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Everything below — gear, schedule, crew, attachments, exports — is per-project. A project is self-contained: deleting it deletes everything in it, archiving it hides everything in it, exporting it produces a PDF of everything in it.

• Each project is independent — the gear list, crew, schedule, and export settings of one project don't affect another.
• Templates (separate feature) are a starting point for creating new projects with a pre-filled gear list and metadata.
• Projects can be archived without deleting (recoverable any time) or duplicated to seed a similar project.
• Free plan: 2 active projects at a time. Pro plan: unlimited. Soft-deleting a project (moves it to Trash) still counts toward the free limit — only deleting it inside the Trash ('Delete', then 'Confirm?') frees a slot.

Two paths: from scratch, or from a template. Cmd/Ctrl + Alt + N opens the new-project dialog from anywhere.

• A new project starts in the units chosen under Settings › App › Units (a template's own units win). Units and currency of one project are changed later in the project's '…' menu → 'Project Settings' → 'Regional Preferences'.

1. Click 'New Project' in the header of All Projects (or Home), or press Cmd/Ctrl + Alt + N.
2. Pick a name. The date-prefix convention ('YYYY-MM-DD Client — Type') sorts chronologically in the dashboard and reads well six months later.
3. To start from a template instead, pick it under 'Template library' at the top of the panel and click 'Create project from template' — the project is created at once and the rest of the form is skipped.
4. Pick a Camera. It narrows Sensor Mode, Recording Resolution, Delivery Resolution, Aspect Ratio, Codec and Base Frame Rate to what that camera supports.
5. Add what you have: Production Company / Renter, the shoot schedule (Prep period, Shooting period, Return day), Location, Rental house, crew. All of it is optional and can be filled in later on the Overview tab.
6. Decide which workspace tabs to enable via 'Choose Your Tabs' (you can change this any time from the project's '…' menu → 'Configure Tabs').
7. Click 'Create project'. The project workspace opens.

These are the fields every project has. Most are optional, but the more you fill in, the more downstream features have to work with.

Name

— The string you and collaborators see in the dashboard, in PDFs, and in the Quick Switcher.

Version

— The project's version number (v1.0, v2.0, …). A gear-list PDF export moves it up by one; you can also set it by hand from the version badge in the header.

Location

— Where the shoot happens. Free-text; you can include parking, accessibility notes.

Shoot Schedule

— Prep / Shoot / Return windows. Drives rental-day calculations, calendar entries, and crew call-time generation.

Project Requirements

— The technical brief: Delivery Specifications, Lenses, Transportation and Carts & Accessories for the whole project, plus the Camera Specifications through User Buttons of each camera package. It prints on the Project Briefing PDF and adds its own lines to the gear list.

Camera Packages

— One or more independent rigs (A Cam, B Cam, C Cam, Drone, Gimbal). Each has its own body, lenses, monitors, batteries, FIZ, wireless, cage, gimbal, and accessories. See 'Camera Packages (multi-cam)' below.

Units

— Metric or Imperial, per project. A new project starts in your account's units (Settings › App › Units); change one project in its '…' menu → 'Project Settings'.

Currency

— Per project, in the same 'Project Settings' dialog. Used for pricing and budget displays in this project.

Configure Tabs

— Hide the workspace tabs you don't need on this project. Set it while creating the project under 'Choose Your Tabs'; adjust it any time afterwards from the project's '…' menu → 'Configure Tabs'.

Card colour

— An optional accent stripe across the top of the project card on the dashboard. Pick it while creating the project, from the card's '…' menu, or on the Overview tab of the open project — all three write the same colour.

Production Company / Renter

— The company the project is for, picked from your contacts or added on the spot ('Add new production company…').

Crew

— Team members. Each can hold multiple roles, with one marked as default; the role drives call-sheet headers and PDF labels.

Attachments

— Files attached to the project — permits, location releases, reference PDFs, scouting photos.

Notes

— Free-text scratchpad. Visible to collaborators.

Created / Modified

— Auto-stamped, read-only. Useful when sorting the dashboard by 'Last edited'.

The schedule defines the windows around the production: Prep, Shoot, Return. Many other features fall back to defaults until it's filled in.

• Prep period — equipment pickup, testing, dry runs.
• Shooting period — the actual production days. These count toward rental days unless overridden.
• Return day — packing, returns to rental house, inventory check.
• Each period is one date field: type "5.5.–9.5." (or "10–11 May") or open the two-month calendar and click the first and last day; This week, Next week and Week before the shoot fill it in one click. The end is never before the start. Prep period, Shooting period and Return day add another range, so block shoots and split prep weeks fit; the bin removes one, and a schedule may have none. In a shared project a period is read-only while a collaborator edits it.

The technical brief of the production. Most sections add their own lines to the gear list (lenses, recording media, filters, camera support, carts), and the whole tab prints on the Project Briefing PDF.

