself is printed exactly as you wrote it.
• Key contacts sit in the masthead card under the day's times, under a Key contacts label — where the PDF prints them — each with Call and Email buttons and the per-sheet note, followed by the client line. The separate key-contacts section further down is gone, and the Department Call Times card now comes before the weather card. On a share link, with Redact Personal Info on, the names, titles and notes publish and the numbers do not; a contact switched out of the header is not published at all.

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 list of exactly what moved between them: what was added, what was removed and what changed, down to the field. While you edit, the Revisions panel beside the builder shows the changes you have made since the last publish and 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 refreshes the PDF and the shared links but keeps the number — a re-issue of the same document is not a new version. From Rev 1 onward the marker prints on the PDF masthead in red, and anyone opening a shared link 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, and contact changes are left off entirely on a copy where phone numbers and emails are hidden. Duplicating a call sheet gives you an unpublished copy — a duplicate is a starting point, not a document that has been issued.

Mobile view only reaches people who already have the app and access to the project. A share link reaches everyone else — the driver, the location owner, a one-day casual — without an account. Each person gets their OWN link, so you can cut off one of them without disturbing anyone else.

• Open a call sheet and press Share link in the bottom bar. You get one row per person on the sheet.
• Create link mints that person's own URL. The link IS the credential — anyone holding it can open the sheet, so send it the way you would send a key.
• Copy puts the URL on the clipboard; it is also shown as text, because some in-app browsers block clipboard access.
• Revoke kills exactly that person's link. Revoke all kills every live link for this call sheet — the button for when a sheet has leaked. Deleting the call sheet from the list revokes every link to it, also the ones other members of a shared project sent.
• A row whose link was revoked or has expired says so, and its button reads Re-issue: it gives that person a working link again. After a revoke that is a new URL; the revoked one stays dead.
• A call sheet whose last shoot day is more than 48 hours past mints no links. The dialog says so instead — a new link would already be expired, so nobody you sent it to could open it.
• Update shared copies re-publishes the current call sheet to everyone who already holds a link, so nobody reads yesterday's call time.
• Links stop working 48 hours after the last shoot day. A multi-day call sheet stays readable through the final morning.
• Somebody who has left the crew stays in the list while their link is live — they are exactly who you want to be able to revoke.
• With Redact Personal Info switched on, crew and cast phone numbers and email addresses are absent from the shared page's data — and the free-text General note is scanned for numbers and addresses before it is published. The logistics boxes are the exception and are published as written: basecamp, parking, nearest hospital and parking directions are deliberately not scanned, because the scanner cannot tell a crew member's mobile from the hospital switchboard and stripping that number would defeat the point of the page. Treat those four boxes as public. The PDF URL, the distribution history and your templates are never part of a shared link.
• The eye button on each row decides whether THAT person sees phone numbers and emails. Redact Personal Info in the bottom bar is the default; the row overrides it. Typical use: the crew see each other's numbers, the cast see none.
• Hide for all crew / Show to all cast set a whole group at once. People who have left the sheet are left out of the group actions on purpose — they are exactly who you are most likely to be cutting off, so you change them one at a time.
• Changing redaction on a live link rewrites that person's copy and keeps their URL, so a link you already sent keeps working. Changing it on somebody with no link yet mints nothing — the choice is applied when you create their link.
• Saving the call sheet refreshes every live link. Change a call time and the people already holding links get the new sheet on their next look. A page they already have open updates itself, about once a minute while they are looking at it.
• The shared page says how current it is — “Updated 4 minutes ago” under the title, with a Refresh button. If the refresh cannot run because you are offline, the save still succeeds and the app says the links were not refreshed.
• Dietary requirements are published to share links, and allergy rows name the person. The block is off by default and only a sheet where you switched it on publishes it — but where it is on, anyone holding the link can read those names.
• The shared page ends with a “Report illegal content” link, like every public page of the app. If a notice leads to the sheet's links being disabled, the sheet is locked: sharing it again is refused with “Disabled after a legal notice. Reply to the decision email to appeal.”

Send is the other half of Share link, and since v0.811.0 it is the same list. Everyone selected gets the PDF as a real attachment plus their own live link to the call sheet — the link is theirs alone and always shows the current version.

• Generate & publish opens this dialog for you. It renders the PDF, uploads it, and raises the recipient list on the spot — publishing still emails nobody by itself, but it no longer leaves you to find Send on your own. Close the dialog and the sheet stays published; Send in the bottom bar reopens it any time.
• Press Send in the bottom bar. Every person on the call sheet is listed — the same list Share link shows, with the same eye button for personal info. Set it here or there: it is one setting, stored once.
• The list remembers. It preselects everyone who already holds a live link plus everyone in your last send, so a revised sheet goes to the same unit in two clicks.
• Somebody with no email address is shown greyed out with the reason, never hidden. That is how you notice the gaffer is about to miss the call sheet.
• Where two people share one address, the crew member keeps it and the cast entry is shown as a duplicate — one email cannot carry two different redaction settings.
• Sending mints a live link for anyone selected who does not have one yet, so their View live call sheet button works. Anyone who already has a link keeps it — the same URL, refreshed.
• The email comes from callsheet@cine-power-planner.com. Replies go to you, not to that address.
• The PDF arrives attached. 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.
• Watermark each copy with the recipient is off by default. Switched on, every person gets their own PDF with their name across each page, so a leaked copy is traceable. It takes a moment per person.
• What was sent, and to whom, is recorded under Distribution status below the builder, where you can mark people confirmed as they acknowledge.
• Each email is addressed to one person. It greets them by first name, and someone whose contact record holds only an email address gets no greeting rather than being addressed by their address.
• The email picks a call time in three tiers: that person's own, then their department's row from Department call times, then the unit's crew call. A personal time is labelled “Your call”, a department one “Your call (Licht)” after your own row, and the unit's “Crew call”.
• The location line is 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.
• A department row applies to someone only when its label names their role (Gaffer, 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, like “Regie”, applies to nobody and those people get the unit's time: guessing would hand somebody another department's call time, and being an hour out is worse than being general.
• A person's department comes from their role — the same grouping the crew grid and the PDF use — so DoP, 1st AC and 2nd AC are all Camera and one “Kamera” row covers all three. The label matches in either language: a row typed “Kamera” still works when the app is in English, and a row typed “Camera” works in German.
• Sent by — pick who the email says sent it. It defaults to you, offers every crew member with an address on file, and takes a name and reply address for somebody the project does not know.
• The choice sticks with the call sheet, so an assistant sending on the UPM's behalf sets it once rather than every day.
• If the person you pick has no address on file, the name on the email changes but replies keep coming to you — the dialog says so under the control, because the sending identity itself is not a mailbox anyone reads.

