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Yes, off your own past ones. Pick a kind of job on a new project and it offers what that kind usually takes here — the crew roles and how many of each, the kit, how many days, what time it starts. Ticked by default, all of it editable after.

Roles, never names: who was free in March is not a fact about TVCs. Crew arrive as places with nobody on them. A kind you have only done once says nothing rather than guessing from one job.

What this account has actually done: shoot days, set-ups, crew, what your budgets were quoted at, a bar per month, who you work with most, your busiest month and longest job.

All of it counted off records that already exist — nothing estimated. Quoted is what budgets were priced at including VAT. It is not what was invoiced or paid, which this app does not know.

Put a schedule in once and it builds the production out of it: the call sheet, the shot list, the locations, the kit list and the questions. The crew get one link that shows whichever part is theirs.

Nothing is compulsory. Fill in what you have and the empty parts never appear.

We make films, commercials and social content. There are always several jobs on the go and every one needs a ton of paperwork. This keeps it in one place.

It was built for our own company to use every day, which is why there is nothing in it somebody has not needed on a job.

Tap Start new project, give it a name and a first shoot day. That is the whole of it.

Yes. Start from a past job copies the crew, the days, the running order, the calls and who was on which crew. The gaps between days are kept, so a Thursday and a Saturday stay a Thursday and a Saturday.

Nothing stays linked. Changing the copy leaves the old job alone.

Yes: Excel, Numbers, Word, Pages, PDF, a photo of a page, or plain text. Pick several at once and they fold into one project, so a call sheet and its shot list land on the same day.

You see what it found and can fix it before anything is created.

Import → Pick from Google Drive opens Google's own picker and only hands over the sheet you choose. Or paste a sheet's link, if it is shared as "Anyone with the link".

Update from … under Edit reads it again and lists what is new, what moved and what is gone before changing anything. Rows keep their ticks when only their times moved.

Rows no longer in the sheet are only removed if you tick that, since you may have added them here on purpose.

Under Tools → Templates: a call sheet, a schedule and shotlist, a crew and cast list, a brief and a questions sheet, as Excel, CSV or text.

The headings on them are exactly what the importer looks for, so a sheet built on one reads straight back in.

The sample project on the home page is a real day. Delete it whenever.

Import in the sidebar, or Import documents on the home page. It asks two things: whether it is going into a job or into the lists this account keeps, and then which part. The file comes last.

Into a job: the whole thing worked out for you — days, times, shots, crew and places — or just the brief, or just the questions. Into the lists: saved crew, your kit, past budgets or a rates card. A Google Sheet works anywhere a file does.

The four words every part of this uses for whether somebody is coming. Requested — you have asked and are waiting. Penciled — held; they can do it, nothing is signed. Confirmed — booked. Declined — not coming. A name with none of them is somebody nobody has claimed anything about yet.

They show in Book crew, on the calendar — where you can confirm or decline somebody straight off the month — and on the crew list of the day itself, so a name on a call sheet says whether it is a booking or a hope.

Askings written before this said Free, Out and Maybe. Free became penciled rather than confirmed: being free is their answer, and holding them is your decision.

It goes in the Bin on the Manage projects page for fourteen days. One tap, and Put it back sits in the message that follows for as long as you are looking at it.

Nothing is destroyed while it is in there. The job, its links, its ticks, its questions and its images all stay, and it comes back with every one of them. Each row in the bin says how many days it has left.

It used to take two taps and then it was gone for good. A second tap makes a thing hard to do on purpose and no harder to do by accident, because the accident is two taps in the same place.

Delete now is the one that cannot be undone, so it keeps the second tap. And the bin is emptied when somebody opens the workspace rather than on a timer — there is no timer in this app, and a bin that empties when you look at it is a bin that empties.

No, and the difference matters to your figures. Archive means finished and out of the way: it comes off the home page and keeps counting toward your rates and what jobs this size are usually made of.

The bin means gone. A job in there stops counting toward both the moment it goes in, and starts again if you take it back out. Work you have said you do not want should not be shaping what your next budget suggests.

Book crew on the home page. Pick a date and what kind of job it is, search your saved crew by name or by what they do, and send each one the same WhatsApp message with their own name in it.

Everybody who answers is marked free, out or maybe, with who wrote it down, so two producers do not ring the same gaffer twice. Make the job turns whoever said yes into a project.

Calendar on the home page: every job and every crew booked, by month. A day with a job on it says who is on it; a day still being asked about says who is free, who is out and who has not answered.

The crew section of a call sheet counts the places with nobody's name on them: how many, what they do, and how far off a full crew the day is. A budget becoming a job fills those places in — "2 x Camera operator" is two places, because two people will stand there.

From the other end, Crew to book on a budget opens the job and puts the seats on it: every crew line the budget prices and the sheet has not got, added as a role with nobody in it, with the crew list open on top so the next thing you do is say who is filling them. Somebody already on the sheet is not seated twice, and cast and location fees are not crew and are never booked as any.

Build opens every section at once and puts a line at the top saying what the day still wants: a date, somewhere to be, a crew call, somebody on it, something to shoot.

You type into the call sheet itself. Type a name, press return, and the line stays open for the next one.

No. Give times to what has them and leave the rest in order.

A row with no time still says when it happens: "09:00 to 10:00", "after 14:30", "by 17:00", worked out from the rows around it.

One line under the filters answers it: what the day needs against the hours between the call and the wrap.

Tap it for where the time goes and the things the trade would flag: lunch more than six hours after the call, a day past twelve hours, under ten hours' turnaround. Advice, never enforcement.

