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The tab is a workspace for the whole pre-production-to-set pipeline of script-based shoots.

• Fountain import: .fountain screenplays — the open plain-text standard of Highland, Slugline, WriterDuet and Fade In — import with full structure: scene headings (including forced '.' heads and #numbers#), characters from dialogue cues, boneyard and notes stripped. No Final Draft required
• Comments on shots and scenes: every shot and every scene carries a discussion thread — say something without changing a field. Author and time on every entry, an open-count badge on the row, and resolving keeps the comment as struck-through history rather than deleting it Scene threads live in the scene viewer panel, with the same open-count badge on the scene card.
• CSV export: the toolbar's Export shots as CSV downloads the list as a spreadsheet with the same canonical columns as the PDF export — and it re-imports cleanly, so a producer can sort in Sheets and bring the edits back
• CSV import: Import CSV first shows which header goes where — a column whose name contains "scene", "shot", "action" or "description", "size", "angle", "move", "time", or "equipment", "camera" or "lens". Continue to import picks the file; after a confirmation the rows are added after your existing shots. Rows that fail validation are skipped and named in a warning, and a file missing the required columns imports nothing.
• Import a script (PDF, Final Draft .fdx, Fountain or plain text, up to 5 MB) — scenes and characters are auto-extracted (the location is part of the scene heading, not a separate field). Every import, including a later revision, opens a reconciliation dialog where each added, changed or removed scene can be accepted or rejected on its own; History lists earlier uploads and can re-import one.
• Or start with a blank scene and build the shot list manually (no script required).
• Three-panel layout: scenes sidebar, script viewer, shot-list grid.
• Manage characters (cast) per scene.
• Attach floor plans per shot with camera/light/talent icons and keyframe animation.
• Stripboard groups shots into shoot days with drag-and-drop.
• Export PDFs in several layouts (tabular, portrait tiles, floor-plan-prefixed).

Episodes are project-scoped containers for series productions. Every shot-list surface (scenes, shots, schedule, grid, floor plans, script, moodboard) filters to the selected episode. Optional — for non-series projects you can ignore episodes entirely.

• Create — Episode dropdown → 'Add Episode' → number + name. The first episode you create absorbs all existing scenes, as long as none belongs to an episode yet; a toast confirms the move (there is no undo for it).
• Switch — pick an episode from the dropdown. Every shot-list surface scopes to that episode; All Episodes shows every episode at once.
• Rename — the pencil on an episode row opens 'Rename Episode', where the number and the name can both be changed.
• Delete (Keep scenes) — soft-deletes the episode; scenes become unassigned but remain in the project.
• Delete (Delete all data) — cascading delete of every scene, shot, and floor plan. Confirmation required; not undoable.
• The episode filter also applies to the Script tab, Characters tab, and Schedule tab.

Three-panel split-view in the Script tab.

• Scenes sidebar (left) — browse and jump to scenes. Edit Scene sets the scene number and heading, the logline, INT/EXT, location and bad-weather location, time of day, the revision colour, setup times, runtime, cast, lighting and the action lines.
• Logline — one sentence of plot (up to 200 characters) for what actually happens in the scene. It is optional, and the call sheet prints it in the day's schedule under the scene heading.
• Scene viewer (top-right) — the script text for the selected scene.
• Shot list grid (bottom-right) — create and manage shots for the active scene. Multi-select dropdowns assign cameras and characters in bulk.
• 'Start without a script' creates a blank scene and keeps you in the tab — useful for shoots without a formal screenplay.
• Scene locations entered in the modal sync to call sheets automatically.
• The scene's Location field suggests the locations you scouted in the Location sub-tab. Start typing and pick one, or ignore the list entirely and type whatever you like — the field stays free text, so a place you never scouted is still a valid answer. A set is offered under its master location as 'Villa Rossi · Kitchen', which is what keeps two different kitchens apart.
• Read-only projects (viewer role, or a project opened read-only) still show every shot and every value — the fields are simply not editable, and the row actions (delete, sub-shot, link, image upload, drag-reorder) are not offered. Selection, the status chip and 'Show on floor plan' keep working.
• A new shot inherits the scene's time of day. Set it once on the scene and every shot you create for it opens with that value already filled in — you only touch the shot's own Time of Day when that shot differs (a DUSK beat inside a DAY scene). The per-shot value is yours from then on: retagging the scene never rewrites shots that already exist.
• A single-camera production gets its camera filled in. When the project has exactly one camera package, every shot you create opens with it already selected — that dropdown offers no real alternative. With two or more it stays blank on purpose: a guessed camera silently re-scopes the shot's Setup list, and blank reads as undecided. Change it in the row at any time; a duplicated shot whose camera you cleared stays cleared.
• A new scene is numbered from the numbers already in use, not from how many scenes there are. Add scene takes one past the highest number on the list, so a script that imported as 1, 1A, 2 gets a 3, and a list you deleted a scene out of no longer hands the new scene a number another scene is already wearing. Insert scene here takes the number of the scene you pointed at and pushes that one — and everything after it — up by one; a slate the shift cannot safely rewrite (1A, TBD) keeps its number and the new scene steps past it.
• A linked take is called with its master's cast. Linking one take to another makes it take the first's cast, lens, size, setup times and duration; it keeps only what is its own — number, notes, status, shoot day. The cast it held before linking stays on disk so unlinking returns it, but it is no longer that take's cast and is no longer shown. The call sheet follows the same rule: the day's required cast and the printed day table both list the master's actors, so linking never calls an actor to set for a shot they are not in. To give a take a different cast, unlink it first — while linked, its cast field is not editable.

A visual reference board per scene. Every scene has its own moodboard, plus a General board for references that belong to the whole production — so a look you pin to Scene 12 does not clutter Scene 3.

• Supported files: JPEG, PNG, WebP, GIF, MP4, MOV and PDF. A multi-page PDF can be paged through on the canvas.
• Adding files offline works: an image, video or PDF appears on the board at once from the copy on your device and uploads by itself when you are back online — whichever page you are on by then. A video’s preview frame travels the same way. Everyone else on the project sees the file once that upload has finished. Anyone whose board is already open gets it without doing anything: the board keeps checking for about five minutes while it is on screen. If the upload takes longer than that, the file appears the next time they open the board.
• Annotate draws freehand over the board — useful for marking a framing or a colour you mean; Clear removes the strokes without touching the items.
• The Layers panel lists every item, with a search box and a type filter when a board gets busy.
• Keyboard: undo/redo, delete selected, add to selection, zoom in/out, reset zoom, pan, rotate — and hold to snap rotation to 15°.
• Fullscreen hides the rest of the app for a review session.
• The toolbar adapts to the width it actually has: on a narrow board the six add tools collapse behind one ＋ menu, and annotate, crop, layers, fit view and export move into the ⋯ menu — nothing is removed, only tucked away.
• Double-click an image — or select it and press the magnifier in its action bar — to open it full screen and page through every image on the board. With a filter active the viewer cycles only the images the filter left showing. Read-only collaborators can open it too. The download arrow beside the close button saves the picture you are looking at to your device, under its caption.
• Videos upload with a still frame taken automatically as their preview. If that frame cannot be produced — an unusual codec, or a clip the browser will not seek — the video is still added to the board and simply shows without a preview image.
• Exports carry what you uploaded: the PDF prints every uploaded image and video preview, and the ZIP holds the files themselves. Before v0.857.3 both left uploaded pictures out, so export again if an older PDF or ZIP came out without them.
• On a shared project several people can edit one board at once. Each edit is saved as a change to the items it touched, so moving an image never undoes a colleague's caption or note — even on the same item. Undo takes back only your own changes, and your zoom and position stay on your device instead of moving anyone else's view.
• Drag on an empty part of the board to select everything the box touches; Shift adds to the selection. Dragging any selected item moves the whole selection, as one undo step.
• Double-click an empty spot to put a note there, ready to type. Enter opens the selected note or text box.
• New notes, text boxes, links and picked files appear in the middle of what you are looking at; several files are laid out in rows of four.
• Paste with ⌘/Ctrl+V: a picture or files copied in another app are uploaded, a link becomes a link card and any other text becomes a note. Items you copied on the board paste as copies.
• Moving snaps to the dot grid so the board stays tidy; hold ⌘/Ctrl while dragging to place freely, or Alt/Option to drop a copy. Arrow keys nudge the selection (Shift: 10×), and ⌘/Ctrl+Shift+↑/↓ brings it to the front or sends it to the back.

1. Open Preproduction → Moodboard and pick a scene in the sidebar (or choose General for production-wide references).
2. Drag images or videos straight onto the canvas, or use Add Image / Add Video / Add PDF to browse for files.
3. Paste a URL with Add Link — YouTube, Vimeo, Pinterest or any web page resolves into a preview card.
4. Add Comment drops a sticky note in one of five colours; double-click any note to edit it.
5. Add Text drops a text box straight into edit mode — type, then click away to save. Its format bar carries the font, the size (± steppers or a typed value), bold, italic, alignment and the colour, including a free colour picker.
6. Resizing an item from a corner keeps its aspect ratio. Hold Shift while dragging a corner to stretch it freely.
7. Scroll or swipe with two fingers to move around the board, pinch or ⌘/Ctrl+scroll to zoom at the pointer, or Fit View to frame everything at once. Space+drag and the hand tool still pan.
8. Export the finished board as a PDF to share, or as a ZIP to move it between projects (Import ZIP brings it back).
9. Images and videos keep their own aspect ratio — a portrait frame or a 2.39:1 still is never cropped to fit its tile.
10. To crop on purpose, select an image and pick the Crop tool, drag a rectangle over the frame and choose Apply. Reset restores the full frame; resizing the tile never crops.
11. Rename the caption under any image with the pencil on the tile. That name is what the PDF export prints under the picture.
12. Search the board from the magnifier in the toolbar — filter by text or by type (images, videos, links, PDFs, comments). It only takes up space while it is open.
13. Undo and Redo now sit in the toolbar beside the zoom controls, as well as on Cmd/Ctrl+Z and Cmd/Ctrl+Shift+Z.
14. Copy, paste and duplicate a selection with Cmd/Ctrl+C, Cmd/Ctrl+V and Cmd/Ctrl+D.
15. Fit View frames everything actually on the board, wherever it sits — it is not a zoom reset.

Reuse a scene's setup across scenes and projects on this device.

• Open a scene in the Scene Edit Modal and choose Templates → 'Save current as template'. You name it, and it stores the setting (INT/EXT), location, bad-weather location, time of day, revision colour and both setup times (camera and lighting).
• Applying a template fills only the fields the template actually carries — anything left blank in it keeps the current scene's value, so applying to a half-filled scene never wipes what is already there.
• Templates are shared across every scene and every project on this device, which is what makes them useful for a recurring setup like a standing interview or a night exterior.
• Delete one from the same menu — a confirmation is asked first, and deleting the last one leaves the list empty rather than restoring it.

Editing big shot lists is much faster on the keyboard.