An exterior scene has a second answer nobody had anywhere to put: where it moves to if the weather turns. A scene now carries a Bad-weather location beside its normal one, and both travel to the schedule and the call sheet. The fallback is labelled everywhere it appears — it is never printed as if it were the location of the day.

• Set it — open the scene in the Script tab and fill in Bad-weather location under Location. It offers the same scouted locations the normal field does, so the spelling that lets the stripboard group scenes stays identical across both.
• On the schedule — the scene card and the stripboard day group show it after the normal location, marked “If wet”. The schedule PDF prints it on a second line in the Location column.
• On the call sheet — the Scenes table and the call-sheet PDF show both, with the fallback labelled.
• The toggle — above the Scenes table in the call-sheet builder, Lead with bad-weather locations flips every scene that has one so the fallback prints first, marked Bad weather. You decide, because you are the one who looked at the forecast; nothing here reads a weather service.
• Whichever way the toggle is set, the other location is still printed underneath. A call sheet that quietly drops an address is worse than one carrying two.
• A scene without a fallback is unchanged everywhere, at either setting of the toggle.

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. None of it can be corrected on the sheet, so every one of those blocks now links to whatever owns it — "Edit in Location", "Edit in Crew", "Edit in Gear List" and so on in the section heading, and a small pencil on the row itself that opens the exact record (that character, that motif, that person). Your browser's Back button brings you straight back to the call sheet you were building, reopened where you left it, with your work kept as a draft. The links never appear on the exported PDF, the mobile view or a shared link — the people reading those cannot use them — and on a sheet you can only view they say "Open" instead of "Edit". The dietary block offers two links rather than one, because a constraint can live on a crew record or a cast record and the block cannot tell which. An unscouted location has no link: it is an address lifted off a scene with no Locations record to open yet.

A share link is an unguessable token, which is strong against guessing and does nothing about forwarding — once a link is in a group chat it opens for everyone in that chat. A password is the second factor you hand out separately. Set one per call sheet 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 1st AD opening the sheet on a borrowed phone is the case it exists for.
• The panel states the blast radius before you send anything: “protects 11 of 12 links”.
• Setting, changing or removing a password re-stamps every live link, so links you already sent start asking for it. Nobody's URL changes.
• The password is never stored — only a one-way hash of it — so it cannot be read back by you, by another device, or by support.
• After five wrong passwords the link is locked: 5 minutes, then 15 minutes, then an hour, then 24 hours for each further wrong try. The page says until when. During a lock the correct password is refused too.

Distribution status sits under the builder and answers two questions: did it reach everyone, and who has acknowledged. Sending records who it went to; the tracked share link records who actually opened it; the recipient's own Confirm button records that they read it. Press Check again while the sheet is open — receipts land as people wake up.

• Sent — the email went out to that person, nothing more.
• Opened — they opened their /cs/ link. Opened 4× beside it means they came back to it; a sheet somebody rereads on a shoot morning is a real signal.
• Confirmed by recipient — they pressed “I have read this call sheet” on the page itself. That is the strongest evidence there is, and you cannot undo it: it is a record of what somebody else did.
• Confirmed — you ticked it yourself, after a text or a call. Still confirmed, still undoable, and labelled differently on purpose.
• Only the tracked link reports an open. A PDF sent as an attachment and read in a mail app cannot be seen from here, by design — no tracking pixels.
• A password-protected link records the open only once the password is accepted, so an unopened lock never counts as read.
• Nothing about the reader is stored: no IP address, no location, no device.

On the mobile view and on a published link, the contact buttons under a key contact, a crew member and a cast member print the number and the address themselves — the phone icon and +49 170 555 0101, the envelope and sam@unit.example. They are still tappable: the number dials, the address composes. They used to read just Call and Email, with the value only in the link behind them.

• That works on a phone and nowhere else — on a laptop with no dialler, on a printed screenshot, when you are reading a number out to a driver, or when you are deciding which of four producers to ring.
• The PDF has always printed the value beside the same icon, so paper and phone now read alike.
• A number no dialler can parse still prints. Type “(ask the office)” into a phone field and it appears as plain text, without a tap target — the affordance goes, the information does not.
• Redact Personal Info still wins: the row shows [REDACTED] and nothing is tappable, because the values never leave your account in the first place.
• A screen reader still hears whose number it is — the owner's name is the link's label, so it is announced without being printed a second time beside the save-to-contacts control.

