This is the big one: FilmBase is now a team app. Invite your team to a project and everyone works on the same budget, schedule, script, and breakdown. Changes show up on each other’s machines as you make them. No exporting, no emailing versions, no wondering whose copy is current. Your producer can tweak the budget while your 1st AD reworks the schedule and your script supervisor tags the breakdown, all at once.
It runs peer-to-peer over your own network — changes go straight between machines, with nothing stored on a server. That makes it instant and completely private, which is exactly what you want on a closed set. Alongside it: a per-project team chat, a full change history with one-click revert, and a batch of script-editing fixes.
Collaboration — Your Whole Team, One Project
- Private peer-to-peer sync — Changes go directly between machines on your network. Nothing on a server, instant, and private by design.
- Team networks — A new Network page lets one person create a named network (with an optional password). Everyone on the same network joins it and becomes available to invite to any project.
- One-click invites — Anyone on your team network shows up in Share with team; invite them and the invite lands in their Project Hub to accept.
- Roles & permissions — Control who can see and edit what — budget, schedule, script, breakdown, rate cards, and more — per project.
- Real-time on set — Edits to the budget, schedule, script, stripboard, and breakdown land on your teammates’ machines the moment you make them.
- Conflict-aware editing — When two people touch the same thing, the most recent edit wins instead of flip-flopping, so concurrent work stays sane.
- File sync — Attached documents (invoices, POs) and storyboard images travel with the project, directly between machines.
- Across the internet — Put everyone on one virtual network with an overlay like ZeroTier and it works the same as a local network — same speed, same privacy, no cloud storage.
Project Chat — Talk Where You Work
- Per-project chat — A conversation thread attached to the project, so notes and decisions live next to the work instead of scattered across texts and email.
- Built for quick back-and-forth — Your own messages are styled distinctly, Enter sends, the view auto-scrolls to the latest, and every message is timestamped.
Change History & Revert — See What Changed, Undo What Shouldn’t Have
- Every edit recorded — Budget, schedule, script, and breakdown changes are captured with before-and-after detail.
- Attributed to the right person — A teammate’s synced edit shows as theirs, not yours, so you can always see who changed what.
- One-click revert — Browse the history, pick one or several entries, and roll them back. Reverts are conflict-aware, so you won’t clobber a newer change by accident.
- Tidy, readable feed — Bulk actions like a script import, a pasted block, or a template apply collapse into a single event instead of flooding the log.
- You’re in control — Turn history on or off and set how long it’s kept, per user, in Global Settings. Loads the last week by default with “Load older” on demand.
Script — Cleaner Scene Editing & a Filterable Magic Sheet
- Smarter scene deletion — Delete a scene heading and its content folds neatly into the scene above; select a whole scene and delete to remove it outright. Both are fully undoable, and the rest of your scenes renumber instantly — no reopening the script.
- Scene numbers always right — Inserting or deleting a scene keeps every number correct on the spot, including the first scene’s number the moment you type its heading.
- Restore omitted scenes — Omitting a scene is now non-destructive; it preserves all the scene’s dialogue and action. Right-click an omitted scene in the navigator and choose “Restore Scene” to bring it back exactly as it was.
- Lock your scene numbers — When your script goes to production, lock scene numbering from the Script Editor. Once locked, a scene you insert takes an A/B suffix off the one before it — add a scene after Scene 2 and it becomes 2A — so your locked numbers never shift.
- Tag highlights, your way — Now that breakdown tags sync to the team, each script page has a Scene Tags toggle in its Show/Hide menu. On by default on the Breakdown (where you tag), off elsewhere so the Editor and other pages stay clean. Flip it on wherever you want to see them.
- Lined-script export — Export coverage lining for the entire script in one go, not just a scene at a time.
- Magic Sheet scene filter — Show only the scenes you’re working with: filter by scene number (8), range (1-5), letter-suffixed scenes (5 finds 5A), or heading text (INT, KITCHEN, NIGHT), combined with commas. Elements that don’t appear in the visible scenes drop out of the grid.