• Under 'Whole project', the sections every camera package shares: Delivery Specifications, Lenses, Transportation (vehicles from preset van/truck classes or custom) and Carts & Accessories (for each cart: the cart itself, a name, who it is assigned to, notes, its contents with one item per line, and accessories). Each section has the same header: its title, a hint under it, and its actions on the right.
• Per camera package, in the 'Per-Camera Configuration' box (edged in the camera's colour, with one pill per package; its header stays on top while you scroll): Camera Specifications through User Buttons — including rigging, camera support, tripod, Storage & Media, Mattebox & Filter and Monitoring. Each section's title carries the camera badge. The video transmission lines the briefing prints (Tx, Backup, Receivers, Channel) are under Monitoring when the package has a transmitter; the package label is set on the Camera Package tab.
• Monitoring — tick 'Aspect Ratio Marker' under Frameguides on a surface (Viewfinder, Onboard, Built-in Monitor, Video Transmission feed) and an 'Aspect ratio markers' grid appears beneath it, to say which ratios the frame lines mark; tick several if you need them. It starts with the ratios chosen in Delivery Specifications and follows them until you change it. Changing it there changes only that surface of that camera package, never Delivery Specifications or the other surfaces and packages; 'Use delivery aspect ratios' makes it follow Delivery Specifications again. Once a monitor is ticked under Video distribution, the same field appears for the video-distribution monitors. The Project Briefing PDF prints the ratios in each camera package's Monitoring section (for example 'VF frame lines 2.39:1 · 16:9'), and a saved camera setup lists them with the surface.
• Mattebox & Filter — each filter row can optionally be matched to a line in the Filter Finder catalogue. The row still works with nothing matched; the match adds its nine rated axes, its published strengths and the sizes it is made in, right under the row.
• A row whose filter type names exactly one catalogue line is matched automatically and labelled “matched by name”. A type that is a category (ND, IRND, Diffusion, Mist) or a name two makers share (Black Mist) is never guessed — use “Match to catalogue” to pick.
• Tick two to four matched rows and open them side by side, or export that comparison as the same PDF the Filter Finder produces. Compare sits both in the Filters heading, above the rows, and in the tray beneath them — the same control twice, so it is in reach whichever end of a long filter list you are at.
• Gear-list lines the requirements add (lenses, media, filters, camera support) stay yours once you rename them or link them to your own gear — the requirements never overwrite or re-add them. If the requirement behind such a line changes or is removed, a notice above the gear list shows what it now says and lets you choose: use the requirements version, or keep yours. The same applies to the lines the Camera Package tab adds and to carts.
• Notes — every section ends with 'Notes', the number of notes and an 'Add note' button. Anyone on the project can leave any number of notes; each is a card with the author's initials, name and time, and only the author can edit or delete it (the pencil and bin icons). A camera package's notes stay with that package. The notes print on the Project Briefing PDF under the section they were left on. Notes left on the former 'Briefing extras' section show under Monitoring.
• Operator preferences — at the top of the tab. It lists the project's DoP, camera and Steadicam operators and 1st and 2nd AC (from the Crew tab). With more than one, a switch shows one pill per role; someone in two roles has two pills, because each role keeps its own preferences. A person's preferences for that role are one list: each row says 'Only with …' (on the contact only), 'Same as …'s', 'Differs from …'s' (with what differs) or 'Only in this project'. 'Add to project' or 'Add all to project' copies preferences into the project; 'New … preference' adds one for that role. A copy can be edited for this shoot; 'Use …'s version' takes the contact's entry back, and 'Save for …' writes the copy to the contact. Untick 'In briefing' to keep a copy out of the project briefing. Nothing is copied by itself: preferences on a contact are private, while everything in the project is visible to everyone on a shared project. 'Recommended devices' lists the devices these people prefer that are not on the gear list yet, each with an 'Add to gear list' button. A crew member needs a linked contact for their preferences to appear.
• Camera setup — inside each operator's block. It compares a camera package with the setup saved on the contact, section by section (User Buttons, Tripod, Monitoring, Rigging, Camera Support): Same, Differs, Only on the contact, Only in the package, Not set. 'Apply to …' writes the ticked sections from the contact into the package; 'Save to contact' writes the ticked sections of the package to the contact. Both open a dialog that shows the values of both sides first. Video transmission and video village are not part of a setup. With several camera packages, pick the one to compare. Apply is unavailable while someone else is editing that package.
• Preferences where you need them — below Tripod, Monitoring, Rigging, Camera Support, Camera Specifications and Lenses, the operators' preferences of the matching category are listed under 'Operator preferences', with the person's name. Ones that are only on the contact are marked; on a shared project your collaborators see only the ones copied into the project.
• Shared by the operator — when an operator is connected with you and shares their preferences, their block lists them under 'Shared by …', below the preferences from your contact. They are read-only; 'Add to project' or 'Add all to project' copies them into the project. Such a copy shows 'Same as shared by them' or 'Differs from what they shared', and 'Update project copy' on the shared entry takes over their change. 'Save to contact' adds the copy to your own notes about that person. Devices named in shared preferences appear under 'Recommended devices' (marked 'from a shared preference' until the preference is copied), and shared preferences that are not copied yet appear below their requirement section, marked as shared. They are read from the server when the project opens, need a connection, and are gone once the person stops sharing; copies stay in the project.
• A copy that differs names what differs (for example 'Differs in details, devices'). 'Use …'s version' replaces the copy with the contact's entry; 'Save for …' does the opposite.
• Recommended devices and rules — 'Always add for …' puts a recommended device into that contact's gear rule 'Preferred devices', so Auto Gear adds it on every project with this person. A device that such a rule already adds is marked 'Added by a gear rule on Generate'. The operator's block shows how many gear rules the contact brings and how many are switched off for this project.

Storage & Media in each camera package estimates how long one card holds and how many you need, using that package's own camera, sensor mode, codec and frame rate. It answers the question where you are already choosing cards.

