Documentation

InteScene Help Centre

InteScene is a professional screenwriting and film production platform. This guide walks you through every feature, from writing your first scene to wrapping your shoot.

Projects

A project is the top-level container for everything in a single production: its script, breakdowns, schedule, budget, cast, tasks and more.

Creating a project

From the project dashboard, click New Project. Give it a title and choose a format:

• Feature Film: a standard single-script feature.
• Short Film: shorter format, same tools. Can be an A/V project if you prefer.
• Commercial: ads and promos. Starts as an A/V project, which opens the A/V Script instead of a screenplay. Commercial projects also get the Project Room and the client bid and estimate tools.
• Documentary: starts as an A/V project, like Commercial.
• TV/Episodic: multi-episode projects with a separate script per episode. Available on Production and above. See TV & Episodic.
• Music Video: always an A/V project, planned in the Track Planner.

The create dialog has two tabs:

• General Info: cover image (with a focus-point picker), title, tagline, poster colour, format, and an A/V project tick box for formats that allow it. It opens the A/V editor instead of the script editor, and is fixed once the project has a script or shots. TV/Episodic projects also choose how scenes are numbered.
• Production & Finance: production company link, client and agency details (Commercial only), page goal, access controls, currency, and the union agreements the production works under.

Project settings

Open Settings from the sidebar to adjust a project after it is created:

• Cover image & logo: upload artwork and reposition the focus point. Choose a poster colour for tiles with no cover.
• Production company: link the project to a company so it shares that company's catalogue and team. Choose Not linked, Link existing, or Create new.
• Access controls: Private project (only you, the people you invite and the company owner see it; it can still use the company's kit and library) and Lock project (read-only) (everyone but you can view but not edit). Company members join your projects with their company role; you can change what any of them may do on your project from the Share dialog, except the company owner, who always keeps full access.
• Localisation & finance: operating currency (GBP, USD, EUR, AUD, CAD, JPY), production timezone, Reports & exports (the units and time format used by call sheets, PDFs, exports and the Project Room; they start as the project owner's own preferences and can be changed per project without affecting what anyone sees on screen, which follows each person's profile), fuel price and maximum driver daily hours. The timezone, units, time format, date format and currency all start from your profile location; each can be changed.
• Reports & exports also sets the paper size (A4 or US Letter) used for every collaborator's exports, and a reply-to email for call sheets and other production emails.
• Unions: the agreements the production works under. The hours checks on the schedule and call sheets use them.
• Commercial (Commercial projects only): client, agency, brand, contacts and job numbers for bids and estimates.
• Project mode: switch between script and A/V while the project is empty. After that, make a converted copy with Create a script version or Create an A/V version, which leaves this project as it is.
• Collaboration: remote cursors, Roles & Permissions (what each role can open and edit) and backups. Invite people from Share project in the sidebar. See Collaboration.

The project list

Search, filter and sort your projects from the project list. Each tile's menu also has Pin project, Edit Project and Keep available offline. Invitations waiting for you are shown at the top of the list, ready to accept.

Duplicating a project

Open the menu on a project tile and choose Duplicate Project. This creates a full copy named "Project name (Copy)", including the script, breakdowns, schedule, storyboard, budget (with fringe, global and currency libraries), documents, tasks, planning board, index cards and logistics. The copy starts unlocked; the cover image and member list are not copied.

Deleting a project

Archiving a project

The project owner can choose Archive Project from the tile menu to put a finished project away. It moves to the Archived section of the project list and becomes read-only for everyone, the owner included. An archived project does not count towards your plan's project limit, though its files still count towards storage. Choose Restore Project to bring it back; you need a free project slot.

Deleting a project

From the project tile menu, choose Delete Project, then type the project title to confirm. This removes the project for every member, including its script, schedule, breakdown, budget, call sheets, documents and tasks.

Navigation

InteScene uses a sidebar to switch between views on desktop. On phones and tablets, use the bottom navigation bar or open More for the full list of tools.

Feature Search

Press ⌘K / Ctrl+K to open Feature Search, a quick-jump palette. Start typing and press ↑/↓ then ↵ to jump to any view. It also reaches sub-tabs (for example Cast Availability, or the Logistics Map, Vehicles, Drivers, Travel and Accommodation tabs, and Customs & Carnets) and opens Settings, User Profile, Send Feedback and Keyboard Shortcuts. Views your plan does not include show a Lock / Upgrade badge.

In the Script Editor, Feature Search also lists quick actions (Find & Replace, Focus Mode, Revisions, Script Settings, Print / Export PDF, drafts and the side panels), and as you type it finds scenes and characters to jump to.

Views

Views are grouped by their role in your production:

• Overview: Dashboard, Project Database, Portal, Tasks, Media Library
• Development: Script Editor, Index Cards, Planning Board, Script Analyser, Storyboard, Pitch
• Pre-Production: Casting Director, Crew Up, Locations, Schedule, Budget
• Production: Reports & Call Sheets, Document Manager, Equipment, Catering, Logistics, Continuity Tracker, Crew Check-in, Credits Generator

Click a group's heading to collapse or expand it. The row at the foot of the sidebar holds Notifications, Share project, Project settings, Help and the theme button.

Commercial projects also show Project Room between Tasks and Media Library. Projects without a screenplay show A/V Script (or Track Planner for music videos) in place of Script Editor and do not show Script Analyser. Script Analyser is also hidden if you turn off AI-powered tools in your profile. Some views are tied to your plan, so the exact list you see depends on your subscription tier.

Dark mode

InteScene has full light and dark themes. Choose one with the theme button in the sidebar or on the project list: Light, Dark, or System, which uses whichever your computer or phone is set to and switches when it does. On a phone, the same choice is under Appearance in the More menu and the Account menu. Your choice is kept on each device.

Script Editor

The script editor is an industry-standard screenplay editor with real-time collaboration, revision tracking and writing tools. Menus run across the top: File, Edit, View, Tools and Help.

Writing basics

• Each line is a block with a type (Scene Heading, Action, Character, Dialogue, and so on).
• Press Tab to cycle the current block to the next type, or ⇧Tab / Shift+Tab to cycle backwards. The order is Scene Heading, Action, Character, Dialogue, Parenthetical, Transition, Shot.
• Press Enter to create the next block. The editor picks a sensible type for you: after a Character block you get Dialogue, after Dialogue you get a new Character, after a Scene Heading or Action you get Action, after a Parenthetical you get Dialogue, and after a Transition you get a Scene Heading.
• Press Enter on an empty Character or Dialogue block to drop back to Action. So Enter twice after a line of dialogue starts an action line.
• Press ⇧Enter / Shift+Enter on a Character block to open a Parenthetical under the name, ready for (beat) or (quietly). On any other block it adds a line break.
• Press Tab on an empty Action line to go straight to a Character name.
• Press Backspace at the very start of a block to merge it into the block above.
• The element bar above the page also sets the block type: a button for each type, or a dropdown when the bar is narrower, such as with a side panel open. It can be collapsed with the chevron.
• Pages count live as you type. Page breaks are handled for you, including splitting dialogue across a page with MORE and CONT'D markers.

Quick dialogue

Writing a conversation between two characters takes three keys per line:

1. Finish a line of dialogue and press Enter. A new Character block opens with a list of names, the other person in the exchange first, then whoever spoke before them.
2. Press ↓ to pick the first name (or ↓ again for the next one).
3. Press Enter. The name is filled in and you are on the Dialogue line, ready to type.

Nothing in the list is picked until you press an arrow, so your usual keys still work: type a different name yourself, or press Enter again to drop back to an action line.

Autocomplete

As you type, the editor suggests entries already in your script:

• Character blocks suggest existing character names, the most recent speakers first. After a full name, type a space or ( to be offered (V.O.), (O.S.) and (O.C.).
• Scene Heading blocks suggest INT./EXT. prefixes, then locations you have used, then a time of day such as DAY or NIGHT.
• Transition blocks suggest standard transitions like CUT TO: and FADE OUT.

Use ↑ and ↓ to move through the list and Enter to accept the one you picked. Tab accepts the top suggestion without moving on, so you can add an extension straight after a name. Esc closes the list. Until you press an arrow, Enter keeps its usual meaning, so typing a new name that starts like an existing one (MARY when there is a MARY ANN) never gets replaced.

Typing helpers

Two preferences under Account Settings > Writing follow you into every script:

• Detect scene headings as you type (on by default): typing INT., EXT. or I/E. at the start of an action line turns it into a Scene Heading and opens the location suggestions. Undo turns it back.
• Smart punctuation (off by default): straight quotes become curly quotes, two hyphens become a dash and three dots become an ellipsis as you type, in action, dialogue and parentheticals. Press Backspace straight after to get back what you typed.

Sidebars & panels

Toggle these from the Tools menu:

• Navigator: a scene list for jump-to navigation, plus a Characters tab (see below).
• Shot List: per-scene shot planning with camera, lens and equipment details.
• Breakdowns: tag cast, props, locations and other elements in the script.
• Script Notes: your team's comments, drawings and readers' notes in one list by scene, with threading and resolution. Filter chooses which kinds to show; the Analysis tab lists what the Script Analyser found. Click any note to go to its place in the script. A note can be Private: switch the add form from Shared to Private and only you see it, on any device you sign in from; nobody else on the project, no review link and no backup ever does. The lock on one of your own notes makes it private, or shares it with the team again (in a shared project it is posted as a comment thread, with its replies). A Fountain file's [[notes]] come in as private notes on the lines they sat on. Share at the top of the panel makes and manages review links.
• Continuity: the continuity states in the scene you are in, changes you mark from the script, and continuity notes pinned to the words they are about. See Continuity in the script.

Breakdown highlights

View > Show All Breakdown Highlights marks every element tagged in the breakdown. To read a scene for one department, pick a category under View > Highlight only (Wardrobe, say) and only that category stays highlighted; choose All categories to see everything again. InteScene remembers your choice for each project on this device.

Navigator: Characters tab

The Characters tab lists every speaking character with the number of scenes they appear in and their dialogue line count. Open a character to see each scene they are in and their total word count, and click a scene chip to jump straight to it.

Focus mode

Press ⌘⇧F / Ctrl+Shift+F for a distraction-free writing view that hides the toolbar and sidebars. Press Esc to exit. You can also toggle it from View > Focus Mode.

Typewriter view

Turn on View > Typewriter View to keep the line you are typing pinned at a fixed height while the page scrolls beneath it, so your eyes stay in one place. This setting is remembered for next time.

Zoom & page size

Adjust zoom from 50% to 200% in the View menu (the default is 100%; use the reset button to return to it). Switch the page size between US Letter and A4 from the toolbar.

Scene numbers

Show or hide scene numbers from Edit > Scene Numbers or View > Highlight Scene Headers. With a Scene Heading selected, the element bar gives you per-scene controls:

• Edit #: set a custom number for the scene (for example 12A).
• Lock: fix the current number so it does not shift when you add or remove scenes earlier in the script. Unlock returns it to automatic numbering.
• Omit Scene: mark a scene as omitted (shown as OMITTED), the standard way to remove a scene without renumbering the ones after it. A scheduled scene keeps its strip on the board, marked OMITTED with its time taken off the day, and a call sheet can list it under the Schedule block's Show omitted option. Un-Omit Scene reverses it and the strip comes back in place.
• Separate: insert a new Scene Heading straight after this one.

For TV and episodic projects, scene numbers read as Episode.Scene (for example, 1.3 is the third scene of episode one).

Spell check & block indicators

Turn spell check on or off from Edit > Check Spelling. View > Show Block Indicators labels each block with its type down the side of the page.

Writing Tools

A set of optional panels to help you keep momentum and shape your story, all under the Tools menu.

Writing Stats

Open Tools > Writing Stats to see how your writing is going:

• Today: words and pages written, time spent writing, and number of sessions.
• Streaks: your current and longest run of consecutive writing days.
• Peaks: your best day and the time of day you write most.
• Last 14 days: a bar chart of words written, plus lifetime totals.

Set a goal in the panel: a number of words or pages, either as a daily target or a one-off project target. A progress bar tracks how close you are.

Writing Sprint

A sprint is a short timed burst of writing. Choose Tools > Start Writing Sprint, pick a length (5, 10, 15 or 25 minutes) and an optional word target, then start. A small timer in the corner counts down and tallies the words you add. When time is up it tells you how you did against your target.

Structure Lines

Structure lines mark act, sequence or beat boundaries with coloured bands in the margin of the script, so you can see your story shape at a glance.

• Open Tools > Structure Lines and add a line.
• Give it a label (such as "Act One"), pick a lane to group it (such as Acts or Sequences), choose a colour, and set its start and end scenes. The band covers the whole range, not just the heading.
• Edit or delete any line from the same panel.

Read Script Aloud

Choose Tools > Read Script Aloud to have the script read out, starting from the scene you are in. You can assign a different voice to each character, set the reading speed, and pause, resume or stop at any time. Reading aloud uses your browser's built-in speech, so the available voices depend on your device. If your browser does not support it, the panel will say so.

Dictate

Choose Tools > Dictate or press ⌘⇧D / Ctrl+Shift+D to write by speaking. Words appear at the cursor once each phrase is finished. Say new line for the next block, new scene, new action, new character, new dialogue, new parenthetical or new transition to start a block of that type, punctuation such as full stop, comma or question mark, scratch that to undo the last phrase, and stop dictating to finish. You can choose the dictation language in the panel. Dictation uses your browser's speech recognition and needs a connection.

Boneyard

The Boneyard keeps the lines and scenes you cut, so nothing is lost. Select some text and choose Edit > Send to Boneyard or press ⌘⇧X / Ctrl+Shift+X: the text leaves the script and goes into the Boneyard. Open Tools > Boneyard to see your cuts, newest first, and insert any of them back at the cursor.

Scene Snapshots

To try a scene a different way, choose Edit > Snapshot Scene first. Edit > Scene Snapshots lists each scene's saved versions, shows word by word what has changed since, and puts any version back in one click. Drafts (File menu) save the whole script; snapshots save one scene.

Private notes

To leave yourself a reminder, write it in Script Notes with the switch set to Private; select the words it is about first and the note is pinned to them. Only you see a private note, on any device you sign in from: nobody else on the project, no review link and no backup ever does, and it never prints. The lock on the note shares it with the team later if you like. A Fountain file's [[notes]] come in as private notes on the lines they sat on.

Story Days

Edit > Story Days lets you mark which day of the story each scene happens on (Day 1, Day 2, the morning after...). Suggest from headings reads your scene headings and proposes days for you to review, with no AI and no credits. Turn on View > Show Story Days to see them beside the scenes. Story days also show on Schedule strips, which helps with continuity.

Formatting & Block Types

Block types

• Scene Heading: INT./EXT., location and time of day (for example INT. KITCHEN, DAY).
• Action: narrative description.
• Character: a character name, with extensions such as (V.O.) or (O.S.).
• Dialogue: spoken lines.
• Parenthetical: a short acting direction inside dialogue.
• Transition: CUT TO:, FADE OUT., and so on.
• Shot: a camera direction within a scene.