The bar at the bottom says by how much, with Push the day back under it. Everything still to come moves by the same amount, starting from the next shot not yet done.

Shots already ticked stay put. A contributor who has been told a time starts unticked, so moving them is your choice. Everyone's phone picks up the new times within a minute.

Every change to times, places or who is on is written down as it saves: "Day 2: crew call now 07:30 (was 08:00)".

Anyone opening the call sheet sees what has changed since they last looked, until they tap Got it. A change to one person's own call goes only to them.

Tap the shot. Everyone on the link sees it tick, live, and the ticks save on the phone if the signal drops.

Use All / To do / Done to see what is left. Ticked shots are struck through on the call sheet.

Edit on any section puts ↑ ↓ ✓ × on every row. The × removes it in one tap and Undo sits at the bottom for a few seconds.

Pick several turns the rows into tick boxes so you can set one call time, move people to a crew, or take a group off in one go.

A row behaves the same wherever it is. Budget lines, payment book rows, the versions on Formats and the crew booking board all carry the same three handles: the grip on the left to drag it into another order, a pencil to change it, and an × to take it off. You do not have to remember which page does which.

Hover a section of the call sheet and a + appears beside its heading. Press it and the comments open in a panel down the side of the sheet — all of them, every section, in the order the sections run down the page. A section with something unsettled on it shows the count instead of the plus.

A comment is a card: who said it, when, what they said, and a tick to settle it once it is dealt with. Answers sit inside the card under the thing they answer, and only the card carries that tick — what is settled is the thing somebody said, not every reply to it.

Picking a card marks the section it is about and scrolls to it, because a comment and the thing it is about are two halves of one object and reading one should show you the other.

All shows everything still open, For you the ones with your name in them, and settled ones go behind a count until you ask for them.

Typing @ offers the crew on that job. The name is matched against the crew list rather than stored as a link, so renaming somebody stops it matching instead of leaving a mention pointing at a person who is no longer on the job. Enter sends it; Shift and Enter is a new line.

Everybody who can edit the job sees them, and so do heads of department. A client or view link never does — they are not shown it and the server will not hand it over either.

The studio's room, in the corner of every page. It used to be a tab on one job, which meant you could only talk about the job you happened to be looking at — and only while you were looking at it. A crew talks across jobs, so the room follows you instead: shut in the corner, open where you left it, on the home page and the budgets and everywhere else.

It has two tabs. Master is everything anybody has said, oldest at the top and newest at the bottom where you are already looking. The second is whichever job you are standing in, and it is that same stream filtered to the messages filed under that job.

Typing @ offers two kinds of thing: the crew, and the jobs. Naming a job files the message under it as well, so it turns up in that job's tab and carries a chip saying where it went. Anything said while on a job's own tab is filed under that job without your naming it.

There is no tick on a message. Most of what gets said on a job is just said — the client wants the drone shot earlier, somebody is running late — and a thread where every line has to be ticked off is a thread nobody finishes. What needs settling is a comment on a section, which is a different thing with a different shape.

The room belongs to the studio. A crew link to one job does not reach it.

Yes, if somebody sets it up on the Google side. A studio links one Chat space, and each job gets its own thread inside it — which is the shape the room already has, so nothing has to be arranged twice. What is said here turns up there, and what is said there turns up here.

Mirrored messages arrive in Chat from the app rather than from the person, with their name at the top of the message. That is deliberate: a studio connects once, and posting everybody's words under that one person's account would put Dara's message in Chat under somebody else's name. Wrong is worse than indirect. A message carried the other way is marked via Chat here, so nobody wonders why a reply is not landing where they are looking.

Setting it up is a job for whoever runs your Google Workspace: a Cloud project with the Chat API on, a Chat app pointed at this site, and the app added to the space. Until that exists the room works exactly as it does now and simply does not mirror — nothing waits on Google, and a message is never refused because Google is unreachable.

One thing worth saying out loud before you connect it: a Chat space can hold people who are not on the job. Once the room is mirrored, what is typed here is read by whoever is in that space.

Not yet. It matches the name against the crew on that job and marks it, so it reads as a mention and whoever opens the job sees who it is aimed at. Nothing is sent — no email, no message, no notification.

It is said plainly here because an @ that looks like a notification and is not one is worse than no @ at all: somebody writes "@Dara can you chase this" and assumes it has been chased.

Comments beside a section answer “what was said about the crew”. They do not answer the question anybody actually has on the Monday of a shoot week, which is “what has nobody dealt with”. So the ones still open gather at the top of the call sheet, each saying which part of the job it is about, and pressing one opens the panel on it.

It counts threads rather than lines: a comment three people have already answered is one thing to settle, not four. It counts nothing from the studio's room, because a message has no tick on it and never will — a warning lit by ordinary conversation is a warning people learn to ignore.

Inside a week of the first shoot day it says so, and when. Further out it is quiet, and with nothing open there is no card at all.

Copy this day under Edit makes the same day again on the next free date, with the same running order, people, calls and crews. The days renumber so they still read in order.

Tidy up this day under Edit does one pass: one name per place instead of four, arrivals at a place you are already at dropped, doubled rows removed, "TBC" cleared out, and times spread across rows that have none.

It lists exactly what it will change before it changes anything, and you can untick any of it.

Yes. A workbook with a schedule and call sheet per crew per day comes in as the shoot days it actually is, with both crews on each.

Every row and person is marked with their crew. Pick a crew on the shotlist to see only theirs; the call sheet lists each crew under its own heading.

In the project's settings. What kind of job (TVC, corporate, live stream, interview, broadcast, or anything you type) goes on top of every document it makes.