• Per-card record time and MB/s, from the camera's published data rate for the selected codec.
• Cards needed for a target number of hours, with spares reported separately from the requirement — the number you need and the number you rent are different questions.
• Billed at SENSOR frame rate, so off-speed work is charged at the capture rate. Slow motion is shown as its own line because those shots fill a card far faster.
• Usable capacity, not marketed capacity — a 1 TB Codex Compact Drive holds 960 GB.
• A confidence badge on any rate that is not fully verified, and a range instead of a single number for content-dependent codecs such as X-OCN, Blackmagic RAW constant-quality and ProRes RAW.
• Where no published data rate exists for a camera and codec, the panel says so rather than showing a guess — the figure decides how many cards get rented.
• Hours to cover and spare cards are saved with the package once you change either one. Until then the panel is a preview and says so.
• With a saved media plan, the Auto Gear rule 'Sync Recording Media' stops using the quantity you typed and sizes the card order from the calculated record time instead, spares included. The note on the gear-list line shows the hours, codec, frame rate and the bare requirement behind the number.
• No plan, or no published rate for that camera and codec, means Auto Gear keeps your hand-entered quantity. It never sizes a rental against hours you did not choose.
• Blackmagic bodies list every Blackmagic RAW level they record — constant bitrate 3:1 to 18:1 (4:1 and 6:1 on the 12K and 17K bodies) and constant quality Q0 to Q5 — so the Codec field names the exact level and the panel can size the cards. A package saved with the old plain "Blackmagic RAW" keeps showing that value; pick a level to get a record time.

Storage & Media checks each card against the camera it is for, suggests the media that camera records to, and can add card readers to the gear list.

• A media row whose type the package's camera cannot record to shows a warning naming the camera and the media it does take — SD cards on an ALEXA 35 package, for example.
• Without a camera in the package, the row is checked against every camera in the project: the other camera packages and gear-list lines that name a catalogue camera. It warns only when none of them takes that media.
• No warning is ever guessed: none when the camera's media is unknown (action cameras, drones, custom cameras with media the app does not recognise), and none for offload and backup drives (USB-C SSD, SSD), external-recorder media (AtomX SSDmini, Master Caddy II) or LTO tape.
• The "<camera> records to:" line lists the media the camera takes that no row uses yet. Press one to add a row of that type, then pick the brand and capacity as usual. CFexpress 4.0 cards count as fitting a CFexpress 2.0 slot.
• Card readers (optional): add one or more readers under the media. The picker lists the readers that read the media above first. Each reader is added to the gear list in the recording-media category, without a camera assignment, because readers are shared kit — the same reader chosen in two packages becomes one line with the quantities added.
• Auto Gear's card-reader suggestion recognises a reader you added here and does not add it a second time.

Each project can hold one or more camera packages. Most projects use one; multi-cam productions use several (A Cam, B Cam, Drone, Gimbal, etc.). Packages are fully independent — each has its own body, lenses, batteries, monitors, FIZ, wireless, cage/rig, gimbal, support, and accessories.

• Add packages from the Camera Package tab via 'Add camera package' (then 'Add another camera package'). 'Duplicate this package' copies one; 'Remove package' removes it, except the only package of a project.
• Removing a package updates the gear list at once: its lines go and the remaining packages' lines take their new letters (B Cam becomes A Cam). A line you linked to your own gear stays and asks first.
• Each package has its own settings — choose body, lenses, monitors, batteries, FIZ motors, wireless, cage, support rig, and accessories per package.
• Switch between packages using the horizontal sub-tabs at the top of the Camera Package tab.
• The Overview tab lists every camera package in its Camera Packages card. Click a package to open it in the Camera Package tab. Below it you see that package's Project Requirements (camera specs, rigging, support, tripod, storage, mattebox and filters) read-only, with a link to edit them in Project Requirements.
• Camera Support: configure stabilisation rigs per package (Easyrig, Steadicam, gimbal). Compatibility filters the available components.
• The Power tab is per-package — each package shows its own draw, not the combined total.
• Auto Gear rules see every package and merge data across them, so cable / battery / accessory suggestions are smart even with multiple cameras.
• Smart Power Defaults: define preferred batteries for small (<7") and large (≥7") monitors per package.
• Gimbal Payload Validation: computes the package's payload (body + lens + matte box + cage + motors) and warns if it exceeds the gimbal's limit.
• An unnamed package is called by its letter — A Cam, B Cam — on every tab, and follows a letter swap. A name you give it replaces that everywhere.

Power works out one camera package at a time: can the battery feed the rig, how long it runs, and what it draws. Pick the package with the tabs at the top; a temporary package shows TEMP.

• Power compatibility comes first. It names the battery and checks the whole rig at the mount's low voltage against the Pins and the D-Tap: each shows the current against its limit, a bar that turns amber from 80 % and red over 100 %, and Within limit, Near limit or Exceeds limit. A B-Mount or TB50 plate has no D-Tap, and a hot-swap plate with a lower pin limit says so. In gimbal-power mode the gimbal feeds the rig, so this card is hidden.
• Power Summary shows the Total Draw, a ring for how much of the available power it uses, and one row per figure: Runtime, Community (once reviewed reports give a weighted runtime), the current at the mount's high and low voltage, and the batteries you need for a 10-hour day.
• Copy summary puts the figures and the plain-language summary on the clipboard; Export CSV downloads them with the battery comparison.
• Beside it: the Power Consumption Chart (each device's share of the draw), the quick summary in one sentence, and any compatibility warnings with a way to the Camera Package tab or the Device Library.
• Port limits lists every accessory port that is near or over its limit, and in gimbal mode the gimbal's power checks.
• Community Runtime Feedback folds open: report the runtime you measured on set (signed in; reviewed before it shows) and read the approved reports for this setup.
• Battery comparison lists every battery that can run this draw, with its runtime and whether it runs off the pins, the D-Tap or both; the selected battery is marked.