Set a block's type with Tab, the element bar, or its keyboard shortcut: ⌘1 to ⌘7 (Scene Heading through Shot).

Inline formatting

Format	Shortcut
Bold	⌘B / Ctrl+B
Italic	⌘I / Ctrl+I
Underline	⌘U / Ctrl+U
Dual Dialogue	⌘D / Ctrl+D

You can also apply these from Edit > Format, where you can convert selected text to UPPERCASE or lowercase.

Dual dialogue

Place your cursor on a Character block and press ⌘D / Ctrl+D (or use Edit > Format > Dual Dialogue) to pair it with the character above it as side-by-side dialogue, for two people speaking at once.

Alternate takes

Keep more than one version of a line. With the cursor in a Dialogue block, open Alt Takes on the element bar and choose Save current line as alternate, then rewrite the line. The menu lists every saved take: pick one to put it back in the script (the line it replaces is saved as a take too), or delete takes you no longer want. Only the line in the script prints.

Dialogue Tuner

To polish one character's voice, open the Navigator, go to the Characters tab and choose Tune dialogue for that character. Every line they speak is listed by scene, with the line before it for context, and you can edit them in place, search them, and step to the next or previous character. Each edit is one undo step.

Insert emoji

Open Edit > Insert Emoji and pick from the grid to drop an emoji at the cursor. Your operating system's own emoji picker works too.

Title Page

Open Edit > Title Page to open the Title Page Editor, with a live preview beside it.

• Text & fields: Title, Credit (for example "Written by"), Author, Source, Draft date, Copyright, Contact and Notes. Use Add line for any lines of your own.
• Style: pick a field and set its font, size, alignment, bold, italic and underline.
• Images: add a logo or an image, drag it into place on the preview, and set its position, width and opacity.
• Pages: add, duplicate, reorder or delete extra title pages. The first page cannot be deleted.

Once a script has revisions, the first title page lists each revision colour and its date in the top-right corner. When printing, choose Title Page and Script, Script Only or Title Page Only. For Fountain, FDX, Word, plain text and web page exports, tick or untick Include title page in the File menu.

Revisions

InteScene supports industry-standard colour-coded script revisions, so you can track and circulate changes the way a production office expects.

Revision colours

Each revision round uses its own colour, following the standard order:

1. Blue
2. Pink
3. Yellow
4. Green
5. Goldenrod
6. Buff
7. Salmon
8. Cherry
9. Tan

Revision mode

• Open the Revisions panel from the toolbar's Revisions button, Edit > Revision Mode or ⌘⇧R / Ctrl+Shift+R, and issue a revision with a name and colour. This turns on Revision Mode.
• While Revision Mode is on, text you add appears in the current revision's colour, with an asterisk (*) in the margin next to every changed line. The status bar names the current revision.
• Each row's eye hides or shows that colour on the page (its asterisks, coloured text and page stamps); the eye beside the Revisions heading is a clean view that hides every mark at once. Both are personal: they never change what a collaborator sees.
• Issue a revision from its row menu when its pages go out: it is dated that day, no further edits are attributed to it, and the panel offers the next colour. Issuing a new revision closes the current one for you unless you untick that in the form.
• Everyone working in a shared script shares the current revision: making a colour current changes what every collaborator's edits are marked with.
• The Production Draft section at the top of the panel holds the Revision Mode switch and Lock Script. Locking freezes scene and page numbers, so anything you insert gets an A number (for example 12A).
• A revision's row menu also has Rename and Reopen, which takes back an issue. Creating and managing revisions needs the Production plan or above.

Accepting & rejecting changes

• Accept a revision to keep its text and clear its marks. You are asked first: accepting cannot be undone.
• Reject a revision to put the previous text back and remove the blocks it added. A backup draft of the current script is saved first (File > View Drafts).
• If you delete a revision that still has changes, you are asked whether to accept or reject them first.

Drafts, branches and revisions

• Drafts (File menu) are snapshots of the whole script that you can restore or compare later.
• Branches (File menu) are alternative versions written in parallel.
• Revisions (Edit menu) are the production change record: which lines changed in which colour, printed as revised pages.

Exporting revisions

• Revision memo (PDF) (row menu, and the export dialog): the cover memo that goes out with a set of coloured pages, listing the pages to swap in, the scenes affected and how much changed.
• Export change list (JSON) (row menu): a data file of just the lines changed in one revision, with the original and new text.
• Export Clean Script (at the foot of the panel): save a Fountain file with all revision marks removed.
• Sides carry the revision each scene's pages are on, beside the scene heading.

When printing, tick Revised pages only and choose one colour or several to reissue together (for example, the pink and yellow pages in one set); Colored Pages PDF prints each page on its paper colour. Unlocking the script asks first: scene and page numbers go back to a plain sequence.

Find & Replace

Press ⌘F / Ctrl+F (or Edit > Find & Replace) to open the search box. It searches across your whole script.

• Type to search. Matches are highlighted in the script and the box shows your position, such as "2 of 7".
• Move between matches with the up and down buttons, or press Enter for the next match and ⇧Enter / Shift+Enter for the previous one.
• Enter replacement text and use Replace for the current match or Replace All for every match at once.
• If Revision Mode is on, replaced text is marked in the active revision colour like any other edit.

By default, search ignores case ("JANE" and "jane" both match) and finds text inside longer words. Turn on Match case or Whole word beside the search box to narrow it. It matches plain text, not patterns. Pressing Enter in the Replace field replaces the current match.

Import & Export

Import formats

Open File > Import and choose a file:

• Fountain (.fountain): the open plain-text screenplay format.
• FDX (.fdx): the industry-standard screenplay interchange format. Revision data comes across with it.
• PDF (.pdf): the editor reads the text and rebuilds it into blocks.
• JSON (.json): a full InteScene project file (script, breakdown, schedule and budget).
• Other tools: bring a screenplay in from another tool's exported project file. These imports are best-effort and may need a little cleanup.

If the project already has breakdown or schedule work, importing a new Fountain, FDX or PDF opens Reconcile imported script. It matches scenes so their breakdown and schedule carry over, asks you to choose where scenes look alike, and lets you keep scenes the new file leaves out. Choose Apply import, or Replace all to start fresh. A .fdx or .fountain file matches more reliably than a PDF.

Export formats

From the File menu:

• Include title page: tick or untick it before exporting to Fountain, FDX, Word, plain text or web page.
• To Fountain (.fountain): screenplay text.
• To FDX (.fdx): screenplay text with revision data. Indie and above.
• To Word (.docx). Indie and above.
• To Plain Text (.txt) and To Web Page (.html).
• Treatment / Outline (PDF).
• Print / PDF: print or save as PDF. Choose what to print (title page and script, script only, or title page only), the page size, revised pages only, and a watermark (Indie and above). Save your settings as a preset to reuse them.
• Save Project (.json): a full project file (script, breakdown, schedule and budget) you can re-import later.

On the free plan, exported scripts include a small "Made with InteScene" line.

Sides

Use File > Create Sides... to generate character-specific scene extracts for rehearsals or auditions.

Drafts

Drafts are named snapshots of your script saved inside the project, so you can return to an earlier version.

• File > Save Draft: save the current script under a name. If the name is already used, you are asked before that draft is overwritten.
• File > View Drafts: browse, restore or delete drafts, and use Compare drafts to see what changed. Restoring replaces the current script with the draft.

Index Cards

Index Cards give you a bird’s-eye view of your story. Each card is a scene, an idea or a story beat, arranged into columns you can rearrange at will.

Card types

• Scene cards: linked to real scenes in your script. They show the slugline, scene number, day or night, page count and a synopsis. New scene cards appear automatically as you add scene headings, and disappear when you delete the scene.
• Idea cards: free notes that are not tied to any scene. Useful for "what if" thoughts, themes or reminders.
• Beat cards: markers for a key story beat that sits alongside your scenes.

Two views

• Board view: columns of cards, the classic corkboard layout.
• Grid view: every card in a compact grid, good for scanning a long script.

Pinch or use the zoom controls (50% to 150%) to fit more on screen in Board view. On a Mac, hold ⌘ and scroll to zoom; on Windows, hold Ctrl and scroll.

Columns & beat sheets

Cards live in columns. Choose Freestyle to organise however you like, or load a beat sheet template from the dropdown. Templates are grouped by format:

• Feature Film: Three-Act Paradigm, Save the Cat! 15-Beat Sheet, Hero’s Journey, Syd Field Paradigm, Story Circle, Seven-Point, Kishōtenketsu and more.
• One-Hour TV and Half-Hour TV: act structures for episodic writing.
• Short Film and Scene-Level: lighter structures for shorter work.
• A/V: short-form structures for A/V projects, such as Hook / Journey / Payoff, Problem / Solution / CTA and Documentary Arc. In an A/V project these are the only templates offered, and the board groups shot cards by sequence, with a Notes & Ideas band for idea and beat cards.

Each beat column carries a short prompt explaining what that beat is for. Turn these on or off with Show beat info. Save the Cat groups its beats under act bands (Act 1, 2A, 2B, 3).

AI scene summaries

For any scene card, open the card menu and choose AI Summary, or use Summarize in the toolbar to do every scene at once. For each scene the AI writes:

• A one to two sentence synopsis of what happens.
• The story beat the scene serves (for example "Inciting Incident" or "Midpoint Twist"), shown as a small badge on the card.
• The emotional tone of the scene.

When summarising every scene, you can fill only empty cards or override all existing summaries. You can stop a bulk run at any time.

Colours & labels

Give a card a coloured tag from the card menu. Colours carry meaning you can use however you like: Action, Tension, Theme, Emotion, Reveal, Investigation, Quiet and Blue.

Drag & drop

Drag a card to reorder it within a column or move it to another column. In Freestyle with no template, you can also drop cards onto a free area to arrange them loosely.

Keeping cards and script in step

Use Sync to reconcile card order with your screenplay, in either direction:

• To Script: reorder the actual scenes in your script to match how you have arranged the cards. Any draft cards (not yet linked to a scene) become real scenes, and a card’s synopsis is written into the scene as a note.
• From Script: rebuild and reorder the cards to match the current scene order in your script.

A scene card's synopsis is the scene's synopsis, so editing it in the script, the schedule or here changes it everywhere. Deleting a scene card marks its scene for removal; the scene leaves the script the next time you choose To Script. Use Scene cards in the toolbar to hide scene cards and see only ideas and beats, and the card menu's Move to beat…, Move up and Move down to rearrange cards without dragging.

Script Analyser

The Script Analyser reviews your script with AI across six areas. Overview shows a summary card for each one. Pick an area from the left, then choose Analyse (or Re-analyse) to run it. Each area shows when it last ran and how many items it found, and each run shows its cost in AI credits beside the button. Choose Stop to cancel a run in progress.

Clearance

Finds elements that may need legal clearance: brand names, music references, real people, quotes, locations and artwork. Each item is rated high, medium or low severity, with suggested alternatives. You can set each item to Pending, Cleared, Needs Substitute or Risk Accepted and add a note. For cleared and risk-accepted items, the analyser records who set the status and when.

Cost Risks

Flags scenes likely to cost more or carry production risk: visual-effects sequences, stunts, night exteriors, large crowds, special equipment and the like. Each scene gets a complexity rating (one to five), and the cost drivers are listed. Open a scene to read the AI recommendation, and choose Open in script to jump to it.

Character Voice

Checks dialogue consistency for each character and flags lines that feel out of character. You can tune how strict it is in Settings > Voice sensitivity:

• Strict: flags anything slightly off, best for a polished draft.
• Balanced: flags noticeable inconsistencies, good for most scripts.
• Flexible: only flags major departures, best for an early draft.

Structure

Assesses pacing and act balance. You get a pacing score out of 100 (with 60 and 80 benchmarks), an act breakdown showing scenes and pages per act, and a list of structural insights rated by severity against beat-sheet conventions.

Sensitivity

Surfaces potential tropes, stereotypes, representation concerns and content warnings. Each flag is rated by severity with a recommended action (for example, engaging a sensitivity reader or an intimacy coordinator).

Spelling & Grammar

Checks the script for misspellings, grammar issues, inconsistent character names and screenplay style problems. Each issue shows the surrounding text for context, a severity rating and a suggested fix. Filter by severity or search the issues, and use Export CSV to take the list elsewhere.

Working with results

• Filter and search: narrow any list by severity or keyword.
• Export: Export CSV in an area's header saves its list. On a phone or tablet, the ⋯ menu offers Export as PDF and Export as CSV.
• Open in script: jump from an issue to the scene it came from.

Storyboard

Plan your shots scene by scene, then bring them to life with AI-generated frames.

Views

• List: a detailed table, one row per shot, with columns for setup, size, angle, movement, camera, lens, equipment, subject, description and notes. The Columns menu hides any you don’t need and adds technical ones: frame rate, filters, lighting, sound, VFX, time of day, setup time and shoot time.
• Storyboard: a card grid with large frame previews.
• Boards: one large frame per row, with the shot details beside it.
• Setups (Indie and above): plan how each setup is rigged. See below.
• Equipment (Production and above): assign the scene's camera bodies, lenses and other kit to its shots.

Switch the running order between Script order and Shooting order, and filter to show all shots, only those with sketches, or only those that still need panels.

• Assign from Setup: suggests a shooting order grouped by camera setup.
• Shooting strategy: tag each shot Essential, Ideal or Luxury, filter the board by tier, and add a strategy note to the scene (for example, grab the essentials first if you lose the light).
• Frame aspect: set the shape of every frame for the board, a sequence or a single shot.
• All scenes: pick it at the top of the scene list to see every boarded shot in one place.

Shot fields

Each shot uses standard options you can type over or pick from:

• Size: XCU, CU, MCU, MS, MWS, WS, XWS, Insert
• Angle: Eye-Level, High Angle, Low Angle, Overhead, Dutch, POV
• Movement: Static, Pan, Tilt, Dolly, Truck, Crane, Steadicam, Handheld, Zoom
• Camera: A Cam, B Cam, C Cam, Drone, Splinter, Steadicam
• Equipment: Tripod, Handheld, Steadicam, Gimbal, Dolly, Jib, Crane, Drone, EasyRig, Slider
• Lens: a range of focal lengths from 14mm to 70-200mm
• Subject and Description: who or what is in frame, and what happens.

AI shot suggestions

In the script editor, open the Shot List panel (⌘⇧L / Ctrl+Shift+L), pick a scene and choose Suggest Shots with AI. The AI reads the scene and proposes a full shot list, each shot tied back to the line of action or dialogue it covers. You can also choose Add Manual Shot, or select script text and choose Create Shot from Selection. In the Storyboard itself, Add shot adds one to the open scene.