Import external on the Call Sheets tab opens the Call Sheet Reader's four steps (Upload, Check & correct, Your day, Calendar & share) for this project: it reads a call sheet you received and turns it into one day per date, which you check and correct before it is saved into the project. It takes several files at once (PDF, Word, Excel, text, or pictures: a photo of a printed sheet, a screenshot, a scan) and pasted text.

• A photo straight off your phone works. The picture is re-encoded on your device before anything is sent: scaled down, turned the way you held the camera, and saved as a JPEG. Until v0.848.25 any image over about 1 MB — which is every ordinary phone photo — was dropped, and the dialog told you the file contained no text.
• iPhone HEIC photos are read too. They are converted to JPEG first, because the AI providers do not accept HEIC and most browsers cannot open it. A HEIC that arrives without a file type is still recognised by its name.
• A sideways photo is straightened. The rotation your camera recorded is applied before the picture goes out, so a sheet you shot in portrait is not read on its side.
• When a picture cannot be used, Step 1 says which way it failed. Too detailed to send — photograph the sheet one page at a time, or add it as a PDF. Could not be opened — save it as a JPEG or PNG and add it again. Neither means the sheet has no text on it.
• A PDF with a text layer is read as text; a scanned PDF is read page by page, up to 20 pages, the same way a photo is.
• A PDF page with only a little text and a large picture on it — a header stamped on a scanned table, a screenshot of a schedule — is read as text and as a picture. If the picture could not be read, Step 1 names the page and says that only its text was read.
• It needs the AI integration. Switch AI on under Settings → Connections → AI Integration, with External call sheet import (day briefs) on, and add a key or pick an on-device model. Without that, Step 1 says so instead of offering the import.
• A locked key is unlocked right in Step 1 with your Account password, once per session. If your account has no key stored at all, Step 1 says so and points to AI Integration instead of asking for a password that cannot help.
• The on-device model you pick is shared between your devices. A device that cannot run it — a browser without WebGPU, for example — keeps the import switched off, and AI Integration there says why. Import on the Mac or iOS app instead.
• Two more ways in. Share the call sheet to the app from another app's share sheet and pick a project: the import opens with the file already in it. Or attach it in a chat with your AI assistant over the MCP server and name the project: the Call Sheets tab then shows an “AI import waiting for review” banner, and Review opens the four steps at Check & correct with the days — no AI key needed in the app, because the assistant did the reading. Without a project, the call sheet waits in the Call Sheet Reader instead.
• The sheet came by email? Forward the mail to your private dispo-… address (shown on the Shared documents page). The PDF or picture lands in Shared documents; file it there as a call sheet for the project and the import starts as if you had added the file here.
• The read goes on when you leave. Leave the tab while a sheet is being read and keep working: a card at the bottom right of every page shows the read, and Show or Review the days opens Step 2 of the import again. Closing or reloading the browser tab before saving asks first.

One import can hold several files, and one document can become several days. The preview shows every day that was read, and you choose which ones to save.

• Press Add PDF, Word, Excel, photo or text files to add up to 20 files of up to 10 MB each, or paste the text. Each file is listed with its size and can be removed again.
• The line above the files says which model will read the sheet and whether it leaves your device: a cloud model is named with its provider and "with your own key", an on-device model with "read on this device".
• Press Read call sheet. A long document shows its progress part by part, and Cancel stops the read.
• A sheet that covers several dates gives one day per date. Travel and prep days are split out and each day is marked Shoot day, Travel day, Prep day, Wrap day or Day off.
• A preview of the following day printed on a sheet gives that day too, marked Preview: it is provisional until that day's own call sheet replaces it. The import recognises it by its heading in German, English, Italian, French or Spanish (Vordisposition, Vorschau, Advance, Programma del giorno successivo, Ordre du jour du lendemain, Plan del día siguiente).
• A table of calls per department or person (Arbeitsbeginn, Call time, Call on loc., Convocazione troupe) becomes schedule entries with the department or the person as team: one per person for a short list, one per department and time for a long one with the names in the entry. Each person's own time is also kept in their contact; someone marked O.C. (on call) gets no entry, only a note on the contact.
• Each day in the preview shows its date, title, start and wrap time and how many schedule entries, locations, contacts, scenes and transport legs were read.
• A day with uncertain or contradicting values says how many values it holds that you should check, for example To check against the sheet: 3.
• Under the days you see the model, the tokens in and out and, for Claude models with a known list price, an estimated cost in US dollars. Your provider bills you; the app does not.
• Untick a day you do not need, then press Save call sheet. Nothing is stored before you save; Discard asks before the read is thrown away.
• A project keeps up to 40 imported days, 600 KB for all of them together and 60 KB for one day. Days over a limit are not saved and are listed by name; nothing is cut off.

When a call sheet is sent again with changes, import the new version into the same project. A day whose date the project already holds can replace the stored day instead of being added a second time.