A node-based visualisation of the active camera package's signal and power flow. Both the nodes and the connections are generated automatically from the package — a read-only diagram you can arrange, zoom, and export, not a wiring editor.

• Nodes are created automatically from the package's devices (camera, monitors, transmitters, batteries, FIZ, etc.).
• Each device is a card with its kind, name and key numbers; the battery is ringed red and the camera outlined in the brand colour. Connections are derived automatically and drawn with right-angle corners: power is a solid red line, video (SDI/HDMI) a dashed blue line and FIZ a dotted green line, so you can tell them apart without colour, and each wire is named by a label.
• Drag a device to reposition it; double-click it (or press Enter on it) to open its details card beside it.
• Zoom and pan the canvas; the Reset View button (↺) re-centres it.
• Export the diagram as SVG or JPEG, or copy the SVG to the clipboard — for the crew or to attach to a prep PDF.

Special Setups is a collapsible section inside the Camera Package editor for documenting alternate rig build-configurations — car-mount, underwater housing, handheld — and the steps to switch between them, kept separate from the main gear list.

• Document specialised builds that don't belong on the global gear list.
• Turn the section on with its toggle, then start a setup from a preset or a custom name; each setup holds its own items (add new ones or link existing gear-list items).
• With two or more setups, a Transitions area lets you write out the steps to reconfigure from one rig to another. 'Send to gear list' promotes a setup's items onto the main list when you need them.

The workspace is the page you spend most of your time in. It has a header with the project name, its phase and shoot dates, the people in it and the actions, and below it the sections you have enabled (Overview, Camera Package, Gear List, Crew, Budget, …).

• Header — the round back button left of the project name, then the phase badge (Prep, Shooting, Wrap) and a line with the shoot dates, categories and items. Under a thin line: on the left the collaborators (avatars and 'n members · n online'), 'Share' and the sync state; on the right Undo / Redo, the version badge, the lock (green while unlocked, red once locked), 'Preview PDF', the '…' menu and 'Export'. On a phone 'Export' and 'Preview PDF' move into the '…' menu.
• Sections — the tabs you've enabled via 'Configure Tabs': Overview and Gear List always, plus Camera Package, Power, Requirements, Auto Gear, Crew, Contracts, Calendar, Preproduction, Documents, Budget, Insurance, Rental, Carnet, Camera Logs, Daily Report and Activity. From 1024 px they sit in one row, each with its name and, where the section is counted, a number; the selected tab is brand blue. Devices are added from the gear list's own search field.
• Gear List department sub-tabs — Camera, Lighting, Grip, Audio. Each is its own department list, exportable independently.
• Collaborators — the avatars and 'Share' open the Collaborators dialog: 'Enable collaboration' on a project that is not shared yet, otherwise the members, invites and roles. The header has no progress bar any more.
• Drag-and-drop — reorder categories and items within a department. 'Reorder' folds every category so the categories are quicker to drag; the chevron under a category ('2 items hidden') unfolds just that one so you can edit its items, and the upward chevron ('Hide items') folds it again.
• Provider tags — every gear-list item has a provider (Rental, Owned: you, Owned: contact, Crew member). Drives PDF grouping.
• '…' overflow menu — 'ICS Feeds', 'Project Settings' (units, currency, locations, hotels, script & shotlist numbering), 'Configure Tabs' and 'Save as Template'. Archive and delete live on the project's card on All Projects.

Where a project opens the first time. On a wide screen it has two columns; below 1024 px it is one column with a "Jump to a tab" grid on top.

• Before the shoot — the days left until the first shooting day and one line per open job: no shoot dates, owned gear double-booked on another project, gear without a provider, owned gear without a rental rate, camera packages without a camera, tentative crew, crew without a day rate, crew with no phone or email, contracts to sign or waiting to be signed, open prep-checklist items, unpacked carnet cases, owned gear not insured for the shoot, client approvals waiting. Each line links to where you settle it and goes away once the job is done.
• Project details — name, production company or renter, rental house and project colour.
• Shoot Schedule — a bar of every period across the months and one date field per period; see Shoot Schedule below.
• Camera Packages (a card per package: camera and Project Requirements on one line; click one to open it), then Next shoot days (from imported call sheets, or the next shooting days from the Shoot Schedule until one is imported) and Shot list progress (scenes, shots, shots per shoot day; "No scenes yet" until there are scenes).
• Comments (shared projects) and the Activity Log.
• Beside them: Comment notifications (shared projects), Gear budget (planned camera, lighting, grip, sound and sub-rental lines against the rental quote and the linked sub-rentals — only for people who can open Budget), Power for a 10 h day (runtime per battery per camera, batteries needed against batteries on the list), Your team (the whole crew, the people your own role works with most first — a 1st AC sees the DoP, the camera operator, the 2nd AC, the video operator and the DIT first; heads of department first if you are not on the crew), Prep & return (a dot per day for everyone booked in each prep or return period, filled for confirmed and a ring for tentative, you first; prep is amber and return green, as in the Shoot Schedule and the Calendar), Time Tracking (your own hours on this project; the project owner also sees what each person sent with Send to Project Owner), Project notes, and last Client Approvals (shared projects). These cards stay on the page while they are empty and say what is missing, such as "No crew yet" or that no timesheet is linked.

The To-dos card on the Overview holds the jobs for this project's crew. Type @ in a to-do to assign it to a project member; the first person you @ is the one it is for. Everyone you @ gets a notification and an email, a reminder before the due date and one when it is overdue.