What it has to deliver is on the Formats tab, and the settings page lists what is there with a way through to it. A shot list that knows it owes a 9:16 is how the 9:16 gets shot.

Yes. Deliverables on the call sheet: how many, what shape, how long, whether it is subtitled or signed and in what languages. A DOP framing for 9:16 decides that standing at the camera, not afterwards.

It is on the build checklist too, so a day is not finished being built until it says.

Yes. + Add a section sits at the top of the call sheet, and it offers the parts a call sheet is made of: Locations, Schedule, Crew, Cast, Client contacts, In front of camera, Safety and parking, Deliverables. Pick one and it goes on the sheet and opens, ready to fill in.

Sections appear by themselves once they have something in them, so this is for the one you want to start filling now, or the one you took off earlier and want back.

Something of your own is the last line of that list, and it is the one that asks which department — Wardrobe, Props, Stunts, Food styling, Production design, Grip and electric, Playback, Permits and closures — two dozen or so, grouped. Pick one and the block arrives already carrying the lines that department is always asked for: Wardrobe comes with changes, fittings, continuity and who supplies what.

They are a start, not a form. Type over them, reorder them, delete them. A line you leave unanswered never reaches the sheet, so a block added on Monday with nothing known yet is just a heading, and the lines come back when you open it again on Thursday to fill them in. A blank heading and an empty box is still an option there too — a road closure, boat times, whatever the rest of the sheet has no room for — and nothing you write in that one is ever trimmed.

Every section can be moved, yours and the built-in ones alike. Drag it by the handle in its heading, or use the arrows beside it, which swap it with the one above or below. They step past sections that are empty today, so pressing one always moves something you can see. The order is kept on the job, so the sheet comes back the way you left it.

Drag it by the handle on the left of the row, or use the arrows beside it. The handles appear when a section is open for editing — the pencil in its heading — and so do the arrows.

They are there for different moments. A drag is one gesture however far the row is going, which is what you want when the last shot of the day turns out to be the first. The arrows move one place per press, they work from a keyboard and with a screen reader, and they are a better target than a drag on a phone in the wet.

Sections move the same way, by the handle in the section's own heading. Nothing is saved until you let go.

The bin in the section's heading. It comes off this job's sheet and + Add a section puts it back.

It is not a delete. Taking Crew off a call sheet does not touch the crew — their names, numbers and call times are all still on the job, and every other view still has them. The sheet simply stops printing that block, which is what you want for a job where the client never sees the crew list, or a sheet that already runs long.

The one exception is a block of your own words, which has nowhere else to live, so that one really is deleted. Either way the toast offers Undo.

+ Add to the schedule, then name it at the top of the panel: Shot, Crew call, Rig, Travel, Company move, Holding, Breakfast, Lunch, Dinner, De-rig, Wrap, or Other. Underneath: when it starts and ends, a description, and where it happens.

That one line is the only difference between the kinds. A Shot carries a number and goes on the shot list, the shot list spreadsheet and the camera crew's grid, with scene, cast, size, movement, INT/EXT and sound under it. Everything else prints the way a call sheet prints it — the name in capitals with the detail underneath, the way COMPANY MOVE or MEAL BREAK reads on any sheet in the trade.

A named row needs nothing else typed into it. Picking Lunch is already saying what the row is; the description is for when there is more to say, like "catered at base, no personal deliveries".

A row can change its mind. Open it, change that line, and it crosses over keeping what was written — and the numbers sort themselves out, so a day whose shots ran one to seven reads one to six after the third becomes a rig. A shot does not need a number either: clear it and the row still reads as a shot, just without one in front of it.

Yes — What to call this place on any location, or tap the little label on the row to step through them: Call, Second, Lunch, Base, Wrap, and round to none.

It is a label and nothing else. It says what the place is to the crew reading the sheet; it does not move the row up the page, it does not take the word off whichever place already had it, and it does not rename anything. Two places can both say Base if that is true of the day. Most locations never get one, and that is a finished state rather than a missing one.

Three ways, and you can still just type an address or an Eircode. Search it by name, paste a Google or Apple Maps link, or drag a pin on a map.

A gate in a field with no address keeps the pin itself, so directions land on the gate rather than in the middle of the townland.

Yes. It knows what town the day is in, so "mater hospital" finds the Dublin one before the Belfast one.

Every place on the day is tappable. Directions chain from one stop to the next in the order the day runs, and the whole day can open as one Google Maps journey.

Recce beside Start new project asks three things — what to call it, when, and where — and makes the job when you save. Nothing exists until then, so pressing it to see what it does leaves nothing behind.

Then Add recce photos. Labels, a client and a date can wait, or never happen.

A phone writes the position into every picture, so yes. If the day has no position yet, the first recce photo gives it one, and sunrise, sunset and the forecast start working from then on.

Dates on the recce holds both the day you walked it and the days the shoot is proposed for, with a note on each.

Sunrise, sunset and golden hour are worked out for that day using the photographs' own position.

Recce PDF prints the job's name, each place in turn and the photographs big enough to see, up to eight a page. A place with no photos is left out.

The job, and nothing else. No sidebar, no bottom bar, nothing asking them to start a project, and only the tabs that have something on them — a link with no kit list does not offer an empty Kit tab.

The one thing they can follow is makethe.day at the top, which goes to the home page. A call sheet is a document somebody was handed, so it reads as one.

Send this to someone on the Share tab asks who it is for, makes the link, and then shows you the message that goes with it before anything leaves:

Please see the call sheet for Harbour Promo on Thursday, 5 November in Carrick-on-Shannon with a call time of 08:00:
makethe.day/s/…

Change it if there is a reason to — the link is on the end and stays there — then Copy it, WhatsApp or Email. It used to copy and close, so the first time anybody read what they were sending was after they had pasted it into a thread with the crew in it.

