What's new in InteScene

A big one: InteScene now works properly on your phone, call sheets are far more flexible, AI Sketch has become a full storyboard workspace, and more of your work carries on when the signal drops.

New

• InteScene on your phone. Every tool has been reworked for a phone screen. The call sheet opens on today with Call and Directions beside every contact, the schedule opens on today's shoot, and scripts read as text sized to fit. The tab bar holds the tools you use most, and you can add InteScene to your Home Screen to open it full screen.
• AI Sketch is a full storyboard workspace. Every render is kept as a take you can go back to, edit or reframe. Sketch your composition with lines, boxes, stick figures and perspective guides, and move between shots without closing the window.
• Sharper AI storyboard frames. Frames and character images now render on GPT Image 2.5, at the same credit prices, in true cinema ratios including Scope 2.39:1 and Flat 1.85:1. There's a new Rough Sketch style too.
• Use your own photos as AI references. Recce photos, location photos and anything else already in the project can guide an AI frame, with no need to upload them again.
• Build the day on the call sheet. Reorder scenes, and add breaks, company moves and your own entries, right on the call sheet. Every change goes back to the schedule, so the two always match.
• Undo and redo on the call sheet. Step back through your own changes with the new buttons or ⌘Z. A teammate's changes are left alone.
• Your own lines on the schedule. Add a crew photo, a rehearsal or a press visit to a shoot day. It takes its place in the running order and prints on the call sheet.
• Call sheets without a schedule. Make a stand-alone call sheet for a pickup day, a rehearsal or a shoot that never needed a stripboard.
• Call sheets on the Free plan. Free accounts can now make as many call sheets as they like, download them as PDFs and email them to up to 10 people a month.
• Hear about tasks meant for you. When someone assigns you a task or @mentions you in a task comment, you're told in your inbox, and by email if you want it.
• Archive tasks. Park a finished or on-hold task instead of deleting it. It keeps everything, and you can bring it back in one click.
• A review link for each reader. Make a separate link for each person or group, each with its own notes. A link can freeze the draft you sent, so readers aren't reading a moving target.
• A revision memo for your coloured pages. Send a one-page memo with each revision listing the pages to swap in. You can now reissue several colours at once, and issued revisions carry their issue date.
• Location Requirements. A new breakdown category for what a location itself has to provide, like a staircase or a street lamp. Requirements show up on every location used in that scene, and the AI breakdown picks them out for you.
• A Trash for documents. Deleted documents wait in the Trash for 30 days, ready to restore.
• Drive time to the nearest hospital. Pick a hospital with Find nearest emergency department and its drive time goes on the call sheet with it.

Improved

• Keep working when the signal drops. With the app open, continuity, crew check-in, call sheets, production reports, the budget, logistics and script notes keep working with no connection. Your changes save once you're back, and if a teammate changed the same thing, you choose which to keep.
• Working together is smoother. When you and a teammate change the same thing, InteScene keeps both where it can and asks clearly, in plain words, where it can't.
• One clear sync status. Every tool now shows a single status beside the breadcrumb, such as "Online · Synced", so you always know your work is saved.
• More of the call sheet is yours. Add a day player or a unit base straight onto the sheet, drag Talent and Locations into your own order, and hide the Pickup and hair and make-up columns if you don't use them.
• Invitations inside the app. Pending invitations now appear on your project list, ready to accept. You can resend an invitation or copy its link, and joining a project takes one step.
• See who's on the project. The live collaborators chip lists who is working right now and in which tool. Pick someone to jump straight to where they are.
• Export every scene at once. Choose All scenes in the storyboard to export the whole project as one shot list, storyboard PDF or spreadsheet.
• Credits in your own words. Add a presenter line above the title, rename locations the way the audience should read them, and word the copyright notice yourself.
• In your language. The storyboard, the planners and the Project Room now read in German, French and Spanish, and review links follow the reader's own language.
• A cleaner Database. Pictures show whole in the grid, and the toolbar holds just what you reach for.
• Better sides. Print a whole shoot day's sides in one go, and long speeches carry neatly onto the next page with (MORE) and (CONT'D).
• QR check-in on iPhone, iPad, Safari and Firefox. The scanner now reads crew badges on every browser.
• Faster to open. InteScene loads noticeably quicker.
• Easier to read in light mode. Status colours, badges and icons are clearer on a white background.