• Remind (at the foot of the card) sets how long before the due date the reminder goes out: 1, 2 or 3 days, a week, or off.
• Only project members with an account can be assigned, because they are the ones who can open the project.
• An overdue to-do also shows as a line under Before the shoot.
• Viewers see the list but cannot add, tick or edit.

1. Open the project's Overview and scroll to To-dos.
2. Type the job, then @ and the start of a name, and pick the member from the list (arrow keys and Enter work too).
3. Set a due date if it has one, and optionally link the tab the job belongs to.
4. Press Add. The people you mentioned are told at once, in the app and by email.
5. Tick the round box when it is done; All, Mine and Done filter the list.

Below 1024 px the tab strip is replaced by a section board — every section of the project as a tile, on one screen, with a line telling you what is in it. It is where a project opens, and where the grid button and the back button inside a section take you back to.

• The board — one tile per section, sized so they all fit without scrolling. On a tablet the tiles are grouped by production phase (Plan, Gear, People, Money, Shoot) and carry a value line; on a phone they are compact, to save the row.
• Tile colour — a tile is tinted only when something is outstanding. A quiet board means a healthy project.
• Value line — the scale of the section, then what needs you: '128 items · 12 unassigned'. Eight sections carry a number; the rest show name and icon only, because no honest count exists for them yet.
• The status line — days to the shoot, and how many sections need attention.
• The section switcher — the one nav row inside a section. The grid button on the left returns to the board; the button beside it names the section you are in and opens a list of all of them, each with its description.
• Where a project opens — the board the first time, and the section you were last in after that. That memory is per project and stays on this device; it is never synced. From 1024 px there is no board: a first visit opens Overview.
• The breadcrumb — inside a section the trail above the header reads 'Home › All Projects › project › section'. Click the project's name to get back to the board; from 1024 px it opens Overview.
• At 1024 px and wider the tab strip is the index; its keyboard navigation (←/→, Home/End) is unchanged.

Order matters because the PDF lists each department's categories in the order you set. Crew skim PDFs from the top down; put what's most important first.

• The row above the categories holds everything for the whole list: Permanent / Temporary, the search field with Filters beside it (Jump to category and every filter open under the row), Reorder, the new-category field with Add category, and the tour button.
• Create categories per department (Camera Body, Optics, Lighting, Grip, Audio, Support, Power, Media/Data, Accessories).
• The gear-list PDF goes department by department in the order of the tabs — Camera, then Lighting, Grip and Audio — each under its own heading and starting on a new page, so each department can be handed its own pages. A department with no gear is left out.
• The same category name may be used in more than one department — Camera and Lighting can both have a Grip, and they stay separate lists.
• Drag-and-drop to reorder categories and items within them.
• Hover in the gap between two items for a + — it drops a new item right there, so a row does not have to be added at the end and dragged up. There is one below the last row too.
• Within a category, most-critical items first (body before adapter, key light before gel kit).
• Don't subdivide too fine. Five clear categories beat fifteen narrow ones.
• Add per-item notes for context the team will need ('handheld primary', 'backup', 'client request').

A group is a name that several items share, for example "A Cam unit" or "Car rig". One group can have items in several categories. In each category the items of a group are shown together under the group's name.

• Create a group: select the items, then choose Set group → New group… in the bulk bar and type a name. Typing the name of an existing group adds the items to that group.
• One item: open the item's edit dialog and pick a group in the Group field, or create a new one there. This choice is saved at once.
• Group header: collapse or expand the group, select all of its items in the category, rename the group, or ungroup it in this category.
• Rename: the new name applies in every category. If you type the name of another group, the two groups are merged.
• Drag and drop: drop an item onto an item of a group to put it in that group. Drop it onto an item without a group to take it out.
• Filter: the filter panel has a Group select: one group, or the items without a group.
• Search: the gear-list search also finds items by the name of their group.
• PDF: in the export dialog, Print group headings prints each group's name above its items inside the category, and Groups to export prints one group only. Both options appear when the project has groups.

Both ways of adding gear now say what is actually available for these shoot dates, not just what you own. The answer counts every other project whose shoot days overlap this one's — and, since #760, this project's own departments too.

• Type in the add-item field: a suggestion you own shows a green 1/2 free badge — units free for these dates over units owned.
• The badge turns red at 0/2 and names the projects holding the rest ('All in use — Night Shoot').
• Add multiple shows the same answer as an Owned 1/2 chip, so the two ways in cannot disagree. Until v0.852.4 that chip never appeared: the picker looked your kit up by catalog id while the answer was filed under the inventory record's own id, and a lookup that finds nothing renders exactly like owning none.
• A unit another line of this project already uses counts as taken as well, so a second line for the same kit shows 0/1 rather than offering it again.
• The picker matches your kit by catalog link first and by name second, so a hand-named inventory row still gets its chip — the same two-lane match the add-item field uses.
• Temporary-gear categories get the chip too; their Add multiple reads the shoot window from the project you are in rather than needing it passed down.
• Availability, not inventory: two C-Stands already committed to an overlapping shoot read 0/2, where they used to read '2 owned'.
• Every warning is advisory. The suggestion stays selectable and you can deliberately add more than you own.
• A project with no shoot dates has nothing to compare against, so everything reads free.
• Your own kit is ONE pool for the whole project. Assign the single light you own to a Camera row and a Lighting row and both now carry the conflict badge, naming the other department — until #760 neither warned, because each row only checked against other projects.
• The automatic Owned assignment follows the same pool. A device you add is only given your unit when a unit is still free after this project's other rows — before v0.871.4 it checked other projects only, so adding a device you own a single unit of, while another row already held it, gave the new row that same unit and both rows flagged 'Requested: 1, Available: 0'. The 'You own this item' strip no longer offers a unit the project's other rows already use up. 'Requested' is what your unit is asked for; the units a rental house covers on the same row are not counted.
• A line added by typing may link your own library copy of a catalog device while your unit points at the catalog entry. When the device link finds none of your gear, an identical name counts: the line is assigned your unit and the Owned step lists it.

