Who sleeps where, who rides in what, and how much of the lot it all takes.
On the same calendar as the shoot.
A distant location runs on two spreadsheets nobody wants to own: the rooming list and the transpo grid. Both are the shooting schedule wearing a different hat, and both go stale the moment a day moves. Lodging and Transpo are grids drawn against the same days as the call sheet, so a schedule change reaches the hotel bars and the basecamp count instead of waiting for somebody to notice.
Lodging and Transpo are Company plan features. Company is not yet officially available.
The Lodging Board
Every person who needs a bed gets a row. Every day of prep, shoot and wrap gets a column. Drag across the row to draw a stay at a hotel, and the check-in, the check-out and the night count come from the bar itself. Cells where somebody works are shaded, so a stay that stops one day short of the work is visible without reading a single date.
| Person | P2 Sun Sep 6 | P1 Mon Sep 7 | D1 Tue Sep 8 | D2 Wed Sep 9 | D3 Thu Sep 10 | D4 Fri Sep 11 | OFF Sat Sep 12 | D5 Sun Sep 13 | Nts |
|---|---|---|---|---|---|---|---|---|---|
| Cast | |||||||||
Marisol Vega ANA | IN | KIM | KIM | KIM | KIM | KIM | OUT | 6 | |
Dev Ramanathan GEORGE | IN | KIM | KIM | KIM | KIM | OUT | 5 | ||
| Camera | |||||||||
Mike Rodriguez Director of Photography | IN | HMP | HMP | HMP | HMP | HMP | HMP | OUT | 7 |
Sarah Chen 1st AC | IN | HMP | HMP | HMP | HMP | OUT | 5 | ||
| Grip & Electric | |||||||||
Tom Walsh Gaffer | IN | CRW | CRW | CRW | CRW | CRW | CRW | OUT | 7 |
Ana Rivera Key Grip | |||||||||
| Rooms per night | |||||||||
Kimpton Riverside | · | 1 | 2 | 2 | 2 | 2 | 2 | · | 11 |
Hampton Inn North | 2 | 2 | 2 | 2 | 2 | 1 | 1 | · | 12 |
Crew House | 1 | 1 | 1 | 1 | 1 | 1 | 1 | · | 7 |
Flights That Know What a Room Is For
A flight is a point on the calendar, so it sits as a marker on the day it lands rather than a bar across it. The date somebody lands is the date the first night is needed, which is the check the Flights view runs: a redeye arriving the morning of D1 with a stay that starts on D1 is fine, and the same flight against a stay starting on D2 is a night in an airport. Itineraries go out by email per person, rooms and rides together.
Marisol Vega LAX → YVR · AC 566 | Sep 7 · 6:05a → 8:52a | Room opens Sep 7 |
Dev Ramanathan JFK → YVR · AS 1229 | Sep 8 · 11:20p → Sep 9 6:40a | Redeye lands Sep 9, room starts Sep 9 |
Priya Nair ORD → YVR · UA 2216 | Sep 6 · 4:15p → 6:38p | Lands Sep 6, room starts Sep 8 |
Two nights before the room opens is the kind of thing that gets found at 11pm by the person standing in the lobby. The Flights view finds it in the office.
Cast Shuttling and Holding
Each performer carries a default: how they get to set, and where they sit between setups. Per-day exceptions overwrite the default for that day alone, which is what a day at a location with its own green room looks like. Crew get the same treatment against working vehicles, so the G&E truck knows who is driving it.
The codes print on the grid the way DOOD codes print on a DOOD. A transpo coordinator reads a column and knows the day.
The Basecamp Footprint
Location managers ask one question: how many vehicle spaces do you need. The footprint answers it per day. Trucks and trailers contribute the spaces they occupy, cast holding converts into trailers at the ratios your show actually books, and parking adds a space per car. Move one performer into the location's own changing room and the total drops by four.
| Performer | Gets to set | Holding | Codes |
|---|---|---|---|
Marisol Vega ANA | SH / MH | ||
Dev Ramanathan GEORGE | SH / PVT | ||
Priya Nair DET. HALE | U / PVT | ||
Cole Barrett YOUNG MAN | SR / 2BG | ||
Renee Adjei NURSE | SH / CUB | ||
Bram Kowalski SECURITY | CC / CHG |
| Trucks, trailers and facilities | 21 |
| Cast holding units | 16 |
| Crew parking | 18 |
| Cast parking | 1 |
| Extras parking | 6 |
| Total | 62 |
Booking Confirmations and Exports
Tick a stay as booked and it stops being a plan. The dates it was booked for are stamped at that moment, so a bar edited afterwards can still say what the hotel was told. A re-import that moves the schedule reports a booked stay instead of moving it, because moving it costs a change fee somebody has to authorise. Exports come out per hotel, per rental house, or per person.
| Guest | In | Out | Nts | Conf |
|---|---|---|---|---|
| Marisol Vega | Sep 7 | Sep 13 | 6 | QK4T2L |
| Dev Ramanathan | Sep 9 | Sep 13 | 4 | QK4T2M |
| Mike Rodriguez | Sep 6 | Sep 13 | 7 | QK4T2N |
| Sarah Chen | Sep 6 | Sep 11 | 5 | pending |
The workbook is what gets forwarded to the hotel. It is built from the board, so there is no second list to keep in step.
The Transpo Schedule on the Call Sheet
The TRANSPORTATION table on the call sheet back is fed by the Transpo tab: crew shuttles, BG shuttles, and cast pickups for that day. Vehicle, driver and time keep updating from Transpo until the AD edits the cell, which pins it. Notes are always the AD's. Rows added by hand are never touched.
| Run | Vehicle | Driver | Time |
|---|---|---|---|
| Crew shuttle · Kimpton | Pass Van 1 | Emile D. | 5:45A |
| Cast pickup · M. Vega | Suburban 2 | Amanda R. | 6:10Apinned |
| BG shuttle · Wilson Lot | Pass Van 2 | Kenji O. | 6:30A |
| Lunch run · basecamp | Suburban 1 | Emile D. | 12:15P |
A pinned cell is the AD saying they know better than the tab. Nothing overwrites it after that.