• Enter / Space — toggle selection of the focused shot row.
• Cmd/Ctrl + A — select all shots.
• Delete / Backspace — delete the selected shots (with an undo toast).
• Cmd/Ctrl + Z — undo the last deletion.
• Cmd/Ctrl + C / Cmd/Ctrl + V — copy and paste selected shots.
• Alt + ↑ / Alt + ↓ — move the single selected shot up or down (keyboard equivalent of drag-to-reorder).
• ? — open the keyboard-shortcut help.
• Mobile — scene dropdown is optimised for touch with 44 px targets.
• Mobile — below 768 px a shot card puts its row actions (drag, select, sub-shot, link, delete, add image) in a wrapping strip UNDERNEATH the fields instead of a narrow column down the left edge, so Scene, Name, Detail and the attribute selects get the full card width. From 768 px up the left-hand rail is unchanged.
• Narrow screens — below 1280 px the shot-list toolbar keeps only "Add Shot"; Import CSV, Select all, Renumber by shooting order (when offered), Export shots as CSV and Export PDF fold into one "More" menu beside it, each with its written label and a 44 px target. The fold covers tablets as well as phones: an iPad 13" in portrait is 1032 px, which is wide enough for the desktop layout but not for a six-button row, and those six used to wrap to three lines above the list.
• Narrow screens — below 1280 px a shot row stacks its storyboard image ABOVE the fields rather than taking a third of the row, and the six optional pickers (Scenarios, Lighting Equipment, Temp Lighting, Camera Gear, Temp Camera, Cast) tile two per line instead of one each. On an iPad in portrait that takes a single shot from about 600 px of height to about 560.
• Mobile — below 640 px a list toolbar's search box is a magnifying-glass button beside the other controls; tap it and it expands into a full-width bar, and tapping away (or Escape on an empty field) folds it back. While it is folded with something typed in it, the button carries a dot and its screen-reader name says the list is filtered. From 640 px up the search box is the same inline field it always was. Surfaces: Shot List, Character / Cast, Contacts, Owned Gear, Insurance, Templates, Sub-Rentals and Rental Houses.
• Mobile — below 1024 px the page title ("Preproduction"), its search pill and save status, the Episode band and the scene filter no longer take a full-width band each. They fold into the sub-tab row: line one is the view switcher plus save status, Export and the shortcut help; line two is the scene filter beside the episode picker. Measured on a 390 px phone that took the chrome above the first shot from 321 px to 113 px, in an 844 px viewport — before this, landing on Preproduction showed no content at all. From 1024 px up the page header and the Episode band are unchanged.
• Mobile — Export (shot list / schedule / floor-plan PDF) used to be hidden below 640 px, so the feature did not exist on a phone. From 1024 px up Export and Keyboard Shortcuts are labelled buttons in the page header; below that they sit in the sub-tab row as icons, so a phone has them too.
• Mobile — below 1024 px the eight Preproduction sub-tabs (Script, Moodboard, Location, Character / Cast, Shot List, Floor Plan, Schedule, Call Sheets) collapse from a pill strip that wrapped to three rows into ONE button naming the view you are in. Tap it to open a sheet listing all eight, each with a line saying what it is for. From 1024 px up the full strip is unchanged.
• Desktop — from 1024 px up those eight sub-tabs are a real tab bar: ← / → move between them and wrap round at both ends, Home / End jump to the first / last, and only the current tab sits in the Tab order — so ONE Tab press carries you past the navigation into the view itself instead of eight.
• Scene list — a drawer below 1024 px, a pinned panel above it. Until v0.759.2 the 256 px scene panel appeared from 768 px up, and on a portrait tablet an expanded panel left the Shot List grid 238 px: the Scene dropdown overflowed its box by 46 px and three more fields were cut off. Below 1024 px the list now opens as a drawer over the page from the same scene-filter button, so the grid keeps the full width (550 px at 768 px, same row). From 1024 px up the pinned panel is back unchanged. The expanded/collapsed state is remembered across projects, which is why expanding it once on a desktop used to squeeze every narrow screen afterwards.

Cast tracking for the project.

