Classic Call Sheets
For the 21st Century
Building on the heritage of Casper and G-Casper, the most popular call sheets in film. All the flexibility you love, with a lot more built in.
| Scenes | Pages | Set & Description | D/N | Cast | Locations |
|---|---|---|---|---|---|
| SETUPStage 4 lit and rigged before shooting call | |||||
23 | 2 3/8 | INT. SAFEHOUSE - KITCHEN Kate finds the burner phone taped under the sink. | D6 | 1, 2 | 1. Blackwood Studios, Stage 4 |
24 | 7/8 | INT. SAFEHOUSE - STAIRWELL Jonah hears footsteps two floors down. | D6 | 1, 5 | 1. Blackwood Studios, Stage 4 |
31 | 1 4/8 | EXT. BACK ALLEY The Handler makes contact by the dumpsters. | D7 | 1, 2, 3 | 2. Alder Street Alley |
| LUNCH1:00 PM, 30 min walkaway | |||||
18 | 1 2/8 | INT. ROSIE'S DINER - BOOTH Ruiz slides Nora the file. | E4 | 2, 4 | 1. Blackwood Studios, Stage 4 |
40 | 1 6/8 | EXT. SAFEHOUSE - ROOFTOP Kate and the Handler, no one else in earshot. | N8 | 1, 3 | 2. Alder Street Alley |
41 | 5/8 | INT. SAFEHOUSE - LIVING ROOM Nora tucks Jonah in. The lights go out. | N8 | 1, 4, 5 | 1. Blackwood Studios, Stage 4 |
| STRIKE / WRAPStrike Stage 4, out by 8:00 PM | |||||
| Total | 8 3/8 | ||||
| ID | Character | Cast | Status | Pickup | Call | Blk/Reh | Set | Special Instructions |
|---|---|---|---|---|---|---|---|---|
| 1 | KATE MERCER | Olivia Hart | W | 5:45 AM | 6:00 AM | 7:15 AM | 7:45 AM | Wardrobe fitting at lunch |
| 2 | DET. RUIZ | Andre Coleman | W | 6:00 AM | 6:15 AM | 7:15 AM | 7:45 AM | |
| 3 | THE HANDLER | Graham Pike | SW | 8:30 AM | 8:45 AM | 10:30 AM | 11:00 AM | Stunt rehearsal 40 |
| 4 | NORA | Jess Alvarado | WF | 11:15 AM | 11:30 AM | 1:45 PM | 2:15 PM | |
| 5 | JONAH | Theo Brandt | SWF | 7:30 AM | 7:45 AM | 9:00 AM | 9:30 AM | Minor, studio teacher on set |
| 6 | LANDLORD | Rita Okafor | H | Hold |
The call sheet you know, built from your schedule
Scenes in G-Matrix colors, cast calls, locations, weather and the hospital, laid out the way G-Casper always has.
See how it worksBring the files you already have
Keep scheduling where you schedule. G-Casper Pro reads the schedule and writes out what the rest of the crew expects.
Files in
Files out
In: Movie Magic 6 PDF. Scenes, cast and banner strips from an MMS 6 stripboard land on their shoot days.
Learn moreStart from the schedule you already have
You have a Movie Magic PDF, a G-Casper workbook or a USS file. Bring it in and the shoot days assemble themselves, ready for you to check.
One upload, every call sheet drafted
Building every call sheet from scratch, the night before, is where an AD's evenings go. Upload a Movie Magic 6 or 10 PDF, a G-Casper or Casper Excel file, or a USS file from ThinkCrew or Cinapse, and every shoot day arrives drafted: scenes in order, a setup, lunch near the six-hour mark, the company move, a wrap time and cast calls worked back from each actor's first scene. The days stay tied to the Breakdown and to each other, so a change made once carries through. You start most of the way there, and your time goes into the decisions only you can make and the work on set.
Scheduling and importThe whole shoot's production reports on one wall
Total Production lays every day's report out as a small page. Filed days read clean, and any day still owing something carries a chip for it: an OUT time, a camera wrap, crew times. Today's report shows as in progress and tomorrow sits faint, so the wall ends where the shoot has got to. Click a chip and that report opens with the gaps lit.
Production reportsThe schedule changed. Your work stays.