Plus many smaller improvements and fixes across the app.

A big release for the people who track what is on screen, what is in the truck and where you are shooting: the continuity has seen some improvements to usability, locations can be grouped into one site, and the kit calendar handles hires, holds and needs properly.

New

• Group locations into a site. One building is often several places in the script: the kitchen, the bedroom and the garden of one house. In Locations, click Select, tick the rooms that share one address and group them into a site, new or existing. The site holds the address, pin, parking, nearest hospital and contact; each area keeps its own scenes, recce photos, restrictions and notes, and inherits the rest until you give it a value of its own. Call sheets list the site once with the areas shot that day, the map and logistics treat it as one pin and one stop, and the AI scheduler sees one place to drive to. A site's dossier gains an Areas tab, and any location can be moved under a site, or made standalone again, from its Part of field.
• Search for a location by name, the way you would on a maps app. The address box in Locations and in Logistics routes now searches places, not just streets, so "submarine museum, Gosport" finds the Royal Navy Submarine Museum instead of a Gosport Road three counties away. Venues, addresses, postcodes and towns come back together, results are ranked near the part of the map you are looking at, and the duplicate entries big sites used to produce are folded into one.
• A scene ruler and the script, on demand. Two panels in the continuity chain header: Timeline shows where every state and transition sits on the scenes, and Script opens the screenplay under the timeline, scrolled to the scene of whatever you select, so you can read while you edit continuity. The script panel appears only for people who can read the script.
• Add or remove an item for the scenes you mean. Stacking an item on a state now asks which scenes: this state, a span, or all following. Removing one asks the same question and skips it when there is nothing to ask. Where the change lands part-way through a state, the state is split at that scene into two looks joined by a transition, so the timeline still reads scene by scene.
• Log one item to several people. An item such as "Helmets" can now be stacked on any number of chains. When you pick an item that another chain already carries in the same scene, the tracker 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 those scenes, so you can tick them and log the item to everyone in one go.
• The base item carries down the chain, and can be swapped. A new state starts with the base item of the state before it, so the item stays the base. When the thing itself changes, replace the base on that state and, if you like, on every state after it: a watch becomes a broken watch, while the chain keeps the same stacked costume and props. States that are already filmed keep what they were shot with, and the dialog says how many it is leaving alone.
• An item's Continuity tab lists every chain it belongs to. Open Continuity on a character, costume or prop to see the chains it is part of, the department and role it holds on each, and where a chain and the breakdown disagree about which scenes it appears in. Jump straight to any of them in the Continuity tracker.
• Any item can say whose it is. Character links used to be a wardrobe and makeup feature. Now a prop, a vehicle, an animal, a stunt, an effect or an item in your own category can be linked to the character it belongs to, from the same picker. The Appearances tab lists that character's scenes first, and a props continuity chain gathers the character's props the way a wardrobe chain gathers their costume.
• Link items to each other. A new Linked items field on every on-camera item: the squib to the shirt it hits, the CG fire to the torch, an effect to the prop it acts on. Set the link on either item and it shows on both; remove it from either side and it goes from both.
• Select a block on the kit calendar to change or remove it. Clicking a hire, a hold or a need dot now selects it instead of opening the unit, and a small strip offers Edit and Remove; the Delete key removes the selection and Escape clears it. Every block is a keyboard control too: tab to one and press Enter or Space to select it, and the strip takes focus so Edit and Remove are a keystroke away. Removing the hold that has a unit signs it back in, while a hold booked for later is left as the plan it is. Needs set by the storyboard say so and stay; a bar inherited from a package is changed on the package. The unit's name still opens it.
• Edit a booking from the calendar. The Edit button on a selected block opens a small popup for that booking: its dates, a label and a note, and for a hire its state and reference, for a hold who has it. The note shows in the bar's tooltip. Changing who holds a unit hands it over properly, so the pill, the panel and the reports name the new person; new dates that would land on a hire already there are refused with the clash named; and an end date before the start date is caught before it is saved.
• Pick who holds the kit. The Held and Sign out prompts have room to breathe and a searchable people field: type to filter the project's collaborators, its crew list and names used before, press Me to sign it out to yourself, or keep typing for a truck or a unit. Picking a person keeps their contact details on the hold, shown on the bar, in the selection strip and in the unit's panel, so there is someone to chase when kit is due back.
• Company kit booked through a package shows as unavailable elsewhere. A need or hold recorded on a package row reaches every item in that package, so other projects in the company see the kit as spoken for instead of free.
• Attach a document to a cast member, a character or a piece of kit. The Documents tab carries a new Add menu wherever you open an item from, the Casting board and Equipment included. Link a file already in the project, upload one, or start a new document that arrives attached to the item with the editor open and ready.
• See who else is on the project, and who has access. Everyone with a seat now appears in the Share and Access list with their name, their photo and a live dot showing whether they are working right now, and the dashboard team stack names every person on hover, the ones behind the "+3" included. People who reach the project through your production company are listed too, badged From company, so the access list is the whole picture rather than only the people you invited by hand.
• Centre the logistics map on where you are. A "find my location" button sits with the zoom controls, so a location scout can see the day's pins relative to where they are standing.