Below 640 px each category is still a card — a white box with the brand edge on the left — so one category does not run into the next. The item rows inside it drop their own box: a thin line separates one row from the next, and the name gets the width the box would have cost.

• One category header line — drag handle, name, item count, notes bubble and a '…' button. The five secondary actions (Scan QR to add, Add set, Add multiple, Import, Remove category) live inside that menu, each with its written label.
• The quantity field is a narrow centred box sized for up to four digits, not a full-width control; the item name takes the rest of the row.
• Notes are not a field on every row any more. A row with a note shows it as a line under the name; tap it (or the pencil) to edit it in the Edit Device sheet. A row without a note shows nothing at all.
• Each row shows select, drag, the favourite star and, once a row has comments, the comment count. Its '…' button gathers the rest: Edit item…, Comments, Add to favorites, Move to temp gear (Move to gear list on a temporary row), Accept change to baseline (only on a changed row) and Remove.
• A gear set keeps its brand-coloured rail down the left of its members, and its package price sits on its own line under the set name.
• The camera letters start the line with the status and provider, so the name keeps the full width.

Every gear-list item carries a status that tracks where it is in the approval workflow. Status drives visual treatment, filtering, and an optional PDF column.

• Needed — default. Item is on the list, no action taken yet.
• Requested — sent to the rental house / approval workflow.
• Approved — confirmed.
• Picked up — collected from the provider and in hand.
• Cancelled — an item you've dropped. Shown struck-through and dimmed, but it stays on the list and still counts toward power, weight, and budget totals.
• Change status via the per-item menu or via bulk operations from the toolbar.
• Provider / Status filters at the top of the gear list let you hide cancelled items or show only approved gear.
• The status also silences the “crew-provided item(s) not yet requested” banner. That warning counts rows assigned to a connected crew member with no sub-rental request sent — but plenty of gear is arranged by phone or on the last job. Move such a row to Requested, Approved or Picked up and it stops being counted; only rows still at Needed are ones nobody has been asked about. Cancelled rows are left alone too.

Duplication makes a complete copy. Useful for recurring shoots or as a starting point when a template would be overkill.

1. Open the project's '…' menu on the dashboard card.
2. Pick 'Duplicate'. The 'Smart Duplicate' dialog opens.
3. Name the copy — left empty, it gets the original name with '(Copy)' appended.
4. Choose what it includes: Gear List, Crew, Schedule ('Copy Dates' or 'Structure Only'), Settings, Notes and Comments. The first four are ticked by default.
5. Click 'Duplicate project', then swap out the bits that differ.

Archive when the production is done but you might want to reference it later. Delete only when you're certain you don't want it.

• Archive — moves the project off All Projects onto the Archived tab of the same page. All data is preserved; an Undo toast follows, and Restore brings it back any time.
• Delete (from All Projects) — 'Delete', then 'Confirm?'. The project goes to the Trash, with an Undo toast. 'Delete' inside the Trash removes it for good.
• Delete on the Archived page is permanent straight away: the project skips the Trash and there is no undo.
• Deleting a project for good also deletes its contracts on the server that nobody has signed (drafts, sent, declined, expired), together with their signing links. Contracts that carry a signature are kept, and a signing link still open on one of them is closed. Only when the owner deletes a shared project for good do its signed contracts go as well. Moving a project to the Trash deletes no contract.
• Manual export (Settings → Data & Sync → Download full backup) before any permanent delete is cheap insurance.

Group projects into folders for organisation — by client, by year, by production company, whatever fits.

• Create a folder with 'New Folder' at the top of All Projects (in the More menu on a phone): give it a name and a colour.
• Drag projects into a folder, or use the card's '…' menu → 'Move to'.
• Rename or delete folders — projects inside a deleted folder fall back to the root.

Search and filter the dashboard to locate a project you don't remember the exact name of.

• Search input on the dashboard matches any part of the project name or client name.
• Archived and deleted projects are not on the All projects tab — open the Archived or Trash tab to find them.
• Sort: Name, Last edited, Next shoot date, Client, Phase or Custom Order (dragging a card switches to Custom Order). 'Reverse order' flips the direction; Custom Order has none.
• 'Filters' narrows the list by Phase, Shoot date, Ownership (My projects / Shared with me), Folder and Client. Each active filter shows as a chip under the bar; 'Clear all' removes them. On a phone, sorting and filters share one 'Filter & sort' sheet.
• The Tiles / List switch beside the search shows the projects as cards or as a compact table.
• Cmd/Ctrl + K (Quick Switcher) also searches projects globally — handy from anywhere in the app.
• The sidebar shows the most recently opened projects, so the project you were just in is one click away.

When you export a gear-list PDF, the app captures a baseline snapshot. Subsequent edits can be compared against the baseline so you can see exactly what changed — useful when a rental house has already received the previous version.

• A baseline snapshot is auto-created on a gear-list PDF export that bumps the version ('Bump version on export', ticked by default).
• The added / modified / removed count buttons narrow the list to just those rows; click the active one again to show everything.
• Changes are marked on the gear list with a bar on the left: green for added rows, amber for changed rows and renamed categories, red for removed rows, which are also faded. The colour legend under the + ~ − counts says the same. The eye button next to the counts hides or shows the markers.
• Modified quantities show as 3 → 5.
• A new baseline can be set without exporting: Export → Gear List tab → 'Accept current as new baseline'.