When a revised schedule arrives, upload it. G-Casper Pro finds what changed and updates the scenes that moved. Crew call times you already set stay put, and your notes and banners carry over. Cast calls adjust to the new shoot days.
Re-import and mergeA stripboard that reads like the wall board
Each scene shows as a color-coded strip with its number, set, INT or EXT, day or night and page count. Banners for meals and company moves sit between the strips where you would tape them. Edit a scene and the view updates as you type.
The stripboardCast and crew DOOD that stays with the call sheet
Click a cell, drag across a run, or Shift+Click a rectangle. SW, W, WF and SWF work themselves out from where each day falls in the run. Every status code keeps one color wherever it appears, so the grid reads at a glance.
Crew and castOne Breakdown. Every day follows.
The Breakdown feeds the call sheet, the Days chart, the stripboard and the DOOD. Make the change once and everything that reads from it redraws.
Change a scene once, every view follows
Flip a scene to night or morning, fix its page count or move it to Day 7, and the call sheet, the Days chart, the stripboard and the DOOD redraw from that same row. There is no second copy to update and nothing to reconcile the night before, so the sheet that goes out always matches the Breakdown.
Breakdown and schedulingThe whole shoot on one board
Prep, every shoot day and wrap sit on one board, each with a thumbnail of its call sheet front. Last week's sheets are marked sent with a head count, today's is highlighted, and next week's are already drafted from the same Breakdown, so you can see at a glance where the shoot stands and what still has to go out.
Call sheetsAuto-draft the day. You make the calls.
The software does the basic math and points at what is missing. Times, order and every decision on the sheet stay with you.
Cast calls drafted from the scene order
A call time that moves late at night usually means a stressful 2 AM pass over 40 people's times, and with staggered calls each one is different. Here it is one click. Move the crew call or a setting and G-Casper Pro redrafts CALL, BLK/REH, SET and LOSE @ for everyone else, from the day's scene order, your scene time estimates, each actor's hair and makeup time and the blocking lead in Globals. No AI is involved. It is old-school math automation, like a flight computer: the same inputs give the same times, every time. Drafts show at half opacity until you approve them, and you can type over any of them.
AutomationMove the crew call once
Set crew calls as offsets from General Crew Call. When the GCC shifts 30 minutes, every relative time follows. A late-night change stops meaning 40 individual edits, and a department speed schedule sets a whole department in one step.
Relative call timesFlags sit where the problem is
The sheet flags a scene booked on two days, a performer called but in no scene, a lunch set more than six hours after crew call and a minor running past their hour limit. Each flag appears on the call sheet where it applies. You decide what to fix and what to leave.
All featuresA checklist before the send
The AD Control Panel on the Welcome tab scores the production's setup and the current day. Missing contacts, a blank hospital address, scenes without cast and minors' hours land in one list. Each item has a Fix button that opens the tab where it belongs.
AD Control PanelMake the call sheet your own
A well-styled call sheet is an AD's signature. Plenty of ADs keep their own Excel template for exactly that reason. G-Casper Pro is built to be styled: your title type, your scene colors, your density, so the sheet that goes out looks like yours and not like the software's.
Set your show's title in your show's type
Pick a font, size, weight, color and letter spacing for the production title and watch it change on the sheet. More than 60 curated fonts are embedded in the PDF, so the title prints the way it looks on screen.
Call sheet designSix colors that show the shape of the day
INT and EXT Day, INT and EXT Night, Morning and Evening each get a color. The same color follows a scene through the call sheet, Breakdown, stripboard and calendar, so the day reads before the words do.
G-Matrix scene colorsA 200-person crew on one page
Three density presets change row height, font size and spacing across the crew list. Commercial tightens up for small crews. Blockbuster matches the density of a hand-built Excel crew list on a 200-person feature. Only the visuals change. No data moves.
Layout densityEveryone gets their own call
A text or an email goes to each person with a private link. It opens on their call, on a phone, with no login and no app to install.
One send, a personal text and email for each person
Each text carries the recipient's name, the crew call and a private link. How much more it says is the AD's call: just the General Crew Call and the link, or crew parking, base camp and who to ring with questions too. The template is set per show, and the page behind the link has two layouts, so the crew get what you think is most useful to them. No login and no app. Email goes out from the same dialog with the call sheet PDF and any sides or maps attached, and Undo holds it for seven seconds.