Every link on the Share tab still has Copy and WhatsApp on it.

Crew: the call sheet with crew numbers, the shotlist and locations. Cast named without numbers, no client details.
HODs: everything, and they can tick shots off.
Clients: the call sheet and locations, with crew numbers kept off.
One person: only their own part.

Yes, one per person, and Make links for everyone does the lot. Crew get the call sheet with their own call and crew at the top; a contributor gets only their own page.

When and where to arrive, roughly how long they are needed, what to wear and bring, and the name and number of the one person meeting them. Nothing else from the project.

No, and it is worth knowing why: a personal link shows only that person's day and records whether they opened it, so posting a set would hand everybody everybody else's.

The link for a group is the crew link, under Share, which has its own WhatsApp button.

Beside each person it says Not opened yet, Seen the latest, or when they opened it and how many changes there have been since. So you know who to ring before the morning.

Not with a link. A link that edits is a link that deletes the call sheet the moment it reaches the wrong group chat.

Add them by their Google email under People who can edit. The levels are Admin, Full, Basic, and Basic with no numbers.

Crew, HOD and personal links stop working 48 hours after the last shoot day. Editors, owners and teams keep theirs.

New link turns somebody's old one off and makes a fresh one. Taking them off the project turns theirs off by itself.

It shows the project's name, so nobody has to open it to find out which job it is for. None of the crew, numbers or schedule is in the preview, and shared links are kept out of search engines.

Connect a Google Calendar once, from the calendar page or Settings, and every shoot day goes on one calendar the whole team subscribes to. Each day says where it is, who is booked on it with their own call time, and what the job is making.

Everyone on the team, and anybody added to the job by email, is invited to the days themselves.

Open the call sheet, tap Add team at the top or Add team members under Crew, and tick the people you want. They land on that day's crew with the role and number already saved against them, so a sheet says who is actually coming.

Being in a team already means seeing the project and being invited to its days in the calendar. This is the separate question of whether your name is printed on the day.

It moves here. Drag a day to another date in Google Calendar and the call sheet follows within seconds.

Deleting the event clears that day's date and keeps the day — its shots, crew and call times are hours of somebody's work, and a stray swipe in a calendar app is not permission to drop them.

Because the other two have no date on them. A day with no date is on no calendar — not Google's, not the month view here — and a book that came in from a spreadsheet usually arrives with its days in order and nothing on them.

Open the day that is dated and tick Date the days after this one too: each one becomes the day after the one before, and a day you have already dated by hand keeps its own date. Push to Google says how many days are still without one.

Both. Push to Google puts every shoot day on the calendar; Check Google beside it reads it back — a day dragged to another date in Google moves the day here. It also reads back on its own when the calendar page opens, and it says what came of it either way, including when the answer is that nothing moved.

It also shows what is in that calendar and is not a job here yet, on the day it falls on, with Make it a job beside it. The date, the time and the place come across, and the entry is marked as that job's from then on, so it is never offered twice and moving it in Google moves the day.

When a job is made, and whenever a save changes something a calendar shows: the days, where they are, when they start, what the job is called, who is on it. Renaming a shot is none of its business.

The sentence that goes round it: "Please see the call sheet for Harbour Promo on Wednesday, 7 October in Wicklow with a call time of 08:00", then the link. A bare address in a thread of forty says nothing about which day it is for.

Type the department — lighting, grip, camera, sound — instead of a name. A name gives you the best few guesses under the box; a department opens the whole shelf, scrollable, with a tick beside every line and one button to put the lot on.

Yes. Settings → Kit → Check kit back in. Turned off, a job ends at packed and nothing is left looking like it is waiting to come back.

It is on by default, because checking things back in is the answer that cannot lose a radio mic. It belongs to the workspace rather than the device, so the whole team gets the same four steps or the same three.

Yes. On a job with more than one day the kit tab asks Same kit every day, ticked. Untick it and each day gets its own list, starting as a copy of the one that was there, and its own pull — because two days apart are two different mornings.

Taking something off one day takes it off that day only; it stays on the job because it still goes out on the other. Tick the box again and the days go back to one list, keeping everything any of them had.

Import kit takes the kit room's own spreadsheet and does not need headings: it works out which column is names, counts, shelf and the tick that says you hold it.

No spreadsheet? Build from the catalogue lists several hundred things across camera, lenses, lighting, grip, sound, live stream, power, post, props and catering. Tap what you own.

Yes, and it reads it. "Sony FX6" is a camera on an E mount, "24-70 EF" is an EF lens, "2x Aputure 600d" is two lights, "Zoom H6" is a recorder rather than a zoom lens.

Anything it guesses wrong can be changed; anything it does not know becomes Other.

Every line is a row with its count on the left and its handles on the right. The arrows move a thing up and down inside its own department. The menu beside them moves it to another department, keeping its count, its mount and its note, so a thing read wrong off a spreadsheet is put right without being deleted and typed again. The count is typed on the row itself, and the cross takes a line off, with an undo.

Each department has its own Add beside the heading, which opens a line right there: what you type goes in that department whatever the name sounds like, because you said where to put it. The box at the bottom still takes anything and works the department out itself.

It says what is missing and why. An EF lens with a Sony body asks for an adapter. Two lights ask for two stands. A camera is asked what it is recording onto.

Every one is an offer with its reason attached. Nothing is ever added behind your back.

Glass is lenses, sticks are a tripod, bricks are batteries, comms are radios, BNC is an SDI cable. A stinger in Los Angeles is an extension lead in Dublin.

