Every module, and what it actually does

It's a real screenplay editor, so it formats as you type and keeps your page counts in eighths. Every time it saves, the rest of the production reads what changed, which is why nobody ends up re-typing the breakdown out of a PDF.

• Return takes you to whatever line type comes next, and Tab cycles the one you're on. Type INT and a space and you've got a scene heading.
• Page counts are in eighths, measured at 55 lines to a page with dialogue at its own width. You'll never see a decimal.
• Two of you can write the same scene at once. You see their caret, they see yours, and undo stays per person so yours won't take back their sentence.
• It reads Fountain, Final Draft and plain text, and it exports Fountain plus a script PDF, a breakdown PDF and a shot list PDF. Snapshots save a named copy you can go back to.
• Lock the script and your scene numbers freeze, so a scene added between 10 and 11 becomes 10A and a cut number retires and prints OMITTED. Nobody's locked out of writing though. It just queues as a revision for a producer to apply.

Connects toScenes, characters, page counts and tags. All of it hangs off scene identity, so renaming a slugline won't orphan the work sitting on it.

Index cards in lanes, for working out the shape of the thing before you write it. You start with Act I, Act II and Act III, and you can rename those or add your own.

• Each card has a title and a note, both edited in place, and you drag them between lanes. Lanes move by their own handle or with the arrow keys.
• A beat you haven't written yet shows up in the script as a ghost, sitting where it belongs, with a button that says Write this scene. Start typing and it's linked.
• Linking happens once. Editing the beat afterwards won't rewrite the scene, and editing the scene won't rewrite the beat.
• Beats aren't part of the screenplay, so locking the script doesn't stop you moving them around.
• You can export the board as a PDF.

Connects toThe script, one way. A linked card picks up its scene's strip colour, and tells you if that scene gets cut.

Breaking down a script means naming what every scene needs, and here you do that in the script itself by selecting the words. It's the same pages, read-only, with your scene list on the left and everything you've tagged on the right.

• Select the words. Either pick an element you already have or make a new one and give it a category in the same move, and the words pick up that category's colour.
• The categories are Prop, Wardrobe, Vehicle, SFX, Sound, Extras and Custom. There's no cast category, because anyone who speaks is read out of the script for you, so you'll never tag a person.
• Tagging a scene and marking it broken down are two different things. You mark it yourself, so the counter in the toolbar actually means something.
• If Key's switched on it'll read a scene and suggest elements, showing up as a dashed underline in the pages and a card in the panel. Nothing gets tagged until you say so.
• The tag lives in the script text, so everyone else in the production has it the moment it lands.

Connects toThe catalogue, the budget's breakdown import, and the needs-breakdown flag on a shoot day.

Everything the script needs, in one list grouped by category. Every tag in the pages points at a row here, which is what keeps one prop from getting counted five times over.

• Each row shows you the category colour, how many scenes it's in, how many files are on it, and what it is.
• You can search names and descriptions, filter by category or by what's got files, and sort by name, scene count or when it was added.
• There are two counts sitting next to each other. Every scene it's ever been in, and the scenes it's in right now. If they disagree, something got cut.
• Removing an element is a soft delete, so it leaves the list but existing tags in the script keep rendering and an admin can bring it back.

Connects toTags from the script. Assets, budget lines and the shoot day on the other side.

A slugline says INT. DINER - NIGHT. A location is the actual diner, with an address, somewhere for the crew to park and a nearest hospital. You assign scenes to it one at a time, never by matching heading text, so renaming a slugline won't cost you the work.

• They're cards with photographs on them, because that's how you recognise a place. Drag your scouting photos straight onto one.
• If the script has sluglines nothing covers yet, it'll offer to match them in bulk, and DINER - KITCHEN and DINER - COUNTER come back as one place with two sets. Nothing gets created until you say yes.
• Each one holds an address, crew park, base camp, hospital, type, permit status and permit expiry.
• It'll warn you when a permit runs out before a day you're shooting there, when it's already expired, and when you've got night exteriors with nowhere recorded for the crew to park.
• There's a block called What a call sheet reads that shows you exactly what'll print. Anything you haven't filled in shows as a dash instead of a guess.

Connects toScenes, the schedule's by-location view, and the Locations and Safety blocks on a call sheet.

A canvas you pan around, with images and notes on it, and one board per look you're working out. Drag files on, paste from the clipboard, or add a batch at once.

• Scroll or hold Space to pan around, pinch to zoom wherever the pointer is, and press . to fit the whole board on screen.
• Drag items to move them and pull the corners to resize, and images keep their proportions. Arrow keys nudge by a pixel, and Shift with an arrow nudges by ten.
• You'll see other people's cursors with their names on them. Cards move while they're dragging them, and notes fill in as they type.
• Deleting a board just moves it out of the way, and an admin can bring it back.

Connects toAssets, for the images. Boards belong to the production, and it'll remember whichever one you were last on.

One place for everything you've uploaded, and a record of where each file is being used. Anything you upload from a record itself, like a reference on a shot or scouting photos on a location, turns up already attached.

• Drag, paste or hit Upload. Uploads keep running while you move around the app, so you don't have to sit and watch them.
• It takes images, video, audio, PDFs, text, CSV and archives, each with its own size limit. Only images get a thumbnail.
• You can attach a file to a scene, a shot, an element or a setup, give the link a role, and mark one placement as primary.
• Filter by record and the relationships come with it, so picking a scene gets you its shots, and picking a shoot day gets you that day's scenes and their shots.
• Storage counts across the whole organisation against the owner's plan, and there's a breakdown by category, the biggest files, and old versions you can clear out in one go.