Text and email distributionSee who got it and who needs a nudge
Everyone on the day's call sheet gets a row with separate chips for email and SMS, because a text that landed and an email that bounced are two different stories. Failures sit at the top with the reason beside each name, and one click resends the failed emails. Carriers do not report reads, so texts stop at Delivered.
Delivery reportsThe weather changes. G-Casper Pro has your back.
Once the call sheet is out, G-Casper Pro keeps re-checking the forecast. You hear about a change before the crew is standing in it.
A forecast that gets re-checked
The forecast on a sent call sheet is what the day was planned against, so G-Casper Pro keeps checking it. Every half hour it pulls a fresh forecast and compares it with what the sheet printed. When the day turns colder, wetter or windier than that, the people with access to the show get a push. When it turns severe, with heavy rain, wind strong enough to ground a lift or a thunderstorm the sheet did not have, a text goes to the people you chose, your producers and production office to start with. Nobody else is texted. Add the ADs to that list in the weather settings. Pick a city in the demo to start from tomorrow's real forecast there.
Weather alertsAn hour back, four hours ahead
Every day card in the Weather tab has a Live Radar view centered on base camp. Rain for each 15 minutes sits above the map and wind below it, with the limits for flying overhead rigging marked. The gust gets its own number, because the gust is what takes a frame down.
Live RadarEveryone in the same sheet, at the same time
The AD, the 2nd and the production office can all have the show open at once. You see who is on which cell, and what changed and who changed it.
See who is on which cell
Each person in a tab gets a color. Their avatar sits in the call sheet header, and the cell they are on gets an outline with their name over it. Edits from an editor appear on everyone else's screen as they happen. Viewers can watch but cannot change anything, and the server checks that as well.
Co-editing and historyThe forms fill from the sheet
Production reports and Exhibit G draw on the call sheet you already built, so the times get typed once.
Front and back, filled from the call sheet
The PR Front carries the day's scenes, pages, setups and key times. The PR Back captures actual in and out times for every crew member, department by department. Click an OUT cell to enter the real wrap time and the hours calculate net of the meal. One person holds a day's report at a time, so two people cannot overwrite each other's numbers.
Production reportsPerformer time records, one per shoot day
G-Casper Pro builds an Exhibit G for each shoot day with a row for every performer on the call sheet. Times are drafted from the sheet. Your team approves them or types over them during the day, then prints the form with Performer's Signature and Objection columns ready for dismissal.
SAG complianceA lunch flag before the sheet goes out
The call sheet flags a lunch set more than six hours after crew call, so you can move it before anyone sees it. On the day, penalties are recorded per performer on the Exhibit G and per crew member in the MPV column of the PR Back. Hot Costs prices the crew penalties at the rates you set in Globals.
Meal penaltiesHour limits by age group
Set a performer's age group on the Cast tab: Adult, Under 6, 6 to 8, 9 to 15 or 16 to 17. G-Casper Pro measures each minor's saved CALL to LOSE @ against the limit for their group, which you set in Globals. Past 90 percent of the limit is a warning. Over it is an error. The flag is a first check. Rest, meals and schooling stay with your studio teacher.
Minor work hoursKnow the cost before the last setup
The Production plan prices overtime and meal penalties from the times your crew worked, and shows the number while you can still act on it.
Overtime and meal penalties, per person
Once the PR Back has in and out times, Hot Costs works out each person's hours net of the meal, what those hours cost through your overtime bands and the meal penalties from the MPV column. Detail shows it per person. All Days rolls up the shoot so far. It replaces the spreadsheet you would otherwise open at 10pm.
Hot costsPrice the extra hour first
The Overtime Cost Estimator prices today's call sheet, then shows what one to four hours past the scheduled day would add. Below it sit base camp and crew parking, the shoot so far, left to pay by week and projected outflows.
Producer DashboardWhat each day will cost, before it happens
An estimate of each shoot day's cost from crew and cast rates, plus the extras, props, vehicles and locations in the Breakdown and base camp overhead. Read it by day or by scene, with the peak day called out. The rates behind it sit in a strip at the top, so the assumptions stay in view.
