One production, one plan
Film production management software.
Everything downstream of the script.
Film Logic runs in a browser and holds one copy of the production: the screenplay, the breakdown, the board, availability, the reports and tomorrow's call sheet. When something moves, you can see what it moved.
The problem this category exists to solve
A location moves. An actor becomes unavailable in week two. Three scenes change days. None of that is unusual, and none of it is hard on its own. What is hard is that the stripboard, the Day Out of Days, the cast plan and tomorrow's call sheet all have to agree afterwards, and on most productions those four things live in four different files owned by three different people.
Production management software is the attempt to keep them as one thing. That is the whole idea. Everything below is how Film Logic does it, including the parts where the answer is "it doesn't".
What Film Logic does
Film Logic is a browser workspace for planning and running a shoot. There is nothing to install. It covers a defined stretch of the production process:
- Screenplay. Write in it, or import Final Draft-compatible .fdx, a PDF, or its own .fls format. Scenes, headings and characters come across on import. Revisions and coloured pages, title pages, sides and a navigator are part of the script workspace.
- Script breakdown. Tag what every scene needs, by department: cast, props, costume, vehicles, effects, and the rest. Elements become a directory you can search, rename and merge across the whole script.
- Stripboard scheduling. Drag scene strips into shooting days, add day breaks and banners for meals and company moves, and watch page counts and day totals as you go.
- Availability. Grids for cast and for locations, so a date you are about to promise can be checked before you promise it.
- Reports. Thirteen of them, listed further down, from the one-liner to the Day Out of Days.
- Call sheets. Built from the day already on the board, sent as PDFs, with delivery and open status tracked per recipient.
- On the day. An AD dashboard for whoever is running the floor, and Crew Live, a read-only phone page the crew opens from a link without an account.
- Asset Library. A separate mobile-first workspace for departments tracking the physical things a production owns or hires.
- All of it on a phone. Not a companion app with a subset of features. The same production, editable, from a phone browser: move a strip in a van, check availability on a recce, reissue a call sheet without going back to a desk.
It handles features, shorts, episodic television with per-episode scene pools, and commercial or AV work in a two-column script format.
Who it is for
The people who end up using it most are the ones who own the plan rather than a department:
- First ADs building and rebuilding the board, and running the floor from it. What a 1st AD actually needs from scheduling software.
- Producers and line producers who need to see what a schedule change costs in cast days before agreeing to it.
- Production coordinators getting tomorrow out of the door, chasing contacts, and reissuing the call sheet when the day changes.
- Writer-directors and independent filmmakers doing all of those jobs themselves on a short or a first feature.
- Small production companies running more than one production and wanting the same paperwork out of each.
If your whole shoot is two stable days with four people, a spreadsheet and a free template will genuinely do. We wrote about where that stops working.
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01 / Script
The screenplay comes in
Import or write. Scenes, headings and characters are recognised, and that scene list is what everything else is built on. Read a PDF import through before you build on it; PDFs are inconsistent about formatting in a way .fdx and .fls are not.
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02 / Breakdown
Each scene is tagged
Cast, props, costume, vehicles, effects. Interior or exterior, day or night, set, and page eighths stay attached to the scene. The board sorts on exactly this, which is why breakdown comes first.
How breakdown works → -
03 / Board
Scenes become shooting days
Strips move into days. Availability is checked against the dates. Day totals update as you go, and conflicts are flagged rather than discovered on the morning.
How scheduling works → -
04 / Paperwork
The plan becomes documents
One-liner, shooting schedule, DOOD, element lists, cast and location directories. All from the same board, so they cannot disagree with each other.
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05 / The day
The crew gets tomorrow
Call sheet built from the day, approved, sent, tracked. On set, the AD dashboard runs the day and Crew Live shows it on a phone.
How call sheets work →
What carries through, and what does not
The honest version of "connected"
Software marketing tends to imply that everything updates everywhere, forever. That is not true of any tool, and it is not true here. What is true:
Inside the workspace, information carries forward. The scene list feeds the breakdown. The breakdown feeds the board. The board feeds every schedule report and the call sheet. Change a scene's cast and the DOOD reflects it the next time you open it, because it is reading the same production, not a copy.
Anything you have already exported is frozen. A PDF is a file. A call sheet emailed at 9pm is a file in forty inboxes. Neither changes because you moved a strip afterwards. If the day changes after distribution, you generate a revised call sheet, mark it as a revision, and send it again. That is not a limitation we are working around; it is what a distributed document is.
Breakdowns from other applications do not come across. We import screenplays, not other scheduling tools' project files. Moving a production in means redoing the breakdown, which on a feature is a real afternoon of work. Test on a finished script before you commit a live one.
What happens when the schedule changes
This is the question worth asking of any tool in this category, so here is the sequence in this one. Say the cafe releases Monday and takes back Wednesday.
- Move the affected strips into Monday. The day totals and page counts recalculate as you drop them.
- Check the cast availability grid for everyone now called on Monday, and the location grid for the new date.
- Look at the conflicts report, which flags what the move disturbed.
- Reopen the DOOD. Anyone whose first or last day just moved shows a different work pattern, and that is usually where the money is.