• Auto-extracted from an imported script (PDF, Final Draft, Fountain or plain text).
• Every cast dropdown names the role AND the actor — "ANNA (Ann Lee)", not "ANNA". That holds for all six: the scene cast field, its background sibling, the shot row, the bulk "Assign Character…" bar, the bulk-edit dialog and the call sheet's "Also called today". A role with nobody cast shows the role alone; an unnamed role still names the actor.
• Extract from script (roster toolbar) scans the scene text you already have and creates a character for every ALL-CAPS cue standing above a line of dialogue, linking each one to the scenes it speaks in. It reads the scene body whatever way it got there — imported from a script file, typed into the scene editor, or pasted in from Word or a PDF — and re-running it only adds what is missing.
• Manage via the Character Editor modal.
• The Character Editor is grouped into six TABS rather than a numbered sequence — there is no order to walk, so tap straight to the one you need: 'Character' (photos, name, description), 'Casting' (actor, age, profile link, casting status, skills, casting tapes), 'Contact' (phone, email, travel, correspondence), 'Wardrobe' (sizes & measurements, appearance), 'Shoot days' (unavailability, per-day notes, dietary requirements) and 'Custom' (the project-wide custom columns — adding one there adds it for the whole roster). Only the character's name is required, so 'Character' is the only tab that can show a tick, and no tab ever turns red — Save is simply disabled until a name exists.
• Assign characters to shots from the grid or the floor plan.
• Character assignments propagate to Call Sheet PDFs.
• Per-scene character counts help gauge scheduling complexity.
• Set a cast member's unavailability — the date ranges an actor can't work, each with an optional reason — in the Character Editor's 'Unavailability' section. A day scheduled inside a range then lights an 'Availability conflict' flag in the Cast Day-Spread.
• Add per-shoot-day notes ('leaves at 15:00', 'dentist 11:00') in the editor's 'Per-day notes' section, tied to a specific shoot day.
• Each character card shows compact 'N unavailable' / 'N day notes' badges so availability is visible at a glance.
• Record wardrobe data in the editor's 'Sizes & measurements' section: seven clothing sizes (shirt, trousers, dress, jacket, shoe, hat, glove) and nine body measurements (height, weight, chest, waist, hips, inseam, sleeve, neck, shoulder). Every field is free text, so write the notation and unit you work in — 'EU 43', '32/34', '178 cm'. The section is collapsed until something is filled in, and reopens automatically for a cast member who already has sizes.
• Log what has been exchanged with an actor in the 'Correspondence' section — the email they applied with, a casting invitation, a phone call. Each entry takes a date, a kind (email, phone call, meeting/casting, message, other), a subject and the message content. Add entries with the plus button as they come in, remove one with its minus button.
• Track where a role stands with the 'Casting status' dropdown in the Character Editor, right under the actor field: Open → In casting → Applied → Maybe → Shortlisted → On hold → Approved → Offer out → Booked, plus Declined for anyone who drops out. "Open" is the role nobody has been approached about yet; "Maybe" is the reserve pile a casting session leaves behind — neither a yes nor a no, and deliberately ranked below the shortlist; "Offer out" is the offer sitting with the agency, waiting for an answer. The chosen status appears as a coloured chip on the character card, so the roster reads as a casting board at a glance.
• Casting status is optional and starts at 'Not set' — a cast member you have not classified shows no chip at all, so an existing roster is never mislabelled as still being cast. Set it back to 'Not set' at any time to remove the chip.
• Filter the roster by casting status with the dropdown above the cards. Each option carries its own count, and a 'Not set' bucket collects everyone still unclassified — so the closed dropdown already answers 'how many are actually booked?'. It stays hidden until at least one cast member has a status, combines with the search box and the availability pills rather than replacing them, and 'Clear filters' resets all three. Unclassified cast appear only under 'All' and 'Not set', never inside a status you are filtering for. Since 'Email cast' opens pre-selected with whatever the roster shows, filtering to 'Booked' first addresses exactly the confirmed cast.
• Cast availability is colour-coded against the project's WHOLE shooting period (the shoot dates from the Calendar tab, weekend/holiday exclusions included): a green 'Available' chip means free on every shoot day, a yellow 'Free n/m days' chip means blocked on some of them, and a red 'Unavailable' chip means blocked on all of them. The card border takes the same colour. Hover a chip to see which periods block the actor and why.
• Filter the roster by availability with the All / Available / Partly free / Unavailable pills above the cards — each shows how many cast members fall into it. Cast members stay visible in every filter while the project has no shooting periods yet, since there is nothing to judge them against.
• 'Email cast' builds an invite list from the roster. It opens with everyone the current filter shows pre-selected, so filtering to 'Available' and hitting the button gives you exactly the people who can work. Tick people off individually, or use 'Only those who can work' to drop anyone blocked for the whole shoot.
• Send the list with 'Open email draft' — it hands your mail client a message addressed to you with the cast in BCC, so no actor sees another's address, and the project name as the subject. Very large lists exceed what a mail-client link can carry; the modal says so and points you at copying instead.
• 'Copy list' puts the addresses on the clipboard, and the list is also shown on screen so you can read or paste it anywhere. Three formats: bare addresses, 'Name <address>' (pastes into a To/BCC field as recipient chips), and CSV with character, actor and address columns.
• Cast members with no email address are named under the list rather than silently dropped — so an invite never goes out missing three people without you knowing. One actor cast in two roles receives the invite once.
• Record who made contact and how a cast member gets to set in the editor's 'Contact & travel' section: Contacted by, Primary residence, Secondary residence and Means of travel. All four are free text, so '69 € Bahn ab Nürnberg' or 'own car, reimbursed' round-trips exactly as typed — and every one of them is searchable from the roster search box.
• Add several reference photos per cast member: the picker takes more than one file at a time and the thumbnails appear in a grid under it. Hover (or tap) a thumbnail for 'Make primary' and 'Remove'. The primary photo is the one every other surface shows — the roster card, the editor preview — and the card carries a small counter when there is more than one. Maximum ten photos per cast member.
• Define your own columns with the editor's 'Custom fields' section — '69 € train ticket', 'Car', 'Agency commission'. A column is PROJECT-WIDE: adding one here adds it to every cast member in the project, and only the value underneath belongs to the person you are editing. Rename a column at any time; the values stay attached because they key on the column, not on its name. Removing a column hides it without deleting anything anyone typed. A project holds up to twelve custom columns.
• 'Skills' and 'Meals & dietary needs' fold behind a chevron like 'Sizes & measurements' — collapsed until something is filled in, open automatically for a cast member who already has entries, and carrying a count badge when closed. 'Contact & travel' and 'Custom fields' behave the same way.
• The roster search box now looks across everything a cast member carries — name, actor, description, skills, sizes and body measurements, residences and means of travel, contacted-by, custom-field values, dietary tags and notes, day notes and unavailability reasons. Typing 'EU 43', 'Bahn' or 'vegan' narrows the roster the same way typing a name does.
• 'More filters' above the cards opens the advanced panel: casting status, the attribute filter rows, and the skill chips. Options are built from the roster itself, so a filter can never come back empty by offering something nobody has. The toggle carries a badge with the number of active filters, so a filter left on inside a closed panel is still visible. All filters combine with the search box and the availability pills; 'Clear filters' resets everything.
• Attributes and skills are chips, not a dropdown, and you can switch on as many as you like — a cast member has to carry ALL of them to stay on screen. 'Horse riding' plus 'French' is the shortlist of riders who speak French, not the two lists added together. Each chip shows how many cast members have that skill, so a combination that must come back empty is visible before you click it. Past eight skills a small 'Find an attribute…' box appears above the chips to search the list itself; a chip you already switched on always stays on screen however you narrow that search, so an active filter can never hide from you.
• Sort the roster with the control beside the search box. Every attribute the roster records is a sort key, grouped the same way the filter list is: role and actor, casting, wardrobe sizes, body measurements, appearance, contact and travel, dietary, photos and videos, scenes and schedule, and your own custom columns — plus an Ascending/Descending button. Casting status sorts along the pipeline (Open → In casting → … → Booked → Declined) rather than alphabetically, and Availability puts the cast who are free first. Sizes and measurements sort numerically where they can, so 'EU 9' comes before 'EU 43' and '168 cm' before '180 cm'. A key marked '(count)' orders by HOW MANY — 'Headshots (count)' ascending is the fastest way to find who still has no picture. Counting sorts open on 'most first', name and text sorts on A→Z; change either with the direction button.
• Cast members with nothing recorded for the key you sorted on — no casting status, no actor attached, no shoot dates to judge availability against — always collect at the bottom, in both directions. That is deliberate: an absence is not a position on the scale, and 'Not set' in the casting-status filter is how you go looking for them.
• Sorting is a view, never a change to your roster. It reorders what you see and writes nothing, so switching back to 'Manual order' restores the exact order you dragged the cards into. While any other sort is active, drag-to-reorder is paused and the toolbar says so — otherwise dropping a card into a sorted view would silently write an order you never chose. The same applies while a filter is on.
• The roster search takes several words at once, and every one of them has to match: 'Berlin riding' finds the riders who live in Berlin, even though the city is a residence and the skill is a skill. Put quotes around anything that belongs together — "EU 43" matches that shoe size and not everyone who happens to carry a 43 somewhere else.
• Whenever a search or a filter is narrowing the roster, the toolbar shows 'Showing 4 of 30' beside the filter controls — so a short roster always tells you whether it is short because of you.
• Dietary and allergy constraints follow the cast onto the call sheet. The call-sheet builder shows a per-day warning above 'Cast & Call Times' listing the allergies (with names — a caterer has to know which plate goes to whom) and the diets (as counts) for everyone called that day, and each cast row repeats its own badges. This is the internal planning view; printing the constraints on the distributed PDF still needs the 'Dietary Needs' section toggle, because allergy data is health data.
• Age sits beside Actor / Casting, and a Profile link row with an Open button holds the actor's agency page, Castforward/Filmmakers profile or IMDb entry. Age is free text on purpose — a real age, a playing-age range ('25–35') and a child's '8 (turns 9 in May)' all round-trip exactly as typed, and all of it is searchable.
• The editor's 'Appearance' section records hair colour, hair length, hair style, beard (plus type and length), body type, eye colour, ethnicity, skin tone, glasses, tattoos, piercings and any other distinguishing features. Each field is a free-text box with a suggestion list attached: picking from the list keeps spellings consistent — which is what makes the appearance filter useful — but you can always type something the list does not offer.
• Add casting videos in the 'Casting videos' section. Either upload the clip (MP4, MOV or WebM, up to 50 MB) or paste the link the agency sent — a Vimeo or WeTransfer address is just as valid an entry as a file. Uploaded clips play inline; links open in a new tab. Up to six videos per cast member.
• Click any photo — on the roster card or in the editor's thumbnail grid — to open the full-screen viewer. Photos and casting videos share one carousel, so the left/right arrow keys page from the last headshot straight into the self-tape. Esc closes it, the counter shows where you are, and the filmstrip at the bottom jumps to any item. On a headshot, the download arrow beside the close button saves that picture to your device; it is not offered on a casting video or an external link.
• 'Filter by attribute' is a list you build: press 'Add filter', pick any attribute the roster records — wardrobe size, height or any other body measurement, hair colour, residence, means of travel, a dietary tag, one of your own custom columns, headshots, casting videos, scenes, day notes, correspondence — then pick a value. Add as many rows as you like: rows on DIFFERENT attributes all have to match ('lives in Berlin' AND 'shoe EU 43'), while two rows on the SAME attribute match either one ('shoe EU 42' or 'EU 43'). Every field and every value carries its count, so a combination that must come back empty is visible before you pick it, and only attributes somebody has actually filled in are offered.
• Two answers no filter could give before: 'Any value' selects everyone who has that attribute recorded at all, and 'Not recorded' selects exactly the cast members missing it. That is the gap-chasing view — who still has no headshot, whose sizes wardrobe has not collected yet, who is in no scene, who nobody has written to. 'Not recorded' appears only when somebody actually lacks the field.
• Anything the Character Editor can record is both filterable and sortable — including the nine body measurements, both residences, means of travel, contacted-by, the dietary tags, your project's own custom columns, and the counts of headshots, casting videos, unavailability ranges, per-day notes and correspondence entries. Casting status, availability and skills keep their own dedicated controls above the rows rather than appearing twice.
• The roster is ONE cast member per full-width row, headshot first. It was a four-across grid of narrow cards, and everything on those cards was clipped to fit: the name, the actor, the phone number, the email, each detail line, each skill chip and each scene badge were cut off with an ellipsis, the description showed two lines, and skills past the sixth collapsed into a "+2". Nothing is cut off any more — long names, addresses, notes and skill lists wrap onto the next line instead, and every skill and every scene badge is shown.
• Each row opens with a 3:4 headshot, large enough to recognise somebody by. A cast member with no picture yet gets an initials tile of exactly the same size rather than an empty gap, so the rows stay aligned. Click a headshot to open the media viewer; the small number in its corner counts the photos and self-tapes behind it.
• Edit and delete sit at the right of every row and are always visible — they used to appear only when the mouse was over a card, which meant they could not be found at all on a touch screen.
• Drag-to-reorder still works, now vertically. The handle is at the far left of a row, and reordering stays switched off while a search, a filter or a sort is narrowing the roster.
• The Character Editor is far wider on a desktop screen, and from a large screen up its tabs lay their sections out in two columns instead of one long scroll. The description box is taller and can be dragged taller still. On phone and tablet the editor is unchanged.
• Two ways to read the roster, switched with the Cards / List control above the search box. Cards is the full-width row you already know — one cast member, every value spelled out. List is a spreadsheet: a small headshot and the name pinned to the left, every other attribute in its own column, scrollable sideways. The choice is remembered per project.
• In List view, 'Columns' opens a checklist of everything the roster records — wardrobe sizes, body measurements, appearance, residences and means of travel, dietary tags, headshot and self-tape counts, scenes and shots, and the project's own custom columns. Tick what you want to compare; the table shows it. Click a column header to sort by it, and click it again to flip the direction — it is the same sort the dropdown drives, so the two never disagree.
• Drag-to-reorder is a Cards-view thing. A table you can sort by any of forty columns is never reliably in your own order, so dropping a row into it would write an order you never chose — switch back to Cards to rearrange the roster by hand.
• On a desktop or a tablet held sideways, a cast member with several headshots shows more than one: the extra pictures stack underneath the first, filling the space beside a long record instead of leaving it empty. How many appear depends on how tall that cast member's details are, so the row never grows to make room. A badge on the last picture counts what is still hidden, and any of them opens the full-screen viewer at that picture.
• Archive a cast member to take them off the active roster without deleting anything they carry — contact details, measurements, casting tapes and correspondence all survive. The Characters tab has an Active / Archived switch beside the view toggle, and an archived cast member disappears from EVERY cast picker (scene cast, background cast, the shot grid, the floor plan's actor node, the call sheet's Also called today) and from the roster exports until you restore them. If they are still cast in scenes or shots, archiving warns you first and names the scenes; confirming removes them from those scenes and shots, and the undo toast puts every assignment back. Archiving also takes away their cast number — see Cast numbers.

Every cast member carries a number — the small integer a call sheet cites instead of spelling the role out in every scene row. It shows as a #3 badge beside the name in both roster views, and it is the first field of the character record, left of the character name.

• Assigned automatically — a new character gets the next free number in the project, whether you added them by hand, pulled them out of the script, or brought one back with Undo after a delete. An undone delete restores the number the cast member had.
• A roster from before the feature is numbered the first time you open its Characters tab, in the roster’s own manual order, continuing from the highest number already in use. Nothing is written while you are viewing somebody else’s project read-only.
• Change a number by typing over it in the character record. Numbers are meant to be stable — a call sheet you printed last week cites them — so nobody is renumbered on their own, and a new cast member always gets the number after the highest one in use: a gap in the middle of the roster is never filled. Left empty on an existing character, the number it already has is kept.
• Archived cast members have no number. Archiving takes it away: no badge, no number on the call sheet, and the number field in their record is locked. Nobody else is renumbered. Restore gives them the next free number; the Undo straight after archiving gives back the number they had, unless someone else has been given it meanwhile. Archiving the highest-numbered member frees that number for the next person you add.
• The number is its own sortable, filterable column in the list view. Sorted ascending, an unnumbered cast member sorts last rather than first.
• Where it is read: the call sheet’s schedule prints these numbers instead of names, and the call sheet’s Cast table carries a # column as the key.

The Schedule sub-tab is your production stripboard. Drag scenes and shots into shoot-day groups.