Improved

• The continuity chain reads in story order. The states and their transitions always sit in the chain's own story order, which is what a transition means. Each card now names the scenes it covers in its corner ("SC 12-15"). The scene lists and the scene ruler can be read in story day, script or schedule order from the ruler's header; on a desktop they open in story day order, on a phone in schedule order, for the person standing on set.
• A new chain starts where its item first appears. Start a chain from a character, costume or prop and its first state is already on the first scene that item is in, instead of an empty scene list.
• Plainer continuity sync reviews. "Update chain" and "Update breakdown" now say only what will change and how: a count ("3 updates to chain"), one line per change, and "0 updates" when the two already agree. The chain review no longer guesses whether your department tags every scene; it reads the tags as they are, so a breakdown done scene by scene becomes a chain's first draft in one review.
• State cards say less. The "Draft" pill is gone from the continuity state cards and the inspector. It only ever meant "not locked", and nothing could change it. A locked state still shows its Locked pill, and a filmed one still reads Filmed in the inspector.
• The shoot day pill opens wherever you click it. Clicking the arrow or the space to the right of the day's name now opens the day picker, not only the name itself. The item pickers in the continuity dialogs also match the rest of the tracker's look.
• The kit calendar never doubles anything up. Drawing a hire over days a hire already covers, or hiring for a unit's needs when part of them is hired, asks first: keep the existing hire and add new hires around it, or make it one hire for all of it. The existing hire keeps its dates, state and reference either way. A need adds only the days not yet needed, a hold over days someone already holds is refused, and dragging a bar's end stops short of its neighbour.
• Package hires look like hires, and open the package. A hire a unit inherits from a package used to be drawn in the same purple as a hold and could not be touched. It is now teal and hatched, selecting it explains which package it comes from, and Open package takes you there to change it.
• A hold is red only while the unit is out. A past hold on kit that is back in store is history, not a warning, so a schedule that has already happened no longer paints every hold red.
• The pickup day is on the calendar. When a hire starts the day before the first scheduled day, or ends the day after the last, the calendar grows a Collect or Return column for that date instead of clamping the bar to the edge, and hire-for-needs with the collect and return buffers on does the same at either end of the schedule.
• Daily Setups prints one setup to a page, in landscape. A setup diagram is a plan view, so the report now defaults to landscape, and each setup gets a sheet of its own with the scene heading repeated above it. No more setups cut in half across a page break, and the diagram is sized to leave room for the rig, the changeover and the linked boards on whichever paper you pick.
• Day range exports skip the days with nothing on them. Exporting Daily Setups, Daily Shot List or Daily Storyboard across a span no longer pads the packet with a masthead over an empty sheet for a day that has no setups planned or no shots boarded. Pick a single day and it still prints, so you can always see that a day is empty when that is what you asked.
• The Casting board's item modal is the full record. Open a character or cast member from Casting and everything the Database view offers is there too: dialogue counts on Appearances, relationships that update the other character as well, Start a chain and View in tracker on Continuity, Add to company in the header, episode sections on an episodic show, commercial talent-usage fields, and the offer to rename the script's dialogue cues when a character's name changes.
• The actor's name is the recast. On a cast character, click the actor's name on the card to reopen the talent picker and choose someone else; the cross beside it still clears the casting. The separate Recast button is gone, so the pill reads as the two things you actually do with it.
• Tick a run of scenes in one go. In Edit scenes, shift-click a second row to cover everything between it and the last row you clicked, ticking or clearing the whole run at once. Useful when a costume carries through a sequence, or a prop leaves halfway through the night.
• Character reference images are down to three sections. General, Wardrobe and Hair & Makeup. Props and Mood are gone, and any photo already filed under one of them now sits under General. No reference image is removed.
• The nearest emergency department list puts the obvious hospital first. A confirmed emergency department used to outrank every unconfirmed hospital however far away, which pushed the one on your doorstep below small units across town. The list is now ordered by how long it actually takes to get there, with a confirmed department given enough of a head start to win any close call, and a hospital the map says has no emergency department stays last and hidden unless you ask for it. Busy areas show the best few with the rest one click away, reopening a location you already searched brings the list straight back, and Search again is there when you want fresh results.
• The batch breakdown summary stays up, and names the scenes. The summary at the end of a Breakdown All Scenes run now stays on screen until you close it: how many scenes were analysed, how many were skipped, which ones the AI declined and which are worth running again. If the AI provider declines a scene on content grounds, the run still finishes every other scene, charges you nothing for the declined one and names it, so you can break it down by hand instead of hunting for it. The summary used to close itself the moment the run finished, leaving nothing to read.
• The logistics map opens on your locations, not on the whole planet. It now frames the pins reliably whichever size the panel opens at, and a production whose locations all share one address gets a neighbourhood view instead of a close-up of a single rooftop.
• Picking a route flies the map to it. Select a route in the rail and the map zooms to that journey. Routes already in view are left where they are, so clicking a line on the map itself no longer moves the ground under you.

