Drawing a Stay
Every person who needs a bed gets a row. Every day the show covers gets a column. Pick an accommodation from the Draw toolbar, then drag across a row. The first day you touch is check-in, the last is check-out, and the nights are the gaps between them. A bar from Monday to Friday is four nights, which is what the hotel will bill.
| 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 |
The Days the Board Covers
The grid runs wider than the shoot. It opens a number of prep days before D1 and a number of wrap days after the last shoot day, because people arrive before the first slate and leave after the last one. Both counts are set in Globals under Transpo. The defaults are 7 days of prep and 3 of wrap.
- Prep days are labelled P1, P2, P3, counting backwards from D1
- Off days sit in the run at their real date and are drawable like any other day
- Wrap days are labelled W1, W2 after the last shoot day
- Any date a stay already touches is pulled into the grid even if it falls outside those windows
The Accommodations List
A new show starts with six placeholder accommodations: Hotel 1, Hotel 2, two AirBnBs, a Crew House and a Cast House. They exist so the Draw toolbar has something in it on day one. Rename them to the real property as soon as it is booked. Each carries an abbreviation that prints in the middle of the bar, a colour, and an optional nightly rate.
| Field | What it does |
|---|---|
| Name | Full property name. Appears in the toolbar and on exports |
| Abbreviation | Three or four characters printed inside the bar |
| Colour | Assigned at creation and owned by that property |
| Nightly rate | Default rate. A stay can override it |
| Address | Prints on itineraries and booking requests |
Work Days Under the Bars
Cells where the person actually works are shaded. That shading is pulled from the same DOOD and call sheet data the rest of the app runs on, so it moves when the schedule moves. A stay that ends the day before a work day shows up as a shaded cell with nothing over it, and the board raises a flag on it.
Flights
Flights live with lodging because the two get booked in the same phone call. A flight is a point rather than a span, so it sits as a marker on its date instead of a bar across the calendar. The date somebody lands is the date the first night is needed, and that is the check the Flights view runs against the stays.
- Direction: inbound, outbound, or other for a mid-shoot leg
- Airline, flight number, and IATA codes for both airports
- Depart and arrive times, stored as local clock time at each airport
- A separate arrival date, set only when a redeye lands the next day
- Confirmation reference and cost
Rooms Per Night
The bottom of the board totals how many rooms each property holds on each night. This is the number a hotel asks for when you call, and it is the number that changes when one performer's stay moves by a day. The last column of a stay is a check-out, so it adds no night to the count.
When the Schedule Moves Under a Booking
A stay stores real dates. The schedule stores day numbers. When a re-import moves D12 from a Thursday to the following Monday, the bars attached to that day are left sitting on the Thursday pointing at nothing. The re-mold pass fixes this by re-anchoring the booking to the day number it was covering.
- Stretch: follow the work, bridging gaps of up to 4 days. This is the default
- Connected: one block from the first work day to the last, whatever sits in between
- Off: change nothing, report what no longer lines up
Who Sees What It Costs
Rates, nightly costs and committed totals sit behind the Producer grant. Anyone invited onto the show can draw the board, move a stay and read the calendar. What the room costs stays with the people who answer for the budget. This is the same split the DOOD pay columns use.