Help

Every contact is either a Person or a Company — the 'Contact type' switch at the top of the editor. That's it — no third type. People additionally carry roles, and their department follows from those roles.

Person

— Individuals you work with on shoots. Each can hold multiple roles (e.g. DP + Camera Operator) with one starred as default. Grouped by the department of their roles: Camera, Grip, Light, Sound, Production, Art, HMU & Costume, Post Production, Other.

Company

— Organisations — production houses, agencies, clients, occasional rental houses if you want them here rather than in the dedicated Rental Houses page.

From the Contacts page.

1. Click 'New Contact' in the page header.
2. Pick the contact type: Person or Company.
3. Enter the name.
4. For a Person: add one or more roles and star the default one — it shows up everywhere the contact appears unless overridden. The department follows from the roles. Optionally link the company they work at.
5. Add phone and email — 'Add phone' and 'Add email' take further numbers and addresses.
6. Fill in the other fields if relevant: IBAN, address, VAT ID, invoicing prefill (customer type, invoice language, buyer reference, payment terms, default quote markup), rate, union, certifications, aliases, meals & dietary needs, rental discount, notes.
7. Address: type the postal code and the city, state and country fill in by themselves (80331 → München, Bayern, Germany). A city you typed yourself is never replaced; for an Austrian or Swiss 4-digit code, pick the country first.
8. Optionally upload a photo.
9. Customer no.: leave it blank — the next free number is assigned on save (the field shows which). Every contact gets one, collaborators included; existing contacts were numbered once. A number another contact already uses is rejected.
10. Save. The contact is now selectable in any project.

Record what someone eats once, and it follows them onto every project.

1. Open a crew contact and scroll to 'Meals & dietary needs'.
2. Add a diet with the suggestion chips (Vegetarian, Vegan, Halal, Kosher, Gluten-free …) or type your own and press Enter.
3. Add allergies and intolerances in the second field. These are treated as safety-critical and shown in a warning colour everywhere.
4. Use the notes field for anything that isn't a tag — 'eats before call', 'no cold food on set'.
5. Save. The profile now appears on every project this contact is booked on.

Note how each crew member likes their kit — fluid head drag, how the onboard monitor is mounted, favourite lenses — and print it as a briefing PDF. Your own preferences can be shared with your connected crew.

1. Open a crew contact and find 'Operator preferences'. Click Add.
2. Pick a category (Tripod head, Onboard monitor, Camera package, Project requirements, Lenses, Grip & support, Monitoring, Workflow & communication, Other) or choose 'Custom category…' and type your own.
3. Under 'Applies to', keep 'Every role' or pick the role the preference is for (DoP, Camera Operator, 1st AC…). A preference for one role shows in a project only where the person has that role; the card says 'Only as …'.
4. Give the preference a short title ('Fluid head drag') and the details ('Pan on 5, tilt on 2').
5. Add tags, and devices: pick them from the device library or type anything that isn't in it, such as 'ULCS clamp'.
6. Save. Edit or delete a preference with the icons on its row.
7. Your own preferences live on your profile contact (the one with the lock badge), under 'My operator preferences'.

A crew member can hold several roles. The default role is what shows up automatically; the others are selectable per project.

• Add roles in the Contact editor or directly from the project's Crew tab.
• One role is marked as default — that's the one used for call-sheets and PDFs unless you override on a per-project basis.
• Use multi-role for people who genuinely cover several positions ('DP + Camera Operator', 'Sound Mixer + Boom Op'). Don't add roles you never use — clutter.
• Per-project override: on the project's Crew tab, change the active role for that specific shoot without touching the contact's default.

Three places where the directory feeds into a project.

• Crew tab — assign crew members to the project. Each appears with their default role (overridable per project).
• 'Production Company / Renter' field on the project's Overview tab — link a company contact as the client.
• Provider on gear-list items — when a piece of gear is provided by a specific contact ('owned by Mike, sound mixer'), the row carries their name.
• A contact's Projects list covers every way a project uses them: as crew, as the production company, and as a gear provider — a rental house you assign to equipment appears there even if you never added them to the crew.

Search and filter on the Contacts page.