• The quickest way in is the upload button beside an imported call sheet in the Call Sheets tab (Upload a new version of …). It opens that call sheet at Step 1 to read the revised sheet onto it, and on Step 2 every day of the same date is set to Replace the stored day, even when the new file has another name or title. Leaving while the new version is read or waits to be checked asks first.
• You can also read the new version through Import external like any call sheet. In the preview, each day whose date the project already holds says so and offers three choices: Replace the stored day, Keep both or Skip this day.
• Replace is chosen for you when the stored day comes from a file of a similar name ("Dispo.pdf" and "Dispo UPDATE v2.pdf"), has the same title, or belongs to the same earlier import. The line then reads New version of the day from ….
• Keep both is chosen for you when only the date is shared, because two units or two productions can shoot on the same date. The line then reads A day for this date already exists: ….
• The date compared is the one the call sheet printed. A day whose date you corrected is still found by the new version and stays on your date; the line then reads New version of the day stored for …. When the new version moves its days, each stored day is found by its shoot-day number, or in order when all days moved by the same number of days. Days of the earlier version that the new one no longer has are named above the list (Not in this version, kept as stored: …) and stay as they are.
• The line above the days counts what the save will do: days that replace a stored day, days saved beside a day of the same date, and new days. Unticking a day skips it.
• A replaced day stays the same day: its place in the calendar, its published link, its reminders and the row you picked as yourself are kept. Every section comes from the new version. The days stay in their imported call sheet, so your department, start addresses and drives on Your day and a calendar you subscribed to for it keep them.
• You choose which of your own changes survive. Under the day, Your changes to this day (…) lists every correction, added or removed entry, your own order and your notes for the team, each with what the sheet had said and what the new version makes of it. Ticked changes stay in the new version; an unticked one takes what the new version says. Keep all and Keep none set every tick of the day. A change the new version already says, or whose entry it no longer has, is shown without a tick.
• Where the call sheet itself changed a value you kept, your value stays, the day shows the new call sheet value beside it, and the edit bar counts these under Changed on the call sheet since your edit. Use the call sheet’s value takes the new value.
• After saving, the dialog lists per replaced day what the new version changed, for example "Date: 2026-04-14 → 2026-04-15", "Crew call: 07:00 → 06:30" and "Schedule: 2 changed, 1 added". The same note stays on the day, under its header, until you press Dismiss.
• A link you published for a replaced day keeps its address and shows the earlier version until you press Update link in Share as link.
• The project limits count the days after the replacement: a replaced day takes the place of the day it replaces.

When the result is not right, the same files can be read again by a stronger Claude model without adding them a second time.

• Under Not right? Read it again with a stronger model the preview offers Claude Sonnet 5.5, Claude Opus 5.5 and Claude Fable 5.1.
• The buttons appear only when an Anthropic key is unlocked. That also works when the first read ran on another provider or on an on-device model.
• A button shows a price hint such as "about 2× the price" when the model costs more than the one that did the first read.
• The earlier result is kept. Use the earlier read brings it back when the second read is worse.

After a read you can tell us how well it went. The rating helps improve the reading and contains nothing from the call sheet.

• Under How well was the call sheet read? choose Correct, Mostly, with mistakes or Wrong or unusable.
• For the last two you can tick the parts that were wrong (date, call and wrap times, schedule, locations, hotels, contacts, transport, scenes, cast, emergency, split into days) and add a note of up to 500 characters.
• Send rating sends your rating, the ticked parts, your note, the provider and model, the version of the reading instructions, token counts, the duration and how many entries each section held.
• Nothing from the call sheet is sent: no text, no file name and no value that was read.
• You need to be signed in to send a rating. Up to 30 ratings per 24 hours are accepted.
• A rating is deleted after 365 days and with your account, and it is part of your data export.

An imported call sheet opens from its card in the Call Sheets tab, at the step you left it on. Step 2 shows each day for checking with the original sheet beside it; Step 3 shows the day as you live it, with your call and your drives in the timeline. A section the sheet did not have is left out.

• The day header shows the day type, the shoot day number, general call, crew call, first shot and wrap, and sunrise and sunset when the sheet prints them.
• The start of a day is the printed crew call, else the general call, else the first time in the schedule. A start taken from the schedule is labelled "first schedule entry".
• Locations opens the day: every location, and the places only the schedule names. The schedule follows below it. Then, across the width of the day, come Hotels, Meals, Transport and Key contacts; the scenes, the cast, the emergency block and the rest follow. On a phone, or beside the original sheet, everything stands in one column in the same order.
• On a phone the day has no boxes: sections and their rows use the full width of the screen, with a thin line between them.
• Scenes lists the scenes of the day, and Cast each person with call, pickup, make-up, hair, wardrobe, ready and on-set times.
• Locations carry a Maps link, a call time and the contact on site. Transport lists the legs with driver and passengers.
• Emergency shows the nearest hospital with a link that opens it in Maps, plus police, set medic and first aid when printed.
• Production shows client, agency, catering and suppliers. Invoice details shows who to invoice, the project number and where to send invoices, with a Copy invoice details button.
• Camera & gear shows camera settings and the gear lines of the sheet, and Documents the sheet refers to lists the attachments it mentions. On a day you can edit, Link project and Link sub-rental connect the day to where its gear comes from; those links are yours and never part of the day's shared link.
• Weather, below the timeline, gives the forecast of every place of the day, indoor places too: the day forecast first, then from 3 days before Morning, Noon, Afternoon and Evening, and hour by hour on the day itself. Without a forecast there is no section.
• A value the model was unsure of, or that the document gives differently in two places, carries a mark with the source page. A line at the top counts the marked values.
• The days of one import are listed together; pick a day in Step 2 or Step 3 to open it.
• The PDF, the text digest and the email of an imported day contain the new sections too.
• Saved days also appear in the Calendar and, on their date, in Driving Mode.
• View original opens the file the day was read from. The file is kept in the project's Documents as a call sheet, so everybody who works on the project can open it. Excel files are not kept.
• A day saved before files were kept, or whose file you deleted from Documents, has no View original.

An imported day is checked against itself, against typical drive times and against the forecast. What it finds appears as chips above the day: red for what needs action, amber for what to keep in mind. A check says nothing when the sheet does not give it what it needs.