Where a word honestly means two things, like gobo or scrim, it asks rather than guessing.

Send the kit list sits on the kit tab itself. It makes a link that shows the kit and the dates the job runs, and nothing else: no crew, no numbers, no schedule, no locations.

Copy it, WhatsApp it or email it from there. It is listed under Share afterwards like any other link, where it can be replaced or turned off, and it stops working 48 hours after the last shoot day.

Four jobs, often four different days. Pick is deciding what goes. Pull is ticking each thing off the shelf. Packed is the list once that is done, with anything never pulled named underneath. Returns is the same list checked back in, which is when a missing radio mic is actually discovered.

Type lighting, grip, sparks, video village, glass or batteries and the whole shelf comes up rather than the best eight guesses. Nobody thinks of a single lamp by name first.

Under the list, on both Pick and Pull, there are two shelves. Your kit is everything you have ever had out on a job, laid out by department, and a tap puts one on. To hire is the rest of the trade's kit — several hundred things, from Alexas and Preston hand units to hazers and apple boxes — with everything you own taken out of it, so it only ever holds what would have to come from somewhere else. Open one department at a time and tap what you need.

Nothing is marked as hired or owned on the job itself. A kit list is a list of what is going, and where each thing comes from is your business, not the call sheet's.

Yes. Your kit and To hire are both on the Pull page as well as Pick, because loading the van is exactly when somebody realises the second light is wanted. Tap it and it joins the list, where it can then be ticked off like everything else. Packed and Returns are documents, so they do not offer it.

Download on the call sheet gives you a clean PDF to email or print.

Call sheet (.xlsx) is the call sheet laid out the way call sheets are, one page wide. Shot list (.xlsx) is the grid a camera crew holds: tick box, scene, shot number, description, size, movement, location, INT/EXT and sound, colour-coded down the columns. Schedule rows (.xlsx) is the plain one for sorting and filtering.

Once a project has been opened on a phone it opens again with nothing: a basement, a studio, a field. The bar says Offline while it works from what is saved, and ticks made offline upload when the signal returns.

Add it to your home screen and it opens like an app. iPhone: Share → Add to Home Screen. Android: menu → Install app.

Two places, and the rate box offers both. What you charge is off your rates card. The middle of your past budgets is what that line actually went out at the last few times. Pick either, or type a number over both — nothing is ever filled in behind you.

A rate written as a range or “on request” is shown but never turned into a figure, because a price made out of “€800 – 1,200” is a guess with a number on it.

The middle is always a rate you really charged. With an even number of past jobs it takes the lower of the two in the middle rather than splitting them — three directors at €300,000, €325,000 and €350,000 should never produce €312,500, which is a figure nobody was ever paid and one you could not point at a job for.

Yes. Excel gives one file with two tabs: the budget on the first, the payment book on the second. It is on the budget itself, on the payment book, and on every row of the budgets list — so last month's quotation can be sent on without opening it first. Google Sheets puts the same file in your Drive, converted, and opens it.

The PDF is the one that goes to a client, and it never carries the payment book. The spreadsheet is for you, which is why both tabs are on it. The payment book also prints on its own.

Yes. Upload it the same way. If it is not in a layout this recognises, a looser read takes the words on each row as the line and the figures after them as the rate, how many and how long. It will get some of them wrong, so it says the layout was not one it knows and you check the figures.

A wrong rate is one tap. An unreadable file is an afternoon of retyping.

Open the job's Budget tab. Start one makes a fresh one from the shape your budgets usually take; Upload one reads a file in. Either way it arrives already belonging to that job.

Yes. A job has a Budget tab and a Payment book tab beside Share: what the client was quoted on one, what it has actually cost on the other. They are the same editor as the budgets page, so a figure changed in either place is the same figure.

Only an admin sees them. They are never on a crew, contributor or client link, and the payment book is refused by the server to anybody else as well.

A price for a job, written before the job exists. It is its own thing on the Budgets page: it needs no project and makes none until you say so.

Four sections, and the section a line sits in is the whole point of them. Crew becomes places on a crew list. Production equipment becomes a kit list. Production overheads and Post production stay where they are — they are a cost, not somebody who turns up on the day.

Upload budgets reads them. The client, the job and the reference come off the top of the sheet, the lines out of the middle, and a payment book beside them if the workbook has one.

A line goes in the section it belongs in rather than the one it was filed under: a camera package is kit, travel is an overhead, an edit is post. A camera operator is still a person.

No. Once a few are in, a new one starts with the lines yours usually have, at the rate you usually charge — anything on at least a third of them, at the middle rate rather than the average, so one expensive job does not move what a thing is said to cost.

Whatever you set under Terms for budgets — in Manage team for a team, or Settings → Your company on your own. It is printed at the foot of every budget this workspace sends out, and nothing is printed if you leave it empty.

Nobody writes terms from nothing, so there is a dropdown of the standard blocks — payment, bank details, who to talk to, moving a day, overtime and expenses, usage, insurance. Picking one writes it into the box where you change it to suit. Nothing is filled in for you: an IBAN left blank is better than somebody else's.

Yes. Write a block in the box under Terms for budgets, give it a name and press Keep it. It joins the dropdown for everybody in the workspace, under its own name, and it can be edited or deleted from the list underneath.

The seven built-in blocks stay where they are — payment, bank details, who to talk to, moving a day, overtime, usage, insurance — so a new workspace has somewhere to start and an old one has its own words.

Every block you keep in Manage team is on every budget to begin with, because a quotation that quietly dropped the payment terms is how a company ends up arguing about them later.