- Magic Sheet by story day — Flip the grid between scenes and story days with one toggle, and every scene header now carries a story-day chip. Story Day view collapses each day’s scenes into a single column, the way continuity and wardrobe actually think. You can tag straight from that view too: click an element on a story day and it applies to every scene of that day at once, which is how you’d mark a costume worn all day. Click it again to clear it from the whole day.
- Sharper scene headings on import — The importer now recognises multi-word time-of-day phrases (MOMENTS LATER, SAME TIME, LATER THAT NIGHT) and repairs dashed ones, so headings come in clean instead of split.
- Cast fills itself in — Select a scene on the Breakdown page and its Cast Members tags populate automatically from the script’s dialogue.
Breakdown — Cast, Their Stuff, and Reference Boards
- Connect elements to a character — Link the props, wardrobe, and vehicles that belong to a character — their gun, their coat, their car — right from the Characters page. Connections live on the character, so they work whether or not the script has been tagged yet, and each one reads from both sides: the element shows its Connected Characters in the Element Manager.
- A mini magic sheet per connection — For each connected element, pick exactly where it’s used: the scenes a prop is carried in, or the story days an outfit is worn. Wardrobe keys to story days (one look per day), props to scenes — and you can change either.
- Reference images everywhere — Build a visual board on any character, element, or location: look, wardrobe, casting, continuity photos, a build reference. Drop in as many images as you like; they sync with the project so the whole crew sees the same board.
- A character page that reads at a glance — The assigned actor’s photo now shows as the character’s avatar (pulled from their contact card), edits in the details panel save on their own, and the cast tier sits right there in the header.
- Locations with a cover — Location cards carry a cover image with a one-click placeholder when there isn’t one yet, and an edit button on hover to swap it.
Rate Cards & Folders — Better Organization
- Flawless Folder Expansion — Folders now expand and collapse instantly and reliably in both the Project Rate Cards and Global Library views, no matter how deeply nested your cards are.
- Smart Folder Creation — Creating a new folder no longer spawns a dummy rate card inside it. Plus, if you have a rate card selected and click “Add Folder”, the new folder is intelligently placed right next to it, keeping your organization tight.
- Deselect to Root — Clicking empty space in the folder tree now properly clears your selection, so adding a folder goes straight to the root instead of getting lost in a previously selected folder.
Storyboard & Shotlist — Auto Shot Diagrams
- Every shot gets a frame — Add a shot and, until you draw or drop in real art, FilmBase sketches the frame for you: a hand-drawn figure framed exactly for the shot size, from extreme-wide to extreme-close-up. No more empty placeholders.
- It reflects the shot — The diagram follows the camera. The angle re-stages the whole frame — high and low tilt the horizon, bird’s-eye goes top-down, Dutch cants the shot — and the lens and shot size set how tight it reads.
- People in the frame — Right-click a shot to set how many people are in it (1–5) and how they’re posed: standing, sitting at a table, or in a car.
- Composed like a board — The sketches use a loose, hand-drawn pencil line with shaded figures and grounding shadows, and when several characters share a shot they’re blocked with depth — varied size and placement — instead of lined up flat.
- Interior or exterior, automatic — The background fills from the scene’s slugline — a room interior or an outdoor exterior, both drawn with depth and detail — and you can override it per shot.
- Your art always wins — Attach a real storyboard image and it replaces the sketch instantly; the diagram is only ever a stand-in.
- Straight into your exports — The sketches print in the Storyboard and Shotlist PDFs at a clean 16:9, so a board reads like a board before anyone picks up a pencil.
Security & Privacy
- Private by design — Collaboration runs peer-to-peer over your own network. Your production data stays between your machines — nothing is uploaded to a server.
- Password-authenticated networks — Team networks can be locked with a password, and project sync is encrypted between peers.
