Help & Documentation

The Daily Shooting Report tab is off by default. Enable it per project.

1. Open a project.
2. Open the project's overflow / 'Configure Tabs' menu.
3. Tick 'Daily Shooting Report' to add it to the tab bar.

Each report covers one shoot day.

• The shoot-day number is computed automatically from the date.
• Changes save as you go, when you leave each field.
• A new report starts with one camera per camera package on the project and with the DoP, DIT, operator and 1st/2nd AC from the project's crew.
• Picking a date that already has a report opens that report instead of creating a second one.

1. Open the Daily Shooting Report tab.
2. Pick the shoot date and choose 'New shoot day'.
3. Fill in the cameras, cards, sound, timecode, and notes — every field is optional.

The report captures the full camera and sound picture for the day.

• Per camera: body/model, codec, resolution, sensor mode, aspect, anamorphic squeeze, project and sensor frame rates, shutter, ISO/EI, white balance, tint, ND, color space, gamma, LUT, and lens.
• Cards shot per camera: label/reel, size, source path, and a per-card codec — the count answers 'how many cards'.
• A per-camera timecode strip: TC start/end, rate, drop-frame, sync method and source.
• Sound: recorder, sound roll, sound card, sample rate, bit depth, file format, per-track label + routing, sync method/source, jam TC, and sound timecode.
• Crew (DoP, sound mixer, DIT, operator, 1st/2nd AC), unit, location, and daily notes.
• Auto-computed totals: cameras, camera cards, sound cards, total clips, and total data size. Total clips sums every card's clip count, camera and sound; total data size counts camera cards.
• Shot coverage, read live from the Schedule: shots planned/shot/cancelled, takes, and the day's page count in eighths. Pages count each scene once however many shots it has, and read '(partial)' when a scene on the day has no page length recorded. Nothing appears if the project does not track page eighths. To leave it out, untick “Include shot coverage (takes)” — one switch for every day of the production, on screen and in the PDF.

Three things the report can now state per card: how long the card ran, which scenes it covers, and whether the footage on it has actually been copied and checksum-verified.

• Duration (min) and Scenes are yours to type, per card. Scenes is free text, so "12-14, 18pt" or "104A/B" are all fine. Both print as their own column, and only when at least one card on that camera has a value.
• Backup is not typed — it is read from the offload records Data Management keeps for the shoot day (written when the app copies a card, in the browser or the Mac app, or when the Offshoot hook reports a transfer), matched to the card by its label. It shows Verified (with the number of drives holding a checked copy), Checksum issue, Copy failed, Copying, or No copy recorded.
• If no offload has ever been linked to that shoot day, the Backup column does not appear at all — on screen or in the PDF. That is deliberate: a blank cell would read as "not verified", and never having offloaded through the app is not the same thing as a card that failed its checksum.
• Sound cards recorded in Data Management (S001, S002…) now appear in the report's Sound section with their card label and reel number. The free-text "Sound Card" field is unchanged — that one is still yours to type, and the two sit side by side.

Fields are sized to their values

— Below 640 px each field takes the width its content needs instead of a fixed column count. Codec, resolution, sensor mode, colour space, gamma, LUT, lens and the timecodes take the whole row; aspect, the frame rates, shutter, ISO, white balance, tint and ND pair up two to a row.

Cards and sound

— On a card, card/reel, codec and source path take the row while size and clip count share one. In the sound block the recorder, the sync fields and the timecodes take the row while roll, card, sample rate, bit depth, file format and TC rate pair up. Track label and routing sit side by side.

Nothing is hidden

— The phone layout changes widths only — every field on the desktop report is on the phone report too, and the layout is unchanged from 640 px up.

If your team logged takes in Camera Logs, the report's camera strip can fill itself instead of being re-typed.

1. Log your takes as usual in the project's Camera Logs tab.
2. Open the shoot-day report for the same date.
3. In the Cameras section, click 'Fill from camera log'.
4. Review what landed — lens, ND, FPS, shutter, ISO/EI, white balance, tint, LUT and aspect, plus TC start and end.
5. Fill in anything the log does not carry (codec, resolution, sensor mode, colour space, gamma).

Reports are the same records the Data Management tool uses.