Everything a project can produce now lives behind one 'Export' button in the project header: a tabbed dialog with a tab per document type. The tab set mirrors the project's own workspace tabs — switch a tab off in the workspace and its export tab disappears too.

• The preview opens the page fitted to the width of the viewer, so nothing is cut off on a phone. The zoom steps are relative to that fit — 100% means “as wide as the viewer”, and on a desktop-width window that is the page at actual size.
• Provider filter ('Filter by provider (optional)'): pick the providers whose gear goes in — just the rental house for their copy, for example. Leave it empty for the full list.
• Department filter: export by department sub-tab (Camera, Lighting, Grip, Audio, or All).
• Crew List tab: exports a printable PDF, a .vcf contacts file, or both. Every contact is named “Name — Function (Project)” so it stays separate from the person's existing card in your address book.
• Preproduction tab: sub-tabs for Documents (script, shotlist, schedule, breakdown, floor plans), Locations (scout report) and Moodboard.
• Project Backup tab: the complete, re-importable copy of the project — this is the action that used to be its own 'Export' button in the header.
• Issued documents (sub-rental quotes, invoices, delivery/return notes) auto-stamp your saved logo, signature, IBAN, and Tax/VAT ID from Settings → You & Your Company (the Signature & Branding and Billing & Issuer Details sections).
• Each gear-list export also bumps the project's version counter and creates a baseline snapshot for diff comparisons — unless you untick 'Bump version on export', which the Gear List tab shows once a baseline exists and something changed.

1. Open the project and click 'Export' in the header. Export needs a locked project: if it is unlocked, 'Project Must Be Locked' asks first — 'Lock and continue' locks it (read-only until you click the lock button again) and opens the dialog.
2. Pick a tab: Gear List, Project Briefing, Crew List, Preproduction, Budget Report, Camera Log, Carnet, or Project Backup. Tabs you have switched off in the project workspace do not appear here either.
3. Gear List tab: pick the department, the providers, and the optional toggles — 'Include gear items status' (adds a Status column) and 'Highlight providers with color codes'.
4. Review the preview — it's identical to the downloaded file.
5. Download. Use a clear filename with date + client + recipient ('2026-03-15 Acme — Rental list.pdf').

The Briefing PDF is the sheet the camera crew reads on the day. It is built from the project itself — schedule, crew, requirements, camera packages and logistics — so it is only ever as complete as the project data behind it.

• The tab: 'Preview briefing' and 'Download briefing' at the top, then the counts, then the missing-weights banner ('Add weights' or 'Skip section'), then the 'Include in the briefing' switches.
• Layout: page 1 shows your company logo top right (Settings → You & Your Company → Signature & Branding), 'Project briefing', the project name, the shooting periods and a Client · Production · Location band. Later pages repeat a one-line head with the project and the part ('(continued)' when a camera package runs on); the footer carries the date, the project version and 'n / N'. Each section is a coloured heading with a rule; tables have zebra rows and right-aligned numbers, and an empty cell shows '—'.
• Overview — Project facts, Schedule (prep/shoot/return, travel days and the shoot locations each period is pinned to), Crew grouped by department, and a Camera packages summary.
• Requirements, in the Requirements tab's order — Operator preferences (the copies whose 'In briefing' tick is on, one block per person and role: DoP, Camera Operator, 1st AC, 2nd AC), then Whole project: Delivery Specifications, Lenses, Transportation, Carts & Accessories.
• Lenses carry the physical specs the 1st AC needs: focal length, T-stop and mount, plus front diameter, close focus, length, weight and image circle resolved from the device catalog.
• One page-run per camera package: Devices; Per-Camera Configuration with the tab's names — Camera Specifications, Rigging, Camera Support System, Tripod Configuration, Storage & Media, Mattebox & Filter, Monitoring (with Video transmission: Tx, Backup, Receivers, Focus monitor, Channel), User Buttons; then Power (draw, current, battery, runtime per pack and packs per 10-hour day), Special setups with their contents, Transitions and the Connection diagram.
• Camera letters are round badges in the camera's colour from Settings → Projects & Gear → Camera Colors, grey when a camera has none.
• Requirement notes print under the section they were left on; notes from the former Briefing extras section print under Monitoring. There is no separate Requirement notes card any more.
• Logistics — Pickup appointments, ATA carnet, Equipment weight, Temporary gear, Crew schedule (confirmed / tentative / unavailable days per member), Temporary crew and Notes.
• Empty sections are omitted, never printed blank — a section you cannot find simply has no data yet.

1. Open the project's export dialog and pick the Project Briefing tab.
2. Under 'Include in the briefing', switch off the parts you do not want: Overview, Operator preferences, Whole project, Camera packages, Logistics, Equipment weight. The switches are saved with the project and are all on to start with; with every part off, Preview and Download are greyed out.
3. Click 'Preview briefing' at the top — the preview is identical to the downloaded file — then 'Download briefing'.
4. Anything that looks missing is missing from the project, not from the export: fill it in under Requirements, Camera Packages or Crew and re-export.

Use temporary assignments for gear or crew that only apply on certain shoot days — a day-player on Day 3, a rented gimbal for the car-mount sequence on Day 5.