- Hardened against bad data — Synced file paths and database changes are validated, so a malformed or malicious update can’t write outside the project or tamper with your database.
- Sign in your way — Set an account password if you want the app to ask for it when you open it, or leave it off and go straight to your work. “Remember me on this device” skips the prompt on a computer you trust, and signing out asks for it again next time.
- Your projects open on any computer — Copy or move a project to another machine and open it there, with nothing to set up. Projects are encrypted on disk, and you can keep a password on the ones that need one.
- Share a project freely — When you create a project you can choose to share it without a password, so anyone you send it to can open it. Keep the password on for the rest.
Appearance — Make It Yours
- Pick your accent — Choose the accent colour that runs through the app: the default teal, or blue, purple, amber, rose, or a neutral grey. It carries across buttons, highlights, and the active view so the whole app matches your taste.
- Two sidebar looks — Switch the selected item in the navigation between a filled pill and a softer tint.
- A profile to match — Add a profile photo when you set up FilmBase (or change it later), or leave it blank and your initials fill in.
- Wider, cleaner Department cards — The layout of the Departments page has been refreshed. The Department and Role cards now stretch fluidly to use the full width of the screen, encased in sleek glass containers that match the rest of the application.
Schedule — A Smarter Optimizer
- Dial in the trade-off — Two sliders steer the optimizer: one balances keeping each location shot-out against evening the page count across days, the other sets how hard to compress each performer’s days. Each reads as a live percentage, so a result you like is easy to set again. Quick Locations / Balanced / Actors presets move the sliders for you.
- Production-cost objectives — Under the hood it minimizes company moves (how many days each location is active) and cast hold days (the gap between an actor’s first and last day) — what a 1st AD and a line producer actually count.
- Evens the days out — Slide toward “even days” and the optimizer balances page counts to the eighth, not just to the nearest page.
- Uses your whole schedule — A new Use All Shoot Days option (on by default) spreads scenes across every day you’ve configured instead of cramming them into the first few. Turn it off to ask the opposite question: could this shoot fit in fewer days?
- Tells you before it runs — If your page-per-day cap, day/night split, and day count can’t all be satisfied, the panel says so up front — with the arithmetic — instead of failing after a long solve.
- Tidied panel — Hard limits, GPS options, and the priority-cast list each collapse, and the constraints are grouped into the hard caps that can make a schedule impossible versus the softer scheduling rules.
- Undoable — Run an optimization, hate it, press Ctrl+Z (or the Undo button on the result). Your old board comes back exactly as it was.
- Clear results — A run that still can’t place everything says so, with the reason, and every control in the panel explains itself on hover.
- Precise drag-and-drop — Dragging a strip lands it exactly in the gap that opened, with a consistently smooth slide animation.
Locations — Tracked Like the Money They Cost
- Every location is now a budget-ready element — Create a real-world location and FilmBase tracks it like any prop or vehicle: it appears in the Element Manager under a new Locations category, ready to take a rate and import into the budget.
- Shoot days, counted for you — A location’s scene count and shoot days are calculated live from the stripboard. Each location card shows “3 scenes · 2 shoot days” at a glance, and a budgeted location updates as the schedule moves.
- Assign from the breakdown — The Scene Tags panel now has a Locations card showing where the selected scene shoots. Right-click to assign the script location to a real-world location — or create one on the spot — without leaving the breakdown. One assignment covers every scene with that slugline.
- A proper unassigned panel — Unassigned script locations moved from a card at the bottom into a collapsible side panel, just like the Scene Allocator. Drag a chip onto a location card to assign it; drag it back to unassign.
- Location details in the Element Manager — Selecting a location element shows a location form: address, Google Maps link (GPS is read from it automatically), location contact, and availability dates — kept in sync with the Locations page both ways.
Budget — Safer Number Entry
- Typo guard — Rate cells accept digits and a single decimal point, so “2..5” can’t get in. Amount and Units cells still take smart expressions (“3+2”, “10 days”) but block double-separator typos as you type.