AI Sketch

Open any shot and choose AI sketch. The AI reads the scene for its setting and mood, then draws the frame from your shot’s size, angle, movement and subject. The shot details in the left panel can be edited there and update the shot on the board. Shape the result with:

• Image style: B&W Sketch, Rough Sketch, Color Sketch, Cinematic or Painterly.
• Aspect ratio: Scope 2.39:1, Flat 1.85:1, Widescreen 16:9, Standard 4:3, Square 1:1 or Vertical 9:16.
• Quality: Draft, Standard or High. Each shows its cost in AI credits.
• References: the characters in the shot are found automatically and their photos sent, so faces stay consistent. You can also pick the scene's location photos and upload your own images. A frame takes up to eight reference images; the panel says if any will be left out.
• Composition guide: sketch the layout yourself with a pen, straight lines, boxes, ellipses and stick figures, over an optional rule of thirds, grid or 1, 2 or 3-point perspective guide. The guide itself is never sent.

Every render is a take, kept in the strip under the frame. Generate again for a new take, or paint over part of one with Edit area and describe the change. A take shown at another aspect can be dragged to reframe it. Choose Use this take to put it on the board. Move between shots with the shot rail or the arrow keys.

Setups

Setups (Indie and above) is a floor plan for each scene where you plan how every setup is rigged. Choose Floor plan to draw walls, curved walls, windows, doors, outlets and the room, or put a floor plan image underneath and trace it. The plan is shared by every setup in the scene. Scene Base holds the lighting every setup starts from, and each lettered setup (A, B, C…) adds its own cameras, cast, lights, grip and notes, and links the shots it covers.

• Add cameras, lights, grip, power, furniture, vehicles and the scene's breakdown items from the add menu. Aim cameras and lights by dragging the dot ahead of them.
• Lay dolly track, set blocking beats for cameras and cast, then play the blocking back.
• Patch lights to outlets or generators to see the power load on each circuit.
• Show the layers for the Director, DP or Gaffer, or all of them.
• Each setup shows what changes moving into it and an estimated changeover time.
• The Library saves a floor plan or a full setup to reuse in any scene or project, and a scene's Setup Book exports as a PDF.

Animatic

Choose Animatic (Indie and above) to play the boards as a timed sequence. Attach a voice track: a read-through of the script, an AI read-through with your cast's voices, scratch voice-over you record yourself, or an uploaded file. Add music and sound clips, trim and fade them, and tick Retime shots to fit the dialogue to stretch the timing to the lines. Export animatic renders a video or a GIF flipbook, with optional burned-in scene, shot and time details. The live read-through plays in preview only, so record scratch voice-over to include dialogue in the file.

Export

Export the storyboard as a PDF, or export the shot list as a CSV from List view. The Export menu also offers Share read-only link to send the boards to someone outside the project.

Planning Board

An infinite canvas for visual planning: mood boards, story maps, brainstorms or anything you want to lay out spatially. Pan by dragging the background, and zoom in and out to move between the big picture and the detail.

Cards you can add

• Text, Sticky notes, Image, Checklist and Link cards.
• Group and Folder containers to tidy related cards away.
• Moodboard and Palette cards (see below).
• Draw (D): sketch freehand on the board. On an iPad, Apple Pencil draws straight onto empty canvas.
• Scene, Database item and Storyboard shot cards, pulled in from elsewhere in your project so the board stays connected to your real production.

Add a card from the toolbar, or drag a tool out onto the canvas to place it exactly where you want.

Connections

Turn on the connection handles and draw a line between two cards to show a relationship. Each connection can carry a label, arrowheads at either or both ends, a solid, dashed or dotted line, and a curved or right-angled path. Drag a line to bend it, and reset the path to straighten it again.

Groups, folders & stacks

Select several cards and Group them into a stack, or drop them into a folder. Open a stack or folder to work inside it; a breadcrumb at the top shows where you are and lets you step back out. Double-click a breadcrumb segment to rename it. Use Ungroup to break a stack apart, and Tidy to snap a selection into a clean grid.

Moodboards

A moodboard lays its pictures out for you. Open one to add pictures (from the media library, by upload, or by dropping or pasting them, a ZIP of them included), notes and palettes. Pick a layout: Masonry (pictures at their own proportions), Grid (square, portrait or landscape tiles), Lead picture (the first one across the top), Frames (wide 2.39:1 frames) or Split (notes in a column beside the pictures). Set from one to six columns and the gap between pictures. A moodboard's menu offers Add to lookbook to copy it into a lookbook in Pitch.

Palettes

Choose Make palette on any picture to turn its colours into a palette card, or add one from a moodboard. Show a palette as Bars, Chips or Dots, show or copy the hex codes, pick a colour from the screen, and edit the colours.

PDFs

Drop a PDF onto the board, or choose one for an image card, and it shows its first page. Open the card to read every page. Choose Use as card preview to show the current page on the card, Add all pages to place each page as its own card, or download the file.

Importing many pictures

Drop several pictures, a ZIP or a folder onto the board, or paste them, and they arrive as a new moodboard named after the ZIP or folder. Dropped onto an open moodboard, they join it, and its Add images takes a ZIP too. One import takes up to 200 pictures. JPEG, PNG, WebP, GIF, HEIC, SVG and PDF files come in; anything else is left out, and the board says so.

Templates

Apply a ready-made layout from the Templates picker, grouped into:

• Beat Sheets: Three-Act, Save the Cat, Hero’s Journey and Syd Field, laid out as linked sticky-note beats.
• Story Maps: Story Circle, Branching Plot Tree and a Theme vs Plot grid.
• Character: Character Profile Worksheet and Character Arc Timeline. The Character Relationship Web builds a graph of your characters and how they relate, pulled straight from your breakdown database.

Export & collaborate

Export the board as a PNG or PDF, choosing either the current view or the whole board. Snap to a grid for tidy alignment, and undo or redo your last edits with ⌘Z / ⌘⇧Z (Mac) or Ctrl+Z / Ctrl+Shift+Z (Windows). When others are on the board with you, you can see their live cursors as they work. Press ⌘F / Ctrl+F to search the board's cards and jump to one.

Pitch

Pitch, in the Development group (Indie and above), keeps everything you send out about the film in one place, along with who you sent it to. It opens on two tabs: Materials and Tracker.

Materials

• Pitch deck & lookbook: your decks and lookbooks. Create new starts a pitch deck or a lookbook, and View all lists every one, including decks and lookbooks you made elsewhere and uploaded.
• Synopsis and Treatment: choose Write to start one. They are documents in the Documents tool, filed under Treatment, and Back to Pitch brings you back.
• Budget: the all-in figure from your Budget, and the pitch budget (see below).
• More: any other file you pitch with, such as a one-pager, cast list or comparables.

Export package makes one zip to send by email. Tick what goes in: the decks and uploads, the synopsis and treatment as PDFs, the pitch budget as a PDF, and your other files as they are. A lookbook isn't in the package yet, so export its PDF from the lookbook.

Tracker

List the people you pitch to with their role, company, email and phone. Each person has a status: To pitch, Pitched, Interested, Meeting or Not interested. Choose Log a pitch to record what you sent and what they said, and set a next step. For now the tracker, the pitch budget's settings and the files under More are kept in this browser, so they don't move to another device.

Pitch decks

New pitch deck offers three ways to start:

• Build with AI: choose what the AI may use (title, logline and synopsis, treatment, script, characters, locations, team, budget and schedule), which characters to include, and a template, then add a brief such as the genre and comparables. It writes the deck from your project for 12 AI credits and places your pictures where they belong, such as a character's photo in their frame. You review the result first; Open in editor keeps it.
• Blank: white slides with nothing on them.
• A template: Brutalist, Scandinavian, Modern, Futuristic, Bohemian, Industrial or Art Deco, each shown finished. Choose With images to start with the template's sample pictures, or Without images. The words come from your project.

In the editor, slides run down the left. Add slides, text boxes, pictures and shapes, and drag, resize and turn them on the slide. A Characters or Team slide can show from one to six people. Reset this slide draws it again as the template laid it out, and undo brings your version back. The Design tab changes the whole deck: colours, the two typefaces, text size, slide numbers, a logo, a footer and the page (16:9, A4 landscape or A4 portrait). Decks are saved to the project for everyone on it.

Present plays the deck full screen. Use the arrow keys, Space or a click to move on, N to show your notes and Esc to leave. Export saves a PDF, the current slide as a PNG, or every slide as PNGs in a zip. The Dashboard shows one deck: choose Show on Dashboard on any deck in Pitch to pick it.

Lookbooks

A lookbook is a set of pages of pictures, notes and palettes. Start one from New lookbook, choosing its sections (Mood & Tone, Composition, Colour, Characters, Wardrobe, Locations, or your own) and a layout for each page: Masonry, Grid, Lead picture, Frames or Split. Add pictures by dropping or uploading them, with Import for pictures or a ZIP of them from your computer, or from Sources, which lists your Planning board moodboards, storyboard frames and the characters, wardrobe and locations in your Project Database. Pictures are referenced, never copied.

• Design sets the page (landscape or portrait), its background (white, black, grey or any colour), how titles look and where they sit, and the typefaces. The text on the page changes to stay readable on the colour you choose, and the PDF and share links use it too.
• Pages shows each section as it will print, and you can rearrange it there.
• A new lookbook stays in Pitch until you put it on the Planning board: the board's Moodboard button lists your lookbooks, and Remove from board on a lookbook's card takes it off again. Send to Planning board copies a section's boards there, and a moodboard on the board can be added to a lookbook.
• Share makes a read-only link: choose the sections, an expiry, a note to readers and, if you like, a password. Revoke a link at any time.
• Export PDF chooses the paper and orientation, whether pictures flow onto pages or each board is scaled to one page, a cover page, page numbers and hex codes for palettes.

Pitch budget

The pitch budget is your Budget as you will present it. Show versions side by side (the budget as it stands and any scenario saved in Budget › Scenarios), choose the detail (top sheet, accounts or every line), leave out sections or accounts, and add contingency, a completion bond and a note. It previews as it prints, and Export PDF saves it. On a Commercial project you can show the AICP bid instead, built from Budget › Bid.

Breakdowns & Database

The Database is the central catalogue for every element in your production. Each item belongs to a category and stays linked to the scenes it appears in, so a single record drives your breakdowns, schedule, budget and reports.

Categories

Built-in categories cover the standard breakdown sheet:

• People: Characters, Cast, Crew, Extras
• Things: Props, Vehicles, Wardrobe, Set Dressing
• Effects: Sound FX, Visual FX, Special Effects, Stunts, Makeup/Hair
• Places: Locations, Location Requirements
• Other: Animals, Products (the product a commercial is selling), Vendors

Location Requirements are what a place itself has to provide: a feature that cannot be carried in, or that has to be built: a low wall, a street lamp, a spiral staircase, a courtyard gantry, a chain link fence, pylons. Set Dressing is the opposite test: a table, a rusted chain or a stack of crates arrives on the truck and leaves on it, so it dresses any location. Tag a requirement into a scene and it appears on every location tagged in that scene, under Requirements in the location's panel, so a scout reads the checklist on the recce. You can also point one at a location by hand from its own item panel, under Applies to these locations.

You can also add your own custom categories with a colour and icon to match a production's needs. Equipment, casting and locations each have their own dedicated tools, but all of them read from and write to this same catalogue.

Views

The switch at the top right picks how the current category is shown:

• Grid: a card layout with cover images and quick details, good for visual elements like props, wardrobe and characters.
• List: a sortable table, good for working through long lists.
• Scene usage: which scenes each element appears in, across the whole script.

Item details

In the Database or Casting item form, click a linked item's name or thumbnail to open its record, including the cast member playing a character and the characters linked to an item. The cross beside a link only removes the link. If you have unsaved changes, choose Save and continue, Discard and continue or Cancel before opening the linked item.

Click any item to open its detail panel. The tabs shown depend on the item's category:

• Details: name, category, cost estimate, contact details, physical description, and category-specific fields (for example agent details, vendor and model, or location address and coordinates). This tab also holds the cover image and external links.
• References: a gallery of extra images for the item.
• Hire and Customs (equipment): its hires and bookings, and its carnet details.
• Requirements (Locations): what this place has to provide, gathered from the Location Requirements tagged in the scenes shot here.
• Agent (Cast and Crew): agent name, company, email and phone.
• Appearances: every scene the item appears in, with scene number, description and day or night.
• Schedule: which shoot days the item is needed on (shown once scenes are scheduled).
• Measurements (Cast): sizing details for wardrobe.
• Budget: what the item costs. It starts with the lines the item usually needs: a cast member's day rate with hold, travel, rehearsal and fitting rates and a flat fee (on a commercial, a session fee and a buyout), a crew member's day rate with hold, travel, prep and rehearsal rates and a flat fee, a prop's purchase or hire, a location's fee. They are starting points: remove any you don't need and it stays removed. Type a rate and the line goes into the budget; a line you leave empty stays out of it. Each kind of day is counted by its own line, so nothing is counted twice. Sync options shows which kinds of day each line counts and lets you change them; a line you add yourself follows the schedule too once it's costed by the day, week or month, and a weekly line charges a week for every week the person works in. The calendar switch beside a quantity keeps it following the schedule as days move, and typing your own quantity keeps your figure instead. Each line goes in the sub-account the item belongs in (a principal's in Principal Cast) and moves if the item's sub-category or department changes, unless you've put it somewhere yourself. Simple shows the description, unit, quantity, rate and estimate; Advanced adds the account and sub-account. For cast and crew, Contract terms is there from the start: the day rate keeps the person's contract rate in step, with their hours per day and overtime and double time multipliers beside it, and Crew Check-in shows that rate as set in the budget. A new contract starts from the terms of the unions your project works under (Settings › Unions), or a standard 10-hour day at time and a half with double time after 12 hours on a non-union production, and the section says which while those terms are unchanged. A piece of kit has one row for its own rate, which the Equipment tool adds to its department's line. The arrows move to the next or previous item and keep you on the same tab.
• Files: link production documents such as contracts, permits or releases.
• Notes: free-text notes about the item.
• Continuity: link the item into a continuity chain to track it across the shoot.

Working with several items

Tick items in Grid or List view and a bar appears at the bottom of the list, offering only what applies to them:

• Select all: tick every item in the current view.
• Send onboarding forms (Cast and Crew): send onboarding forms to the selected people.
• Merge: combine duplicates into one record. Pick the item to keep and the others fold into it. Merging works within one category, so it is unavailable while the selection mixes categories.
• Company database (projects that belong to a production company): save the items to the company database so other projects can reuse them, or remove them from it. Removed items stay in this project. Each option says how many of the selected items it touches. The company database holds cast, crew, locations and vendors, and an item already in it carries a small building badge on its thumbnail.
• Delete: remove the selected items from the whole project.

If some selected items are outside the current view, in another category or hidden by the search, the bar says how many. Every action still applies to them.