• Travel time. Where the schedule plans time between two places — a company move row, or the end of the last row at one place and the start at the next — the planned time is compared with the drive: with the estimate for the time of day when the sheet says when the drive happens, else with the typical duration. The chip says which. The chip names both: "Sheet allows 20 min, the drive typically takes about 45 min". A travel time printed on the sheet ("Fahrzeit ca. 1h") is compared too and reported when it is off by more than 10 minutes and more than a quarter.
• Long day. More than 10 hours from the day's start to the printed wrap, with the length. A wrap after midnight counts into the next day. Without a wrap there is no chip.
• No break. A day of more than 6 hours whose schedule has no meal or break row (Pause, Mittag, Lunch, Break, Catering, Essen, Verpflegung, Dinner). Breakfast does not count as the break of the day.
• Bring your own food. The sheet says there is no catering or no food nearby ("Selbstverpflegung", "keine Verpflegungsmöglichkeiten", "no catering", "bring your own food", "packt euch Snacks ein"). The chip quotes the sentence and says where it stands.
• Clothing and safety gear. Rubber boots, rain gear, weatherproof clothing, sturdy or safety shoes, warm clothing, helmet, high-visibility vest, sun protection, insect repellent, hearing protection, gloves — one chip per kind, quoting the sheet. "Keine Helmpflicht" is not a helmet requirement.
• Weather. When a forecast exists for the date and the place: rain or snow during the working hours with the hours, the amount and the chance; thunderstorm; gusts from 60 km/h or wind from 40 km/h; heat from 30 °C; frost from 0 °C. When the sheet asks for rain gear and the forecast shows rain, one chip names both.
• Drives starts with the way to the first place: from the hotel on the sheet, else the hotel of the day before, else your home address from your profile. If you start somewhere else on a day, set it in Start address above Drives (Start somewhere else); the drive, "Leave by", your calendar entries and Driving Mode then use it, and Remove goes back. A start address is never part of a shared link, an email or a PDF. Where the call sheet has no travel day, the first day offers Add a travel day before and the last day Add a travel day after: enter where you travel to (the sheet's hotel on the way there, your home or a hotel on the way back) and, if you like, when to be there. The new day shows the drive and appears in your calendar and in Driving Mode. It shows the typical duration, "Leave by" and two links: Route opens the drive from where it starts, the way its time was worked out, and Navigate opens directions to the same place from wherever you are right now. When the sheet says when a drive happens, the row also says how long it is estimated to take then, for example "About 1 h 15 min on Monday at 06:45 (estimate; typically 58 min without traffic)". The estimate is a rule of thumb for the weekday and the time of day (morning and evening peaks, a free night, a quiet weekend), not live or predicted traffic data. It also knows where the route runs: the part of the drive through a congested city (Berlin, Munich, Paris, London, Los Angeles and about 330 cities in all) and on a congested motorway stretch (the A 8 to Salzburg, the M25, the I-405 and others, some busiest on Friday afternoons or holiday weekends) takes that city's or stretch's own rush hour, and the country sets when the rush hours are and how busy each weekday is (a lighter Monday morning in Germany, later evenings in Spain). Where the day has a weather forecast at the start or the end of the drive, rain, snow, black ice, fog or strong wind lengthen it too. The line under the drive says what counted, for example "Estimated from the time of day, the busy roads on the way (München, A 9) and the forecast (snow)". The PDF, the email, the shared link and the calendar use the same estimate without the weather, because they are kept after the forecast changes. "Leave by" is the day's start minus that estimate, rounded to five minutes; when a schedule entry comes before the crew call, the drive arrives by that entry instead, as in your calendar. When the drive still lies ahead and a traffic prediction is available, the row shows the prediction in place of the rule of thumb, for example "About 48 min on Tuesday at 06:10 with predicted traffic (34 min without traffic)". It comes from Apple Maps for that day and time; "Leave by" and the travel-time check then use it. Without a prediction the rule of thumb stays. A prediction is fetched once and stored with the day: the row says when it was fetched, opening the day again fetches nothing, and it syncs to your other devices and to the members of a shared project. Only the drive from your home address stays on the device. Update traffic beside the title fetches the day's predictions again. If you change the date, a time or an address of a drive, that drive is fetched anew. The calendar entries you download for the day and Driving Mode use the kept prediction too. On the first day of an import the way from home is listed under the hotel.
• When neither a hotel nor a home address is known, Drives says so and links to your profile. When a drive time cannot be determined, the row says why: the address was not found on the map, or there is no route. A place the sheet names without an address ("Sixt Münster City") is looked up by its name near the town of the day when you are signed in, and only a place of that name within 75 km of that town counts.
• The Weather Analysis panel under the tab shows the forecast for imported days within the next 16 days at their first address, without a Location Manager entry. A date for which you chose a location keeps it.
• A day in the past says that it is over instead of promising a forecast.
• On a travel day, a hotel the sheet lists without dates is where the day ends, not where it starts: the way to the first place then begins at the hotel of the day before, or at home.
• Extras listed by name in a table of their own are read as cast, like the roles, and as contacts when a phone number is printed with them. A count without names ("24 extras") is kept as a note. A hotel that appears only as a pickup point of a drive is that drive's start, not a hotel of the day.

An imported day lists the meals the call sheet names. Where the sheet says nothing about parking or about where to eat, the day suggests places from the map. Every such row carries the Suggestion mark; what the call sheet says always comes first and is never overwritten.