• Drag-and-drop scenes/shots into shoot days. Reordering uses fractional indexing — robust even with 100+ shots.
• Select shots and use the selection bar's Organize: to re-sort them by Scene Number, Camera, Lens, Time of Day or Shot Size (after a confirmation), or Move to: to send them to another day.
• Day controls — the arrow on a day header (Insert day after) pushes every later day back by one; the bin (Remove empty day) appears only on a day with no shots, deletes its time blocks and pulls the later days up. A schedule holds at most 365 shooting days. Both are hidden while you are in Shoot Mode. Collapse / Expand folds a day to a one-line count, and Undo in the toolbar (Cmd/Ctrl+Z) takes back the last move.
• Time estimates (expected_duration_secs) roll up to group-level summaries with per-department call times.
• Each shot row carries four quick-edit boxes, each with its label and unit: Dur. is the shot's own length in seconds, then Setup Cam / Light / Other are that department's setup in minutes. Required time = duration + the longest of the three setups, so the departments overlap rather than stack.
• Expand a shot inline to view/edit details without leaving the stripboard.
• Shooting Day headers show total duration, scene count, and character requirements.
• Stripboard data feeds Call Sheet generation per day.
• Cross-tab jumps tie the sub-tabs together: a placed Grid shot shows a 'Floor plan' badge that opens its floor plan; an expanded shot offers 'View script for this scene' to jump to the Script tab; from the Floor Plan, 'open shot in list' scrolls the shot into view in the grid; and jumping from the Characters tab to the Shot List shows a 'Filtered by: <name>' chip so you know the list is scoped to that character. Sub-tabs are also deep-linkable via ?subtab=… so a link opens the right view directly.
• If you schedule shots on more days than the project Calendar defines, the Schedule shows a warning: those extra days have no real dates, so call sheets and exports fall back to a placeholder date until you add the dates in the Calendar tab.
• Each day header shows its page count in eighths of a script page — the production standard. Under one page it reads as the fraction alone ("6/8 pg"); a longer day reads "1 7/8 pg". The badge is hidden entirely when no scene on that day has a page length recorded, rather than claiming "0 pg".
• Day length in the schedule toolbar sets the shooting day the budget badge measures against — 10 hours by default, settable from 1 to 24 in half-hour steps, per project. It drives the badge, the over-budget flag, the lunch (60 %) and overtime (100 %) warnings, and the budget bar on the exported schedule PDF.
• Meal breaks are not counted toward the day budget: a ten-hour day is ten hours of work plus its meal. The badge shows working time with the deduction disclosed beside it as (+1h break). Relights, blocking, company moves, pre-rigs, setups, wrap-ups and scene-change buffers are crew time and stay in the budget.
• Dept. Call Times on a day header derives Camera and Lighting from the first shot's setup minutes and puts the Director 30 minutes ahead of the crew call. Those are SUGGESTIONS: type over any of them to set that day's real time, and an overridden department swaps its "(auto)" hint for an Auto control that clears the override and returns it to the calculation. Only what you change is stored, so overriding Camera leaves Lighting and Director still following the schedule, and the time you set is the one the day's call sheet receives. Cast Call Times on a day header gives any actor scheduled that day their own call, beside the existing department row. It lists only the characters required by the day, is collapsed by default with a "2 of 5 set" / "all on crew call" summary, and shows the crew call as each field's placeholder — blank means that actor is on the crew call.
• Cast call times are stored per shoot day and are carried into the call sheet by Generate Call Sheet, seeding its Cast & Call Times table. Extended times you set on the call sheet itself (pickup, costume, makeup, ready) stay there and are not overwritten by the schedule.
• Background extras are their own field, separate from cast: a shot carries one group per kind (4 Pedestrians, 8 Restaurant guests) in the Background control beside Cast, the list view gains a BG head-count column, and each schedule day header shows a BG chip totalling the day (padding blocks and omitted shots excluded).
• A scene keeps naming its background in the Extras / Atmosphere breakdown — there is no second scene-level store. The scene edit modal adds a bridge that pushes those names onto the scene's shots as groups of one to adjust; it skips names a shot already has, so pressing it twice never doubles the crowd. Sub-shots inherit background along with cast.
• Text fields on a shot — Name, Detail, Director's notes — keep up with your typing and save a moment after you stop, or as soon as you leave the field. Clicking away, scrolling the row off screen or closing the tab mid-sentence does not lose the edit.
• Location names, roles and actors are shown in full on the stripboard. The day header's location, a scene group's location, the per-shot location hint and the scene card's footer all used to clip at a fixed pixel width; they wrap onto a second line instead. A shot's cast pills likewise show every assigned character rather than the first three, and each reads ROLE (Actor) — the same label the cast pickers use, so the stripboard and the shot list finally agree.

The Shot List and the Schedule each keep their own running order. Reordering one never reorders the other.

• The Shot List is the creative order — the order the shots make sense in. The Schedule is the shooting order, which is usually a different one: you group by location, by cast availability, by daylight.
• Drag a shot in the Schedule and only the shooting day changes. The Shot List stays exactly as you left it — and the reverse is equally true.
• The selection bar's Organize: and Move to: actions follow the same rule: they rearrange the shooting day, never the Shot List.
• Time blocks — meal breaks, relights, blocking, company moves, pre-rigs, setups and wrap-ups — belong to the Schedule alone. They pace a shooting day rather than describe what is being shot, so you add them from the row of block chips at the foot of each day (each one lands at the end of that day, ready to drag) or from Shoot Mode, and they never appear in the Shot List or its PDF.
• A shot you have never moved in the Schedule simply sits where the Shot List puts it, so a fresh project reads the same on both tabs until you start scheduling.
• A Setup Change is placed automatically only on the scene boundary a drag actually creates — the schedule does not sweep the rest of the day, so one drop never sprinkles blocks across scenes you did not touch.
• Scene buffer in the schedule toolbar sets how long an automatic Setup Change runs, and 0 turns them off entirely rather than generating zero-minute blocks.
• You can place a Setup Change by hand from the block chips at the foot of any day, next to Break, Relight, Blocking, Company Move, Pre-Rig, Setup and Wrap Up — and every time block, Setup Changes included, has a delete button on its own row. Dragging one to Unscheduled only parks it.
• Setup and Wrap Up are the day’s two bookends: the unit building the first setup in the morning, and striking it at the end. Both seed at 30 minutes and are continuity-neutral — unlike a company move they do not end the current setup, so the shot after a Setup block does not re-pay its scene transition on top of the minutes you just placed.
• A shot that HAS been scheduled says so in the Shot List: its row carries a Day 3 badge beside the status and optional chips, and the List view shows the same value in its Day column. A shot with no day yet shows nothing — the counts above the list are still the summary. Two linked takes each show their own day, because linking deliberately leaves the shoot day per-take.

Scene setup is normally charged at the moment the day reaches that scene. When a department rigs ahead — the classic case is lighting scenes 2 and 3 in the morning and shooting them after scene 1 — that prep is not happening at the scene boundary, and charging it there inflates the day.

• Open a scene (Script tab → Edit Scene) and find Scene Setup Times. Each of Camera Setup and Lighting Setup now carries a Pre-rigged (schedule separately) checkbox.
• Ticking it removes that department from the scene's transition cost. The remaining department still counts, so a scene with pre-rigged lighting and 8 min of camera setup costs 8 min at the boundary instead of the longer lighting figure.
• A hint under the fields tells you how many minutes were lifted out, so you know how long the pre-rig actually is.
• Place those minutes back in the day: on the Schedule stripboard press the Pre-Rig chip at the foot of the day (it adds a 30-minute block at the end of that day) and set its length. Then drag it where it belongs — typically first thing in the morning.
• A Pre-Rig block is deliberately continuity-neutral: unlike a company move it does not end the current setup, so the shot after it does not re-pay a scene transition.
• Schedule PDFs list the lifted time separately as Pre-rigged prep, so the printed day breakdown still adds up.

Two different times live on a scene and a shot, and they are easy to confuse. Duration is how long something takes to SHOOT. Runtime — Stoppzeit — is how long it lasts in the finished film.

• Set a scene's runtime in the scene edit dialog. Leave it empty and the app totals up the runtimes of that scene's shots instead.
• Set a shot's runtime in the shot list, in the Runtime box beside Duration. If you never use it, switch the column off in the shot-field picker.
• When a scene has a runtime, every shot row in it shows the running total against that budget as 5/120 sec, and turns red once the shots run past it.
• The scene card, the schedule day header and the call sheet all show the resolved runtime — the scene's own figure when it has one, the sum of its shots when it does not.
• A scene nobody has timed shows a dash, not a zero. Runtime never feeds the schedule: changing it moves no call time and no day length.

A scene is often shot at several locations — a chase across three streets, or a master at the building with its coverage in a room. Link as many as you need, and say which one each shot happens at.

• Linking is done from the Location sub-tab: open a location, and add the scenes shot there. A scene can appear under as many locations as you like.
• Every linked location now gets its own entry on the call sheet, in the schedule's location column and in the Directions legs — in the order the locations are listed. Before, only the first one showed.
• The scene card and the schedule strip list the linked places under the scene's own location text, so you can see at a glance that a scene has more than one.
• In the shot list, the Location box says which of them a particular shot happens at. It offers that scene's locations first, then every other scouted location — a pickup can sit somewhere the scene is not linked to.
• The scene's free-text Location and its bad-weather alternative are unchanged and still shown; the linked locations sit alongside them and are skipped if the scene already names them.

Toggle one shoot day live and the Schedule collapses to that day plus the day before and after. It is the on-set view: big check-offs, a live clock, takes and notes.

• Start it from the Shoot Mode button in any shoot-day header. The day goes live for the whole project — everyone sees a "Day 5 is live" banner — but each person chooses whether to enter the focused view, so a producer's full stripboard is never collapsed for them.
• Only three days render: the live day, the day before and the day after. That is enough to push a shot to tomorrow or pull one forward, and nothing else is in the way. Drag and drop works exactly as on the planning board.
• Done and Cancelled are two separate buttons, not a cycling chip — one tap each, and pressing the active one again puts the shot back to planned.
• The bar at the top shows the wall clock, the day's call time, check-off progress, and how the day is running: on schedule, 23 min behind or 12 min ahead. That figure is live — it keeps drifting while a shot overruns, without anyone touching the screen — and it sits next to the planned wrap and the projected one.
• Unfold a shot to see what the camera needs for it: camera package, lens, special setup, camera and lighting equipment, size, angle, movement, setup minutes, cast and location. Prep notes appear read-only for context.
• The fold-out also names the shot before and after this one in shooting order, with their times. The board groups a day by scene and scene numbers do not follow the shooting order, so the row above is usually not the previous shot. Cancelled shots are skipped; breaks are shown, because "lunch is next" is worth knowing.
• Takes: add a take, rate it Good / NG / Hold, and write a note per take. The collapsed row shows the count and how many were circled.
• Planned vs actual: type what the shot really needed. Checking a shot off also auto-fills the actual duration from the clock — the gap since the previous check-off — and the moment you type your own figure the app stops overwriting it.
• The … menu on each row creates a variant of the shot (a full, freely editable copy placed right after it — not a linked take, so you can change its lens, size or setup time), inserts a time block after it, or moves it a day either way.
• Time blocks: break, relight, blocking, company move, pre-rig, setup, wrap up and setup change each have their own type, icon and default length (30 minutes for a break, company move, pre-rig, setup and wrap up; 15 for a relight, blocking and setup change). Only a break counts as the meal, so a 45-minute company move no longer clears the lunch warning or gets printed as the crew's meal time.
• Everything written on set — check-offs, notes, takes, actual times, moves — saves locally and syncs to the cloud, and appears live for every collaborator on the project.
• End shoot day clears the live day for everyone; Exit only leaves your own focused view.
• Viewers (read-only collaborators) see the whole thing but cannot check off, edit or drag.
• It all flows into the Daily Shooting Report: a Shot coverage section shows scenes covered, shots done and struck, total takes, planned vs actual minutes, a per-camera breakdown and every on-set note — read live from the Schedule, so it can never drift from what you ticked.

A shoot day flags exterior scenes scheduled outside the light they call for. It reads the day's date, the location's coordinates and each scene's INT/EXT and time-of-day, and compares the scene's slot on the day's timeline against real sunrise and sunset.

• A red badge names the scenes that fall completely outside their daylight — an EXT/DAY scene after dark, or an EXT/NIGHT scene in the middle of the afternoon.
• An amber badge marks scenes whose slot only straddles sunrise or sunset.
• Scenes are named, not counted, and at most three are listed before it switches to '+N'.
• A scene covered by several setups is flagged once, at its worst verdict.

Collapsible panel above the stripboard that visualises each character's scheduled days as a dot strip. Surfaces shoot-day count, shot minutes, hold days, day-span, and a fragmentation warning when a character's days spread wider than necessary. Actors bill per booked day, so character scheduled on days 1, 4, 7 is a 3-day booking regardless of total screen time — this panel makes that cost visible.