Fixed

• The Equipment tool keeps its place. In a shared project a dropped collaboration connection used to send the Equipment tool back to its list view, and the same reconnect quietly reset the Breakdown, Casting and Locations views under it. The views now stay put through a reconnect, and the Equipment view, department and status filter are remembered per project for the session.
• The live collaborator count reads correctly on every tool. Schedule, Logistics, Locations, Documents, Breakdown, Equipment, Catering, Crew Up, Check In, Continuity, Reports and Cast and Crew Access were all reporting nobody on the project no matter who was connected. They now show the same count the dashboard does.
• The dashboard's Schedule card counts your days properly. "Days scheduled" now means days placed on the calendar, whatever their type: a rehearsal, prep or travel day counts just as a shoot day does, so a two-day schedule with both days placed reads "2 of 2 days scheduled" instead of "1 of 2". The headline figure is labelled as shoot days, with the schedule's total days alongside it.
• The location card no longer closes when you click beside it. Recce photos, permits, scene assignments and budget lines all live on that card, and a stray click on the background used to shut it mid task. Close it with the X, the Done button or the Escape key.
• Leaving the Database view is clean again. Switching from Database to another tool, or opening it on a project where breakdown access is restricted, could put an error panel in place of the view. It now moves straight to whichever tool you picked.
• A stale tab recovers instead of stalling. When a new version of InteScene shipped while you had a tab open, some panels could fail to load and stay failed until you reloaded by hand. The script editor's sidebars were the most visible. They now notice the situation and refresh themselves.
• The kit calendar's Edit and Remove strip is never clipped. It now floats over the selected block, so a unit low in the list gets the same strip as one at the top instead of losing it behind the footer.

Story days across the script, the schedule and the AI tools. Call sheets now go out by email and come back confirmed. The Equipment tool has been rebuilt around hires, needs and sign-outs.