- Reprint the one-liner and shooting schedule if the office is working from paper copies.
- Generate Monday's call sheet again. If the earlier one has gone out, issue it as a revision so the crew can see which version replaces which.
Steps one to four are the part that is genuinely faster than doing it across separate documents. Steps five and six still have to be done deliberately, by a person.
What reports are available
Scheduling: One-Line Schedule, Hollywood One-Liner, Shooting Schedule, Day Out of Days, Daily Category Total, Calendar Report.
Breakdown and elements: Breakdown Report, Elements List, Element Detail.
Directories and checks: Characters Report, Sets Report, Locations Directory, Conflicts Report.
Every one opens in the same print preview, so what you see is what prints. Save as PDF from the browser's own print dialog.
What Film Logic exports
- Every report, and the stripboard, as print or PDF.
- Call sheets as PDF, sent by email with delivery tracking.
- Screenplays as .fls, as Final Draft-compatible .fdx, or as PDF.
- The whole project as an .flc file, for a backup or a handover.
- Script supervisor take logs as CSV.
Cast, crew, locations and shot lists can be imported from CSV or XLSX, and there are downloadable column templates for each.
What crew members see
Three different things, depending on who they are.
- People working on the plan sign in and get a role. Owner, producer or director, 1st AD and scheduler can edit broadly; department, crew and viewer roles are read-only in the production app. Roles are what makes unlimited collaborators safe.
- People receiving the call sheet get a PDF by email. Film Logic records that it was delivered and whether it was opened, which is the part that saves an AD from ringing round at midnight.
- Crew on the shoot day can be given a Crew Live link. It opens on a phone browser with no login and no app, and shows only the sanitised day: current item, what is next, progress, announcements and a schedule summary. It is deliberately not the production.
What Film Logic does not do
Worth reading before a trial rather than during one.
- No budgeting, no payroll, no accounting. Not a module, not on the roadmap for this product. Scheduling output feeds a budget; it is not one. A DOOD is a planning document and should never be handed to an accountant as a payroll calculation.
- No storyboards, mood boards or lookbooks. The Asset Library tracks real production assets; it is not a visual development tool.
- No offline editing. It is a browser workspace. Print or export before you go somewhere without signal, which on a location shoot is a genuine planning step.
- No native project-file interchange. Screenplays import. Other applications' schedule files do not.
- No free tier. Thirty days of everything, then a paid plan. The browser templates are free permanently and need no account, but they are documents, not the product.
Production software and free templates are not the same thing
Film Logic publishes four free browser tools: a call sheet, a breakdown sheet, a shooting schedule and a Day Out of Days grid. They are real, usable documents. They need no account and no email address, and what you type into them stays in your browser and is never sent to us.
They are also single documents that know nothing about each other. Fill in the breakdown sheet and the shooting schedule does not change. That gap is the difference between a template and production management software, and for a small stable shoot the gap does not matter.
Episodic television
A series is not a long film. Film Logic keeps episodes as separate scene pools inside one production, so a block schedule can draw from more than one episode while each episode keeps its own script, breakdown and reports. Cast and locations are shared across the series rather than re-entered per episode.
Commercials and AV work
Commercial and corporate work is usually written as a two-column AV script rather than a screenplay, so Film Logic supports that format directly, with timings, versions and a review flow for client approval. From there the breakdown and scheduling work the same way.
Pricing and the trial
Thirty days of every feature, with no credit card. After that, Individual Production is US$19.99 a month or US$199 a year, covering up to 3 active productions, with unlimited projects, unlimited script workspaces and unlimited collaborators. Regional pricing applies in some countries, including India. Current plans and prices.
There is no per-seat charge, which is the main structural difference between this and the tools that price by editing seat. If you want that comparison with numbers and dates, it is on the StudioBinder comparison.
Common questions
Is this the same as film scheduling software?
Scheduling is the middle of it. Production management is the whole run from script to shoot day, including the breakdown that feeds the board and the call sheets and on-set views that come out of it. If scheduling is specifically what you are shopping for, the scheduling page goes deeper on the board itself.
Can I move an existing production into it mid-shoot?
You can, but we would not. The screenplay imports; the breakdown and board get rebuilt. Doing that during a shoot is how mistakes reach a call sheet. Start it on the next one, or run the trial on a finished script in parallel.
How many people can I invite?
As many as the production needs, on every plan. Roles decide who can change what. Crew who only need to look at the day do not need accounts at all.
Does it work on a phone?
Properly, yes. The production app runs on a phone, and not as a read-only viewer: script, breakdown, stripboard, cast and location availability, reports, call sheets and the AD dashboard are all there and all editable, with the same project data as the desktop. Script Supervisor is the one module that stays on desktop. Crew Live is separate again, a no-login page for crew on the shoot day.
Who makes it?
Aexor Entertainment LLP. It was built by a working director, which is either reassuring or a warning depending on your view of directors. More about the company.
Film Logic
Run it against a script you already know
Thirty days, every feature, unlimited collaborators, no card. Import a screenplay you have shot before and see whether the plan it produces matches the one you actually made.
Start your free trial →