On the budget each block has its own box: change the wording and it changes on that quotation only, or untick it and it is off that one. There is a free box underneath for anything else, and the dropdown is still there to pull in another block for a one-off.

Font for PDFs in Manage team, or in Settings on your own: any Google font, by name. It is used on the call sheet, the shot list, the recce and every budget.

The font is fetched once and kept, so it costs nothing after the first document. A name that is not a Google font says so when you save it, and the documents stay in the built-in one until it is fixed rather than coming out wrong.

On the job's Formats tab, beside Budget. You tick what the job needs and it builds the list of versions — one row per version, each with the file name it will be delivered under.

There are six things to tick. Cut is what you call the edit: a 60-second master, a 30, a teaser. Shape is 16:9, 9:16, 1:1, 4:5. Then four more that most jobs only use some of: Subtitles (none, burned into the picture in English or Irish, or an .srt beside the file), Graphics (full or textless), Audio (full mix, music only, M&E) and Platform (web, social, broadcast, OOH).

Cut and shape are the two you have to pick. The other four are passive: leave one alone and it does not multiply anything. Tick two things on it and it does. That is the difference between a job that owes four files and a job that owes twenty-four, and it is the part everybody gets wrong on the back of a brief — subtitles and a signed version are not the same kind of thing as a shape, and counting them as if they were turns four files into sixteen.

Press Build and it makes every combination of what you ticked that the job does not already owe. Nothing is made twice. Three recipes sit beside it for the usual sets — Social pack, Broadcast, Web hero — and they add to the list rather than replacing it.

Every version is then a row of its own: what makes it different, the file name, and where it has got to — To do, In edit, QC, Delivered. A row can be renamed if the file has to be called something in particular, duplicated, dragged into another order, or taken off. An .srt counts as a second file beside the picture, and the count at the top says so.

It is filled in once and read everywhere. The call sheet carries it, and so does the quotation — a budget made for that job takes the job's deliverables without being asked.

The row above the list is the groups themselves — Master 60, Cut 30, Teaser — and dragging one moves the section it stands for. A delivery list is read in the order the work is going out in, and that is not the order the versions happened to be built in.

The picker beside them chooses what the list is grouped by: cut, shape or platform. Each keeps its own order, so grouping by shape and back by cut finds both where you left them.

Along the top of Formats: resolution, frame rate, codec, and the date the lot is due. A new job starts at 4K UHD, 25fps, H.264, which is what most jobs are.

Market sets the two that follow from where the thing is going. Pick Ireland and it goes to 25fps; the United States, 29.97; Netflix, 23.976; cinema, 24. Thirty-odd of them — broadcast by country, the streaming platforms, online, cinema, archive — and each says underneath who it means. It is a starting point and nothing else: every field stays yours to change afterwards, and a market never touches the resolution, because it cannot know what you shot at.

It prints on the call sheet, under the deliverables, and on the quotation under the shapes. Resolution and frame rate are decided standing at the camera, not after.

A black band across the top of it. Your logo in the corner, with the address, phone, email and website under it; down the right, the things a client checks before reading a figure — the job reference, who wrote it, the date and how long the price holds. Then across the foot of the band, the client, the job at the size it deserves, and the total including VAT facing it.

Under that, what they are getting: the master frame drawn to scale with every other shape nested inside it, so "all of these come out of one 16:9 master" is one glance rather than four ratios to picture. Beside it, each shape with what it is for and how many of it. Then the cuts, then the figures line by line, then the total, then where the money goes as proportional bars, then your terms.

Nothing is printed that has not been filled in: a quotation with no job reference says nothing about job references rather than printing a label with a blank beside it.

Yes. The rates card holds your standard rates — what you charge as a rule — and as many named cards as you like beside it. Put a client's name on a card and every budget for that client is priced from it by itself.

A card only has to carry what is different. Anything it never mentions still fills in from the standard card, so a client card is usually a handful of lines rather than the whole thing.

Upload a rates card reads it, and then asks what it is: a card of its own, a card for one client, or folded into your standard card.

It reads the shape a real card is written in — a Unit column saying day or hour, and the money in a "from" and a "to" column where a line is a range. A range is kept as written and never fills a budget line by itself, because picking an end of it would be a guess with a price on it.

It does. Every budget saved adds any role it priced that the card does not have yet, so a team's card fills itself as the team works rather than being typed out once and going stale.

Additions only. A rate you set by hand is never moved by a budget that happened to use a different figure.

What you charge, kept once for the account instead of retyped into every budget. Type a role into a budget and its rate fills in.

A rate is kept exactly as written, because real ones say "€800 – 1,200" and "On request". Only a firm one ever fills a line by itself: picking an end of a range would be a guess with a price on it.

No. A line imported from a spreadsheet that says one thing while its own rate, quantity and days say another is shown saying both, with how much it is out by. Nothing is corrected, because which of the two is right is a question for whoever quoted it.

Download PDF makes the quotation: your logo, your company, the client and their address, the sections and what each comes to, the VAT and the total. Black on white, because it lands in an email beside other people's quotations.

Our name is not on it. It is your document.

Make this a job shows you what it will make first: the places on the crew list by role, and the kit, with how many of each. Two camera operators is two places, because two people will stand there.

Nobody is booked by it. They are places to fill, with the job named and nobody's name on it yet.

Whether the job made money, line by line. It is a job costing: every row carries two figures, what it costs you and what the client is charged, and the difference between them is what that line made.

That is the whole point of keeping it separate from the budget. A day of your own crew or your own kit is charged for and costs nothing out of the building, so all of it is margin; a freelancer or a hire makes only the difference between the two figures. A line sold under what it costs says so, in the colour of a line losing money.