• Meals. Breakfast, lunch, dinner and snacks the sheet names, with time, place and notes. You can correct them where they stand. They are in the PDF, the text, the email summary and the calendar entries, including the subscribed calendar.
• Parking nearby. For each location and hotel the sheet gives no parking for: up to 2 car parks, nearest first. An open-air car park is always a candidate. A multi-storey, underground or rooftop car park is suggested only when its height limit fits your vehicle (see below).
• Vehicle height (m). 2.0 m unless you change it, from 1.5 to 4.5 m. It is stored with the day and remembered on this device for the next one. Changing it looks the day up again.
• The hotel’s own car park. For a hotel, the map is searched for the hotel's own car park first. If it is too low for your vehicle, or its height is not known, the row says so and public car parks are suggested as well.
• Heights from our register. A covered car park the map gives no height is suggested too when our own register knows its clearance: from the map, from the operator's page, or from a report an admin checked. The row says where the height comes from, and shows the car park's opening hours ("open 24/7"). A car park that is closed all day on the shoot day is not suggested.
• Height not known. The nearest covered car park whose height nobody knows is listed below the suggestions with Height not known: not suggested. It is never one of the suggestions.
• Report height. On a car park of an imported day you can edit, Report height sends its clearance (or No height limit) and, if you like, its opening hours, a note and a link. Read it off the sign at the entrance. An admin checks every report before anyone else sees it; the form shows what became of your earlier reports on that car park.
• From the register. When the sheet prints parking that names a car park ("Parkhaus Stachus"), the day looks it up in our register and shows its height, kind and opening hours under the sheet's text, marked From the register. The sheet's own words are never changed.
• Hotel register. Under each hotel of the day, Hotel register shows what our register knows about the parking the hotel offers its guests (its own car park, or the public one its page names): the clearance and where it comes from, the opening hours, and whether your vehicle fits. A public car park is named on the line, and its clearance and hours are always those of the car park's own entry; values the register holds for the hotel itself win. Then the film crews' ratings: the mean of all of them, and how many there are. The hotel is found by its name and address, also when the sheet prints the hotel's parking.
• Rate hotel and Report parking. On an imported day you can edit, Rate hotel gives the hotel two ratings from 1 to 5: quality (rooms, cleanliness, service) and usability for film teams (parking for vans, room for the gear, late check-in, early breakfast). Your rating counts at once, you can change or remove it, and other people only see the averages. Report parking sends the clearance or opening hours of the hotel's parking; an admin checks it first, as with Report height.
• Places to eat nearby. When the sheet plans lunch or dinner but names no caterer and no place: up to 2 places where the unit is at that hour. With a company move directly before or after the meal, 2 at each end. A meal the sheet leaves to everyone ("e.D.", "on your own") counts as having no place. After the drive to the hotel, dinner is looked up around the hotel. A lunch or dinner the sheet prints without a time and leaves to everyone is looked up for 12:30 or 19:00 (dinner: half an hour after the day's last entry, if that is later) and marked time assumed. A place is suggested only when it is open for the whole meal on that weekday, and when the way there and back fits into half the break.
• Well rated on Google Maps. Where available, places to eat are chosen by their Google rating (4.0 or better, with at least 20 ratings) and Google's opening hours. The app does not store the rating: open the place in Google Maps to see it. Otherwise the suggestion comes from OpenStreetMap, without a rating.
• There and back. Each suggestion gives the distance and the time on foot or by car, and for food the time there and back.
• Apple Maps and Google Maps open the place in the map app, where you can check height, hours and public holidays.
• Update suggestions looks everything up again. Suggestions are looked up once, for a day that lies ahead, when someone who can edit the day opens it signed in and online. After that they are stored with the day: for every member, the share link, the PDF, the text, the calendar file of the day and the parking details of a stop in Driving Mode. When the day has no room left for all of them, the farthest are left out; when not even one fits, the day says so. An address the map does not find gets no suggestions, and the day says that too. Research with your own AI that finishes after the day's addresses or vehicle height changed is not kept, so you can run it again for the day as it is.
• Research with AI. With your own Claude or Gemini key unlocked and AI switched on for call sheets, your AI searches the web for opening hours, ratings, height limits and hotel parking. This sends the date and the names and addresses of the day's places to your provider and uses your own credits. Each result names the page it was read on; a result without such a page is dropped.

The calendar shows an imported day as one event. Its details and the calendar export can give you every schedule entry on its own.

• In the calendar, open the imported day: Schedule lists each timed row with its place, a Maps link and the people the row names, with numbers you can tap to call.
• A combined row such as "Wrap, strike, data backup" becomes separate blocks. The drive to your hotel after wrap and the data-management block are added. Everything the sheet does not print is tagged estimated.
• The data-management block links to Data Management, names the sheet page it was read from, and cites the clip naming, folder structure and media handling from the sheet's technical specs.
• With every schedule entry in the project's Calendar tab downloads one calendar entry per block.
• A calendar entry of a day whose file is kept also carries a link Original call sheet. It opens the day with the file on screen.

An imported day shows what the sheet says about you first, and keeps what a sheet prints once for all days on every day.

• For you. When your profile name (Settings → You & Your Company → Profile) is on the sheet, the day opens with a line for you: your role, your call (your cast row, a schedule row with your name, else your department's start in whatever words the sheet uses, "1st AC" finding "Kamera") or the start of the day (never a colleague's row or another department's start; on a day of several units, your own unit's call row first and never another unit's row, and your drives go to your unit's places), Leave with the time to set out from your hotel, home or start address to be there at your call, and your hotel for the night before and the night after with its reservation numbers. Your row in the contacts carries a You mark.
• How you are recognised. By your full name, in either order and with or without accents ("Müller, Jörg" and "Joerg Mueller" are the same person), or by your account email or your profile phone number when exactly one person on the sheet has it. A first name alone never counts.
• Which one are you? When nobody matches, Step 3 asks for your department and, if you like, which contact is you. The choice is kept for every day of that import and only for you; Change takes it back.
• Hotels. A hotel overview with dates is read once and placed on each day it touches: the stay that ends on a day is the hotel you come from that morning. Each hotel shows its stay, its guests and its reservation numbers as the sheet prints them.
• What a sheet prints once. Crew lists, general notes, technical delivery specs, the invoice address and emergency numbers appear on every day of a multi-day sheet.
• Technical specs. When the sheet states delivery specs, the day shows a Technical specs block, labels and values in two aligned columns, a spec the app has no name for under the sheet's own name ("Kanalbelegung"): resolution, frame rate, codec, bitrate, colour space, gamma or profile rules and timecode under Video; sample rate, bit depth and sound notes under Audio; clip naming, folder structure, media handling and deliverables under Media; and the person for technical questions. The values are the sheet's own words, nothing is filled in, and a sheet without specs shows no block. The block is also in the PDF and in a shared link.
• Remarks beside a row. What a sheet prints beside a schedule row — a remarks column, a list of shots, a travel time — stays with that row, under its label. A row without a time ("afterwards") keeps its place in the order.