Tidy up

Script changes can leave loose ends in the catalogue. When they do, a Tidy up entry with a count appears at the foot of the category list. It can suggest:

• Items that aren't in any scene: props and similar with no scene tag. Cast, crew and characters are never included.
• Items tagged in deleted scenes: tags left behind when a scene heading was deleted or merged. Detaching removes the stale tags and keeps the items.

Each suggestion opens a review first, so nothing changes until you confirm.

Adding items

New item at the top right starts a blank item in the category you're viewing (Props from All Items). Its arrow holds the other ways to add:

• From the company database: cast, crew, locations and vendors your production company has saved.
• From a spreadsheet (CSV): bring in a breakdown from a spreadsheet (see below).
• From another project: a database file (.sfdb) exported from InteScene.

Export

The Export menu covers the current view or the whole database:

• PDF: a printable table of the current view.
• CSV: a spreadsheet of the current view (name, category, department, job title, linked records, notes, estimated cost, scene count and contact details).
• Database file (.sfdb): the whole catalogue, as a file you can bring into another project or keep as a backup.

The CSV import wizard

Importing a spreadsheet takes four steps:

1. Upload your CSV file.
2. Mapping: InteScene auto-matches your column headings to the right fields (name, notes, cost, email, phone, day rate, vendor, address and more). Adjust any that did not match. Only Name is required.
3. Preview: check the first five rows. Rows that match people already in the category can be set to Update (fills in the mapped fields; the name never changes), Create new or Skip.
4. Done: the items are added to your database.

AI scene breakdown

In the script editor, choose Breakdowns to open the Scene Breakdown panel, then run a breakdown to have AI read your scenes and pull out the elements. It extracts Characters, Props, Vehicles, Wardrobe, Sound FX, Visual FX, Set Dressing, Location Requirements, Animals, Stunts, Special Effects, Makeup/Hair and Extras, plus any custom categories you have added, and sends them straight into your database. Locations come from your scene headings.

Run it on the current scene, or use Breakdown All Scenes to do the whole script at once. Choose what to cover:

• New + Changed Scenes: scenes with no breakdown yet, or edited since they were last analysed.
• New Scenes Only: only scenes that have never been broken down.
• All Scenes: re-analyse every scene.

Casting

The Casting view brings your characters and talent together and helps you check everyone is free when you need them. It has three sections: Casting Board, Cast Lineup and Availability Alignment.

Casting Board

The board shows your characters alongside a talent pool, so you can match actors to roles.

• Characters: every speaking character from your script, each with a photo, short description and casting status. Characters appear here once your scenes have been analysed in the script editor.
• Talent Pool: add cast members with photos, agent details and contact information. Each talent card shows a casting status: Signed, Offered, Auditioning or Passed.
• Linking an actor to a role: drag a talent card onto a character, or use "Cast this role" on the character to pick from the talent pool. Click anywhere on a card to open the full record. The character then shows the actor as cast. Click the actor's name to pick someone else, or click the cross to unassign them; the actor stays in the talent pool.

Dialogue analytics

InteScene measures each character's presence in the script: dialogue line count, word count and scenes they appear in. You can see these figures in the script editor's Characters navigator, in a character's Appearances tab, and in the Character Numbering screen, which is handy when deciding billing and call sheet order.

Character numbering

Click Assign Character Numbers to set the order characters appear on call sheets and reports. You can:

• Sort by dialogue, by number of scenes, or arrange them manually by dragging.
• Use Auto-assign to number everyone in one go, then fine-tune.

Numbers are unique per project, so each lead has a stable number across every document.

Availability Alignment

This tab lays your cast against the shoot schedule on a date grid so you can spot problems early. Pick Available, Unavailable or Clear, then drag across the dates. Add availability sets a date range with a reason (Holiday, Other Production or Personal), notes and an optional weekly repeat. If a new entry overlaps an old one, you choose whether to replace it or add only the new dates.

InteScene flags a conflict when a cast member is scheduled to shoot on a day they are marked unavailable. Filter the grid to focus on cast assigned to characters, or those filming on multiple days.

Cast Lineup

Cast Lineup shows each character beside the actor playing them. Choose Use cast photo on a character to make the actor's photo its main picture; the old picture moves to References. Use cast photos where missing does this for every cast character with no picture yet and leaves the rest as they are. An Undo appears after each change.

Saving cast to the company database

Add a talent card to your production company database (the building icon on the card) to reuse the same people on future projects without re-entering their details.

Schedule

The Schedule view plans your shoot day by day. Switch between four views with the tabs at the top: Scheduler, Stripboard, Calendar and Day out of Days. Use Add Day to create shooting days. Undo with ⌘Z / Ctrl+Z and redo with ⌘⇧Z / Ctrl+Shift+Z; on a phone or tablet, Undo and Redo are in the Schedule Options menu.

Scheduler view

A board where each column is one shooting day. Drag scenes from the Unscheduled sidebar onto a day, and reorder scenes within a day to set the shooting order. Open Display to zoom, to Show Summary (scene synopses on each strip), to show start times or story days, or to hide non-shoot days.

Add lines to a day with the buttons under it:

• Break: a meal or other break (60 minutes to start).
• Move: a company move to another location (30 minutes).
• Setup: rigging, lighting or set-up time (30 minutes).
• Custom: your own line, such as a crew photo or a rehearsal (see below).

Double-click a banner's title to rename it. Right-click a strip to Pin to date… (the scene can still be moved, and a conflict flags it if it ends up elsewhere) or to set its Strip colour.

Stripboard view

A traditional coloured-strip layout, with strip colour set automatically from the scene's interior/exterior and time of day. Each strip shows the scene number, INT/EXT, location, time of day (Day, Night, Dawn or Dusk), the cast numbers in the scene, the location address, page count in eighths, and the estimated duration. Mark a strip as Shot once it is in the can. Under Display, Hide Shot Scenes focuses on what's left, and Expanded View or Compact View changes the layout. Strip Layout sets which columns the stripboard shows and prints.

Move several strips at once

⌘-click / Ctrl-click to pick strips one at a time, or Shift-click to pick a run. Then drag any of them to move the group together on the Scheduler, the Stripboard or the day panel. Press Esc or click elsewhere to clear the selection.

Split a scene into separate shooting periods

You can schedule different parts of the same scene around a break, or across several shooting days, using scene instances. The script itself stays as one scene.

1. In Scheduler or Stripboard, right-click a scheduled scene and choose Duplicate scene, or use the copy icon on the strip. This adds another instance immediately after it.
2. Use Edit scene instance… from each instance's right-click menu to set its Occurrence Label, for example Shot 1, Shot 2, Pt 2 or Pickup, then click Save. The same editor is available from Edit cast on this day and lets you adjust the cast, script pages and breakdown elements for that instance.
3. Set each strip's duration to the time needed for that part, then drag the instances into shooting order or onto different days. Place a Break, Setup or other banner between them as needed.

For example, duplicate scene 4, label the first instance Shot 1 and the second Shot 2, and place a break between them. Both strips still refer to scene 4. On a phone, open the scene's ⋯ actions to find Duplicate scene and Edit cast on this day.

These are labels on scene instances, rather than individual shots linked from the storyboard. Direct scheduling of individual shots is on the roadmap.

Automatically split a scene around a meal break

For a quicker split, place a Break banner immediately after the scene, give the break a duration greater than zero, and edit its Break time to a time inside that scene's scheduled shooting period. InteScene automatically splits the scene at that time and shows a continuation instance after the break for the remaining shooting time.

For example, if scene 4 starts at 09:00 and lasts four hours, a one-hour break pinned to 12:00 gives you scene 4 from 09:00 to 12:00, the break from 12:00 to 13:00, and scene 4 continuing from 13:00 to 14:00.

This gives you less control over the separate parts than duplicating and editing instances yourself. The automatic split follows the break's time: remove the break, reset it with Use the scheduled time, or move its time outside the scene, and the scene rejoins.

Custom entries

Click + Custom under a day to add your own line, such as a crew photo or a rehearsal. Give it a title, description, duration, location, day or night, cast and strip colour. Leave its start time blank to follow the running order, or set one: a later time leaves a gap, an earlier one overlaps the line before. Custom entries print on the call sheet like a scene, the cast you pick count as working that day, and AI Schedule and Auto-Arrange keep them.

Scene notes

Use a strip's Notes button to record what a scene still needs, for example "CU insert of the corkscrew". An amber badge shows on the strip while a note is open; mark it done once it is picked up. Notes belong to the scene, so they stay when you unschedule, duplicate or rearrange it. Every open note is listed in Planning, and the Day check in Reports lists them too.

The voice-over recording

When your script has (V.O.) lines, a VOICE-OVER RECORDING scene appears in the unscheduled scenes. Its cast is everyone with a voice-over line, and its sides are those lines. Characters who only speak in voice-over in a scene are not called to set for it.

Auto-Arrange

Tools › Auto-Arrange lays scenes onto days by fixed rules, with no AI and no credits. Arrange only the unscheduled scenes, or rebuild every shoot day.

Calendar view

See your schedule on a monthly calendar. Each day can be one of six types: Shoot, Prep, Travel, Rest, Rehearsal or Holiday (give a holiday its name, such as a bank holiday). Projects without a script can also mark Pre-Production and Post-Production days. Drag a day type from the calendar's side panel onto a date to add a day of that type. New projects start with all seven days, Monday to Sunday, enabled as eligible shooting days. Change the weekday settings so the schedule skips your chosen days off. Existing projects keep their current settings, including Sundays being off unless you have enabled them.

Day details

Click any day to open its panel and edit:

• Scheduled Date, and Lock day so the day keeps its date when other days move.
• Crew Call, Cast Call and Shoot Start times (with quick-pick buttons for common times).
• Per-scene durations, which roll up into an Estimated Wrap Time.
• Shooting Unit, when you run more than one unit (see below).
• Crew Groups to add a whole department, and Individual Crew to add one person with Add crew.

Use the arrows at the top, or ← and →, to move to the previous or next day.

A day is marked Wrapped once every scene on it is shot.

Shooting units

If you run more than one unit (for example Main, 2nd, Splinter or VFX), open Tools › Units to define them (on the Calendar and Day out of Days tabs it is a button of its own), then assign each day to a unit. This keeps separate units' days clearly labelled and lets the planning tools spot a cast member booked on two units the same day.

AI Schedule

Click AI Schedule to have InteScene propose an optimised shooting order. It weighs cast availability, location grouping and travel time, INT/EXT and time-of-day grouping, scene complexity, and daylight (sunrise and sunset for your locations and dates). You can rebuild the whole schedule or only place scenes that are still unscheduled, and set a start and end date for the shoot.

Planning: conflicts, scene notes and saved versions

Open Planning to see:

• Conflicts: cast clashes, rest between days (turnaround), day length, meal intervals and pages per day, split into hard conflicts, warnings and missing data. The limits start from your project's unions and the law where you shoot; a value you type replaces them. Ignore a conflict, or show it on the board.
• Scene notes: every open note, in board order.
• Board changes: scenes your script edits added, cut or changed.
• Shooting velocity and the Location run-of-show, which flags locations you return to on separate days.
• Saved versions: snapshots of the whole schedule you can label (for example "Locked v3"), restore, or compare, with a printable change memo. Try a re-order without losing a known-good plan.

Day out of Days

The fourth tab shows who works which days, for cast, crew or elements, filtered by unit when you have more than one. See Reports & Call Sheets for the codes and for marking days by hand.

Export and calendar invites

From Export you can Print / PDF the current view, Share to Calendar, Export interchange CSV for other scheduling software, or Import schedule… from a CSV or tab-separated file. The calendar share has three tabs:

• Download File: an iCal (.ics) file for Google Calendar, Apple Calendar or Outlook, with quick-add links for Google and Outlook. Include all days, selected days, or only the days featuring one cast member, choose whether to list scene details, and add a reminder.
• Send Invites: send calendar invites straight to cast members who have an email address on file.
• Subscribe: a link you add to Apple Calendar, Google Calendar or Outlook once. Every scheduled day appears with its call times, and the calendar picks up changes on its own (each calendar app checks on its own timetable, from about hourly to once a day). Make it for all days or for one cast member. Anyone with the link can read the schedule, so revoke it in Settings > Share links to end every subscription on it.

Budget

Budget has a Top Level Budget that totals your budget by section, and a full Chart of Accounts where you enter every line. Further tabs hold Reports, Tax credits and, on Commercial projects, client Estimates.

Top Level Budget

The Top Level Budget totals the Chart of Accounts by section: Above the line, Pre-production, Production, Post production, Delivery and Other. Switch between Estimated and Actual, and between Summary and Detailed, then export it as a PDF or CSV. Set the contingency percentage in the budget's side panel; it is added to the grand total.

Commercial bids

For Commercial projects, open Bid under the Top Level Budget to set insurance, markup and the production fee. These percentages use direct costs as their base; each fee can exclude selected accounts. An excluded account stays in the bid but does not attract that fee.

Tick Include contingency to add the contingency amount shown in your budget after fees. It is off by default. You can also enter a Tax label (such as VAT or GST) and a Tax rate. Tax is optional and is added to the subtotal including fees and any included contingency. These settings carry through to Export AICP bid and newly built client estimates.

Margin is profit divided by the price before tax. A 10% production fee on £100 of costs gives a £110 price and £10 profit: a 9.1% margin. Tax is excluded from profit and margin, and any contingency included in the bid is reserved in the estimated cost.

The production fee can be a percentage or a fixed amount; while a fixed amount is set, the percentage does not apply. Tick Firm bid when the price is one the client can hold you to, and add payment terms under Terms.

Client estimates

On Commercial projects, the Estimates tab builds versioned client documents from the budget. A draft can be rebuilt as the budget moves. Once you Mark as sent, its figures are frozen, and a revision becomes a new version. Mark an estimate accepted or declined; after acceptance it shows the quoted total against your current cost, profit and margin.

Chart of Accounts

A full production accounting structure with hierarchical codes:

• Accounts: top-level categories (for example 10.00 Cast, 20.00 Production Staff).
• Sub-accounts: groupings inside an account (for example 10.01 Lead Cast).
• Line items: each with quantity, a × factor, unit, rate, fringes, and the financials below.

Each line tracks Estimated (your plan), Actual (the agreed real cost), Paid, Payable (committed but not yet paid), and Variance (the difference, so overspends stand out). A contingency row and grand totals sit at the bottom. InteScene creates a starter chart of accounts on first use, and items from your breakdown are linked in automatically.

Switch between Outline and Levels to edit lines as a tree or tier by tier. Import from CSV… reads budgets exported from InteScene and other tools, and Purchase Orders (Production plan) raises orders against lines.