- Dot or comma, your call — “1.5” and “1,5” both read as one and a half; “1,234.56” and “1.234,56” both parse. If an entry can’t be read, the cell snaps back to its last value so you see it immediately.
- Formula errors are visible — A formula row that can’t be evaluated shows a red warning icon, so a broken reference is caught the moment it happens.
- Variance reads the standard way — Variance is now budget minus actual everywhere (Actuals, summary, reports, exports): under budget is positive and green, over budget is negative and red, the way a cost report reads.
- Cost by supplier — Your budget is organised by account, but one vendor often supplies several. Cost by supplier (in the filter dropdown) totals each vendor’s committed cost across every account it touches, expands to a per-account breakdown, and gives you a grand total — so you can see who you’re leaning on before you lock a package rate. Vendors show up here once you pull their items in with Add from Supplier.
Cast — Real Cast Budgeting, Straight From the Schedule
- Priced from the Day out of Days — Add a character to the budget and FilmBase costs them from the schedule: work, hold, travel, rehearsal, and fitting days are each charged at their own rate from the actor’s rate card. Change the schedule or an actor’s hold days and the cast cost re-prices itself.
- One line per character, fully broken down — Each cast member is a budget line showing the character with the assigned actor (CHARACTER | Actor) and their avatar, expanding into a line per day type. Edit a rate by hand and your override survives the next re-sync.
- Cast tiers — Classify cast the way productions actually do: Lead, Supporting, Cameo, Day Player, Featured Extra, Extra, or Background come ready to use, and you can rename or add your own. Tiers are defined once in Global Settings and shared across every project. Give each character a tier, and a different tier per role for an actor who plays two parts. Tiers show as colour chips on the character, in the contact list (Tier | Character), and on the budget.
- Set a tier wherever you are — From the Characters page, the contact inspector, or while adding or editing a contact. It’s the same tier everywhere, so it never drifts.
- Hold rules per project — The whole set of hold-day rules (auto-paint on or off, the production type and its drop window, whether weekends inside a gap are held, and which tiers get holds) lives in Global Settings as the default for new projects. Any project can now override the lot for its own show. The Day out of Days and the budget read the same rules, so the two always agree.
- Daily, weekly, monthly, or flat — Bill a cast member the way their deal reads. On a daily deal you get the full day-by-day breakdown; turn on auto-convert and a full consecutive work week rolls up to the weekly rate, with the leftover days billed daily and capped at a week — or pro-rata as a fraction of the week when that’s the deal. Week and month lengths come from your unit settings, and a project-wide default keeps the show consistent while any one person can override it.
Crew — Labour Budgeting From a Per-Person Schedule
- A Crew Schedule for the whole unit — A new per-person grid, next to the Day out of Days, where you set each crew member’s days: prep, shoot, travel, hold, wrap. Shoot days fill in for everyone automatically — a shoot day is a shoot day — so you only mark the exceptions: the gaffer’s prep week, the day the director isn’t on set, a travel day. Click a cell, drag to paint a streak, or click a date to set the whole unit at once; right-click to reset a cell, a person, or a date, and fill a prep week or wrap day in one go.
- Priced into the budget like cast — Send a crew member — or a whole department in one click — to the budget and FilmBase costs their schedule: each day type at its own rate, rolled into a line per person under their department. Re-paint the schedule and the cost re-prices itself; a rate you edit by hand survives.
- Rates that resolve themselves — A crew member’s day rate comes from their own deal first, then a project ratebook for their role, then the role’s standard rate — so you can run an International and a Local ratebook side by side and the same role costs the right amount in each.
- Roles and departments, connected — Give a role a standard day rate once and everyone in it inherits it, still editable per person. The Departments page groups roles, reads live from your contacts, and sends a department’s whole crew to the budget under its own category.