An import can read a time or an address wrongly, and a day changes after the sheet went out. Anyone who may edit the project can correct a saved imported day. The call sheet's own value is kept beside each change.

• Open the imported day. Point at any value — a time, the title, an address, a phone number, a schedule entry, a hotel, a cast member — and a pencil appears beside it. Click the value or the pencil (or press F2 on it), change it in place and press Enter; leaving the field saves too, Esc cancels. On a phone or tablet, tap the value.
• Times. Change general call, crew call, first shot and wrap, and the start and end of every schedule entry where they stand. An edited time moves its entry to its place in the schedule. A wrap or an end that is not after its start is saved when you press Enter a second time, as running past midnight.
• Day. Change the title, the date, the type of day, the notes and the safety notes in the day's header. A new date moves the calendar entry instead of creating a second one; when another imported day already has that date you are told, and it saves anyway.
• Adding and removing. Each list ends with Add … (an entry, a location, a contact, a hotel …), which opens the new entry's first field. Point at an entry for its remove button and for +, which offers the details it has no value for yet. A day that lacks a whole part (emergency, production, notes …) has Add to this day at the bottom.
• Locations. A new address is looked up again for the map, the weather, the drive times, the calendar entry and Driving Mode, and a new name is written into the schedule entries and scenes that named the place. Driving Mode shows a place's own call time, so change it there when the call moves.
• Phone numbers and email addresses stay links: tapping them calls or writes. Only their pencil edits them.
• Every change is saved at once. The calendar, the calendar file, the checks, Drives, the time-tracking suggestion, the email, the PDF and Ask your call sheets use your values from then on.
• An edited value carries an adjusted mark and an entry you added an added mark; hover it to read what the call sheet says. The undo button beside a value puts the sheet's value back, and Undo all corrections in the day's header does it for the whole day after a question. An entry you removed is listed under Removed by you with Restore.
• A value marked for checking loses its mark when you edit it or press the tick beside it (Checked against the call sheet).

An imported day can be published as a web page that opens without an account, like a call sheet you built. It is one link for the whole crew.

• Open the imported day and press Share as link. You must be signed in and able to edit the project.
• What the link shows is the page as a recipient gets it. Check it before you publish. The name of the imported file, the marks on uncertain values, the sheet's line on diets and allergies, weather and drive times are not on it.
• Phone numbers and emails are left out by default. The dialog counts how many the day holds. Show phone numbers and emails puts them on the page; without it, names and roles stay and the numbers and addresses of contacts, location contacts and suppliers are left out.
• Emergency numbers (hospital, police, set medic, counselor) are always shown.
• Press Publish link, then Copy link and send it any way you like.
• The link works until 48 hours after the day, or until you press Withdraw link. Publishing again after a withdrawal gives a new address.
• Changes are not published by themselves. When the dialog says "The link still shows an older version of this day.", press Update link; the address stays the same.
• The dialog shows how often the page was opened. The page tells recipients who published the day and links to the privacy policy.
• Deleting the day withdraws its link when you are signed in and online.

The contacts of an imported day are a small directory: call, message, copy, save a vCard, or add people to your own Contacts.

• Key contacts folds to its heading: tap the heading to open or close it. A day with five or more people starts closed, with their number beside the heading, unless someone on the list is marked for checking. The cards fill the width of the day, several side by side on a wide screen.
• People are grouped by department. The director, the 1st AD, the production manager and the director of photography come first.
• Every phone number is a link that dials. A cell with two numbers gives two links. An email address opens a mail.
• On a phone each person also has Call, Message and Email buttons.
• The copy icon puts the number on the clipboard. The card icon downloads the person as a vCard. All as vCard downloads everyone with a number or an address in one file.
• A day with more than 12 people gets a filter field: type part of a name, role, department or number.
• The person-plus icon adds one person to your Contacts. Save all new to my contacts lists everyone it would add and adds them when you confirm.
• Someone you already have (same email or phone number) reads Already in your contacts and links to that contact.

Export opens every format an imported day can leave the app in. It is your own copy of the day.

• Open the imported day and press Export.
• PDF downloads the day as the compact document the team gets by email. PDF of all days puts every day of a multi-day sheet into one file, with the key contacts, the camera and gear and the technical specs once, on a last page For every day.
• Text is the whole day as plain text, with the contacts. Copy text puts it on the clipboard, Download .txt saves it.
• Calendar (.ics) gives the Day entry, or Every schedule entry for one entry per timed row. With Include estimated travel, strike and data-management blocks ticked, the file also holds the drives from your hotel or your home and to your hotel; their durations are looked up first, and the dialog says when one could not be determined. It is offered for a day stored in a project. A drive is always shown with the time it is estimated to take at its time of day, and the time without traffic in brackets behind it. The PDF, the text, the email summary and the shared link list the day's drives that way, once the day was opened and the drives were looked up. The file and the subscribed calendar time their estimated drives the same way; until the day after the shoot the subscribed calendar also names the travel time with predicted traffic.
• Contacts (.vcf) downloads everyone with a phone number or email as vCards.
• JSON is the day as data, for a re-import or another tool.
• Untick Include phone numbers and emails or Include my own notes to leave them out of every format. Emergency numbers always stay.