• A report created here appears in Data Management's session history, and vice-versa.
• Everything cloud-syncs with your account, so a second device sees the same reports.
• On a shared project the whole team sees the project's reports: editors can change them, viewers read them.
• Opening the tab as a team member creates nothing in your own account.
• Deleting a report moves it to Data Management's history, where it can be restored.

Turn a report into a shareable PDF.

1. Open a day report.
2. Choose 'Download PDF' to save it, or 'Send…' to email it.
3. For email, pick recipients from the project's crew and contacts that have an email address (or type an address) and send — the PDF uploads and a link is emailed.

What it does

— In the per-camera section, “Read from card” opens one clip on a media card and fills the technical strip from it — codec, resolution, sensor FPS, ISO/EI, colour space and gamma. It reads one clip, not the card: only the first part of a single file is opened, so it is quick even on a full card.

You approve before anything is written

— What it found is shown first; nothing changes until you press Apply. Only the fields the clip actually carried are written, so anything you typed that the clip says nothing about is left alone. The body/model name is filled only when it is still empty.

Which cards it can read

— Sony cards give the most — the sidecar XML beside each clip carries the model, resolution, capture rate, gamma, colour primaries and ISO. Blackmagic ProRes, Canon, Panasonic, Nikon, Fujifilm, DJI and iPhone files give model, resolution and codec. A Blackmagic .braw.sidecar gives the look.

Cards it cannot read

— ARRI MXF, RED R3D, Canon Cinema RAW Light and the inside of a .braw are proprietary formats the app does not decode. It will say so by name rather than silently finding nothing — type those fields by hand.

Where the button is not shown

— Reading a card needs the browser's folder-access API, which only Chromium-family browsers have. On Safari, Firefox and phones the button is hidden rather than shown as a control that cannot work.

Data Management reads each card’s clips and fills this report for you; you complete the rest here or on its Report step.

• Clips is the number of clips on the card — not files: sidecars, thumbnails and proxies are left out, and a clip spread over several files counts once. Files (read-only) is everything the copy wrote. Older reports may show their old count under Files.
• Under each card a line names the first and last clip and how many sampled clips gave their settings — or which format could not be read.
• Fields filled from the clips say Detected under them. Changing one makes it yours; detection never overwrites it again.
• Audio tracks per camera records what is on each camera channel (Source / Channel), up to 16; the Sound section keeps the recorder’s tracks. Both print in the PDF.
• Since v1.19.0 a card's Size (GB) and Duration (min) are detected too, and so are lens, white balance, tint and aspect ratio where the files state them. Duration is filled only when every clip of the card was read — never as an estimate.
• Photos counts the stills on a card (JPEG, HEIC, camera raw) on their own — a photo is neither a clip nor a file. A sample of up to 12 JPEG or raw files gives the camera model, lens and ISO range; HEIC and CR3 are counted but not read.
• A camera whose clips carry audio gets one audio track row per channel to label. Sound cards fill the recorder's name and the sound roll.

The report opens as short rows you can open, search and filter.

• Crew, each camera, Sound, Shot coverage and Daily notes are sections. Closed, each shows one line of what it holds; click it to open. Expand all and Collapse all do the whole report, and your choice is remembered on this device.
• In an open camera every card is one line — label, size, clips, photos, duration, codec — that opens to its fields. A card you just added opens straight away.
• Search this report: type a field name or a value, such as ISO or A003. Only matching fields and cards stay, with their sections opened.
• All, Filled, Empty and Detected limit the fields shown and combine with the search. While either is on, the buttons that add cameras and cards are hidden.
• Search reports above the report list finds a day by date, unit, location, notes, camera name or card label.

Choose which sections and fields this production's report has, and add your own.

• Customise fields opens the list of sections and fields. Untick one to leave it out — on screen and in the PDF, for every shooting day of the production, here and in Data Management's Report step.
• A hidden field keeps its value and is not printed; tick it again and the value is back. Hiding Sound also leaves the sound cards out of the PDF.
• To add a field of your own, type a Field name, choose where it goes (report header, every camera, or Sound) and press Add field. Up to 24 fields; each prints in its section.
• On a read-only project the layout applies but cannot be changed.