• Permanent ↔ Temporary toggle on the Gear List and Crew tabs switches views.
• Temporary items are date-scoped — assign a date range or specific dates.
• Visual: amber styling + a 'TEMP' badge for clear distinction.
• Per-day totals (power, weight) combine permanent and temporary correctly per day.
• Auto Gear works with temporary packages too — the rule engine merges temporary + permanent data.
• Call sheets include temporary entries for matching dates with the same amber styling.
• Duplicate a temporary gear card for another date with the copy button in its header — the whole card (every item, provider, status and gear set) is copied and you pick the new period in one dialog.

The permanent and the temporary crew can each be drawn two ways: the Tiles/List switch sits beside the Permanent/Temporary/Matrix/Prep & Return switcher. Both views edit the same roster — the choice is only about what you are trying to see.

• Tiles — one card per crew member, full width: a coloured avatar, the name, the role and department and the dietary badges, then the fields four across (Name, Role, Contact link, Email, Phone, Day rate, Client). On a narrower card they go two across, on a phone one.
• Under the fields, two labelled buttons open one panel each: Availability (with a line such as “Away 17–18 May · Nico Berg covers”) and Meals & dietary needs (“Vegetarian · Tree nuts”).
• Availability shows the person’s row of the crew schedule as a strip of days: click a day to switch between ✓, ?, ✕ and off — the same schedule the Matrix edits. Below it are the days they are away: choose Specific day or Period, type the date or pick it in the calendar (the shoot days are offered as quick picks), and choose who covers.
• List — a spreadsheet, one row per member: avatar and name pinned left with the dietary badges under the name, then Role, Contact link, Email, Phone and Day rate. The cells read as text and turn into fields when you point at or tab into them. Nothing is cut off, and the default columns fit without scrolling sideways.
• Columns (list only) arranges the list: drag a row to reorder, switch a column off or on, set its width, or drag a column header across the header row. Availability and Diet & allergies are extra columns, off until you switch them on. Reset to default puts everything back.
• The chevron at the end of a list row, labelled “Availability and meals”, folds the row down to the same two panels.
• While a collaborator edits a person, that row is framed in their colour and says “<name> is editing” under the name.
• Temporary crew has the same fields (contact link with View in Contacts / Add as contact, day rate, Client, meals) and its own Tiles/List switch and columns; its first panel is Active dates instead of Availability.
• Drag-and-drop reorder works in both views of the permanent crew and both draw the same order — the one that carries to call sheets and PDF exports.
• The Tiles/List choice is remembered per project and per device; the columns are saved for the project and synced to your devices.
• When the same person is on the roster twice, a “Clean up duplicate crew members” bar offers to merge the rows. Two rows with different roles are never merged — one person can hold two jobs, each with its own rate and dates — and a name alone is not enough: two people called Tom, or two “N.N.” placeholders, stay two rows.

Crew cards on the Crew tab can be dragged to set a custom order. The order persists across sessions and carries to call sheets and exports.

• Hover a crew card to reveal the drag handle (≡) on the left.
• Drag up or down; drop indicators show precise placement.
• Order saves automatically.
• Permanent and temporary crew are reordered independently — switch views with the pill toggle.
• Drag handle is the only way to drag — clicking the card body opens the crew detail editor instead.

Three related but distinct surfaces for planning the actual shoot, separate from the gear list itself.

• Floor Plan — design interior layouts with camera tokens, lighting positions, props, and wall drawing. Cmd/Ctrl + Z works here.
• Shot List — build the shot list with framing, movement, attached gear notes.
• Schedule (stripboard) — arrange shots on a day-by-day timeline; drag to reorder.
• PDF exports — generate professional floor plans and shot lists for the crew (Pro plan).
• Export options include overhead maps, equipment notes, and time estimates.

A per-project checklist for prep-day tasks. Backed by reusable templates so similar shoot types start from the same baseline.

• Lives on the project's Rental tab, in the 'Prep' stage; the pickup lists are on the 'Pickup' stage beside it.
• Populate from a checklist template — the built-ins include 'Standard Camera Prep', 'Audio Department Prep' and 'Lighting Prep', and any you saved yourself are listed beside them — or add ad-hoc items.
• Tick items as you complete them. Progress bar at the top tracks overall readiness.
• Templates are saved and reused from 'Templates' in the checklist header — once you have a 'camera prep' checklist that works, every camera-prep project can start from it.
• Useful beyond pre-production: truck load verification, return inspection.

The cast roster, the crew roster and the Location tab each offer a Tiles ⇄ List toggle, and in List view the columns are yours to arrange: reorder them, resize them, and switch off the ones this production does not care about. The arrangement is remembered per project and follows your account, so the layout you set on a laptop is the one your tablet opens on.

• Open it — switch the surface to List, then use the Columns button beside the view toggle. The number on the button is how many columns are currently showing.
• Reorder — drag a row by its handle in the Columns panel. The table re-orders as you drop.
• Show or hide — untick a column to take it out of the table; tick it to bring it back. Hidden columns stay in the panel, so you can always find one to switch back on. The last remaining column cannot be unticked — a table with no columns has no header left to fix it from.
• Resize — drag the right-hand edge of any column header in the table. With the edge focused you can also use ← and → to step the width, or Shift + ← / → for a bigger step. Resizing is a pointer and keyboard affordance on tablet and desktop; on a phone the table scrolls sideways instead.
• Reset — the Reset to default button appears in the panel as soon as the arrangement differs from the default. It restores the surface’s own order, its default set of columns and forgets every width.
• Where it is kept — with your account, not with the project. A collaborator hiding a column never hides it for you, and you never have to re-arrange the same table on a second device. It survives a reload even when you are offline.
• The cast roster starts with eight of its columns showing and the rest available in the panel; the crew roster and the Location tab start with all of theirs. A column added by a later update appears in your table rather than hiding behind an older saved arrangement.