Schedule

The shape of it

Everything in the schedule hangs off days. A day has a date, a type, a unit, a call time, one or more locations, and a list of scenes in the order you intend to shoot them. Each scene on a day is a strip, the same unit of work a physical production board is made of.

Every other view is that same data read a different way. The one-liner is the strips in order. The calendar is the days on a grid. The Day Out of Days is the cast turned sideways. A call sheet is one day, formatted for print. Change a day and all of them change, because none of them store anything of their own.

The stripboard

Production → Schedule opens the board. Days run across the screen as columns; unscheduled scenes wait in the boneyard on the left. Drag a scene onto a day to schedule it, drag a strip between days to move it, and drag within a day to change the shooting order.

Expand a scene in the boneyard with the chevron on its strip to read its description without leaving the board — useful when the scene number and set alone don’t tell you enough to decide where it belongs.

Strip colors

Colors follow the industry convention, so a board built here reads the same as one built on paper:

• White — interior day.
• Yellow — exterior day.
• Blue — interior night.
• Green — exterior night.
• Grey — the scene doesn’t say. Tag interior/exterior and time of day in the breakdown and the color follows.

Dawn and dusk count as night, because they’re lit like night and scheduled like night.

How long a day is

Each strip carries a time estimate, and each day shows a load meter — how much work is on it against how long the day is allowed to be. The estimate comes from the first of these that’s available:

• A duration you typed in by hand, which always wins.
• The shot list for that scene, at your configured minutes per setup.
• The page count, at your configured minutes per eighth.

Company moves and meal breaks are charged against the day too, so a day with three locations reads as fuller than a day with one, even at the same page count. Tune the numbers inSchedule → Settings.

A company move is counted when the shoot moves to a different physical location, not whenever the set changes. Two script locations that share the same real-world venue — tagged with a Physical location on the location itself — are the same place to the trucks, so moving between them isn’t charged as a move. Neither is moving between two sets that hang off the same parent location in the script, like a house’s porch and its kitchen. Set the venue (or the parent) on a location’s Overview tab and the board stops flagging phantom moves between rooms of the same building.

When the app reads it wrong either way — a genuine move between two sets at one venue, or a move it hasn’t inferred — add one by hand on the Projected day (below). A move you place sits where you choose and stands in for any inferred move at that spot, so the day is never charged for both.

A night shoot that runs past midnight has its projected wrap marked +1 — a 4:00 AM wrap on a 4:00 PM call reads as 4:00 AM +1, not as a wrap twelve hours before the call. The +1 follows through the board, the one-liner, and the call sheet so nobody misreads which morning the day ends on.

Anything you add to a day as an event — a company move, a meal, a unit move, a note with a duration — is charged as well, and takes precedence over what the app would have guessed. Write in a two-hour drive and the day is charged two hours instead of the flat company-move figure from settings. This is deliberate: a day holding a move that the estimate treats as free is a day that gets called, crewed, and then runs two hours long.

The Projected day on the day page is where you shape all of this on a clock. It lays every scene out with a start and end time, the meal where it falls, and company moves between locations, then lets you edit each one in place:

• Scene windows — click a scene to set the hours it shoots, like 11:00 AM–2:00 PM. The start pins to that time (a gap opens if the previous scene wrapped earlier) and every later scene without a window of its own slides to follow. The same window is editable from the scene’s own page under Story → Scene, and the two stay in sync.
• Meal — click the meal to set its start and length. It is the same meal as the Day Plan’s, so setting it in either place moves it in both, and a meal set for after the last scene still shows — a lunch after wrap is a real break.
• Company moves and other banners — add a move where you want it, change its length, or remove it. A move you place stands in for the one the app would infer at that spot, and takes its length from settings until you change it.

Everything here writes back to the day, so the load meter, the projected wrap, and the call sheet all move with it.

Blocking out a run of days

Generate Days creates a stretch of days in one pass: pick a start date, say how many shoot days you want, and mark which weekdays you shoot. Days off inside the run can be created as hiatus days so the calendar shows the gap and the turnaround checks know nobody is working.

Parallel units (B crew)

When two crews shoot different locations on the same day — a main unit and a B crew (or second unit) — add each as its own day on the same date. On any shoot-day column, the Add a parallel unit (B crew) button (the people icon in the column header) opens the Add Day form prefilled with that date, a second-unit type, and a B Crew unit label.

• Each unit is a full day of its own — its own scenes, locations, crew, cast, call sheet, and load meter.
• Parallel units share the same day number (both read “Day 5”) and sit next to each other on the board; a non-main unit shows its unit label as a chip in the column header.
• Set the unit name in the Unit field of the Add Day form — “Main Unit” by default, or anything like “B Crew” or “Splinter Unit”.

Conflicts

The board checks itself continuously and flags problems rather than preventing them — sometimes the plan really is to shoot a short turnaround, and the schedule should say so out loud instead of refusing. It watches for:

• Turnaround — too few hours between one person’s wrap and their next call.
• Consecutive days — someone working more days in a row than your rules allow.
• Minor hours — a day that runs longer than a minor is permitted to work.
• Over-long days — more work scheduled than the day can hold.
• Availability clashes — someone called on a day they’ve been approved off.
• Loose ends — a scene scheduled twice, a day with no location, a day with no call time.