Setup: professional budgeting tools

Open the Setup menu in the Chart of Accounts toolbar to manage four reusable libraries:

• Fringes: extra costs added on top of a line, such as payroll taxes, pension & health, holiday pay or sales tax. Define each as a percentage (with an optional cutoff, the base ceiling past which it stops accruing) or a flat per-unit amount, then attach the relevant ones to each labour line from the fringe picker.
• Units: the labels you put on a line (Weeks, Days, Allow, Run of Show, Per Episode). The built-in periods are always available; units you add appear alongside them in every line's Unit dropdown. A unit's hours value lets it scale fringes quoted per hour.
• Globals: named values you reuse across the budget, such as shoot weeks or a standard day rate (for example SHOOT_WEEKS = 8, DAY_RATE = 850). Link a line's rate or × factor to a global; change the value once and every linked line updates.
• Currencies: budget in more than one currency. Set your foreign currencies and their exchange rate to the base currency; lines budgeted in them convert to base in all roll-ups.

Tax credits

The Tax credits tab lists the credits this production claims; each one comes off the budget's total. Use Add a tax credit to choose from every country's schemes. For the main schemes, a helper estimates the credit from your lines. Tag lines in the Tax credit column of the Chart of Accounts (tags never change the budget's totals), switch the figures between Estimate and Paid, then use the estimate in the budget. If you claim in more than one place, a line counts as spend in one place only. Estimates are a starting point, not tax advice.

Scenarios

Open Scenarios to save the current budget under a name (for example "Lean") and compare it with the live budget, or several scenarios side by side, account by account. Restoring brings back a scenario's settings, or the whole budget. Scenarios need the Studio plan.

Budget reports

Open the Reports tab inside Budget for ready-made views:

• Top Sheet: the above-the-line and below-the-line roll-up, including contingency and completion bond.
• Cash Flow: estimated costs spread across periods, with running cumulative totals.
• Details: every line item with its estimates and actuals.
• Budget Analysis: charts of variance and where the money is going.
• Rate Report: planned or actual rates and totals per line.
• Fringe Report: the fringe calculations and any exceptions.

Budget on the dashboard

Your project dashboard shows a budget card with actual spend, a "% spent" figure, and a small burn chart of spend over time so you can see at a glance whether you are tracking ahead of or behind your estimate.

Export

Export the Chart of Accounts as a PDF (print preview) or CSV. Use the Columns selector to choose which columns appear (such as code, sub-account, estimated, actual, paid, payable and variance), and switch between a Summary and a Detailed export.

Locations

The Locations view manages scouting and the practical details of every place you shoot. Switch between a map and a list of location cards.

Map view

• Interactive map: see all your locations as pins.
• Address search: type an address to find a place; selecting it fills in the coordinates automatically.
• Drop Pin: switch on pin-drop mode and click the map to add a new location where you clicked. InteScene looks up the address for that point.

Location dossier

Open a location to see its full dossier, organised into tabs:

• Details: the address, map pin and contact; On the day notes for parking, power, noise, access and WiFi or mobile signal; the nearest emergency department; and free-text notes. Tick Unit Base here to mark a location as the production basecamp (an area takes its site's).
• Scenes: assign or unassign the scenes that shoot at this location.
• Requirements: the recce checklist, with any location requirements from the project database that share scenes with this location.
• Areas: on a site, the areas it contains (see below).
• Recce Photos: upload and browse scouting photography.
• Permits & Docs: attach permits, agreements and other paperwork, create a location release draft, open linked documents and set their status.
• Budget: location costs (rate, quantity and any sub-items) that feed your budget.

Nearest emergency department

On a location's Details tab, open the emergency department card and choose Find nearest emergency department. InteScene searches near the location's pin or address and lists hospitals with their driving time, showing which have an emergency department; hospitals without one come last. Use fills in the name, address, phone and drive time, and you can edit any of it. Map data can be out of date, so tick Verified 24-hour emergency department only once someone has confirmed it. The hospital carries onto every call sheet for that location, and an area uses its site's.

Create a location release draft

From a location's Permits & Docs tab, choose Create location release draft. This works from the grid and map views. The editable English draft is filed under Legal in Documents, starts private with Draft status, stays linked to the location and opens for editing. You need permission to edit the location and Documents.

The draft fills in saved location and production details, including address, contact, access, parking, power and noise notes. Areas use their site's details where their own fields are blank. Linked schedule dates and recorded day rates appear as references to confirm. Missing information remains in brackets. A saved contact is not assumed to be the legal owner or an authorised signatory.

This is a general starting point, not legal advice or a signed release. Edit the parties, permitted areas, dates and hours, fee, recording rights, insurance, cancellation, governing law and signatures to suit the production, and obtain appropriate local legal advice before signing. Property permission does not replace any necessary contributor, artwork, trademark, public-space or drone permissions.

Every part of the document is editable. Bracketed fields that need completing are highlighted on screen; use View > Highlight fields to complete to switch the hints off or on (on a phone, open More formatting). The hints are excluded from exports and printing even when visible in the editor.

Later changes to the location or schedule will not overwrite the document. Open it by its title in Permits & Docs to continue editing; use Documents to share or export it. When you arrive from a location, Back to Locations returns to that location's Permits & Docs tab. If creation fails, retry to finish the same draft without replacing existing edits.

Sites: one building, several areas

One building or address is often several places in the script: the kitchen, the bedroom and the garden of one house, or three rooms of one office. Group them into a site so the address is entered once.

• Group locations: in the grid view, click Select, tick the rooms or areas that share one address, then Group into site. Name a new site or add them to an existing location. The site takes the address, pin, parking, nearest hospital and contact from the first selected location that has them.
• Areas: each grouped location becomes an area of the site. It keeps its own scenes, recce photos, restrictions and notes, and inherits the address, pin, parking, nearest hospital and contact from the site until you give it a value of its own. A site's dossier has an Areas tab to add, open or detach areas, and its Scenes tab shows which scenes are shot in each area.
• Part of: any location's dossier can be moved under a site, or made standalone again, from the Part of field. Detaching keeps the details it inherited, and deleting a site never deletes its areas.
• Folders: in the grid, a site shows as a folder. Click it to see its areas, All locations to go back, Site details to edit the site, and Add area for another room.
• Everywhere else: call sheets list the site once by its name (the scene headings already say which room), the map and logistics treat it as one pin and one stop, the AI scheduler sees one place to drive to, and the customs and sun tools read the site's address and pin. An area with an address or pin of its own stays its own stop.

Documents

The Documents view is the central home for all your production paperwork. It holds two kinds of document: files you upload, and formatted documents you write inside InteScene.

Organising documents

• Categories: Brief, Treatment, Bids & Estimates, Cast Contracts, Crew Contracts, Legal, Insurance, Permits, Call Sheets, Script Versions, Shot Logs and Other. Add your own with Manage categories.
• Who can see it: a document is Visible to everyone in the project or Private, seen only by the people you share it with.
• Status tracking: mark each document Draft, Ready, Sent or Signed so you can see at a glance what still needs action.
• Link to a person: connect a document to a specific cast or crew member, so their paperwork sits with their record. You can also link documents from a database item or a location.
• Notes and details: add notes and page counts alongside a document.

Uploading files

Upload files of any type by choosing a category or dragging them onto the view. Documents are stored securely; download them again at any time. On a phone, Take photo files a paper document.

Trash

Deleted documents go to Trash for 30 days, where you can restore them, before they are removed for good.

Built-in document editor

Create a new document to write it directly in InteScene with a full word processor, no other software needed. Start blank or from a template such as a Director's Treatment, an Agency Brief or a PPM Agenda. It supports:

• Titles and headings, bullet, numbered and task lists, blockquotes, code blocks and dividers.
• Tables and images.
• Page setup with headers and footers, fonts, font sizes, line spacing and indentation.
• Find and replace.
• Comments on selected text, and Version history.

Real-time collaboration

Several team members can edit the same document at the same time, with everyone's changes appearing live. Your work is saved automatically.

Export

Export any document you write as PDF, Word (DOCX), HTML, Markdown or plain text. You can also print it directly.

Media Library

The Media Library, in the Overview group, gathers every image, video, audio file and PDF used across the project's tools in one place. Filter by type, upload files, and reuse them from any tool's picker. Files no tool uses are marked Unused, and Cleanup suggestions groups them with duplicates for you to review. Tick a file and shift-click another to select every file between them, then press Delete or Backspace to move the selection to the Trash. Move to Trash keeps files for 30 days before deleting them for good; restore them from Trash before then. Replacing a picture somewhere in the project never deletes the old file, so it shows here as Unused instead.

Tasks

A flexible task and project tracker for the whole production. Build a board per department or phase, organise work into colour-coded groups, and switch between eight views of the same data. Boards sync live, so everyone sees changes as they happen.

Boards

Each project can hold many boards, for example one per department (Camera, Art, Locations) or one per phase. Use the board title at the top left to switch boards, rename or delete a board, or create a new one. You can start a board from a ready-made template:

• Pre-Production: groups for Development, Casting, Locations, Budget & Legal and Crew.
• Production: groups for Camera, Sound, Art & Set, Costume & Makeup and Logistics.
• Post-Production: groups for Edit, Sound Design, VFX, Color & DI, Music & Score and Deliverables.

Within a board, tasks live in groups (collapsible, colour-coded sections such as a phase or week). Drag tasks between groups, and drag groups to reorder them.

Views

Use the view switcher in the board toolbar to change how the same tasks are displayed.

• Table: a spreadsheet-style grid with collapsible groups, custom columns, inline editing and per-column summaries (sum, average, count and more).
• Board (Kanban): cards in columns. Group the cards by status, priority, person or any select column, and set a work-in-progress limit per column.
• Calendar: tasks with dates shown on a monthly calendar, alongside your shoot days.
• Gantt: a timeline of bars you can drag to reschedule, with dependencies and milestones. Zoom by day, week or month.
• Timeline: a chronological list of dated tasks, useful for a quick read of what is coming up.
• Workload: capacity by person, week by week. Each cell shows the hours assigned to that person that week (from each task's estimated hours), and flags anyone over their weekly capacity. Set the weekly capacity in board settings (40 hours by default).
• Dashboard: live charts and number cards: total items, completed, in progress, overdue, a status overview, items per group and workload by person.
• Form: a simple form anyone can fill in to add a task to a chosen group. Handy for collecting requests without giving people the full board.

Columns

Add columns from the + at the end of the column row, then click a column header to rename it, change its settings or delete it. Available column types:

• Text, Number, Date (single day or a date range, with optional time), Person, Status, Priority.
• Scene, Shoot Day, Breakdown Item and Equipment: link a task to that part of your project and jump to it.
• Progress: a percentage bar. Tags: free-form keywords. Subtasks: a checklist. Checkbox, Link.
• Label and Dropdown: pick-from-a-list columns (Dropdown can allow multiple choices). Currency and Department.
• Formula: calculate from other columns using SUM, AVG, COUNT, MIN, MAX, DAYS and basic arithmetic. Time Tracking: estimated and actual hours.
• Power-ups: Rating (stars), Vote, Email, Phone, Files, Button (one-click action such as mark done or open a link), Colour Picker, Country, Location, World Clock (a time zone), Dependency, Item ID, Creation Log and Last Updated.

Number, currency and formula columns can carry their own formatting (decimals, prefix or suffix, currency symbol). Any column can show a summary at the foot of each group, and you can add conditional formatting rules to colour a cell when its value meets a condition (for example, turn a number green when it is over a target).

Status & priority labels

Status and priority are coloured labels you control. Click any status or priority cell to choose a value, or open the label editor to add, rename, recolour or reorder labels. Defaults are Done, Working, Stuck and Waiting for status, and High, Medium and Low for priority.

Inside a task

Open a task to see its full detail panel, with three tabs:

• Details: progress, subtasks (a checklist, each with its own assignee), recurrence (repeat daily, weekly, monthly or on chosen days), and free-text notes.
• Comments: a discussion thread on the task, with @mentions.
• Activity: a log of changes (status, assignee, dates, subtasks and more).

From a task you can also assign one or more people, set start and end dates and times, add tags, set estimated and actual hours, and connect the task to other parts of your project: a script scene, a breakdown item, a document or a shoot day.

Working with many tasks

• Select multiple tasks to mark them done, set their status, move them to another group or delete them in one go.
• Filter and search the board, and save filters as presets for quick reuse.
• Switch between All and Mine to see only the tasks assigned to you.
• Export to CSV from the toolbar.

Archive

Archiving parks a task instead of deleting it. Archive one from the task's row, from its detail panel, or several at once from the selection bar. The task leaves every view (table, board, calendar, Gantt, timeline, workload and the charts) and drops out of the board's counters, the dashboard's task figures, the My Tasks list, the shooting calendar's milestone pins and the Project Room's "Next up" line. Nothing is lost: it keeps its group, its place in that group, its assignees, dates, progress, subtasks, comments and activity.

Find archived tasks in the Archive section at the foot of the table view, collapsed by default and shown only when the board actually holds one. It lists the newest first with the group each task came from, and Restore puts a task straight back where it was. Delete there removes it for good.

The CSV export follows the board: archived tasks are left out unless the Archive section is open, and an extra Archived column carrying the date appears only when the file actually contains one.

Automations

Automations are when this happens, do that rules that run on the board for you. Automations need the Production plan. Open Automations from the board toolbar to see the rules on the current board, switch each on or off, or build a new one.

The quickest start is a recipe template, for example "When an item is created, set status to Working" or "When all subtasks complete, mark the item done". Pick one and it is added straight away. To build your own, choose Create custom automation, set a trigger, then add one or more actions.

Triggers (the "when"):

• When status changes to a chosen value, or when status changes at all.
• When priority becomes a chosen value.
• When someone (anyone, or a specific person) is assigned.
• When an item is created.
• When all of a task's subtasks are complete.
• When a date arrives (with an optional number of days before).
• When a specific column's value changes.

Actions (the "then"):

• Set the status or priority, or mark the item done.
• Assign a person.
• Move the item to another group.
• Set a date to today (with an optional offset), or push a date forward by a number of days.
• Set any column to a value.
• Create a subtask.
• Notify (post a message to the task's activity log).
• Archive the item (it moves to the board's Archive, where it can be restored).

Notifications

Name someone in a task comment and they are told in their InteScene inbox, and by email unless they have turned off Mentions & Comments. When a task is assigned to someone else, the new assignee is told the same way, by email under Task Assignments, at most once a day per task. Assigning yourself tells nobody, and nobody is told unless the change saves. Each person chooses which emails they get under Notifications in their profile.

Reports & Call Sheets

InteScene turns your schedule, breakdown and script into production-ready paperwork. Pick a report from the left-hand rail, choose a shoot day, then preview, print, download a PDF or email it to your team. Most reports build themselves automatically from data you have already entered, so they stay in step as the schedule changes.