• Dot strip per character — one dot for every shoot day up to the last scheduled one: filled where the character works, amber for a hold (a day between their first and last call on which they are not called — paid but idle), grey for a day off.
• Shoot-day count + shot minutes (the planned shooting time of their shots) per character — spot over- and under-used cast. A hold count follows when there are holds; hover it for the days.
• Day-span — first-day → last-day window. Compare against shoot-day count for fragmentation.
• Fragmentation warning — triggers when day-span > shoot days + 1. Signals idle days that will still be billed.
• Click any dot to jump the stripboard to that shoot day.
• Availability conflict — a character's day dot turns red with an 'Availability conflict' badge when they're called on a day that falls inside one of their unavailable ranges (set per character in the Characters tab). Don't schedule scenes on days an actor can't work.
• Per-day note — a day dot gets an amber ring and a tooltip when the character carries a note for that shoot day.
• The schedule PDF prints the same data as a Day Out of Days grid — one row per character, one column per day, marked SW (start work), W (work), WF (work finish), SWF (a single day) or H (hold), with the work / hold totals at the end of the row.

The stripboard directly feeds Call Sheet generation. The two tools share data so call sheets and the schedule stay consistent.

• Generate Call Sheet on a day header creates a call sheet for that day, dated from the Calendar tab (today's date, with a warning, while the project has no shoot dates). You find it in the Call Sheets tab.
• The new sheet arrives filled in: the day's scenes in shooting order, crew call, lunch (where the day has a break block), wrap, department call times, each actor's cast call time, the key contacts, and the basecamp, parking and hospital of the location assigned to that day in the Calendar tab.
• The times keep following the schedule afterwards: crew call, lunch, wrap and department call times on every call sheet dated to that shoot day are refreshed when the schedule changes. The crew call also works the other way round — change it on the sheet and the schedule follows.
• A time you type on the call sheet that differs from the schedule is left alone from then on, so a sheet can deliberately state another time. A department row you delete there is not added back.

Floor plan editor for camera, light and talent positions. A plan belongs to the project: link the scenes it covers, then link each camera to one of their shots.

• Open the Floor Plan sub-tab and pick a plan, or press Create Floor Plan. In the Shot List, a shot whose camera sits on a plan carries a Floor plan badge (Show on floor plan) that opens it.
• Wall Drawing Mode — sketch custom walls and set boundaries with the Wall tool. Resize and position to reflect the real location.
• Moving a wall corner — select a wall and drag a round end handle. Every wall that meets it at that corner moves along, so a closed room stays closed. Hold Alt/Option when you start the drag to move only that wall. Undo takes back the whole drag in one step.
• Rooms — walls that close a loop (every corner joins two of them, as when the wall tool closes a room) get a light fill and their floor area in m² at the centre. Drag a corner and the fill and area follow. Where three or more walls meet at one corner, that group stays unfilled.
• Undo on a shared plan — Undo and Redo take back only your own changes. A collaborator's moved or added nodes stay where they are. Your history stays on this device for your account: it survives a reload, but your other devices and your collaborators don't get it.
• Cameras on a track or on the axis — drag a camera onto a dolly track and it rides on it; attach it to the line of action from its properties or the right-click menu and it keeps its distance and angle to the two actors. Moving or turning the track or an actor takes the cameras along. Hold Alt/Option while dragging to free a camera.
• Camera animation across keyframes including independent keyframe rotation.
• Curved moves and beats — drag the middle of a path segment to bend it (double-click straightens). A move takes as long as its path needs at the plan speed, or the mark's own speed. Mark B of every node is beat 1, mark C beat 2: moves on the same beat start together, and a higher beat number makes a move wait.
• Walk to… in one gesture — select an actor or a camera, press W (or right-click → Walk to… / Track to…) and click where it goes: the mark and its path appear at once. Shift+W (Walk from… / Track from…) picks where it comes from instead. R turns the node at the mark, Esc cancels, one Undo takes the move back. The + beside a mark in the list inserts a mark halfway along the move that arrives there.
• Read-only mode enforced for sharing; multi-touch pinch-zoom on tablets.
• Floor-plan deletion requires explicit confirmation.
• Place a camera, light or actor mark by picking it in the toolbar and clicking the plan where it goes; the tool then returns to select.
• Camera Package — link a camera node to a shot and the properties panel names the package that shot is set to shoot on, with the package's colour swatch beside it. Click the swatch to recolour packages A–D; it is the same colour the PDF exports and Project Fields use, so recolouring here changes it everywhere. Packages beyond D take an auto-assigned colour and the swatch is disabled. A warning chip appears when two cameras on the same plan are linked to shots using the SAME physical package — only one of them can shoot at a time.
• Rigging the lights hang from — truss (Traverse), polecats and wall spreaders — sits with the grip gear in the prop menu. All three span a gap, so they are told apart by how they END: a truss by its bracing, a polecat by round pressure feet, a spreader by flat plates. A spreader goes where a polecat would dent the wall.
• Side view (heights) — the collapsible strip at the top right plots every camera, light and talent at its rigged height, so you can check eye-line against camera height against key-light trim before shoot day. Heights come from each node's properties.heightCm. Fixtures sharing a trim are listed on ONE line with a ×n count (hover for the full list) — rigging the key, fill and back at the same height is normal, and stacking them as separate rows made the readout unreadable. Where two heights sit too close to print apart, the row shifts just enough to stay legible and a tick on the left rail keeps the true position.
• Editing a floor plan happens in full screen. The tab shows a preview with the plan and its management tools (switch plan, create, template, room scan, snapshots, print) — the drawing tools live in full screen, where the canvas has room. Press “Edit in full screen” to switch. Creating your first plan is never gated. On a phone or tablet, full screen asks you to rotate to landscape.
• On a phone — the floor plan tab keeps the drawing in view: the zoom buttons stay bottom left, Animation Mode and Side view shrink to icon buttons, and the minimap and the suggested-lights bar only appear where they fit (the bar only where lights can actually be placed). Edit with the phone held sideways in full screen: the plan bar shrinks to the plan picker and a “Plan tools” button, which opens create, rename, duplicate, snapshots, legend, print, delete, the scene links and the linked-shots list. The drawing tool sub-bars start folded there, so the canvas gets the screen.
• A figure on the plan can carry a gender — female, male or diverse — shown as a mark inside its disc. Leaving it unset is a valid choice and draws no mark at all; clicking the selected option again clears it.
• Lens height — a camera node shows the height its shot is planned at, and can override it for that position (two cameras covering the same shot often sit at different heights). Clearing the field returns it to the shot's value; 0 m is a valid height.
• Gym, park and fitness-trail props — the prop menu carries the kit a sports location is made of: dumbbells, barbell, weight plates, kettlebell, weight bench, squat / power rack, dumbbell rack, weight machine, treadmill, exercise bike, rowing machine and lockers; yoga mat, exercise ball, medicine ball and sports ball; park bench, backless bench, conifer, palm and hedge; plus a full Trimm-dich-Pfad set — pull-up bar, parallel bars, balance beam, monkey bars, climbing net, hurdles, stepping logs and the station sign. Gym and trail kit is drawn near its real footprint rather than as a symbol, because on those locations the question a plan answers is how much floor is left between two racks. The three balls are sized in true proportion to each other, so an exercise ball never reads as a football, and the bar-shaped stations are told apart by what crosses between the rails: monkey bars have perpendicular rungs, a truss has diagonal bracing, parallel bars have nothing at all.
• Camera labels and versions — the tag button in the plan bar chooses which shot fields every camera label on the plan shows: number, camera letter (A-12 or 12-A for multicam), shot name, size, lens, camera package and description, for example 'Shot 12 · MCU · 50 mm'. One camera position can carry several versions, the same setup shot in different sizes: in the camera's properties, Add a version links another shot or creates one right after it, Use makes a version the active one (the cone and lens follow it), and the label and the printed plan list every version.
• Pages — a plan can hold named pages, each a view of part of it ("Lighting", one setup for the call sheet). The page switcher beside the plan picker opens one; Whole plan shows everything. The Pages button adds, renames and deletes pages, frames the open page on the action for the PDF, and fills the plan automatically: One page per shot (the shot's cameras and the actors of its cast) or One page per department (Cameras, Lighting, Set). While a page is open the layer toggles change that page and are saved with the plan. An object's properties say which pages it is on under On pages; with none ticked it is on every page. The Floor plan PDF prints each page as its own sheet.
• Moving around — scroll or swipe with two fingers to move the plan, pinch or ⌘/Ctrl+scroll to zoom at the pointer, and hold Space to drag the view without the Pan tool.
• Moving a selection — drag any selected object and the whole selection moves with it, in one undo step. Locked objects and objects a collaborator is editing stay where they are. The selection bar aligns left, centre, right, top, middle or bottom and distributes horizontally or vertically; ⌘/Ctrl+Shift+↑/↓ brings to the front or sends to the back.
• An empty plan says where to start: Camera, Character or Draw Walls in the toolbar below the plan.

Font, size and colour in the scene editor — and pasting without dragging the source's styling in.

• The action-line toolbar has bold, italic, underline and highlight categories, plus Font, Size and Text colour, and a Clear formatting button.
• Select the text first. With nothing selected there is nothing to style, so the controls do nothing on purpose.
• Select All (Cmd+A / Ctrl+A) and then a Size, Font or Text colour restyles the WHOLE scene, including runs that already carried one of their own. Until this was fixed a nested style beat the new one, so only the never-styled parts changed.
• The selection survives each change, so you can set the size, then the colour, then the font without re-selecting the text every time.
• Strikethrough, a bulleted list and a numbered list sit beside bold, italic and underline. Lists reach the script PDF with their bullets and numbers, and each item still counts as its own line for page eighths.
• Sizes run from 8 px to 48 px — small enough for a margin note, large enough for a title card.
• Clear formatting removes font, size and colour from the selection and leaves bold, italic, underline and highlights alone.
• Colour and size are carried into the script PDF export. Size is stored in real pixels, so what you set is what the export reads.
• Font is an on-screen aid only: the PDF exporter embeds a single typeface, so the printed script uses the project's own face regardless of the family you pick.
• Pasting from Word, a PDF or another editor no longer drags that document's fonts, sizes and colours in. The paste keeps paragraphs, line breaks and emphasis (bold / italic / underline, which mean something in a script) and drops the rest.

Add Shot uses the scene the grid is filtered to.

• With the shot grid filtered to a scene, Add Shot creates the shot in that scene rather than in the first scene of the project.
• Unfiltered, it falls back to the first scene — and it does the same when the saved filter points at a scene that has since been deleted.
• Shots created from the scene viewer and from the script viewer’s Add Shot for this Scene behave the same way.
• Shots are linked to their scene by id, not only by scene number, so two episodes that each contain a scene “1” are never confused for one another.

The sub-shot button splits a shot into a group; groups stay independent.