- Master-detail Departments page — Organise your departments and roles with a new Master-Detail TreeView, mirroring the Rate Card Library. Folders for departments on the left, full role details on the right.
- Robust Role Rates — Roles now natively support Day, Weekly, Monthly, and Flat standard rates, letting you establish clear baselines for all types of crew deals directly from the Departments page.
- Fringes where they belong, capped once — Payroll fringes apply to the wage days, not to reimbursements like per diem or kit rental — and a capped fringe (say pension & health with a cutoff) is taken against a person’s total wages, not each day line, so the cap comes out right. Right-click any line to include or exclude it from the fringe by hand.
- Fringe summary — The Budget Summary rolls every fringe up to a per-fringe total across the whole budget, so you can see at a glance what each one is costing you.
- Weekly and flat crew deals too — The same daily / weekly / monthly / flat billing and auto-convert-to-weekly that cast gets applies to crew, from each person’s schedule.
Rate Cards — A Library for Every Deal, Organised Your Way
- A card for every kind of rate — Build the right card for what you’re pricing: a Crew scale with union, premiums, prep/wrap and hold/travel day rates, and a per diem; a Cast rate template of tier-by-tier rates with rehearsal, fitting, hold and travel days and a per diem; a Talent or Crew Agency roster with a photo and bio per person, carrying the same day rates as a cast or crew card; a Supplier, Location, or custom card with per-item units and quantities. Each card shows only the fields that make sense for it — and every one of those rates carries across when you apply a role to a contact.
- Folders, in projects too — Organise rate cards into a full folder tree — in the global Library and now inside a project. Drag a card between folders, rename in place, and drop a whole pack into a project in one go.
- See inside a card without opening it — Expand a card right in the tree to its categories and the items inside them. Click an item to jump straight to it, drag items between categories to re-file them, and create or remove categories without leaving the tree — across like-typed cards.
- Tiles or a table, your call — Open a card (or a single category) and switch the entries between tiles for one-role-at-a-time detail and a table that lays every role’s rates out side by side. Edit straight in the table and it saves as you type.
- One Import button, every source — Importing rate cards is one dialog now, on both the project page and the Library. Pick a file (Excel, a card file, a bundle, or a whole pack) or browse the Library tree, preview what’s inside, and tick exactly the roles you want before anything lands. Packs list every card they contain, so you install the three cards you need instead of all thirty.
- Import a spreadsheet, mapped to the right card — Bring in an Excel rate sheet through a guided importer: pick the card type and the column choices adapt to it, map your columns, and either create a new card or add the rows to an existing card of the same type. Export a card to Excel and it comes back in exactly as it left — every rate, day rate, and per diem.
- Pull rates in wherever you need them — Import people and their details from a rate card straight onto the Contacts and Locations pages, or drop a rate onto a line in the Detailed Budget.
- Priced in any currency — Give a card its own currency, picked from the project’s currencies (or the built-in list for library cards), with a broad catalogue of world currencies ready to add. When you import a card priced in a currency your project doesn’t have, FilmBase tells you what it’s in versus your base currency and lets you enter the current exchange rate — then add that currency to the project or convert the card’s rates to your base on the spot.
- Cards that read at a glance — Every entry is a clean, expandable card matching the rest of the app: a one-line summary you can scan, opening to the full rate breakdown, premiums, fringes, and notes when you want them.
- A person’s own rates, saved to them — Each contact keeps their own rates and the fringes on their deal, right on their card, and they follow the person into the budget. Copy a specific role’s rates and fringes — or a particular agency person’s — onto a contact in one step, and only the cards that fit them are offered (cast cards for cast, crew for crew).
- Change the unit, pull the rate — On a cast or crew line connected to a person, switch the line’s unit between day, week, and month and it pulls that person’s matching rate. Type a rate to override it and your number sticks until you clear the field or pick a rate mode again.