Choosing a report

Reports are grouped in the rail by purpose:

• Dispatch: Daily Dispatch.
• Production: Call Sheets, Day check, Distribution, Script Sides, Daily Production Report, Day out of Days, Production Stats, PPM Book.
• Departmental: Breakdown Report, Props, Wardrobe, Armoury / Weapons, Vehicles, Art Department.
• Equipment: Equipment report.
• Logistics: Catering, Transport & Travel.
• Camera: Daily Shot List, Daily Storyboard, Daily Setups.
• Editorial: Continuity.

Day-based reports have a day picker at the top. If your project runs multiple shooting units, a unit filter lets you view one unit or merge them all into a single sheet.

Call Sheets

Call sheets are generated from the day's schedule. Each sheet pulls together:

• Production company, producer, director and 1st AD with contact numbers
• Day number, date, total days, sunrise and sunset, and a weather forecast (condition, high and low, wind and chance of rain)
• Crew call, shooting call and cast call times, plus meal times
• Cast list: character number, character, actor, status, pickup, hair and make-up, on-set time and agent details
• Background / extras with quantities and call times
• Scene list with scene number, day/night, pages, locations and timings
• Crew list by department with roles and call times
• Locations with addresses, parking, nearest hospital, what3words and access notes
• Safety points, walkie channels, key contacts and additional standing notes
• Company and co-production logos

Every field can be edited by hand after it is generated, and your edits survive later refreshes (for example, you can type over the auto-filled weather line). Open Customise for Templates (reuse a house style across days), Edit Layout (choose which blocks appear and in what order), Shift all times (move every call, meal, pickup and wrap by one step) and Combined view (merge every unit's sheet for the date into one).

The Safety block holds the day's safety points: a short title and notice the crew read on the sheet. InteScene suggests points from the day's scenes (for example firearms, stunts, fire and explosions, moving vehicles, water, aircraft or drones) under Suggested from this day's scenes; choose Add to call sheet or Dismiss, and nothing is added on its own. Use Add a safety point to pick from the full list or write your own. Every word can be edited.

Undo a change to the call sheet with ⌘Z / Ctrl+Z and redo with ⌘⇧Z / Ctrl+Shift+Z. Undo puts back only your own change, so a teammate's later edit stays. On a phone, use the undo and redo buttons at the foot of the sheet.

Changing the day from the call sheet

If you can edit the schedule, you can change the day straight on the sheet, and the stripboard follows. In the Schedule block, drag a row by its handle or use Move up / Move down, and remove a row with the bin (a scene goes back to unscheduled). Below the table, add a Scene (an unscheduled one, or one moved from another day), a Break, a Company move or a Custom entry such as a crew photo. Under Talent, Add cast member calls a character for the day and the cross on a row takes them off; use Add location for a location of your own. A call time you type on the sheet changes the day itself.

Call sheets without a schedule

Choose New call sheet… in the day picker, or Make a call sheet when there are no shoot days, to make a sheet for a single day that is not on the schedule. Add your scenes, cast, locations and times straight onto it. A bar above the sheet sets its name, date and "Day X of Y", and deletes it. Nothing on it changes the schedule or the Day out of Days.

On the Free plan you can make as many of these as you like and download them as PDFs. You can email them to 10 different people a calendar month; sending a revision to someone you have already sent to this month costs nothing. The Share window shows how many free sends are left.

To add someone to the day's crew, choose them in the crew picker, or use New crew member for someone who isn't in your project yet: they are added to your database and to the day, so the Day out of Days and their budget count them, even for a single day.

Checks before you send

When something on a call sheet needs attention, a chip in the toolbar shows how many issues there are; click it to review them. A blocking issue must be fixed or acknowledged before you send. A warning can be hidden with Ignore and brought back with Restore.

The list includes an hours check for everyone on the day: rest between days, time to the meal break, days worked in a row and weekly rest. It uses the strictest of your project's unions and the law where you shoot, or your schedule's own settings when there are none. A rule broken by one person is their own warning, with their figure and the fix; a rule broken by several people against the same limit is one warning that names them.

Day check

Day check answers "Is Day 12 ready?" for one shoot day (or one unit's day). It gathers what the other tools already know into cards: call sheet, schedule, scene notes, cast and crew, hours and turnaround, kit, locations, safety, weather and daylight, transport, catering and tasks. The day reads Ready, a number of things to check, or a number of problems. Each line takes you to the tool where it is put right. Anything that has not loaded reads Not checked, never OK.

Script Sides

Generates the day's sides: just the scenes scheduled for that day, drawn straight from the script. Pick a shoot day and the sides assemble automatically.

Daily Production Report (DPR)

The end-of-day record. It captures the production office and project details, the day's times, a timesheet grid (position, name, travel and an explanation for any overtime), locations and key crew, media (cards used, card details and audio notes), equipment and tech notes, and free-text sections for delays and accidents and general comments.

Day out of Days (DOOD)

A grid showing each person's daily status across the whole shoot: Start Work (SW), Work (W), Finish (FW), Start-Work-Finish (SWF), Hold (H), Drop (D), Pickup (P), Travel (TR), Fitting (FT), Rehearsal (R), Holiday (/) and Company Move (M). Choose what the grid reports on, for example all cast, a cast tier (Principal, Supporting, Day Players, Background), a crew department, or an element category. Cast rows can be labelled by character, by actor, or both.

To add days by hand, pick a mark in the Mark as bar (Work, Travel, Fitting, Rehearsal, Hold or Clear), then click a day or drag along a row. Days from the schedule stay as they are. Choose Done or press Esc when you have finished. A work day added by hand carries a dot. Right-click a day (or press and hold on a touch screen) for Release from hold… and the same marks. Export the grid as a CSV or a colour-coded Excel file.

Production Stats

A snapshot of progress: scenes, pages and time scheduled versus completed across the production.

Departmental reports

Per-day requirement lists for Props, Wardrobe, Armoury / Weapons, Vehicles and Art Department, built from the breakdown of that day's scenes. The Breakdown Report lists every element by scene.

Equipment report

Lists the gear needed, by department, for a chosen day, or a full equipment list for the whole production. Equipment packages are included. See Equipment.

Catering report

Open Catering in the Production group for the same plan in a view of its own: overview, order, dietary needs, cost, menu and responses.

A per-day catering plan. It works out who is being fed and splits the headcount into Cast, Crew and Extras, then lays out:

• A meal schedule (breakfast, lunch and any meals you add) with times and meals required
• A per-department headcount breakdown
• A dietary summary, so special requirements are visible to the caterer
• An estimated cost, charged per head or per person, once you enter rates
• An optional menu panel you can email to the caterer

Pick All Days for a production-wide overview. Catering cost estimates roll automatically into the budget under Catering & Craft. Export any day to CSV.

Transport & Travel report

Pulls your Logistics data into report form: daily transport manifests, vehicle usage, driver hours and cost summaries, plus flight and accommodation manifests. See Logistics.

Camera reports

• Daily Shot List: the planned shots for a shooting day. Order them by script or by shooting order.
• Daily Storyboard: the shot list with storyboard images.
• Daily Setups: the day's setup plans from Storyboard › Setups.

Continuity report

A scene-by-scene continuity record drawn from the Continuity tracker, with reference photos and notes for editorial and pick-ups.

Daily Dispatch & Distribution

Daily Dispatch sends each person their own set of the day's paperwork in one email. Tick the reports each recipient gets (call sheet, sides, shot list, storyboard, department reports, equipment, continuity, catering, their travel and the logistics report), then choose Send Dispatch. A dot marks a report that has changed or not been sent since the last dispatch. Distribution tracks delivery: once you have sent a call sheet, it shows who received which issued version, so you can resend to a single recipient if needed.

Sending and printing

Use Share to email the report to selected recipients. You can save recipients for reuse and seed the list from the day's cast and crew. Call sheets offer extra controls: redaction (hide phone numbers, emails and addresses), a watermark, personalised PDFs per recipient, and per-recipient QR check-in codes.

Choose Export PDF. For most reports this opens a preview where you pick US Letter or A4, Portrait or Landscape, then Print or Download PDF. For call sheets it opens redaction and watermark settings with a preview; the paper size follows the project's report settings.

Choose Publish to cast & crew to put the sheet on the cast and crew portal, with an optional note. People on the portal only ever see a published version; after you edit the sheet, the button reads Publish changes.

On paid plans, each recipient gets a one-tap Confirm receipt button, and Distribution shows who has confirmed. You can also tick Email me a morning-of update to get confirmations, a refreshed forecast, first call and location two hours before each day's general call. Only you receive it.

Logistics

Plan and cost the movement of your people, vehicles, travel and lodging. Logistics is organised into tabs along the top: Routes, Vehicles, Drivers, Travel, Accommodation, Itinerary, Customs (Studio) and Reports.

Routes (map)

Build routes between locations on an interactive map. Give a route a name, set the date or tie it to a shoot day, and add via stops along the way. InteScene calculates distance, duration and fuel cost, and you can plan a return leg. Assign a vehicle, a driver and passengers to each route.

Vehicles

Keep a fleet record. For each vehicle set the type (Car, Van, Minibus, Truck, HGV, Trailer or Other), fuel type (Petrol, Diesel, Electric or Hybrid), fuel consumption, registration number, seating capacity, insurance, and cost (daily hire or purchase). Vehicles are then available to assign to routes, with a warning if passengers exceed capacity.

Drivers

Manage your drivers and their qualifications: Car (B), Van (B), Minibus (D1), HGV Class C, HGV Class C+E, PSV or Other. Record each licence number, an expiry date and whether it is verified, plus availability blocks. InteScene tracks each driver's daily hours and flags any day that exceeds your hours limit, so you can spot fatigue risk before it happens.

Travel

Record travel bookings: flights, trains, cars, taxis, ferries and other modes. Each booking links to a cast or crew member and holds the provider, reference (PNR), from and to, departure and arrival times, cost, and a status of Draft, Requested, Confirmed, Self-arranged, Not required or Cancelled. Flights also carry airline, flight number, airports, terminal, baggage and ticket status.

The planner is schedule-aware. It reads who is working on which days and tells you, per person, whether their travel is covered, partial, missing or unknown: missing means nobody has a flight booked, partial means the flight does not arrive in time for their first day. If the schedule shifts and a booking no longer fits, or a booked traveller drops off the schedule, it is flagged as stale.

Accommodation

Hold room blocks at a property (rooms held, beds, nightly rate, release date and cancellation terms), then allocate individual guests against a block to form a rooming list. Each guest booking carries the property, confirmation reference, check-in and check-out, room type and nights.

As with travel, the planner suggests who needs a room from the schedule and recommends the nights to book (from a person's first work day to the day after they wrap), marking each person covered, partial or missing.

Itinerary

Itinerary shows each person's travel and stays against the shoot, worked out from the Day out of Days. A list of what is outstanding offers Assign travel, Assign stay or Fix setup (for example when a person has no home or base details yet).

Customs

On the Studio plan, Customs helps you prepare and track ATA carnets for taking equipment across borders temporarily.

Reports

Generate logistics paperwork including Daily Transport Manifest, Trip Export, Passenger Pickup Schedule, Fleet Summary, Vehicle Usage, Fuel Cost Projection, Driver List, Qualification Expiry, Route Conflicts, Flight & Travel Manifest, Accommodation & Rooming, Insurance Documentation and a CO₂ Emissions report. Export to PDF or CSV.

Equipment

A live inventory of your production gear, organised by department: Camera, Lighting, Grip, Sound, Post / DIT and Production Vehicles. You can also add your own custom departments.

Tracking gear

For each item record the vendor, model, serial number, quantity, hire rate and a replacement value for insurance. Mark whether a unit is hired or owned, and keep its condition (OK, Damaged or Missing) up to date. A per-item history logs every sign-out, sign-in, hire change and note over the shoot.

Hires, needs and sign-outs

Three things are kept apart for every unit. A hire is what you have agreed with the vendor: collect and return dates, a label and, as it happens, whether it is confirmed, collected or returned. A need is where the shoot wants the unit: the scenes and shoot days it is assigned to in the storyboard, or days you add by hand. A sign-out is who has it right now, when it is due back, and a history line. The status badge is worked out from those three, so it reads "Confirmed, collect 9 Sep", "On set with the camera truck" or "No hire for Days 5 to 6" rather than a word you have to pick. The badge's menu is where you sign a unit out or in, move its hire along, or change its condition.

Use the shortcuts on the Hire tab to hire for shoot days (prep and travel days included, so a hire can start on the collect day and end after wrap) or hire for scenes. A need that no hire covers is flagged as a gap; a unit promised to two hires at once is flagged as double-booked. Hired and needed gear appears on the Equipment report and the call sheet.

The kit calendar

Switch the Equipment list to Calendar to see every unit and package against the schedule: prep, shoot and travel days across the top, hires as bars, the days the shoot needs each unit as dots, and who holds it as a thinner bar beneath. A need with no hire over it is outlined in red, and the row offers a one-click hire for exactly those days, extended by a collect day before and a return day after when you keep those options on. Click a bar or a dot to select it, or tab to one and press Enter: a small strip offers Edit (a popup for that booking's dates, label, note, hire state or holder) and Remove, the Delete key removes the selection and Escape clears it; removing the hold that has a unit signs it back in, and a need set by the storyboard says so and stays. A hatched teal bar is a hire the unit inherits from a package: select it to see which, and Open package to change it there. Only the unit's name opens it. Drawing a hire over days already hired asks whether to keep the existing hire and add hires around it, or make one hire of all of it; the existing hire is never moved on its own. Days a package hire already covers count as hired too, and are left to the package rather than folded into a new hire. A hire that starts before the first day or ends after the last grows a Collect or Return column for that date. A need adds only the days not yet needed, and a hold over days someone already holds is refused. When you sign kit out, on the calendar or from the list, search the project's collaborators and crew, press Me to take it yourself, or type a name; a picked person's contact details stay on the hold so you know whom to chase. Choose what a drag draws (Hire, Need or Held), then press on a row and sweep across the days; drag the end of a bar to change its dates. Packages have their own rows, so a whole camera kit can be hired or signed out in one drag, and the footer totals the hire cost per day.

Owned kit and company kit across projects

Owned kit needs no hire dates: it is available throughout the schedule, its row on the kit calendar says so, and the Hire tab hides the date editor. Mark the days it is wanted on set with Need and who has it with Held, as for any unit. Kit that belongs to your production company is shared by every project of that company, so when another project has it needed or signed out on days that matter to you, the unit reads Unavailable with the dates: a read-only tag in the list and the detail panel, and a hatched bar on the kit calendar. The other project is named only if you are on it too; otherwise you see that the kit is taken and when, and nothing else. On the company's Equipment page, the Calendar view shows the whole picture: every piece of company kit against real dates, with each project you are on named and in its own colour, the projects you are not on as Unavailable, and the company's own sign-outs beneath. A claim is changed in the project that made it.

Equipment packages

Bundle gear into a named package (for example a full camera kit) so you can hire or assign it in one move instead of item by item. A package holds its own items, quantities, rates and hires, which every member inherits, and can be assigned to a shooting unit. Build packages yourself, or import a ready-made package from your production company's shared library.

