The Production Report Front

SCHEDULED SCENES starts as a copy of the call sheet's schedule. After that it's separate. Drag rows into the order the day was actually shot, banners included. Edit NOTES and LOCATION per scene. Nothing here goes back to the call sheet. To record a scene picked up that was not scheduled, click the + in the header. It opens the Scene Status picker, where Add scene from breakdown... lists every scene in the breakdown not already on the report.

Click Scenes Shot Today or Scheduled But Not Shot on the 1st unit table to open Scene Status. Each scene toggles between Shot, Not Shot and Partial, and the chips in both cells follow.

The 1ST UNIT table has five rows and a column per figure.

The 2ND UNIT scene-progress block is off by default. Switch on 2nd Unit in the sidebar to show and print it under the 1st unit. The switch is for the whole production. If a day has 2nd unit entries while the block is off, a screen-only line says so. The 2nd Unit column in the header's days table shows either way. Two dividers set the widths. The one between the header columns resizes the production info and date blocks. The one between Sound and Scenes Shot Today gives the figure columns more or less room. Drag to resize, double-click to reset. Both carry forward to later days.

The times column sits on the right of the 1st unit table, from Crew Call to Last Man. Crew Call is read from the call sheet. First Shot is typed. Camera Wrap, Crew Wrap and Last Man draft in grey until you type them. FILM / MEDIA has a box per camera, A Cam Roll onward. Type Shot, Print, No Good, Waste, Short Ends, the starting inventory and Received Today. Used to Date and Total on Hand work themselves out. The + camera button adds a box. The − camera button removes the last one, once its figures are cleared.

The grey times come from Production Report Auto-Draft, a switch at the bottom of the Auto-Draft Call Times card on the Globals tab. It is on by default and works whether or not call-sheet auto-draft is on. Each draft is a sum of a time you already have and an offset you set here.

Type a real time and the field locks to it. The grey goes, and the draft stops recalculating for that field. Clear the cell to hand it back to the draft. Camera Wrap and Last Man hang off Crew Wrap. Enter the actual Crew Wrap and both drafts move with it, unless you have already typed them. Return Hotel drafts from the report's own dismiss time for the performer, then the Exhibit G, then the call sheet's LOSE @. No travel time is added. The same card sets two checkbox drafts for the cast table. Forced Call threshold (hours), default 12, ticks Forced Call in grey when a performer's turnaround from the previous day is shorter. NDB cutoff hour (0–23), default 7, ticks NDB in grey for a call before that hour.

The cast table holds the performers on the day's call sheet and no padding. Use + row for a blank row, then pick a performer from Add cast... in it. The − row button removes a blank one. Hover a performer and click the X to take them off the report. Drag rows to reorder. Worktime reads from the report first, then the Exhibit G, then the call sheet. NDB, FC and Return Hotel draft in grey italic. Right-click a time for Reset to Call Sheet.

The background table fills from the day's BG groups. Split one person onto their own row with the scissors, add a row with + Add background row, or remove one with the X. Click the pencil on the section header, or right-click it, to open Background columns. Reorder the columns, switch them on and off, rename them, add a custom column, or Reset defaults. BG ID is off by default. Switch it on and it fills from the Background tab: one performer's number, or every numbered member of a group.