Views

Calendar

A month grid. Useful for the shape of the schedule — where the weeks fall, where the gaps are, which days are heavy. Days carrying conflicts are marked.

One-liner

The whole shoot as one ordered list, grouped by day: scene number, set, day or night, page count, and cast. This is the document you hand out. It exports to PDF.

Day Out of Days

Cast down the side, days across the top, and a code in each cell. It answers the question a cast deal is written around: which days is this actor start, work, hold, travel, or finish. Codes follow the standard:

• SW — start work, their first day.
• W — work.
• WF — work finish, their last day.
• H — hold. Not shooting, still on the clock.
• R — rehearsal. T — travel. D — dropped.
• FT — wardrobe fitting or test day.
• PW — pickup work, their first day back after a drop. PWF if it’s also their last.

Hold days between a start and a finish are filled in for you, since an actor who isn’t dropped is being paid whether or not they’re on set. Days inside a drop are counted as neither: nobody is paid to sit at home during them, which is the point of recording the drop. Marking a performer off and then working them again produces the PW that tells a producer they paid to bring that performer back. Derive from board populates the grid from the scenes already scheduled and the cast tagged in the breakdown. It exports to PDF.

The totals under the grid read the way a deal memo does. Days worked counts shoot days only — a work code parked on an inserted travel or prep day is schedule bookkeeping, not a paid work day, so it isn’t added in. Hold, travel,rehearsal, and fitting days are each totaled on their own rather than folded into the work count, so what a performer is owed for is never obscured by what they weren’t called to do.

The day page

Clicking a day opens everything about it in one place: times, locations, the strips in order, the cast and their individual makeup and on-set times, the crew and their calls, the day’s conflicts, and a history of who changed what.

Days move through four statuses:

• Planned — on the board, still moving.
• Confirmed — settled enough to tell people about.
• Shooting — today. Notifies crew with the mobile app.
• Wrapped — done. Also notifies crew.

A day can also be locked. Locking says the day has been published and shouldn’t drift; edits are blocked until someone unlocks it.

Call sheets

Each day has a call sheet, built from the day rather than typed out again: times, locations with addresses, scenes in order, cast with individual calls, crew by department, and the boilerplate — nearest hospital, emergency contacts, safety notes — which you set once inSchedule → Settings.

Publishing sends it to everyone on the day and bumps the version. Republish after a change and it becomes v2, so nobody has to guess whether they’re holding the current one. You can see who has opened it and who has confirmed they’ll be there. It exports to PDF for printing.

Cast

Schedule → Cast is the cast roster: cast number, character, actor, contract type, and whether they’re a minor — which drives the shorter permitted day in the conflict checks.

Sync from breakdown creates roster entries from the characters already tagged in the script, so you don’t type the cast list twice. Linking a cast member to their user account lets their call times reach their personal schedule.

Availability

Anyone on the production can file dates they’re unavailable — another job, a wedding, a holiday — from Schedule → Availability. Producers approve or decline, and approved dates become conflict warnings if someone gets called anyway.

This is the part that saves the phone calls. The schedule knows who can’t work when, before the day gets built rather than after.

Your own schedule

My Schedule in the sidebar shows every day you’re called to, across every production you’re on. It leads with your next call — your call time, not the general crew call, since those often differ — along with makeup and on-set times, the location with a map link, your scenes, and the call sheet once it’s published.

Confirm I’ll be there tells production you’ve seen the day. It works the same whether you’re on the day as cast, as crew, or both — confirming stamps only your own assignment, and it’s reachable from your schedule, the mobile app, and a published call sheet. Producers see who hasn’t confirmed on the day page.

Subscribing in your calendar

The same page offers a personal calendar feed you can add to Apple Calendar, Google Calendar, or Outlook. It stays in sync — when a day moves, your calendar moves with it — and each day arrives with a reminder before call.

On set, on your phone

The mobile app’s Schedule tab opens on My Days — your call times, your locations, tap-to-navigate. The Board alongside it is the full stripboard, read-only.

How it connects to the rest of the app

• Shot list — scene headers show the day each scene shoots. Strips link straight to the shots for that scene, and shot counts feed the time estimates.
• Scenes and breakdown — page counts, interior/exterior, time of day, and tagged cast all come from the breakdown. Scheduling a scene marks it scheduled.
• Locations — day locations are your real locations, with addresses carried onto the call sheet and map links.
• Crew — day calls are made against the crew roster, by department.
• Notifications — schedule changes, published call sheets, and availability decisions all notify the people affected, following each person’s notification preferences.

Settings

Schedule → Settings holds the numbers the whole system reasons with, per project:

• Default times — general crew call, shooting call, wrap.
• Strip colors — which night-color convention the board reads in, industry standard or Movie Magic.
• Timing model — minutes per eighth of a page, minutes per setup, hours in a shooting day, company move and meal allowances.
• Labor rules — minimum turnaround, maximum consecutive days, meal penalty interval, maximum hours for a minor.
• Call sheet boilerplate — nearest hospital, emergency contacts, standing safety notes.

Changing these re-estimates the board immediately; nothing needs recalculating by hand.

Permissions

Editing the schedule is a producer’s job, so it isn’t tied to the general admin role. Project owners, super admins, and admins of the production department can edit; everyone else reads.