Burn rateDeals and SAG minimums on the DOOD
Each performer's deal sits on the Cast DOOD: daily, weekly, flat or Schedule F, with the rate. The rate menu lists the SAG-AFTRA minimums for each agreement and marks which one the figure came from. A Signed column tracks the deal memo.
Cast ratesThe whole show, in numbers and on a map
The Wrap fills in as you shoot. By the last day most of it is already written.
Headline numbers, and every day as a tile
The page opens on shoot days, how many of us, pages and locations, with one sentence that adds up the scenes, setups, company moves, background days and lunches. Each day sits on the board as a tile in its G-Matrix colors. Any section copies out as plain text for the group chat.
The WrapThe shoot, played forward on a map
Each location gets a pin, numbered with the first day the unit worked it. The map plays the shoot forward one day at a time and draws each company move as a dashed arc. Base camp and crew parking hang off the day's pin where they have coordinates.
Where we shotBeds, rides and payroll, on the same schedule
For seasoned producers and production companies that need advanced payroll tracking, transpo and lodging. All three sit on the same days as the call sheet, so a schedule change shows up where it costs money. Company is not yet officially available: talk to us and we'll shape it around how you work.
Every bed, drawn on the schedule
Every person who needs a bed gets a row and 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, check-out and night count come from the bar itself. Work days with no room under them show the person's work code, so a stay that ends a day early stands out. With rates on, each row shows its nightly rate and total, and the board adds up what every night costs. Flights sit on the day they land, and each person's trip goes out by email.
LodgingEvery hotel with its Google listing
Add a hotel by name and address and G-Casper Pro finds its Google listing: photos, rating, price level, the front desk number and the website, with the drive to each base camp on the schedule. Who is staying there and for which nights sits right beside it.
Hotel listingsVans, shuttles and the basecamp footprint
Vehicles run as bars across the days, and each person's usual way to set sits beside their name. A day that differs gets a shuttle code, or opens into its runs one leg at a time. The footprint answers the location manager's question per day: how many vehicle spaces do you need. The day's runs feed the TRANSPORTATION table on the call sheet back.
TransportationWho is owed what, and whose paperwork is in
The crew DOOD carries each person's day rate and payment type beside the work grid. Each week gets a payment status, Waiting, Auth, Paid or Error, and Total Paid and Total Left To Pay keep a running count. Deal memo, I-9, W-4 or W-9 and the start packet are ticked off per person, so a missing form shows before payroll runs.
Payroll trackingEverything you need. Nothing you don't.
We focus on one thing: the best call sheets in the industry. No bloated software packages, no unnecessary features, just what ADs actually need.
One show, the time and the money
ADs and producers open the same show and look at different parts of it. The Producer plan includes everything on the AD plan.
AD plan, from $6 a month
For ADs
Build the day, send it, and have the paperwork ready by wrap.
- Schedule import and re-importMovie Magic, G-Casper and USS. Your calls survive a revision.
- Call times drafted for youFrom the scene order, HMU times and your blocking lead.
- Text and email, trackedA private link per person, and who still needs a nudge.
- Cast and crew DOODClick, drag or Shift+Click. SW and WF work themselves out.
- Exhibit G and production reportsDrafted from the call sheet, so times get typed once.
- Weather watch and radarThe forecast keeps getting checked after the sheet goes out.
Producer plan, from $19 a month
For Production
See what the day cost while you can still do something about it.
- Hot costsOvertime and meal penalties priced from the PR Back times.
- Producer DashboardWhat one to four hours past the scheduled day would add.
- Burn rateEach shoot day's cost before it happens, peak day called out.
- Cast deals and SAG minimumsDaily, weekly, flat or Schedule F, on the Cast DOOD.
- Lodging and transpoHotel nights on the calendar, runs mapped with traffic. Company plan.
- The Wrap, with the moneyA link for producers with the costs, another for crew without.
Also on every plan:Personal crew roster·Background and stand-ins·Google Sheets export·USS export·Change history·Ghost Mode·Multi-logo branding
We're building this tool for you. We certainly don't pretend to know everything - so if you see an important feature missing, or want to suggest something entirely novel - we're here to hear you!
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