New

• Story days. Tag every scene with the day it happens on in the story. Name your days and assign scenes in one table, let the app suggest them from your sluglines, or set them a scene at a time. Any picker can create a day as you assign it. A chip beside each heading shows the day as you write, and the Navigator filters by it.
• Story days on the schedule. The stripboard gains an optional Story Day column that prints with the board, and kanban cards carry a chip. Click either to retag a scene. Sort, filter and group Auto-Arrange by story day, and the conflicts panel warns when one day's scenes drift too far apart.
• The AI scheduler plans around story days. It keeps each story day's scenes on the same or nearby shoot days where your locations allow, and checks its proposal against the same warning the board shows. A preference under Advanced Options, not a rule.
• Let the AI propose the story days. Analyse with AI reads every scene and proposes the days in story order, with a reason for each one. It reuses days you already have and flags contradictions, like a night scene whose dialogue treats that morning as still to come. Nothing is written until you review it. From 6 credits.
• Story days on your boards, exports and continuity. Scene board and index cards show the chip. The schedule CSV carries a Story Day column and reads one back on import, including Movie Magic's "Script Day". The continuity assistant follows story time for wardrobe, hair and make-up.
• Call sheets by email, with confirmations. Send a finished call sheet to cast and crew, see who has confirmed, and track it by department. Replies go to an address you choose per project.
• A kit calendar. Prep, shoot and travel days across the top, every unit and package down the side. Hires show as bars, the days the shoot needs a unit as dots, and who holds it beneath. A need with no hire over it is outlined in red, and one click covers exactly those days. Sweep across a row to allocate, or drag a bar's end to change its dates.
• Find the nearest emergency department. From the call sheet's Locations block or the location dossier, search around a location and see the closest hospitals ranked by driving time, marked with whether they actually have an emergency department. The hospital sits on the location, so it carries onto every call sheet for it. You still confirm the 24-hour status yourself.
• Company members see the company's projects. Join a production company and you get every project linked to it, with the role you hold, on every device. Mark a project private and only you, the people you invite and the company owner see it. Leave the company and its projects go with you.
• Company kit shows when another project has it. Gear belonging to your company reads Unavailable, with dates, when another project has it needed or signed out. It shows in the list, the detail panel and the kit calendar, and the other project is named only if you are on it too. The company's Equipment page shows every piece against real dates.
• Owned kit is available throughout. Gear you own needs no hire dates. Mark the days it is wanted on set with Need, and who has it with Held, as for any unit.
• Reference images have their own tab. On characters they are organised into General, Wardrobe, Hair & Makeup, Props and Mood, and a photo can be moved between sections. Click one to view it full size and flick through.
• The Files tab is now Documents. One Add button to link an existing document, upload a file, or create a new one that opens already attached to the item.
• Tag an item into scenes from the item itself. Appearances gains Edit scenes: tick the scenes a costume or prop appears in without going back to the script. A wardrobe item linked to a character lists that character's scenes first. Tags land in the breakdown, reports and continuity at once.
• Continuity chains and scene tags check each other. A chain shows where the breakdown disagrees with it, and you can bring either side into step. Every change is reviewed before it is written, and states are never removed.
• Export the Day out of Days as a spreadsheet. CSV and a colour coded Excel file, with the same colours the screen uses.