Across the top: Margin first, because it is the number the rest exists to produce, with what it is as a share of what was charged. Then Charged, Cost and anything Overdue. A job nobody has costed yet does not claim a margin — it says so instead.

Each row walks one step at a time: Not invoiced, Invoiced, Approved, Paid. Give a row a due date and it turns into the alarm when that date passes, which is the one thing on the page somebody has to do something about today.

Fill from the budget starts it off: the quoted figure comes over as what is charged, and what it costs is left blank for somebody to find out. It is never part of the budget, so a budget sent to a client cannot carry it. On a team only admins can open it, and it does not admit to existing to anybody else.

Tick Gone away on its row in the budgets list. It moves to a list of its own, you keep what you offered, and it stops counting toward your figures.

That last part is the whole point of it. Every new budget starts from what this studio has charged before, and so does Jobs this size. A job nobody ever worked an hour on should not be deciding what the next one is priced at.

It happened after all puts it back, and it counts again.

No, and the difference is what it does to your numbers.

Archived means the job happened and is being put away for reference. It comes off the list and goes on counting — it is real work this studio did, at real rates.

Gone away means it never happened. It comes off the list and counts toward nothing.

Losing a pitch is not the same as a job going away, and a budget you quoted and did not win still counts: it is still what you charge. Gone away is for the ones where there was never any work at all.

Topline only, on the quotation and on the call sheet. Off, you get every deliverable listed. On, one line says the same thing: 4 assets · 16:9, 9:16.

It is kept with the quotation and with the job rather than with whoever is looking, because it changes what the client reads on the price and what the crew reads on the printed sheet. Two people opening the same job see the same thing.

On a quotation the deliverables now sit at the foot, under the total, folded shut once they are set. A client opens a price to read the price, and a job owing nine files was pushing the total off the first screen with a block they had already agreed to.

No, and that used to cause a real mess. The date at the top of a quotation is the day it was written — the thing a client checks before they read a figure — and it starts at today.

Shoot beside it is a different question with its own days. It can say TBC, which is a real answer rather than a gap: a price goes out before the dates are agreed far more often than after. With none set it tells you how many days the crew lines are priced for, so you know what you are looking for when you come to fill them in.

Making a job from the budget gives it one day per shoot day. With none set it makes one day with no date on it, and nothing reaches the calendar.

Before this, the day the price was typed went onto the job as its first day — which made it a shoot day, which put it on the calendar. Every quotation written on a Tuesday showed up as a shoot that Tuesday.

Days on a call sheet, and nothing else. The calendar reads the days of a job and never anything from a budget, a quotation or a recce.

So a day only appears once it is a day of a job with a date on it. A job with no dates yet sits on your list and off the calendar until somebody says when it is.

Send for approval on the budget. It goes out as it stands and the budget says Out for approval from then on, with how long it has been sitting there. When it comes back, Approved — and that is what the page says until something changes.

It is a state on the quotation, not a workflow: nobody is chased and nothing expires. It exists so that "did we ever send that?" is answered by looking rather than by searching an outbox.

Put a figure in Target at the top of a budget — what the client has said they have — and Jobs this size opens beside it: what your own budgets around that figure were actually made of, section by section, as the share each took.

It is your own history and nobody else's. Ten thousand euro is a different shape of job in different hands, and the only useful answer to "what does ten thousand buy" is what it has bought you before.

The booking board adds it up as you go. Every row on it is a role, a name once you have one, the days that person is on, and their rate — and the column beside the board totals what you have penciled and what you have confirmed, kept apart, because a pencil is not a commitment.

A role with nobody in it still sits on the board. Being half crewed is the normal state of a job and a list that only holds names cannot show it.

Yes, from what you have already quoted them. Type a line on a budget with a client's name on it and the first figure offered is what that client usually pays — the middle of your own past budgets for them — with what you charge generally, and the middle of all your budgets, under it.

Nothing is maintained by hand: it is the norm, read off the work. A client you have not quoted before gets your usual figures instead. Changing who a budget is for moves it onto that client's figures and off the other's.

Yes. It is a switch and a percentage in the totals card at the bottom of the budget. On, and the budget shows what the job costs, then the fee, then the subtotal — so a client can see what the fee is charged on.

It is a percentage of everything above it and it is taxed like anything else, which is how every budget that has one states it. It appears on the quotation and in the workbook the same way. Turning it off keeps the number, so a draft without the fee does not lose what was agreed.

Archive on its row, beside Delete. It comes off the list into Archived, where Bring back returns it.

It still counts. What a studio has quoted before is what every new budget starts from — the usual lines and the middle of what each has cost — and an archived one is still one of yours. Deleting takes it out of that for good, which is why the two are different buttons.

Yes. + Add a section at the top of the budget. The four it starts with — Crew, Production equipment, Production overheads, Post production — are the four every budget in this trade has; a shoot abroad, a reshoot, a licence pot or an agency fee is a heading of your own.

Lines go under it like any other section, and the arrows move it up and down the budget. Deleting a heading does not delete its lines: they go back to Crew, where you can see them and move them.

Nothing, at the moment. If it ever starts costing real money to keep going, that will change, and it will say so here before anything changes rather than after.

Nothing you have put in is held behind a wall: your projects download as spreadsheets and PDFs whenever you want them.

Some files defeat the ordinary reader: a quotation written as prose, a call sheet laid out in merged cells, a schedule somebody typed into Word. Reading difficult documents in Settings lets those be sent to Anthropic, who make Claude, to be read instead.

It is off until you turn it on, and it is a setting for the whole workspace, because the documents belong to the company rather than to one browser.