Connects toScenes, shots, elements and setups. Shot references and scouting photos are all this, seen from the other end.

It's a stripboard. Every scene is a strip, a shoot day is a stack of them, and anything you haven't scheduled yet waits in the rack underneath.

• Drag a strip onto a day, between days, back to the rack, or onto the new-day zone to start a day with it. Cmd-click or Shift-click if you want to move several at once.
• The four colours are the industry key and they come off the slugline, so nobody sets them by hand. If a heading has no time of day it can't be coloured, and your home page will tell you about it.
• Page counts run in eighths down a column, so you can read a day's weight at a glance. Scenes that have been cut don't count toward the total.
• Every day flags its own problems. A scene with nothing tagged, a scene marked blocked, a cut scene still sitting on it, and which day is your lightest.
• There's a second view that stacks scenes by location instead of by day, which is handy for seeing what's still scattered.

Connects toScenes and page counts from the script, locations, the day counts your budget uses, and the day a call sheet gets built from.

A call sheet belongs to a shoot day, so the scenes, pages, cast, sets and sunset are on it before you touch anything. The rest is the stuff only you know, and that's really what the sheet is for. Open a day and its sheet starts, and the page you're editing is the page that prints.

• Thirteen sections in the order they print, from the production header down to department notes. Anything you haven't filled in shows as a dashed slot, and the three that'll actually stop a send are marked harder: company call, cast on-set time, and the hospital or safety note.
• Call times decide who's on the day at all. Tick a department and its people come with it, a department default moves everyone who hasn't got their own time, and an override says so on the row.
• Preview as swaps the header for one person's copy, so you can check the call time and first location they're going to see.
• Publishing freezes a version and emails everyone a PDF and a link, with the sides and the shot list generated and attached for you. The link opens on a phone without a login, and leads with their own call time and their first location.
• Delivery tells you who was sent to, who opened it, who confirmed, and which roles you had nobody to call. Nudge only chases the people who haven't done either.
• Republishing goes back to the same list. Anyone whose times moved gets asked to confirm again and shown what changed, and everyone else stays confirmed.

Connects toThe shoot day. Its scenes and pages, its cast and their times, its locations and addresses, and sunset for the date.

Cast, crew and everyone else over one list of contacts. You don't type up a cast list, because every character with dialogue is already here with their scenes, their page count in eighths, and the days they're called.

• What you actually do is cast them. Until a part has a real person on it the row says Not cast yet and gets flagged, because an uncast role won't get a call time or a delivery.
• Crew are grouped by department, since that's the unit a call sheet works in, and anyone without one won't land on a sheet at all.
• Vendors, clients and extras sit under Other so they don't skew your department count or the daily total.
• Contact details and rates are two separate permissions and neither one comes with the other. A field you can't see isn't rendered at all, so nobody can overwrite a number they've never read.

Connects toCharacters from the script, day counts from the schedule, call times on the sheet, and crew day rates on budget lines.

A chart of accounts with detail lines under it. The quantities come off the rest of the production, so your shoot days, crew days, location days and tagged props are already counted, and every rate is yours to put in. Start from an indie short, a full feature chart, or nothing at all.

• The grid's built for typing, so Tab and Shift-Tab move you around, Return commits and adds a row, and esc reverts. The multiplier takes a number or a formula, and you edit the formula itself instead of the result.
• Tie a line to a crew member and it picks up their day rate from People, so you're only keeping one number. The day count comes off department bookings on the schedule, less anyone excused.
• Move the schedule and any line it touched goes stale, then a review shows you what each one was, what it becomes, and the difference. Until you apply it the old number stands, because it won't show you a figure you haven't seen.
• An account with lines and no rates shows a dash instead of a zero. Fringes are percentages on a line or a whole account, contingency is a percentage you set, and there's a grand total per shoot day.
• Pull a tagged category in from the breakdown and every line turns up at quantity 1 with no rate, since a shotgun in five scenes is still one shotgun. The scene list comes with it, so you can trace the line back to the page.
• Seeing the budget and seeing rates are two different permissions. Without the second you still get every quantity, every unit and every stale marker, with the word Restricted where a figure would be. The grand total goes too, or you could subtract your way to somebody's fee.

Connects toShoot days and department bookings from the schedule, day rates from People, tagged elements from the breakdown.

Three modes, one for each time you end up looking at a shot list. Plan is everything you've got, grouped however you think about it. Prep is a single day laid out as setups. Shoot day is the version you use on the floor.

• Group by scene, location or shooting order, and switch between cards and a reference grid. A card with nothing on it offers Add visual, which uploads a file and pins it to that shot.
• A setup is the camera position, meaning everything you get without moving it. Position, support and light belong to the setup, so every shot inside it shares them.
• Prep is your night-before view. Which scene, what lenses, how many shots, what it covers, and how many you've already got.
• The done tick is the one thing built for having no signal. It saves on the device and goes up when there's a network, so it shows straight away, survives a reload, and a slow refresh can't undo it.
• Shots whose scene has left the script end up under Orphaned, so they don't just disappear on you.

Connects toScenes from the script, the shoot day from the schedule, reference images from assets, and the shot list PDF that goes out with a published call sheet.