Once a project has an imported day, the Call Sheets tab shows a question box above your own call sheets. An AI model answers from the imported days of this project.

• Type a question under Your question about the imported days, for example "When is my call on Thursday?" or "Who is the gaffer?", and press Ask.
• The answer comes from the imported days of this project only and names the weekday and date it was taken from. When the days do not contain the answer, it says so.
• The line under the field says where your question goes. With a cloud provider, the question and the imported days of the project, with the names and phone numbers on them, are sent to that provider with your own key. With an on-device model both stay on your device.
• We store neither the question nor the answer. They are not saved in the project: after a reload, or in another project, the box is empty.
• The box needs the AI integration with External call sheet import (day briefs) switched on under Settings → Connections → AI Integration. A locked key is unlocked in the box with your account password.
• With many imported days the days nearest to today are read first. Under the answer the box says how many days were read and how many were left out because of size.
• Under the answer you also see the tokens in and out and, for Claude models with a known list price, an estimate in US dollars. Your provider bills you, the app never does.

An opened imported day has Ask the assistant in its header row. It opens a conversation with an AI model that knows the day, its drives and its weather, and that can change the day when you tell it what is new.

• Ask in your own words: "When and where is lunch?", "How many people are on set?", "What is the name of the protagonist?", "When do I have to leave?". A follow-up question sees the earlier ones, so "And where is it?" works.
• The answer comes from the read data of the open day first. The assistant also knows what the day view looked up: the drives with the time to leave by, and the forecast of each place with the hours between start and wrap. So it can answer "Do I need rubber boots?" from the rain figures, the outdoor mark and the notes of the place.
• When the read data does not hold the answer, the assistant reads the original file of the day again for this one question. The answer then says Read again from the original file, with the page where it is known. Without an original on this device the answer says so.
• Tell it about a change: "New meeting time: 8:00 at the location", "Lunch moves to 13:30", "Add a note: bring rain gear". The assistant shows a Proposed change with the old and the new value of every field. Nothing is stored until you press Apply; Discard drops it.
• After Apply the day shows the new value with its "adjusted" mark, and the call sheet's own value is kept, as with a correction you make yourself. Calendar, Driving Mode and exports follow.
• Under an applied change you see the Updated timeline: when to leave and for which drive, the start of the day, the schedule entries and the wrap. The drive times are looked up again for the new time or place; a line says so while that runs.
• Undo under an applied change puts the day back as it was before it.
• A change the day cannot take is left out and named under the proposal, for example a time that is no time or a field the day does not have.
• The line above the input says where your text goes. With a cloud provider your questions, the open day and the other imported days of the project, with the names and phone numbers on them, are sent to that provider with your own key; the text of the original file is sent only when it has to be read again. With an on-device model everything stays on your device.
• The conversation is not stored. It stays while the day is open, also when you close the assistant and open it again, and is gone after you leave the day or reload. The bin button empties it.
• The assistant needs the AI integration with External call sheet import (day briefs) switched on under Settings → Connections → AI Integration.

Some call sheets run a studio unit, an interview unit and a shuttle service at the same time, told apart only by the colour of each row and a legend. The import reads those colours from the PDF and gives every row its unit.

• Unit columns. A day with two or more units shows one column per unit, each headed by a card with its people. A row for everyone (participants arriving, a shared break) runs across all columns, and so does a stretch in which only one unit has rows. Where there is no room for a column per unit (on a phone, or next to the sheet in the Call Sheet Reader), the timeline has a tab per unit and then All units: it opens on your own unit, a unit's tab shows its card, its rows and the rows for everyone, and All units every row with its unit. On a phone each row puts its time above its text. Where the day stands in two columns (the Call Sheet Reader with the sheet hidden, a wide window), the timeline runs across both columns at the top, so the units sit side by side instead of in tabs. The PDF and the email or text list the units with their people, and each row names its unit.
• Move a row. Tap a row's unit and type another unit's name to move it to that column; the kind of a row (call, shoot, meal, set-up, drive, wrap) is chosen the same way.
• Topics of the day. When a day shoots topics ("SE Darm & Psyche"), the key contacts start with them: each topic with its time, the unit that shoots it, the person responsible for it (author, director) and the support person. Those people are not repeated in the departments below.
• Which model to use. Under the read days the app says when a call sheet is too complex for the model that read it: an on-device model is told to hand it to Claude Sonnet, Sonnet to Sonnet with Claude Opus as advisor, and the advisor read to Claude Opus, one step at a time. The recommended button is highlighted. Reading again needs an Anthropic key under Settings → Connections → AI Integration.
• How complex is this call sheet? As soon as you add a file, the app measures it on your device, without asking a model: its text, the colours of its rows, its days and contacts, and the text of a scan read by OCR. It picks Simple (one day or several days), Complex or Very complex, and you can choose another. A complex sheet is read with Claude Sonnet, a very complex one with Sonnet and Claude Opus as advisor. When your model runs on the device or is not Claude, the app only suggests Claude; the sheet goes to Claude only when you choose the level yourself.
• Unlock in place. When reading again needs your Anthropic key and it is still locked, enter your account password right there.
• In the calendar. On a day with several units, each block of the day and each line of its calendar entry names its unit.