• Pressing the sub-shot button on a shot turns that shot into the first member of a new group: shot 2 becomes 2.1, and the shot you just created lands beside it as 2.2. There is never a bare 2 row above them — the group is shot 2.
• The sub-shot part has its own format. The project's Settings tab → Script & Shotlist Numbering → Sub-shot Number Format counts the part after the dot in numbers (2.1, 2.2), letters (2.A, 2.B), padded numbers or Roman numerals, independently of the shot format above it. It starts on Same as shots, so nothing renumbers until you change it.
• Two groups that sit next to each other stay separate. A scene reading 1.1, 1.2, 2.1, 2.2 is two shots each broken in two, not one shot broken into four.
• Shot numbers are recalculated top to bottom after every add, delete or reorder, so they always match the order the rows are actually in. Drag a whole group above another and the two groups swap base numbers.
• Dragging the shot moves its sub-shots with it. Grab the first row of a group — the one showing 2.1 — and the whole group travels as one block, in the Shot List and in the Schedule tab, then is renumbered to wherever it lands: after shot 4 it becomes 5.1, 5.2; at the top it becomes 1.1, 1.2.
• In the Schedule tab that also keeps one shot on one shooting day: send 2.1 to Day 3 and its sub-shots go to Day 3 with it, instead of being left behind on the old day.
• Dragging a single sub-shot — any row after the first — still moves only that row, so you can pull a part out of its group or reorder the parts inside it. Dropped into another group it folds into that group, renumbered to fit.
• Deleting sub-shots until only one is left undoes the split: a group needs at least two parts, so the survivor drops its decimal and becomes a plain shot number again. Delete 2.2 and the 2.1 beside it goes back to being shot 2.
• Taking one part back out: every row showing a decimal carries an Un-sub button beside the sub-shot button. It turns that row into an ordinary shot, closes the group up and renumbers everything below. The first or last part of a group stays exactly where it sits; a part from the middle is placed immediately after the group, because leaving it in place would split the remaining parts in two and dissolve the group instead of freeing one row.
• Folding an existing shot INTO a group: every row without a decimal carries a “Sub of” button beside the sub-shot button. Press it and pick any other shot in the same scene — the row moves to sit behind that shot and becomes its next part. Picking a plain shot turns it into the group's first member (shot 1 becomes 1.1 and the row you folded in becomes 1.2); picking a shot that already has parts appends yours to them. The row has to move because a group is a run of neighbouring rows — that is what makes it a group.
• Numbering a shot yourself: the shot number is a field, not a label — click it and type. What you type is kept exactly as typed and is never renumbered again, and the shots after it continue from your number: type 10 on the third shot of five and the scene reads 1, 2, 10, 11, 12. Type 4.3 and the sub-shots beside it continue 4.4, 4.5 and the next ordinary shot is 5.
• A hand-numbered shot is shown in the accent colour. To hand it back to automatic numbering, clear the field or press the reset button beside it; to freeze a shot at the number it already has, clear the field and type the same number back. Text an automatic scheme would never produce (12A, INSERT) is accepted and displayed as typed, but does not move the count on — the shots after it carry on from the last number that could be read.
• Number formats and renumbering — the project's Settings tab → Script & Shotlist Numbering offers Padded (01, 02) for shots and sub-shots and Roman (i, ii) for sub-shots, besides numbers and letters. Shot numbers already follow the order of the rows within each scene of the Shot List; only numbers typed by hand stay put. While there are any, Renumber by shooting order in the shot-list toolbar releases them all after a confirmation, and Undo puts them back.

Linking makes one shot the master of another. The linked take shows the master's technical fields and keeps everything that makes it its own row.

• Linking is for the same camera setup shot more than once — a second take, a pickup, a safety. Press the chain button in a shot's row actions and pick the shot it should follow; that shot becomes the master, and the chain button on the take then shows how many takes hang off it.
• Only shots in the SAME scene are offered, and chaining is refused in BOTH directions: a take that is already linked can never be picked as a master, and a shot that already has takes of its own cannot become one — its Link menu says so instead of offering a list. A link is therefore always exactly one hop deep. Padding blocks (LUNCH, company move) are never offered either.
• Eighteen fields are inherited from the master and shown on the take at render time: scene, shot type, shot size, camera angle, movement, time of day, camera and lens gear, expected duration, the three setup times (camera, lighting, other), cast, custom fields, images and video, and the special setup with its setup label.
• What makes the take its own row stays its own: shot number, name, action description, notes, status and the check-off time that rides with it, the optional flag, the shoot day, and its place in both the Shot List order and the Schedule order. That is why two linked takes can sit on different days and be ticked off separately on set.
• Editing an inherited field on a linked take is refused rather than silently dropped — the app answers 'This shot inherits from a master. Unlink it to edit this field.' Change the value on the master and every take follows, or unlink the take if it genuinely has to differ.
• Linking is lossless. The take's own stored values are left untouched the whole time it is linked, so Unlink puts every field back exactly as it stood before you linked it — there is nothing to lose and no undo to remember.
• Delete the master and its takes are not orphaned: the earliest-created take is promoted to master with the inherited values copied onto it, and the remaining takes are re-pointed at the promoted one. Nothing appears to disappear.
• Bulk actions respect the link. Assigning gear across a selection skips linked takes — they display their master's gear, so a direct write would never be visible — Edit fields writes only the fields a take owns, and duplicating a selection skips them too.
• The PDFs mark a linked take: the tile card carries a 'Linked' chip, and the shot-list and schedule tables put a small » after the value, so a printed page still says which rows are following another setup.
• A variant is the other tool for the same situation: the row's … menu makes a full, freely editable copy that is NOT linked. Reach for a linked take when the setups must stay identical, and for a variant when they are meant to drift apart.

Assign who is in a scene, and put them on its shots in one click.

• The scene editor has a Cast in this scene picker listing every character in the project, with the actor's name where one is cast.
• The Characters tab's Extract from script assigns as well as creates: each character it finds is put into the scenes whose dialogue names them, writing the same explicit list this picker shows. Re-running only adds what is missing and never touches cast you assigned by hand.
• A scene's cast used to be worked out only by scanning its action lines for character names — so a scene you created by hand, with no script text, could never have one. Assigning directly fixes that.
• The assignment is combined with the script scan rather than replacing it: a character the script names and a character you added are both in the scene.
• Everything that already reads scene cast follows automatically — the ★-sorted cast dropdown on each shot row, the floor plan's actor list, the scene badges on a cast roster card, and the call sheet.
• When shots in the scene are missing some of that cast, the editor offers Add this cast to N shot(s) in the scene. The count is exactly what it will write, and the button disappears when there is nothing left to add.
• It only ever adds. A character you put on a single shot by hand is never removed by this action.
• Both cast pickers — the one on a scene and the one on each shot row — open with an Assign all cast row above the list. It writes the whole cast in a single step, and once everyone is on it the row turns into Remove all cast rather than sitting there doing nothing.
• Every name in a cast picker shows where that person stands: a coloured dot and label for their casting status — the same pipeline as the Character Editor, from Open through Booked, plus Declined — followed by a second dot for their availability across the whole shoot period.
• Both appear only when they have something to say. A cast member whose casting status you never set carries no label, and the availability dot stays away entirely until the project has shooting periods to compare against. Hover either dot for the full explanation, including which shoot days are blocked and why.
• The bulk bar's Assign Character… is a plain dropdown and cannot draw a dot, so it spells the same two statuses out as plain text after the name.

An actor is not the same size in every scene. Mark someone as background in one scene without changing who they are anywhere else — they stay in the scene, on the call sheet and on the day, just flagged as background there.

• The scene editor has a Background in this scene picker under the cast picker. It lists the same project characters, and ticking someone marks them background for that scene only.
• The same actor can be a principal in scene 5 and background in scene 12. Nothing is written to the character record, so the two never fight.
• The two pickers are mutually exclusive. Marking ANNA background unticks her in Cast in this scene, and ticking her there again clears the mark and makes her a principal — nobody is ever ticked in both.
• Marking someone who is not yet in the scene's cast adds them to it in the same step — you never have to tick the same person twice.
• To drop a background actor from the scene entirely, click them twice in the Cast in this scene picker without closing it: the first click makes them a principal again, the second removes them.
• Background cast stay full members of the scene. Every surface that asks who is in a scene still lists them: the ★-sorted cast dropdown on shot rows, the floor plan's actor list, the roster's scene badges and the Cast Day-Spread. They are on set, so they book the day.
• Marked people are still listed in the Cast in this scene picker — unticked, with a BG tag — so the gap where they would otherwise be has a visible reason.
• Removing someone from a scene's cast clears their background mark with it — there is no way to leave a mark behind.
• Shot rows have the same control (Background cast), exclusive with the row's Cast picker in exactly the same way, so you can differ from the scene on a single shot.
• Add this cast to N shot(s) in the scene carries the background marks down with the cast. A shot that already has the cast but is missing a mark still counts, so the number on the button is always exactly what it will write.
• On the call sheet, background cast appear in the normal cast table with a BG tag — they keep their call time, dietary requirements and contact block. They are only tagged BG for a day when every scene scheduled that day has them as background; a principal in any of the day's scenes is a principal.
• The call sheet's scene schedule prints them after the principals, as ANNA, TOM · BG: PASSANT 1, on screen and in the PDF.
• The shot list CSV export marks them in the Characters column as Name (BG).

The closed picker names who is in the shot, by role and actor.

• A shot row's Cast and Background cast fields list the people you picked rather than counting them. Two selections read as ANNA (Ann Lee), BEN (Bo Ray), not as 2 selected.
• Each name is the character's role followed by whoever is cast in it — the same shape the scene editor and the bulk dialog already use. A role nobody is cast in yet shows on its own.
• The field grows downward as the list gets longer instead of clipping it, so a shot with five characters stays readable at the width its row gives it.
• Opening the list widens it to fit its longest name rather than holding it to the width of the field it drops out of, and a name too long even for that wraps instead of being cut. Every cast picker behaves this way — the shot row, the scene editor's two cast fields, the bulk dialog, and the call sheet's Also called today.
• The ★ marking a character this shot's scene suggests belongs to the open list only. It is a hint for choosing, so it is not part of anyone's name and does not appear in the closed field.
• Nothing about the selection itself changed: the two pickers still share one list between them, and marking somebody background moves them from one field to the other rather than taking them off the shot.

The bulk bar can add lighting and camera equipment to a whole selection.

• Select two or more shots, then choose Assign gear in the bulk bar. The dialog holds the same lighting and camera pickers a single shot row uses.
• Applying adds the equipment to every selected shot. It never replaces: a device the shot already carries keeps its entry and its quantity, so a shot set up for four of something is not reset to one.
• Padding blocks and linked shots are skipped — a linked shot displays its master’s gear, so anything written to it directly would never be visible. The dialog reports how many shots will actually be touched.
• The project gear list is updated in the same step, exactly as it is when you pick gear on one shot.

Edit fields sets the properties the bulk bar has no room for — angle, movement, camera, setup, lens, durations, scenarios, background, notes and more — on every selected shot at once.

• Shift-click selects a range, and the range follows the list as displayed. With a scene, episode, character or search filter active it spans only the rows on screen — it never reaches past the filter to select shots you cannot see, which is what the bulk actions would then act on. An anchor row that the filter has since hidden degrades to a plain click.
• Select two or more shots and choose Edit fields. The dialog groups every bulk-editable property under Camera, Timing and Content. The bar itself keeps the five one-click actions — Set time of day…, Set shot size…, Move to scene…, Set status… and Assign Character… — beside Assign gear, Duplicate selection and Delete selected.
• Tick a field to change it. Anything you leave unticked is not written at all, so an apply can never blank a property by omission.
• List fields — cast and scenarios — offer Add, Remove and Replace. Remove is what the bar could never do: un-assigning a character from thirty shots is one apply.
• Every field can be cleared. Clearing a text field empties it, clearing a duration sets it back to unrecorded.
• Changing the camera clears a special setup the new package does not carry — the dialog says how many shots that will affect before you apply, and a toast confirms it afterwards.
• Padding blocks are never written. Linked shots take only the fields they own — notes and the optional flag — and inherit the rest from their master; the row for a skipped field says how many shots it applies to.
• The footer counts the shots that will actually change, the ones that already match the staged values, and the ones being skipped. A shot that already holds what you staged is left alone rather than re-saved.