• Search input matches name, aliases, roles, and every email address and phone number.
• The All / People / Companies switch narrows the list by contact type.
• Department chips (People only): Camera / Grip / Light / Sound / Production / Art / HMU & Costume / Post Production / Other. Tap a chip to filter; tap again to clear.
• Sort options: Name, Role, Department, and Recent (last changed first).
• Select several contacts with their checkboxes (or Select all) and the bar above the list offers Merge, Edit and Delete for all of them at once. Edit changes the role, the company (or 'No company (unlink)'), the union and the rate — only the fields you switch on are written.
• On a phone (below the tablet breakpoint) the contact-type switch and the department pills fold into one 'Filters' button carrying the number of active filters, with Sort beside it; the search folds into a magnifier button that opens the field, and Select all and the result counter stay on screen. Tap Filters to pick People/Companies and a department, then 'Show N contacts' to apply — nothing is dropped, it is folded.
• On a desktop, where the list is the column beside the open contact, the department chips fold into one 'Department' menu next to Sort, so more contacts fit above the fold. The tiles themselves are compact, and wherever the list spans the page (a tablet, or a phone turned sideways) they sit side by side in as many columns as fit.

Optional but useful. A photo helps put a name to a face on a large production.

1. Open the contact for editing.
2. Click the photo area or 'Upload'.
3. Pick an image (square crops best).
4. Save.

Import multiple contacts at once via the three-step import wizard. Useful when migrating from another tool or importing a crew database from a colleague.

• Supported formats: CSV (with header row matching contact fields) and vCard (.vcf).
• Step 1: 'Import' in the page header opens the wizard; pick one or more .csv or .vcf files.
• Step 2: choose which fields to import via checkboxes — Email, Phone, Department, Role / Title, Company, and Notes. Name is always included. (There's no column-by-column mapping step.)
• Step 3: review the preview, confirm. Items are added in bulk. If the files hold no contacts, the preview says so — go back and choose another file.
• Existing contacts are detected by matching email or phone. Matches are flagged as duplicates and left unchecked in the preview — they're skipped, never merged or updated.
• Rows or cards the importer can't use are listed in an amber banner above the steps, each with its file name — for example a vCard entry without an end, a CSV row without a name, or a file over 5 MB. Up to five are shown, then a count of the rest.

Two cards for the same person are almost always the result of the same contact being created independently on two devices, or of a crew name typed slightly differently. Merging keeps one card and hides the rest — nothing is deleted.

Automatic cleanup

— On first start after an update, contacts that are unmistakably the same person are folded together: your own profile card, cards linked to the same connected user, and cards sharing the identical email address. The kept card inherits the others' details, and every reference (project crew, production company, provider assignments, owned gear, sub-rentals) is re-pointed to it.

The same person from several devices

— Your own profile card and the card of each connected-crew member can be created again on a new device or after clearing the app's data. Whenever you are signed in and everything has synced, the app merges such copies by itself: one card per connected person and one profile card. The merge is saved and sent to your other devices like one you make yourself, so the copies do not come back. Two different cards that only share an email address are never merged automatically.

Merge all duplicates

— A bar appears on the Contacts page when duplicate groups remain — including look-alikes such as the same name and phone number. One click merges them all, behind a confirmation, with a single Undo.

Merge selected

— Pick the cards yourself and merge them into one, regardless of how similar they look. Useful for the same person under a maiden name, a nickname, or a second email address. Like every merge, it moves the merged cards' places — project crew, gear, sub-rentals and damage reports — to the card that is kept.

Undo

— The message that confirms a merge carries an Undo button for 10 seconds. Undo restores the hidden cards and the survivor's own details as they were before the merge. There is no merge history to undo a merge later, and the automatic cleanup has no Undo.

Removes the directory entry. Places that used the contact keep the name they saved but lose the link to it.

1. Find the contact in the list.
2. Select it to open the detail panel on the right.
3. Click Delete in the detail-panel header.
4. Confirm. If the contact is still used — as project crew, a project's production company, a gear provider, in a sub-rental or a damage report — the dialog lists those places first.
5. The message that confirms the deletion carries an Undo button. A few seconds later the deletion is saved and sent to your other devices.

• Add new contacts immediately after working with them. Cold memory loses phone numbers fast.
• Use specific notes ('good with sound on the day, slow with paperwork') rather than vague ones ('reliable').
• Review the directory once a quarter. Delete contacts you'll never call again; update phone numbers for the ones you will.
• Use Production Company contacts for clients/agencies, even if you only have one person there — the company is the persistent entity; people rotate.
• Sync. With Cloud Sync, the directory follows you between devices and is part of your manual full-backup.