Crew Check-in

Track who is on set, log their hours, and turn that into payroll-ready timesheets. Crew Check-in has two tabs: a Day View for live tracking and a Timesheet tab for export. The screen shows a live on-set clock and updates in real time across every device, so the AD on set and the coordinator in the office always see the same picture.

Checking people in and out

Each person on the day's roster can be checked in and out with timestamps. A check-in is made up of segments you can label as Work, Meal Break, Travel or Other, and you can adjust segment times or delete a segment if something was logged wrong. Against the call time, each person reads as Waiting, On set, Wrapped or Late (late once they are 5 minutes past their call time without checking in, on the day itself).

QR check-in

Open Check-in QR for a day. The Self check-in poster shows a code crew scan with their own phones to check themselves in, no app or login needed. Scan badges turns your phone or tablet into a scanner for the personal codes on each person's call sheet PDF: one scan checks them in, a second checks them out.

Working without a signal

Check-ins, check-outs, segment edits, notes and badge scans keep working offline. They are saved on the device with the time of each tap, shown under Pending sync, and sent in order when the connection is back (or choose Sync now). Anything the server refuses appears under Not recorded, with Try again or Remove. Badge scanning works offline; the self check-in poster needs a connection.

The Huddle

The Huddle is a shared, live notes panel for the day: log weather calls, safety notes, schedule shifts or a tardy-crew note, and pin the important ones to the top. It also surfaces conflicts automatically, for example anyone who is past their call time and not yet checked in, with a badge so the team sees them at a glance. Notes sync instantly to everyone viewing the day.

Contracts and cost tracking

A person's contract starts from the day rate on their Budget tab (open them in the project database), which stays the contract's rate; Contracts in Check-in lists them with their contracted hours, an overtime multiplier, and an optional double-time multiplier with the hours threshold it kicks in at, which you can change in either place. InteScene then works out each person's hours and splits them into regular, overtime and double-time, with the cost of each, so actual time can be checked against the contract.

Timesheets for payroll

The Timesheet tab totals worked hours and cost per person and per day (regular, overtime and double-time) across the shoot, ready to export as a CSV or PDF for payroll.

Continuity Tracker

The Continuity Tracker keeps the look of your film consistent from scene to scene, so a prop, costume, hairstyle or piece of set doesn't jump or change between shots that are filmed days apart. Because scenes are rarely shot in story order, it's easy to lose track of, say, which scenes a character should have a bandage in, or when a clean coat becomes a muddy one. This tool follows each of those things through the shoot.

How it's organised

• Chains: a chain follows one thing through the film, for example "The watch" or "John's appearance". Each chain belongs to a department: Character Props Wardrobe Makeup Hair Set Dec Other.
• States: the points along a chain where the item looks a certain way (for example "Bandage, clean" then "Bandage, bloodied"). A state lists the scenes it covers, its base breakdown item, any extra stacked items, and a short condition note per item (for example "snow-caked").
• Transitions: the change between two states. InteScene shows what was Added, Removed or Changed, so the wardrobe or props team knows exactly what to swap and when.

Getting started

1. Open Continuity and choose New chain. Pick an existing item from your breakdown (a prop, character, costume, and so on) or create a new one, give the chain a name and confirm its department.
2. Add the states the item passes through, and assign each one to the scenes it appears in.
3. Add a description and reference photos to each state so the crew can match the look on the day.

Shoot-day focus, locks and reference photos

Use the shoot-day bar to focus on the chains and states relevant to the day you are shooting. A state is marked Filmed and automatically Locked once all of its scenes are wrapped, which protects it from accidental edits. You can unlock a state if you genuinely need to change it. Upload reference photos to any state straight from the panel, on desktop, or on a phone or tablet on set with Capture on a chain or Capture scene in the list. Photos taken on set are kept on the device first and upload when there is a signal, so a dead zone never loses a capture.

On a chain, Update breakdown tags each state's items into the scenes it covers. You review every change in a list before anything is written.

The base item, items by scene and shared items

• The base item: the item a chain is built on (Captain Jack Taylor on his own chain, the watch on its). A new state starts with the base of the state before it, so it carries down the chain without being re-picked. When the thing itself changes, use Replace on the state's base to swap it, for that state or for all following states: a watch becomes a broken watch, or Taylor becomes Young Taylor, and the chain keeps its stacked costume and props. Remove takes the base off from a state onward in the same way.
• Which scenes: when you stack an item on a state, choose where it applies: This state, a span, or all following. Removing an item asks the same. Where a change lands part-way through a state, InteScene splits the state at that scene into two looks joined by a transition, so the timeline still reads scene by scene. On set, the "from" scene defaults to the scene you are capturing.
• One item, several people: an item such as "Helmets" can be stacked on any number of chains. When you pick an item that another chain already carries in the same scene, InteScene shows a soft warning naming the chain and the scenes; dismiss it if that is what you mean. The Stack item dialog also lists the other chains with a state covering the same scenes, so you can tick them and log the item to everyone in one go.
• On or off screen, per item: every item a transition adds, removes or changes carries its own eye on the timeline card and in the inspector. Click it to say whether that change happens on camera or between scenes.

Reading the chain

• Story order: the states and their transitions always sit in the chain's own story order, which is what a transition means. Each card shows the scenes it covers in its corner ("SC 12-15"). A chain started from an existing item begins on the first scene that item appears in.
• Timeline, Script and Inspector: Timeline is a scene ruler showing where every state and transition sits; its header switches the ruler and the scene lists between story day, script and schedule order (story day on a desktop, schedule on a phone, until you change it). Script opens the screenplay under the timeline, scrolled to the scene of whatever you select (shown only if you can read the script). The Inspector opens when you click a state or transition card and closes when you click the same card again.

Continuity in the script

Work on continuity while you read the script: open Tools > Continuity in the script editor, click the Continuity button (the chain-link icon) in the script toolbar, or press ⌘⇧O / Ctrl+Shift+O. The panel opens beside the page with three tabs:

• Scene: the states that cover the scene your cursor is in, followed by the scene's characters and breakdown items. Click a state or an item to follow its chain. Track an item to start a chain for it from the script; its first state covers every scene the item appears in. Mark a change here splits a state at this scene, either during this scene (the change is seen on screen, so both states cover the scene) or before this scene (it happened off screen and the new state starts here). Where an item appears in a scene that no state covers, Add to puts the scene in the state before it. The category chips narrow the list, and the script's breakdown highlights, to one category. A filmed, locked state is changed in Continuity itself.
• Chain: the chain you are following. Each state is a card in its colour on the margin line: its scenes, a short description, and the items it holds (the base item first), each with how it looks. Between two cards is the change that joins them: when it happens (during a scene, or between two), whether it is seen on screen, what happens, the words it is pinned to, and what it does to the items, listed as Added, Removed and Changed (how an item looked and how it looks now). Each of those items says On screen or Off screen; click it to switch that one item. The state that covers your scene is marked Here: Edit state changes its description and how each item looks, and Add item puts an item from the scene or the breakdown on it (the pencil does the same on any other state). A change with nothing chosen yet offers Choose what changes. Below the chain you can mark a change in your scene or add your scene to a state. Click a state's name or a change to go to it in the script. All chains lists every chain by department; click one to follow it. Filmed or locked states and changes are changed in Continuity itself.
• Notes: every continuity note, in script order, with Add continuity note at the top.

With the panel open, click a highlighted item in the script to follow its chain (turn the highlights on with the eye at the top of the panel, Show breakdown items in the script, or View > Show All Breakdown Highlights). An item with no chain yet offers to track it, and one with several chains of its own (a character with one per department, say) lets you pick the one to follow.

When you mark a change, What changes starts as a copy of the state before it: change how an item looks, take items out, add new ones from the scene or the breakdown, and set each one on or off screen. A line at the bottom sums it up ("Adds Towel · Removes Leather belt · Changes Sarah's red coat").

To mark a change exactly where it happens, select the words in the script: a bar appears over them with Mark a change here. The change is pinned to those words, which also start its description, and its marker beside the page sits on them. In a scene that no state covers, the bar also offers Add to the state before it, and a change marked there starts a new state in that scene. Note writes a continuity note on the words.

A followed chain runs down the right-hand margin of each page in the colour of its states, with a diamond where it changes and a dashed line where the item appears in a scene that no state covers yet. Click the margin beside a scene to go to that scene and see what you can do there in the panel.

Continuity notes

Select the words a note is about and press ⌥⌘N / Ctrl+Alt+N, or choose Tools > Add Continuity Note. Write what has to match or what changes, and if you like, tag its department and the character or item it is about (InteScene suggests one from the words you selected). Notes are underlined in the script with a dashed line and marked beside the page, for everyone on the project who works with Continuity (only people with access to Continuity can see continuity notes); double-click an underlined passage to open its note, and use the eye at the top of the Notes tab to hide notes on your screen. A note can be edited, moved or removed by the person who wrote it or by anyone who can edit continuity. To move a note, select the words it belongs on and choose Move to the selected words on the note in the panel; a note whose words were deleted from the script can be pinned again the same way. Moved the wrong note? Choose Undo the move on it straight away. A note that marks a change moves only to words in the scene where the change happens. When you run continuity analysis, the AI reads your notes to help it decide where looks change.

AI assistance

• Run continuity analysis: InteScene reads your script and proposes chains, states and transitions for the things that visibly change scene to scene. Suggestions appear as ghosted entries above your chain list, and nothing is created until you accept it. (This uses AI credits and takes anywhere from about 30 seconds to a couple of minutes.)
• Suggest with AI: from a chain's menu, ask for suggested states and changes for that chain alone.
• Detect mismatches: compare an on-set photo against a state's reference photo. InteScene lists findings under Visual diff, each with a short description and a confidence score. Dismiss the ones that don't matter, or Promote to note to save a finding as a continuity note on that state.

Credits Generator

The Credits Generator, in the Production group, builds your end credits from the cast and crew in your Project Database. Choose a roll style, add title cards and cards of your own, set the scroll speed and frame rate, then Export a video (720p, 1080p or 4K), a transparent PNG, text or a CSV. It is available on every plan.

Project Room

On Commercial projects, the Project Room is a private page for your client. Publish estimates, creative, A/V scripts, storyboards and call sheets to it. Named members approve or ask for changes, and every decision is recorded. You choose who sees financial items, and you can set a password on the room. The Project Room is on the Production and Studio plans.

Collaboration

Work with your team in real time.

Inviting members

Open Share & Access > People for a project and invite collaborators by email. New invites start on the Viewer role; pick any other role from the project's role list, including custom roles from Settings > Collaboration > Roles & Permissions. The owner and members whose role can manage members can invite. Invitations show as pending with an expiry date until accepted, and you can Revoke one at any time.

• Owner: full access, including managing members and deleting the project.
• Editor: can edit all project data.
• Viewer: read-only access.

Your plan sets how many collaborators you can have across all your projects. If you reach the limit, the invite control prompts you to upgrade or add seats. (Custom project roles are also available, set up under Settings.)

Working together live

• Live cursors: see where collaborators are working in the script.
• Typing indicators: see when someone is editing a block.
• Presence: see who is online and which view they are on.
• Live sync: script edits, breakdown changes, task updates, comments, check-in and schedule changes appear for everyone right away.

How conflicts are handled

Edits are merged by item, never by position, so when two people change different items at the same time, both changes are kept. The script and rich-text documents use a real-time merge engine that combines simultaneous typing. For other data, changes that do not overlap are merged for you. If you and someone else changed the same thing, InteScene shows both versions and asks which to keep, one difference at a time or all at once. For the schedule, breakdown, task boards and index cards, the version you do not keep is saved in Override Backups.

Cast and crew portal

Give cast and crew free portal accounts from Portal; they use no collaborator seats. They see what you publish to them, such as their call sheets and sides, and you can give them on-set tools such as Check-in and Continuity. The portal is on Indie and above.

Shared links

From Share & Access > Read-only links, the project owner (or a role granted Can share read-only links) can create a read-only public link to one or more views (for example Schedule, Budget, Storyboard, Reports or Casting). Anyone with the link can view those views without an account; they cannot edit. Each link can have an optional label and an expiry of 7, 30, 90 days or 1 year; a link never lasts longer than a year. Copy the link to share it, and Revoke it to switch it off. Cast and crew contact details are left out of a link unless you tick the option to include them.

Shared script pages show revision marks and colours, with the revision table on the title page. Readers can hide the marks from the rail beside the pages; the text a revision replaced is never included.

Review links (script feedback)

A review link is a read-only link to the script that readers can comment on. Make and manage them from the book icon in the script toolbar, or from Share at the top of Script Notes: one dialog lists every live link with what came back through it, and lets you copy, freeze, note or revoke each. Give each link a name for the person or group it goes to, and add a note to the readers if you like (which draft this is, what you want feedback on); readers see the note at the top of their feedback panel. Make as many links as you need: every link keeps its own comments, so a link sent to one person is a private read, and a link sent to a group lets that group see each other's notes. Review links last 90 days by default.

Readers open the script exactly as it prints (or as flowing text on a phone), highlight a passage to leave a comment, and can react to each scene (Loved it, Confused, Drags, Cut?). They do not need an account; they can give a name or stay anonymous, and can remove their own comments.

Everything readers send arrives in Script Notes, in the same list as your team's comments and drawings, under the scene it is about. New notes light the Script Notes icon and are marked New. Click a note to go to its passage in the script, with the words the reader highlighted selected. Each note shows which link it came through; Filter shows or hides readers' notes, and shows one link's notes at a time. You can resolve a note, reply to a reader (your reply appears under their note on the link, as the writer's), and from the note's ··· menu copy it as a comment at the same passage or send it to Tasks. Print readers' notes, in the ··· menu at the top of Script Notes, prints the round as a readers' notes memo. A note whose passage has since been rewritten says so. On an episodic project a review link opens the episode you were looking at when you made it.

AI Features

InteScene includes AI assistance throughout the app. Every AI feature is an optional tool, and you always have the final say. Using AI spends AI credits. Every plan includes some, the Free plan included (see below).