Improved

• Equipment tells hires, needs and sign-outs apart. A camera hired for Days 1 to 6 that the storyboard needs on Day 2 is no longer flagged as double-booked. The tool warns about the day the shoot needs kit with no hire covering it, and the hire shortcut offers prep and travel days so a hire can start on the collect day.
• One way to sign kit out. The status pill, the bulk bar and the detail panel all open the same form, recording who has it and when it is due back. Signing kit back in returns it to In-house, owned or hired.
• Equipment status is worked out for you. Instead of picking one of six words, each badge reads what is true: "Confirmed, collect 9 Sep", "On set with the camera truck", "No hire for Days 5 to 6". Its menu is where you act, and every change lands in the unit's history. The Booking tab is now the Hire tab.
• A shorter, wider-fitting equipment list. The table now fits a laptop screen without scrolling sideways: one line per unit, summary counts whose chips filter the list, and customs and technical specs folded away behind a one-line summary.
• Kit custody matches what the calendar shows. Damaged and missing survive a sign-out and a sign-in. Signing a unit in closes its hold, so it stops reading as overdue. Drag a hold bar and the custody moves with it. Signing out a package takes every item in it.
• Story days survive a duplicate and a patchy connection. Duplicating a project copies its story days with the script, so the tags in the copy still resolve. A day list saved while the connection is down is kept and retried rather than being replaced by the older list on the server.
• One paper size for the whole production, and a script that can still differ. The size you set in Settings > Localisation now reaches every export, not just call sheets and timesheets. Scripts keep their own picker, because paper decides pagination and a page count is sometimes owed in a size you do not otherwise work in. Existing scripts set to A4 keep it.
• The Day out of Days prints whole, however long the shoot. A six week schedule stays on one grid instead of losing its last weeks and its Work/Hold totals off the right hand edge. Codes step down to fit, and the totals sit with the final day.
• Continuity only offers what the camera sees. Crew, lighting, grip, sound and supplier entries no longer clutter the item lists, and the assistant stops suggesting them. Chains you already built are untouched.
• Open a recce photo full size and flick through the set. Click any photo in a location's Recce Photos tab and move through the rest with the arrow keys. Download or remove the one you are looking at without going back to the grid.
• Turn scene descriptions off on the call sheet schedule. A one line per scene table, on screen and in the PDF. The scene number, heading, cast, location and timings all stay.
• Pick a run of shoot days in one go. Hold Shift to tick or untick a whole stretch of the schedule when copying call sheet blocks.
• Open a character or actor by clicking their card on the Casting board. The whole card opens the record, not just the small pencil in the corner. A character with no scene tag and no dialogue cue now carries a struck-through clapperboard.
• Batch breakdowns explain when the AI declines a scene. Those scenes are no longer retried, they are told apart from temporary service failures, and the summary confirms no credits were used.
• Onboarding picks up where you left off, on any device. Start setting up on one device and open InteScene on another, and the steps resume where you left them.
• Bring your script with you. The project step now leads with "Import a script" (Final Draft, Fountain, PDF or Celtx) and names the project after the file. It imports the moment your new project opens.
• Pick up where you left off. Come back after a week or more and the project dashboard opens with the one next step on that production. Dismiss it and it stays gone for the visit.

Fixed

• Call sheets always carry the set address. The "personal addresses" option now hides only the on site contact details it names. Withholding the filming address and what3words is a separate switch, off by default.
• The call sheet Layout panel keeps its header in view. Close is there whether you are at the top of the sections or the bottom.
• Setup keeps going when a new version arrives. The first run wizard reloads itself and carries on instead of stopping.
• A/V projects no longer show a script page target. No page goal, and no progress bar against one, including on projects that started life as a screenplay.

The first entry in the InteScene changelog, rounding up what has landed across the app.

New

• Credits Generator. Build your end credits, roll and cards alike, style them to match the production, and export them ready for the edit.
• Client Project Room. On Commercial projects, share a private room with your client: publish work for review, gather their decisions, and keep the whole approval trail in one place.
• Quick groups. Tag a whole ensemble into a scene in one click from the Scene Breakdown sidebar, and let the AI suggest when a group belongs in a scene.
• Setup Library. Save a floor plan or a full camera setup and reuse it on another scene, or another project, instead of building it again from scratch.
• PDFs on the Planning board. Drop a PDF onto the board and it becomes a card: page through it right there, use any page as the card's preview, or lay every page out at once.
• Pace-based schedule times. Give a shoot day a pace and the schedule works out start times for every scene, so the stripboard reads the way the day will actually run.

Improved

• Paper size per project. Choose A4 or US Letter once in the project's settings. Call sheets, timesheets, estimates, credits and the equipment, logistics and schedule exports all print to it.
• The export preview now shows true pages: each sheet exactly as it will print, landscape included, with page breaks that match the finished PDF.
• The Day out of Days prints long schedules in fixed blocks, so every shoot day and the Work and Hold totals stay on the page however long the schedule runs.
• Choose a 12-hour or 24-hour clock and metric or imperial units in your profile, and every screen follows your preference.
• The onboarding tips series can be switched off, and it stays off everywhere once you choose.

Fixed

• Clicking the empty space on a script page now places the caret inside the nearest block instead of between blocks.
• The scheduler's Day Detail panel now sizes itself properly for 12-hour times.
• A/V projects no longer show a page-count goal that only applies to screenplays.