Pick the fixtures a scene or a shot needs, say how many, and let the gear list follow.

• Every scene carries a Lighting Equipment picker (in the scene editor) and every shot carries one on its row, plus a Temp Lighting picker beside each for day-specific fixtures.
• The dropdown opens on a pinned Selected · N block above the search box, listing every fixture already on that scene or shot with its own stepper and a ✕. It is built from the selection rather than from the catalogue, so a search that narrows the list cannot hide it, and a fixture whose catalogue entry has gone away — a retired device id, an Owned Gear row whose link no longer resolves — still shows up there. N counts fixtures, not rows.
• Use that block's — / count / + stepper to ask for four of the same lamp. The trigger chip then reads "Aputure LS 600d Pro ×4", and the same ×N shows on the scene card, in the scene viewer, on the shot info panel, in Shoot Mode and in both PDF exports. The matching catalogue row stays ticked and repeats the count read-only, so no fixture carries two sets of buttons.
• Quantities flow to the project gear list. A fixture that is not on the list yet is added at the count you asked for; one that is already there has its quantity RAISED to match. The raise only ever goes up — a larger number you entered by hand on the gear list is never walked back.
• Search results put a In your gear list group first, ahead of the catalogue groups, with an In list badge showing how many the project already holds. Pick from there and you are packing the truck you already have rather than ordering another lamp.
• Under it comes In your own gear: items from your Owned Gear inventory that exist nowhere else in the catalogue or the Device Library. Your own Device Library devices appear too, under Custom, whatever you filed them under — a reflector saved in a category you called Grip is still found as a light modifier. Sandbags, apple boxes and clamps are offered next to stands and flags, and a light whose name the app does not recognise (an Aputure LS 600d, say) is found when it sits in a category named Lighting, Licht, Beleuchtung or Lampen. Anything its name already identifies keeps its own section, so a battery filed under Lighting stays a battery. Search by a distinctive word or two rather than pasting a whole product name: the search matches whole words, so a size suffix such as 1.5x2M will exclude a device stored under a differently written name.
• A shot created inside a scene starts with that scene's lighting already filled in — remove or extend it per shot; the scene is not changed by editing the shot. A shot whose lighting you deliberately cleared stays cleared.
• Temp Lighting is not inherited by new shots on purpose: it is filed against the shooting date, so seeding it per shot would book the same fixture on every date the scene is shot on.
• The temp category's dates are the rental window, and they grow to cover every shoot day the gear is used on. Picking the same fixture or camera again on a later day extends the period instead of adding a second row — so a package used on day 1 and day 5 is booked for both, not just for the day you happened to pick it first. A category set to specific dates collects each day instead of a span.

Pick a fixture, shape it, and read the plan the way a gaffer would.

• Add Light opens the configurator: a base fixture, an optional modifier, and the symbol they draw as.
• On a phone the toolbar collapses into the round + button at the bottom right — tap it for Camera, Character, Light, Wall and the rest. Add Light there opens the same configurator, so a light placed on a phone carries its fixture, modifier and symbol exactly like one placed on a desktop.
• Filter the library by TYPE rather than by product name — chips show how many of each kind you own (COB, Panel, Fresnel, Tube, Mat, …). Searching "fresnel" only matches devices with the word in their name; the chip finds all of them.
• Each row carries a silhouette of the family it belongs to and a warm/cool dot, so the list is scannable by shape.
• Floorplan Icon sets the symbol. Auto reads it from the device; pick one to override. The preview above the grid shows what will be placed — with one exception: in Plot symbols mode the plan redraws every fixture as its drafted glyph, so the tile shows the instrument and the plan shows the symbol for it.
• Size is a separate control. A 1×1 and a 4×4 softbox are the same symbol at different sizes — Auto infers it from the product name, and the size buttons override that. Grip surfaces offer six steps up to a 12×12 butterfly.
• Frames, flags, nets and silks can carry a GEL and an egg crate: diffusion (216/250/251), CTO (204/205/206), CTB (201/202/203) and ND (.3/.6/.9). The header shows the total stop loss, grid included.
• DMX — give a fixture a channel, universe, address and footprint. Toggle the patch chips on the canvas to see them; a double-patched address turns red.
• Fixture Legend lists what is actually on the plan, split by size and gel, so the legend matches the symbols on the page.
• Labels that land on top of each other are separated automatically, and a dashed leader line appears once one sits far enough from its fixture to need one. Drag a name yourself to place it exactly — a hand-placed label is never moved again, its position is saved with the plan, and it survives rotating the fixture.
• Every row in the fixture library says whether that light is already on the project GEAR LIST — a green "In list" badge, with the quantity when it is more than one, or an amber "Temp gear" badge for temporary gear. The "In gear list" chip narrows the library to just those, and they sort above the rest of the catalogue.
• A fixture that is NOT on the list carries a + button on its row: it adds the light to the gear list without placing it on the plan. The picker stays open so you can work through several.
• Fixtures on the gear list that are not yet plotted appear in the suggestion bar above the canvas, tinted green and labelled with their gear category. One click arms them for placement — the same bar also offers what the scene and shot breakdowns call for.
• Fixture Legend → By device reconciles the plan against the gear list: every distinct light, modifier and stand with its count on the plan, what the gear list holds, and a button to Add ×N or Raise to N. "Add all N to gear list" closes every gap in one go.
• Placing a configured light still adds it to the gear list automatically — but it now says so with a toast you can undo, and it counts: place a fourth 600d and the gear row goes to 4. It only ever raises a quantity, never lowers one you set yourself.
• Add Practical places the lamps that are ALREADY in the room — floor lamp, table/bedside lamp, pendant, ceiling light, wall sconce, tube light/batten and a bare bulb. They sit beside Add Light in the Add bar, under a lamp icon.
• A practical needs no device from the catalogue, and it is deliberately NOT written to the project gear list — set dressing is not something the truck has to load. It also never counts toward the "fixtures with no device" warning in the plan-vs-gear list.
• The six practical symbols differ by their SHADE, because the shade is the optics: a drum shade (floor lamp) draws two tight rings, a cone shade (table lamp) draws a wide gap, a pendant adds its ceiling rose and cord, a ceiling light glows edge to edge, a sconce shows a half shade on a back plate, and a batten is a capped strip.
• The wall sconce is the only practical that draws a beam. It is bolted to a wall, so it cannot throw backwards — rotate it to aim the wash into the room. The shaded lamps are omnidirectional in plan and draw a pool instead of a cone.
• Practicals carry colour temperature, size and DMX exactly like any other fixture, so a bedside lamp dimmed on a channel patches like the rest of the rig.
• Stand / Rigging records what holds the fixture up — C-stand, baby, combo, roller, low-boy, wind-up, polecat, truss, wall spreader or clamp. The list is the stand catalogue merged with your own library, so the "In list" badges and the add-to-gear-list button work exactly as they do for fixtures.
• The plan draws the difference. A floor-standing mount shows its LEG FOOTPRINT — the floor the grip has to keep clear, and the reason two lamps will not both fit where you drew them. A rigged mount draws a drop and a clamp and no legs at all, because it takes up no floor.
• If a plan uses more of one stand than the gear list holds, the Stand / Rigging section says so and offers to add the difference — the difference, not one, so going from one owned to three placed adds two. The count stays visible on the collapsed section.
• The stand budget is counted PER PLAN. Carrying the same C-stand from one scene's plan to another's is one C-stand and never warns; only using it twice on the SAME plan does.

Turn a real room into a true-to-scale floor plan by scanning it, by importing a scan made elsewhere, or by importing a DXF plan from a CAD app.

• Room scan (LiDAR, Alpha) — on an iPhone or iPad Pro with a LiDAR sensor, tap “Scan room” to walk the space; the app builds a true-to-scale floor plan from the scan. Scanning is an Alpha and is labelled so: Apple’s detection depends on light, the room and the device, so a scan can miss walls or come back incomplete.
• Scanning tips appear when the scanner opens — switch the lights on, stand one to two metres back from the walls, move slowly from corner to corner, and walk around furniture so it is recognised. They hide when you tap them, as soon as the first surface is found, or after 15 seconds.
• If Apple’s final processing returns nothing, the app keeps the most complete live preview captured while you scanned, and the review says so. It can be less precise, so check it before importing.
• A warning appears in the scanner while the device is hot. Heat makes tracking less reliable — let the device cool down before scanning again.
• Scanned furniture is drawn at its measured size: a sofa or table from a scan, or a furniture block from a DXF, shows its real footprint on the plan with the symbol inside it, instead of a standard-size icon. Stairs keep their measured width and depth too.
• Send feedback — the review of a room scan, and the error message after a scan that failed, offer “Send feedback”. Rate the result (worked well / partly / did not work), add a comment if you like, and choose whether to include scan diagnostics: counts per category, a room size rounded to 0.1 m, the scan duration and device state — never the scan itself. “Show the scan diagnostics” lists them before anything is sent. Like every bug report, feedback also carries your email address, the current page, your app version and recent error logs.
• Import scan or CAD plan — on any device, import a RoomPlan JSON scan from a scanning app, or a DXF floor plan from a CAD app. No LiDAR hardware needed to import.
• DXF import reads lines, polylines and block references (INSERT), so doors, windows and furniture symbols come across as well as the walls.
• DXF layers become the import groups: tick only the layers you want, and layers that look like annotation (dimensions, hatching, text) start switched off.
• If a drawing does not state its units, the scale is estimated from its size and can be corrected with the unit picker before importing.
• Formats that cannot be read are named rather than rejected generically — USDZ, DWG, IFC, SVG and PDF plans each say what to export instead.
• Scans arrive already to scale, so no manual two-click calibration is required.
• A review step shows the measured room size, a preview of the parsed geometry, and a count per category or layer before anything is added.
• Untick a category (for example Furniture) to import only walls, doors and windows.
• Choose whether the scan becomes a new floor plan or is added beside the current one.
• Imported walls, doors, windows, furniture and stairs behave exactly like hand-placed items — move, rotate, delete, hide by layer, export to PDF.

Scout, document and monitor every shooting location, grouped by physical place.