When it is on, it still only ever happens on a file you have just imported, and only once the ordinary read has already failed — which is most of the time never. It is never run on a schedule, never in the background and never over your account. What goes is the text of that one file and nothing else: not your projects, not your saved crew or clients, not your other budgets, not your name. What comes back is a guess and is shown to you as one, to keep or throw away like any other import.

The first time it would be used you are asked about the file in front of you, and you can say no and still import everything else.

Anthropic’s commercial terms say they may not train models on it, and their privacy centre says they delete it within 30 days. The privacy notice quotes both and links to them.

Because they are on this device, not in an account. makethe.day gives a device its own studio with its own key the first time you make something, and that key is what opens your jobs. The sidebar is only telling you that no Google account is linked yet — it is not telling you that you are a stranger here.

Nothing is readable without that key. Asked for a studio or a project without one, the server answers 403 and sends nothing, so none of this is visible to anyone who has not got the key or a link you sent them.

What it does mean is that the device is the key. On a shared or borrowed computer, whoever uses it next reaches those jobs, the same as if you had left the app open. Signing in links the studio to your Google account instead, so you can reach it from your phone as well, and Sign out on every device in Settings pulls it back.

Everything is encrypted by makethe.day before it is stored, with a key the database never holds, so the company storing it has no readable names or numbers.

The site and its server run on Netlify in the United States; the data sits in Google Cloud in Europe.

A phone that has opened a project keeps its own copy so the day still opens with no signal. That copy stays on the phone, is not sent anywhere, and clearing the browser's data for makethe.day removes it.

All of it goes with you: every project, every call sheet, your saved crew and client lists and the activity log, removed at the time you ask rather than queued for somebody to get round to. One button in Settings.

The only thing that lingers is the encrypted backups, which expire on their own within 98 days. If you own a team you are asked to deal with that first, so a company's jobs do not vanish because one person left.

Nobody here reads your projects. It is not mined, profiled, sold or used to train anything, and there is no product built out of what is in them.

It is encrypted at rest with a key the database never holds, which is not the same as end to end. End to end would mean the key living in the link and never reaching our server. That is possible for a shared document, and we did not build it that way, because a link that previews as the job's name, a project that opens with no signal and a producer turning one link off from another device all need the server to read the project.

No. Nothing is sold and nothing is passed to advertisers. There is an activity log of who opened, downloaded, imported or changed saved crew and clients.

The privacy notice is the long version: what is kept, for how long, which services are involved, and how to have somebody erased.

Not to use it. Without one, projects live in the browser you made them in and crew links still work for everyone else.

Sign in with Google and your projects follow you onto every device.

Into the archive, whole: the call sheet, the shots, the crew and the links are all still there, it is only off the home page. Open it from Settings under What you keep, or from Manage projects, and bring it back whenever you want.

Yes — every saved person has Labels: anything you want to find them by, separated by commas. The department, the county they are in, whether they have their own van.

Put them on wherever you are when you think of it. A crew member's own sheet on a call sheet has the same Labels box, and what you type there is kept with the person rather than with that job, so it is there on the next one. The labels the account already uses are offered while you type, and anything new can be typed straight in.

They are searched along with the name and the role — in the saved crew list, in Book crew, and in the picker that adds somebody to a day — so typing "drone" or "Leitrim" finds who you mean, and the labels show on the row. The call sheet itself never prints them, so nobody outside the production sees what you call them.

In Settings, reached from your picture at the top of the home page. Saved crew, your kit and saved clients are under What you keep; the activity log, the two-year review, old projects and erasing someone are under Privacy and data.

They used to sit at the bottom of Manage projects, which is a page about the work rather than about the account.

A team shares its projects, its saved crew, its kit, its clients and its budgets with everyone in it, so a company uploads its contacts once. Work made in a team belongs to the team, not to you personally — and a job that is the team's takes its budget and its payment book with it, whoever wrote them.

It is on their own account rather than the team's, which is where every budget went before budgets followed the workspace you are in.

Ask them to open the job, go to Budget and press Save once. The job shows them the budget wherever it is sitting and says what saving will do; from then on it is the team's and everyone on it can see it. Nothing on your side can reach into their account to fetch it, which is why it takes that one save.

In Manage team, beside the logo: the company name, a phone number, an email, a website and an address. In a team they are the team's rather than any one person's, and only an admin can change them — everybody else can read them, because a crew member needs the address and the number as much as anyone.

The phone, the email and the website run along one line under the logo on a quotation. A letterhead with a postal address and no way of answering it is half a letterhead.

On your own, the same ones are in Settings → Your company.

Yes, if you hand it over. Your saved crew, your kit and your rates card each carry Teams who get this — tick a team and everyone in it has the whole list, and anything you add to it afterwards.

Copies, kept in step, and additions only. Taking a team off stops it getting what you add next; what they already have stays theirs. Tidying your own list never takes a name out of somebody else's.

Two kinds of power, because they are two different risks. An admin looks after what the team shares — the projects, the crew, the kit, the clients. A super admin also decides who is in the team.

They are split because a team's saved crew and kit are what a production company actually owns, and anybody who can add a member can hand all of it to somebody outside.

In Settings → Your company: a company name, your title and a logo. They go on the top of the call sheet, the shot list and the recce PDF.

A PNG with a transparent background sits best on a white page. All three are optional.

Manage projects lists everything. Archive takes a finished one off the home page and keeps all of it; Bring back puts it back. Delete removes it for everyone and cannot be undone.

It follows your phone. iPhone: Settings → Accessibility → Motion. Android: Settings → Accessibility. Everything simply appears instead.