- Departments, at a glance — Select a department and flip its roles between a list and a table: the table shows each role’s day/week/month rate (and, in a project, who’s assigned it), and you edit those rates right in the cell — it saves as you type. Open a role to see its standard rates and the crew who hold it. A role’s rate is the department “house rate”: crew price at it until they have their own deal.
Premium Days, Per Diem & Travel — Costed the Way the Deal Works
- Premium days — Pay a higher rate on weekends, public holidays, and the 6th–7th consecutive day. Set the multipliers once (a quick-start preset gets you going), choose which days count as the weekend, and both cast and crew shoot-day costs split out the premium automatically. A per-person override lets a specific deal beat the project rule, and the Crew Schedule marks premium dates so you can see what costs more while you plan.
- Per diem only when away from home — Per diem, housing, and airfare are decided per person: set them for someone travelling in, leave them blank for a local. On a multi-city shoot they apply only on the days that person is away — a Cape Town crew member on a five-day Johannesburg leg is per-diemed for those five days, and nothing for the days back home.
- Places, built in — Each person’s home base and each shooting block’s location autocomplete from a worldwide list of cities, offline, so the away-from-home maths just works without you typing the same place two different ways.
Day out of Days — Faster to Build, Clearer to Read
- Spans the block you’re in — Both the Day out of Days and the Crew Schedule lay out exactly the dates of the shooting block you’ve selected, from its start to its end. Extend a block on the Production Schedule and the grids stretch to match right away — no reopening or restarting.
- Paint it — Click a cell to set a status, drag to paint a streak across days, or click a date to set every actor on that day at once. Drag back over painted cells to erase them. The H / T / R / F (and other letter) keys select the active mode without using the dropdown, and right-click resets a cell, a person’s row, or a whole date.
- Holds, filled in for you — When an actor has a gap between work days, the idle days are filled as Hold the way a held performer is actually paid, and a longer gap becomes a drop and pickup so you’re not paying for time off. Set the gap that decides the difference in the new Hold rules dropdown.
- Held by tier — Choose which cast tiers get auto-painted holds. Leads and supporting are on by default; day players and background are off, since they’re hired by the day. Turn a tier off and its holds drop away on the chart and in the cast budget together, while anything you set by hand stays. You can also choose whether weekend days inside a gap are held, and set the defaults every new project starts with under Settings.
- A nudge before you overwrite — On the Crew Schedule, painting over a prefilled shoot day asks you to confirm first, so you don’t change the schedule by accident. Tick “Don’t warn me again” to skip it from then on.
- Availability, in view — A cell shades when the assigned actor has marked themselves unavailable, drawn from the same availability you set on their contact — so a clash is obvious before you schedule into it.
- The actor, on the sheet — Each character shows its assigned actor’s name and photo, with per-day-type totals down the side.
- Export for an agent — Export a clean Day out of Days filtered to just the cast you choose, so an actor’s agent gets exactly their talent’s days and nothing else.
Export — A Cleaner Budget PDF
- Redesigned detailed budget — A modern, minimal layout: generous whitespace and hairline dividers instead of heavy boxes, a clear hierarchy that follows your tree-view styling, and the accent colour used only where it counts.
- The whole budget family, matched — Actuals, Payment Schedule, and Cashflow PDFs share the same clean design language, plus a new Expenses report. Your cost reports look like a set, not four different documents.
- Export just a date range — Pick a date range with a quick chip picker (This Month, This Week, custom…) when you export a Payment Schedule, Cashflow, or Expenses report, so you can send a financier exactly the window they asked for.
- Columns that fit your numbers — The Qty, Unit, Rate, and Total columns size themselves to your data — a “Day” unit stays narrow, “Months” gets room, big totals get the width they need — and the empty Code column disappears when you’re not using account codes. The freed space goes to the description.
- Cast tiers, your way — Show cast tiers as a colour chip, or switch chips off so the tier prints as plain text for a more formal look.
- It remembers your setup — The export dialog reopens exactly as you left it, so you configure it once and just hit export from then on.