What AI can do, and where

Feature	Where	What it does
Scene Breakdown	Script > Scene Breakdown panel	Extracts characters, props, wardrobe, vehicles, SFX and set dressing from a scene.
Scene Summary	Index Cards	Writes a synopsis, story beat and emotional tone for a scene card. Use AI Summary on a card, or Summarize for every scene.
Shot List	Script > Shot List panel	Suggests shots based on scene content.
Storyboard Images	Storyboard	Generates frame images from shot descriptions.
Character Images	Database / Casting	Generates character reference portraits.
Script Clearance	Script Analyser	Flags brands, music, real people and quotes that may need clearance.
Cost Risks	Script Analyser	Identifies expensive scenes with cost-reduction tips.
Voice Consistency	Script Analyser	Detects out-of-character dialogue.
Structure Analysis	Script Analyser	Evaluates pacing, act balance and dead zones.
Sensitivity Flags	Script Analyser	Flags tropes, stereotypes and content warnings.
Spelling & Grammar	Script Analyser	Reviews the script for spelling and grammar issues.
AI Scheduler	Schedule	Generates an optimised shoot order and refines it.
Continuity Analysis	Continuity Tracker	Tracks how props, wardrobe and makeup change across the script and compares reference photos.
AI voices	Script > Tools > Read Script Aloud	Reads the script with a distinct AI voice for each character. Indie and above.
Story Days	Script > Edit > Story Days	Analyse with AI proposes the story day of every scene, with reasons. The cost depends on the number of scenes.
A/V draft	A/V Script	Drafts sequences and shots from a brief and your Planning board pictures.
Ask your production	Help > Ask your production	Answers questions about the open project, with links to the scenes, days and items it used. Indie and above.
Pitch deck	Pitch > Build with AI	Writes a deck's words from your project in one go (12 credits).

AI credits

Each AI action costs a set number of credits. Quick jobs cost a little; bigger jobs (full-script analyses, image generation, scheduling) cost more. Image generation costs more at higher quality settings.

• Your allowance: every plan includes a monthly pool of AI credits: 25 on Free, 100 on Indie, 500 on Production and 1,000 on Studio. It refreshes each billing period. You can see your balance and usage in Account Settings > Plan & Usage.
• Before you run a job: the cost is shown up front. If you do not have enough credits, the action is blocked and you are told how many you need.
• Top-ups: from Plan & Usage > AI Credits you can buy one-time top-ups or add a monthly add-on pack for extra credits. One-time top-ups never expire and are used after your monthly allowance runs out.
• If you run out: AI actions pause until your allowance refreshes next period, or until you buy a top-up. Everything non-AI keeps working as normal.
• Ask your production charges for what each question actually uses. A short question can cost less than a credit; the rest counts towards your next credit.
• Classes: in an InteScene Classroom class, AI work draws on the class's pool, which the teacher manages.
• To hide every AI feature, turn off AI-Powered Tools in Account Settings > Profile.

For details on what content is permitted when using AI features, see our AI Prohibited Use Policy.

TV & Episodic

When your project type is set to TV / Episodic, InteScene enables multi-episode support.

How it works

• A project can hold multiple episodes, each with its own separate script.
• Breakdowns, schedule, budget and tasks are shared across all episodes.
• An Episode Selector in the toolbar lets you switch between episodes.
• Scene numbers use an Episode.Scene format (for example, "1.3" is Episode 1, Scene 3).
• A new TV/Episodic project automatically creates Episode 1. Creating a TV/Episodic project needs the Production plan or above.
• If you change an existing project's format to TV/Episodic, its current script becomes Episode 1.

Managing episodes

From the Episode Selector you can switch episode, create a new one, and rename or delete one (a project must always keep at least one episode).

Deleting an episode is a soft delete: it moves to Recently deleted, where you can Restore it. From there you can also permanently delete it, which removes the episode and its script for good.

Keyboard Shortcuts

On Mac, ⌘ is the Command key. On Windows/Linux, use Ctrl instead.

Global

Action	Shortcut
Feature Search	⌘K / Ctrl+K
Undo	⌘Z / Ctrl+Z
Redo	⌘⇧Z or ⌘Y / Ctrl+Shift+Z or Ctrl+Y
Focus Mode (toggle)	⌘⇧F / Ctrl+Shift+F
Exit Focus Mode	Esc
Dual Dialogue (on selected dialogue)	⌘D / Ctrl+D

Script editor

Action	Shortcut
Find & Replace	⌘F / Ctrl+F
Next block type	Tab
Previous block type	⇧Tab / Shift+Tab
New block	Enter
Next speaker (quick dialogue)	Enter after dialogue, then ↓ and Enter
Parenthetical under a character name	⇧Enter / Shift+Enter
Set block type directly	⌘1 to ⌘7 / Ctrl+1 to Ctrl+7
Bold	⌘B / Ctrl+B
Italic	⌘I / Ctrl+I
Underline	⌘U / Ctrl+U
Toggle Navigator	⌘⇧N / Ctrl+Shift+N
Toggle Shot List	⌘⇧L / Ctrl+Shift+L
Toggle Script Notes	⌘⇧M / Ctrl+Shift+M
Toggle Breakdowns	⌘⇧B / Ctrl+Shift+B
Toggle Revisions	⌘⇧R / Ctrl+Shift+R
Toggle Continuity	⌘⇧O / Ctrl+Shift+O
Add continuity note (on the selection)	⌥⌘N / Ctrl+Alt+N
Send selection to the Boneyard	⌘⇧X / Ctrl+Shift+X
Dictate	⌘⇧D / Ctrl+Shift+D
Merge with previous block	Backspace at start of block
Merge with next block	Delete at end of block

Settings

Settings come in two places: Settings (in the sidebar) covers the current project and your company. Account Settings (your profile, opened from your avatar) covers you, your plan and security.

Project settings

In the Settings view: cover image and logo, poster colour, tagline, production company link, access controls (private / locked), localisation and finance (currency, timezone, display language, and the units, time format, paper size and reply-to email used by reports and exports, fuel price, maximum driver daily hours), unions (for the hours checks), client and job details on Commercial projects, and the collaboration card (Show Remote Cursors for everyone, Roles & Permissions and Override Backups).

Production company

Set up your company with its name, address, website, logo and contact details. Company members are shared across every project under that company, and the company database holds cast, crew, locations and equipment you can reuse between projects.

Open Production Companies from the project list. Pick a company to see its Overview, Members, Database and Equipment, or create one with New company.

Account Settings (your profile)

Open your avatar to reach Account Settings, with these tabs:

• Profile: name, email and avatar; your location; date format (DD/MM/YYYY, MM/DD/YYYY or YYYY-MM-DD) and time format (12h or 24h); measurement units (metric or imperial) for what you see on screen; collaboration colour; AI-Powered Tools (hide every AI feature); Show Remote Cursors; Show Hover Tooltips; change password; Download my data; restore the demo project; and delete your account.
• Writing: how the script editor behaves as you type: detecting scene headings and smart punctuation (see Script Editor).
• Security: two-factor authentication (see below).
• Plan & Usage: your current plan, usage meters for projects, collaborators, AI credits, storage and email recipients, plan comparison, and AI credit top-ups and add-ons. Enter a promo code at checkout.
• Team: everyone using a collaborator seat across your projects and companies. Invite someone to any project you own, remove people to free seats, or buy extra seats.
• Billing: manage your payment method, view invoices and change plan through our payment partner, Stripe (Manage Subscription).
• Notifications: email for project invitations, mentions and comments, task assignments, the weekly digest, trial and plan reminders, getting-started tips and replies to your help requests, plus marketing email and usage measurement consent.

Subscription & billing

InteScene has four plans you can buy: Free, Indie, Production and Studio. Teachers can apply for InteScene Classroom, which gives a class the Production plan's tools. Your plan sets how many projects and collaborators you can have, which views you can open, and your monthly AI credit allowance. Upgrade or change plan from Account Settings > Plan & Usage. Payment methods, invoices and plan changes are handled securely in the Stripe customer portal via Billing > Manage Subscription.

Security (two-factor authentication)

Two-factor authentication is optional but strongly recommended. Set it up in Account Settings > Security:

• Authenticator app (TOTP): scan the on-screen QR code (or enter the secret manually) with an app like Google Authenticator or 1Password, then enter a 6-digit code to confirm.
• Passkey: register a passkey using your device's fingerprint, face or PIN. Your browser and device run the rest.

You can add more than one method and remove any of them. When two-factor is on, you complete a second step at sign-in (a code from your authenticator, or your passkey).

Script settings

Open Edit > Script Settings in the script editor:

• Page size: match the project's paper, or pin this script to US Letter or A4.
• Display: starting page number, scene numbers (left, right or both), page numbers, and a header and footer.
• Dialogue continuation: (MORE) and (CONT'D) at page breaks, and (CONT'D) when a character speaks again in the same scene.
• Scene continuation: (CONTINUED) markers when a scene runs over a page break, with an optional count.
• Typing: smart punctuation, the spellcheck language and the project dictionary.
• Page layout: line spacing, margins, bold scene headings and format presets.

Turn spell check on or off from Edit > Check Spelling.

InteScene Classroom

InteScene Classroom is for film, media and drama teachers at sixth forms, colleges and universities, with students aged 16 and over. Teachers apply from InteScene. Students join with the class's join code or link and work on their own projects with the Production plan's tools. The teacher can see and comment on every class project. AI credits come from a class pool that the teacher shares out, and the teacher can buy more for the class. When the term ends, projects stay readable and nothing is deleted.

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Printing & PDF

From File > Print / PDF, the Export Script dialog lets you set:

• Scope: Title Page and Script, Script Only, or Title Page Only.
• Page size: US Letter or A4, for this export only.
• Revised pages only: print just the pages changed in the revisions you pick.
• Watermark: custom text on every page (Indie and above).
• Presets: save your settings to reuse.

With revisions, you can also download a Revision memo and a Colored Pages PDF, with each page on its revision colour. Reports, call sheets, budgets and storyboards each have their own export preview.

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Mobile & Tablet

InteScene works on phones and tablets. Below desktop width:

• A bar at the top shows the project and the tool you are in, the connection status (tap it for the full sentence), who is live, and your inbox.
• Four tabs sit at the bottom, with More as the fifth. Call sheet is always second. On plans with the schedule you get Home, Call sheet, Schedule and Check-in (transport crew get Logistics, script supervisors Continuity). On Free you get Home, Call sheet, Tasks and Media.
• More opens every tool, grouped by phase, with search and your recent tools, plus project settings, sharing, Help and Log out. Choose Customise tabs there to pick your own four.
• In a browser tab, the bottom bar slides away as you scroll down and comes back when you scroll up.
• The script opens for reading first, as flowing text on a phone and as pages on a tablet. Tap Edit to type, and Done to go back to reading. Scenes jumps to any scene.
• Dialogs open as sheets from the bottom. Swipe down or use your phone's Back gesture to close one.

Add InteScene to your Home Screen

On iPhone or iPad, tap Share, then Add to Home Screen. InteScene then opens full screen without the browser toolbar. Sign in once more there, because the Home Screen app keeps its own storage.

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Troubleshooting

The fixes below cover the problems we are asked about most. If none of them help, open Help in the app or email support@intescene.com, and include the details listed under Getting help.

InteScene will not load at all

If the app shows a blank screen or will not get past loading:

• Do a hard refresh. On Windows that is Ctrl+Shift+R, on Mac Cmd+Shift+R. This clears a stale copy of the app left over from an earlier version.
• Try a private or incognito window. If it works there, a browser extension is the likely cause. Ad blockers and privacy extensions can block the connections the app needs.
• Check you are online, and try a different browser or device to narrow it down.

Something did not save, or I lost work

InteScene saves as you work rather than on a Save button, and the script editor keeps your text as a shared live document so several people can edit at once. Two things are worth knowing when a save looks wrong:

• Do not close the tab straight away. If you see a saving indicator or a save warning, leave the tab open until it clears. Closing early can drop the most recent change.
• Check for a recovery point. Editors that sync live keep rollback points. Open Settings > Collaboration > Override Backups. Incidents lists copies kept when a risky save was blocked or overridden, and Daily snapshots lists a copy a day on paid plans and trials. Restoring one replaces the current version for that tool, and the version it replaced is kept in the list.

If you have the same project open in more than one tab, work in one tab at a time. Two tabs editing the same thing is the most common cause of a change appearing to undo itself.

I lost my connection

The status beside the page title says how your work stands: Synced, Syncing…, Still syncing, Reconnecting… or Offline. While offline you can keep working, and your changes sync when you are back online, so keep the tab open until then. If a save fails, Not saved appears with a Retry.

If someone else changed the same thing while you were offline, InteScene shows Your offline changes when you reconnect. It applies everything that does not clash and asks about the rest: Keep mine, Keep other, or Decide later, which keeps your changes on this device until you choose. The version you do not keep goes to Override Backups.

Reloading the page while offline does not work in a browser yet, so stay on the open tab until you are back online.

A collaborator cannot see my changes

• Check they have actually accepted their invitation and are listed under the project members in Settings.
• Check their role and view permissions. A member can be in the project but not have access to the view they are trying to open.
• Look at the status beside the page title. If it says Reconnecting…, Not live or Not saved, your changes have not reached the team yet. Not live means reload the page to collaborate live again.
• Ask them to refresh. A tab left open overnight can hold a stale connection.

An invite email never arrived

• Ask the recipient to check their spam or junk folder, and to search for intescene.com.
• Check the address for typos in the members list, then remove and re-send the invitation.
• Corporate mail filters are a common cause. If a work address keeps failing, try a personal address to confirm the invite itself is working.

A feature is greyed out or locked

Two different things can lock a feature, and they look similar:

• Your plan. Each plan sets which views you can open, how many projects and collaborators you can have, and your AI credit allowance. Open Account Settings > Plan & Usage to see your current plan and what it includes.
• Your role on that project. If you were invited by someone else, the project owner controls which views you can open and whether you can edit them. Ask the owner to check your role and view permissions in Settings.

If a feature is locked and you are the owner on a plan that should include it, tell us and we will look at the account.

AI credits ran out or did not refresh

• Your allowance and current balance are in Account Settings > Plan & Usage, along with top-ups if you need more before your next renewal.
• Credits are tied to the account that owns the project, not to each collaborator, so AI work by your team draws on the owner's balance.
• Costs vary by action. Longer scripts, more scenes and higher image quality all cost more, and the app shows the cost before you commit to a run.

Exporting your data, or closing your account

• Export. You can request a copy of your data from Account Settings > Profile. Scripts can also be exported individually from the script editor at any time.
• Deletion. Deleting your account signs you out and cancels any subscription at the end of the billing period. It is deleted for good after 30 days, and you can reactivate it before then. A deleted project can be restored by a member of our support team for a limited time, then it is removed for good. To put a project aside without deleting it, archive it. Deleted episodes can be restored from Recently deleted.
• Your rights over your data, and how long we keep it, are set out in our Privacy Policy.

Getting help

Open Help from the sidebar, the project list or the sign-in page (on a phone, More > Help and support). Ask the assistant, choose Speak to a human, or suggest a feature, and add up to three screenshots. Its Ask your production tab answers questions about the open project, such as which scenes use a location or who is called on Day 3, and links to what it used (AI credits, Indie and above). If you cannot reach the app, email support@intescene.com. To get you a useful answer first time, include:

• What you were trying to do, and what happened instead.
• The project name and the view you were in, for example Schedule or Budget.
• The exact wording of any error message, or a screenshot.
• Your browser and whether you are on desktop, tablet or phone.

Please do not send passwords. We will never ask for one.

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