• Open the Location sub-tab to add locations. Group several sets under one master physical location — sets inherit the master’s shared logistics (parking, power, access, catering, HMU/wardrobe areas) and can override any of them.
• Switch the sub-tab between Tiles and List with the toggle beside the export menu. Tiles show each location’s first photo, so a scouted place is recognised by the picture rather than the name. List is a spreadsheet: one row per location with columns for address, contact, phone, available dates, crew parking, power, scene count, photo count and status — the figures you compare when you are deciding between candidates, side by side instead of three sections apart in the detail panel. A set shows its master’s inherited values, so the parking and contact columns are filled in even when only the master carries them. Wide columns shorten to one line; hover a cell to read the whole note, and a dash means nothing is recorded there yet. The table scrolls sideways on a narrow screen with the location name pinned in place. The choice is remembered per project on this device, and it governs both the sets under a master and the standalone locations at once.
• Set a status per location (Scouting, Option, Confirmed, Backup, Rejected) to monitor scouting progress at a glance.
• Set the Overview’s Primary location to mark the project’s home base — travel times are measured from it and the project header names it. Exactly one location holds it: setting it here takes it off whichever location had it, so the button on the current primary reads “Primary location” and is inactive. The first location you create takes it automatically.
• Pick a time zone on the Overview to say what this location’s call-sheet times and schedule display are read in. Leave it unset to follow the device. A set with no zone of its own inherits its master’s, and the picker names that zone instead of claiming “Auto-detect”.
• Capture everything a scout report needs: access & directions, crew/unit parking, department staging (hair & make-up, wardrobe, holding, video village), power & practical circuits, environment & permits, contacts, safety (nearest hospital), and costs.
• Upload photos of each space and a map/satellite screenshot you can annotate with pins and lines. Use “Locate address” to drop a geocoded pin.
• Photos added offline show up at once from your device and upload by themselves when you are back online, whichever page you are on by then. Everyone else on the project sees them once the upload has finished. Anyone who already has the Location tab open gets them without doing anything: the tab keeps checking for about five minutes while it is on screen. If the upload takes longer than that, the photos appear the next time they open the tab.
• When a location is assigned to a shoot day (Calendar tab → shooting period), its curated details (address, parking, nearest hospital, load-in, department areas, power, map) auto-fill that day’s call sheet.
• The Location Report PDF carries page numbers and the project name in the footer, starts each physical location on its own page (its sets follow indented beneath it), links the address straight to the map, prints the geocoded coordinates underneath, and captions every photo with the caption you gave it.
• In a call sheet, switch on “Location Notes” and pick a scouted location from the quick-add row: toilets, power, hospital, parking and catering are filled in from what the scout recorded. Extras and police have no scouted counterpart and stay blank. A set inherits its master’s values here too. The row is a copy from that moment on — later scout edits never overwrite what you typed.
• Click a photo to open it full screen and page through the rest of that location’s reel — arrows, the ← / → keys, the filmstrip along the bottom, or a swipe on a tablet; Esc closes it. In Tiles view the picture on a tile opens the same viewer, while the text under it opens the location. Read-only collaborators get the viewer too. The download arrow beside the close button saves the photo you are looking at to your device.

Several layouts and modular combinations.

• Shotlist — in Landscape a table with the columns you tick (shot number, description, lens, angle, notes and more); in Portrait tile cards, one per shot.
• Floor plan + Shotlist — one section per scene: its heading and location, the floor plans linked to it, then the scene's shots.
• Floor plan — the plans on their own, each page of a plan on its own sheet.
• Schedule — the stripboard by shoot day for the AD department, with the day budget and a Day Out of Days grid for the cast.
• Script and Breakdown — the scene text, and the scene-by-scene breakdown.
• Column headers print in your app language. They used to fall back to English in every language — the label key was assembled at run time and the catalogue stored it differently, so 22 of 24 headers were English in a German export. Two columns are also new: Camera Gear and Temp Camera print the per-shot camera package chosen with the camera-equipment pickers, whose Lighting counterparts had columns all along. They start unticked, because two more columns push the default selection past a landscape A4 and the fit planner would drop other columns to compensate; the tile layout prints them automatically whenever a shot has them.

1. Click 'Export' in the Preproduction header (below 1024 px it sits in the sub-tab row).
2. Under 'Documents', tick what to export: Script, Shotlist, Schedule, Breakdown, Floor plan, or Floor plan + Shotlist (any combination).
3. Pick the 'Page Orientation': Landscape prints the shot list as a table, Portrait as tile cards. Under 'Grouping' you can group by shoot day or by scene.
4. For a landscape Shotlist, read the page-fit panel and tick the columns to include.
5. Click 'Export'. With several documents ticked the button reads 'Export 3 PDFs' and each one downloads as its own file.

The landscape shot-list table always fits the paper — the export tells you what that costs before you download.

• Page-fit panel — a live readout above the column list: how much page width your selection needs, and whether anything will be left out.
• Paper size — A4 or A3 landscape. A3 holds the 22 standard columns at readable size; Camera Gear and Temp Camera are two more that you tick yourself.
• Text size — Auto shrinks only as far as it must; Roomy / Compact / Tiny pin it yourself.
• Hide columns that are empty on every shot — on by default (the label names how many), drops any column that is blank on every shot in the export.

1. Open Export PDF and pick Shotlist with Landscape orientation.
2. Read the page-fit panel: green means everything fits at full size, amber means it was narrowed or shrunk, red names the columns that will be left out.
3. Widen the fit with A3, or narrow the selection with 'Essentials', until the panel turns green.
4. Export. Any column the PDF could not show is named in a footnote under the table.

A shot row can carry a storyboard frame, a reference photo or a phone snap from the recce. There are three ways in, and they all end at the same place — the picture is compressed, uploaded to the project's private asset store, and rendered on the row.

• Drag and drop — drag one or more image files from Finder, Explorer or another browser tab straight onto the shot row. A dashed brand-coloured outline and the label "Drop image to add it to this shot" mark the row you are over, so you can see which shot will receive it before you let go.
• The picture chip — the small image button in the row's action rail opens a normal file picker. Same result; use it when dragging is awkward, on a phone in particular.
• Paste — click a shot row to focus it and press Cmd/Ctrl+V with an image on the clipboard. A screenshot goes straight onto the shot without ever being saved to disk.
• Dropping several files at once adds them all to that one shot. Non-image files in the same drop are ignored rather than rejecting the whole drop, so a folder of mixed content still works.
• HEIC photos straight off an iPhone are converted automatically; everything is compressed to roughly 500 KB and 1024 px on the long edge before upload.
• The picture is shown at the aspect ratio it was uploaded at — 16:9, 4:3, square or a vertical phone frame — rather than cropped into a fixed widescreen box, so nothing is cut off. That matters most for a viewfinder capture, whose burnt-in strip naming camera, format and focal length runs along the bottom edge.
• From 1280 px up the picture takes the left third of the row and the fields wrap around it: rows that fit beside the picture sit next to it, and every row past its bottom edge takes the full width of the card. A short picture no longer leaves an empty column under it. Below 1280 px the picture still stacks above the fields.

A shot's Custom Field Editor holds anything the standard columns do not — 'Permit number', 'Drone pilot', 'Rain cover'. It also SHOWS the structured fields other controls write onto the same shot (lighting equipment, camera equipment, scenarios), so you can see everything attached to a shot in one place.

• Free-text fields have two boxes: the name on the left, the value on the right. Rename either freely — they are yours.
• Structured fields are shown read-only, as named chips with a human label above them: 'Lighting Equipment', 'Camera Equipment'. They carry the same names and ×N quantities you see on the shot row and in the PDF.
• A structured field is edited where it is chosen — the lighting and camera pickers on the shot row — and the editor says so under each one. It cannot be typed here because a text box cannot hold a list of devices.
• The trash button still removes any field, structured ones included, if you genuinely want it gone from the shot.
• Saving never alters a field you did not touch.

Say something about a shot or a scene without changing it — a note to a department head, a question, a reminder — kept as an append-only thread with author and timestamp. Comments are never edited or deleted; resolving one keeps it as history, because the reason a shot changed is often worth more than the change.

• Add — open a shot (or the scene) and use the comment box at the bottom of its detail; press Comment.
• See at a glance — a shot or scene with open comments shows a small speech-bubble with the open count directly on its row, on the grid, the schedule stripboard and the scene list. Click it to open the row and read the thread.
• Resolve — tick a comment to mark it handled. It stays visible, struck through, as history. The row badge counts only OPEN comments, so a fully-resolved thread shows no badge.
• Get told — when you reply in a thread, everyone who commented earlier gets an in-app notification (the bell / collaboration panel). The first comment on a thread notifies nobody, because no one is waiting yet.
• The badge counts unresolved comments only — it is a 'someone is waiting on you here' signal, not an archive marker.

The cast roster (Cards ⇄ List), the crew roster, the Location tab and the Shot List (Tiles ⇄ List) each offer a List view, and in it 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.
• Find a column… appears at the top of the panel once a table has twelve or more columns, and narrows the list to the names that match what you type.
• 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.

A shot row carries twenty-two controls you can switch — the shot name and time of day, seven camera attributes (size, angle, movement, camera, special setup, lens, duration), runtime and location, and the picker strip beneath (scenarios, lighting, temp lighting, camera gear, temp camera, cast, background cast, background, custom fields, notes). Most productions do not use all of them. A documentary crew that never rigs temp lighting was reading two permanently empty dropdowns on every row of a two-hundred-shot list. The Fields button beside the view toggle switches off the ones you do not need. The choice is stored with the project, not with your account, so everyone working on that shoot sees the same rows.

• Open it — in the tile view of the Shot List, click Fields in the toolbar. The number on the button counts how many fields are currently hidden.
• Filled in for you — time of day, special setup, location, scenarios, lighting, temp lighting, camera gear and temp camera hold what the app inferred from the scene and the camera package. These are the ones a lean workflow usually drops first.
• Your own notes — the shot name, the camera attributes, runtime, cast, background cast, background, custom fields and notes hold what you typed. Hiding one never deletes it: switch the field back on and the content is exactly where you left it.
• The scene select and the shot number cannot be hidden. They are how a shot is identified and assigned rather than information about it, and a list whose rows cannot be told apart is not a leaner list.
• You may hide everything else, including the shot name. Some productions want nothing but the scene, the number and a duration.
• Show all fields puts every control back in one click.
• Read-only collaborators do not see the Fields button, because they cannot change a project setting — but their rows follow whatever the project stores.
• The list view has its own control, Columns, which arranges the table instead. The two are independent: Fields governs the tile rows, Columns governs the list.

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.

A shot rarely has one movement. "Dolly in" says where the camera goes but nothing about how it gets there, and the pace and the texture are exactly what the operator needs to read off the list. The Movement control on a shot row therefore takes as many entries as you want: pick the move, then the qualifiers that describe it. Everything you tick is stored in the one Movement field, comma-separated, so it prints in the PDF, exports to CSV and turns up in search exactly as it reads on screen.

• Pick several — click Movement on the shot row and tick every entry that applies. Ticking an entry that is already on removes it. The button shows the movement when one is selected and a count once there are more.
• The moves — static and locked off, pans (including whip and swish), tilts and dutch tilt, dolly, tracking and trucking, crane and jib, slider, the zooms (including crash zoom and dolly zoom), handheld, steadicam and gimbal, drone and vehicle mounts, plus arc, roll, push in, pull out, cablecam and technocrane.
• Pace — slow, fast, accelerating, decelerating. These qualify a move rather than replace it: a slow push in and a fast one are different shots and want different rehearsal time.
• Texture — smooth, steady, shaky, floating, erratic. The common pairings are handheld with shaky and gimbal with smooth, but a deliberately shaky slider move is a real choice and the field lets you say so.
• Search the list — the catalogue is long, so the dropdown opens with a search box. Type a few letters to narrow it; Enter takes the single remaining entry.
• Anything not in the list — type it and pick the "Add …" row. Free text is kept, so a house term your crew already uses survives.
• Shots you imported from CSV, or that were created before this field took several values, are unchanged: a single movement stays a single movement and reads back exactly as it was stored.
• A read-only collaborator sees everything that is selected but cannot open the control.