- Export presets — Save your favourite setups — Top Sheet, Full Detailed, ATL/BTL, a cost-report column layout, or your own — and pick one from a dropdown next time, on both the budget and actuals exports.
- Every report, one place, one look — Top Sheet, Detailed, Variance, ATL/BTL, Expense Transactions, Income vs Expenditure, a two-scenario Budget Comparison, Cashflow, and the Payment Schedule all export from the Reports page through the same styled dialog with a live preview — so a report opened from the hub looks identical to one opened from its own page.
- Excel that actually calculates — Export a budget, cost report, or comparison to Excel and the totals are live formulas — each line is qty × rate, and categories and the grand total sum themselves — laid out to match the PDF. Change a number and the sheet recalculates.
- Zoom the preview — Every export preview has a zoom control (and Ctrl+scroll), so you can check the fine print before you send.
- Breakdown sheets, your scenes — Export breakdown sheets from the Script page or the Reports page: all scenes, just the current one, or a specific selection — as PDF or Excel, with the Excel laid out like the PDF (a block per scene with its header, metadata, synopsis, and elements grouped by category) and page counts in eighths.
- Your production timeline, exported — Export the whole production schedule from the Production Schedule page as a visual lane timeline or a dated table, in PDF or Excel, with a live preview.
- Schedule reports in Excel, matched — Shooting Schedule, One-Liner, Day out of Days, Crew Schedule, and Cast List export to Excel with the same look as their PDFs, honouring the columns, colour-coded strips, and synopsis you chose.
- Schedule Export Filters — Both the Day out of Days and Crew Schedule exports feature a new option to hide blank dates, and the Crew Schedule export now includes a department filter for precise unit reporting.
- Strips stay whole — In the shooting-schedule PDF, a strip too tall for the space left on a page moves to the next page intact instead of splitting across the break.
- Your logos on every PDF — Upload a production company logo and a show logo in the project’s settings and they print on every export in the app: budgets, cost reports, schedules, call sheets, the contact list. The two sit together with a thin divider between them, and each export dialog lets you switch them off or set their size and position (left, middle, or right). Set it once and the choice carries to every other export dialog. The logos live inside the project file, so they travel with it.
- Your words on every PDF — The “Generated by” line and footer note are yours to change, from any export dialog. Change them once and every export uses your text, including the ones that never offered it before: the production schedule, the Day out of Days, the crew schedule, and the financial reports.
- A contact list that matches the set — The contacts export shares the same design as every other PDF in the app now, and it exports more: each person’s rates (in your project’s currency, not a generic dollar sign), their character, address, notes, and optionally their banking details, in both PDF and Excel.
- Pick orientation at a glance — Portrait and landscape are icon choices you tap — highlighted when selected — across every export dialog.
Fixes & Polish
- One block bar for the whole Schedule — The block, script, and shoot-day count now live in a single toolbar across the top of every Schedule page, so each page’s own toolbar carries only its tools — the same layout the Script pages use. Switching blocks up top updates the page you’re on.
- Storyboard reflects shotlist edits live — Change a shot’s pose or how many people are in the frame on the Shotlist and the Storyboard updates at once; a master shot now draws exactly the number of figures you chose.
- Resizable storyboard script panel — Drag the script context panel wider or narrower and it sticks; close it and the board reflows to fill the space.
- Lined script in any orientation — Exporting the lined script in landscape now renders correctly instead of erroring, and the preview matches the orientation you picked.
- Readable history — Stripboard changes in Team → History read like sentences (“Moved Scene 12 — INT. POLICE STATION to position 4”), and a schedule optimization records a single clean entry.
- Chat, tidied — Messages from the same person group together, days get date dividers, your own messages show your profile picture, and the composer matches the app’s flat style. Enter sends; Shift+Enter starts a new line.
- Permissions apply on the spot — If an admin revokes a page you’re currently viewing, you’re moved off it immediately instead of the page lingering until you navigate away.
- Cancel a project open — The loading screen now has a Cancel button. Backing out is always safe: the open stops cleanly between stages and returns you to the Project Hub.
- Clearer selection highlight — The script editor’s autocomplete and every list and dropdown highlight the selected row with a clean neutral wash that reads correctly in both themes.
- Overlays match your theme — Loading and progress overlays use the theme’s scrim, so they read correctly in light mode as well as dark.
- Payment Schedule counts the whole cost — The Budget column now includes each line’s fringes, so it matches the Detailed Budget and Actuals instead of quietly under-stating lines that carry them.
- Report titles read one way — Exports title themselves “Project | Report” consistently, instead of a mix of dashes and pipes (and the odd doubled-up “Actuals | Actuals”).
- Inputs that match, everywhere — The expense forms, export dialogs, call-sheet fields, and the budget Settings panel share the same input styling as the rest of the app, so a dropdown looks like a dropdown wherever you meet one.
- One toggle, everywhere — The two-option switches across the app now share one animated sliding style that reads clearly in light and dark: the Sides page’s Shoot Days and All Scenes, the budget inspector’s Item and Settings tabs, the Scene Allocator’s Unassigned and Completed, the Locations Map switch, Storyboard Cards/Timeline, and the Magic Sheet’s Scenes/Story Days toggle.
- Group your fringes from the inspector — Creating a fringe group from the budget inspector’s Settings panel used to do nothing when you clicked Create New Group. It now opens the form, lets you name the group and tick the fringes to include, and saves.
- Diagnostics — FilmBase now keeps detailed logs so support can resolve issues faster.
- Live everywhere — A teammate’s script edits, scene changes, and tags now appear across the Editor, Breakdown, Shotlist, Storyboard, Magic Sheet, and Sides without a reopen.
- Deletes propagate — Removing a scene, paragraph, or attached document now syncs as a deletion instead of lingering on other machines.
- Script editor reliability — Enter, Tab, and structural commands behave correctly, and a duplicate-scene glitch when backspacing into an empty heading is fixed.
- Isolate Current Scene — A new option on the Breakdown, Shotlist, and Storyboard pages lets you hide the rest of the script to focus entirely on the selected scene. This is enabled by default to keep your workspace distraction-free.
- Unified empty states — The Day out of Days empty state now mirrors the Stripboard and Scene Allocator with a consistent “No Script Imported” appearance.
- Scene Allocator stability — Switching between shooting blocks rapidly or loading a block without a script now correctly clears the previous block’s scenes, preventing phantom blank strips from appearing.
- Stripboard Master Scenario auto-loads — Creating a new shooting block from the Stripboard now automatically loads its fresh Master Scenario tab immediately, rather than leaving you on a closed or blank view.
- Rate Card ghost roles eliminated — Typing a name into a rate card no longer spawns a fragment role in the Departments page for every keystroke.
- Seamless Budget Unit Inputs — The unit input column in the detailed budget has been restyled to match the rest of the row perfectly, inheriting correct fonts and alignments, and its suggestion dropdown now reliably reappears if you clear the box entirely.
- Tightened Currency Formatting — The budget’s Rate column now elegantly nestles the currency symbol inside the text box right up against your typed numbers, completely eliminating large visual gaps.
- Standardized checkboxes — The app now uses a clean, restyled tick box as the default checkbox across all export dialogs and stripboard settings for a consistent look.
- Visual consistency for selectors — Block and script selector dropdowns now use the standard form-input well styling.
- Accurate stripboard previews — The stripboard settings preview now renders using the real strip brushes for a true-to-life representation.
- Chip-style selections — Dietary and catering options in the contact create dialog now use the cleaner chip-style selection to match the inspector, alongside clearer gender and race chips, and chips now use a sleeker rounded-rectangle corner.
- Layout fixes — Resolved a spacing issue with breakdown story-day chips and fixed a download row overlap bug.
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