SETLINE
EN FR
Availability

Cut.
Logged before
the next setup.

The camera and script report, the dailies and the day’s files in one base, and in DaVinci Resolve without retyping a thing.

See it work

Available 15 January 2027

Report11 takes · 4 good
Logged takes
Scene 12 / Shot C / Take 2GOOD
Camera B · INT/NIGHT · B001_C015 · B001 · 32mm · T2.8 · 48 fps · 5600K / +3 · ND 0.6
1:23
Scene 12 / Shot C / Take 1
Camera A · INT/NIGHT · A001_C016 · A001 · 32mm · T2.8 · 48 fps · 5600K
1:11
Scene 2 / Shot A / Take 4GOOD
Camera B · EXT/DAY · B001_C014 · B001 · 32mm · T2.8 · 24 fps · 5600K · ND 0.6
1:40
Scene 2 / Shot A / Take 3
Camera A · EXT/DAY · A001_C015 · A001 · 32mm · T2.8 · 24 fps · 5600K
1:28
Scene 2 / Shot A / Take 2
Camera B · EXT/DAY · B001_C013 · B001 · 32mm · T2.8 · 24 fps · 5600K / +3 · ND 0.6
1:16
Scene 2 / Shot A / Take 1
Camera A · EXT/DAY · A001_C014 · A001 · 32mm · T2.8 · 24 fps · 5600K
1:04
Scene 1 / Shot B / Take 2GOOD
Camera B · INT/DAY · B001_C012 · B001 · 32mm · T2.8 · 24 fps · 5600K / +3 · ND 0.6
1:16
Scene 1 / Shot B / Take 1
Camera A · INT/DAY · A001_C013 · A001 · 32mm · T2.8 · 24 fps · 5600K
1:04
Scene 1 / Shot A / Take 3GOOD
Camera A · INT/DAY · A001_C012 · A001 · 32mm · T2.8 · 24 fps · 5600K
1:28
Scene 1 / Shot A / Take 2
Camera B · INT/DAY · B001_C011 · B001 · 32mm · T2.8 · 24 fps · 5600K / +3 · ND 0.6
1:16
Scene 1 / Shot A / Take 1
Camera A · INT/DAY · A001_C011 · A001 · 32mm · T2.8 · 24 fps · 5600K
1:04

Slate

Cameras rolling

Multicam: select several
B

Clip names auto-increment after each save. Edit one to re-sync.

Optics

White balance

Presets

Notes

0:00.0
ScreenplayShare / export

This is the interface, running. Time a take, log it, keep going.

The take

Two taps between “cut” and the next setup.

The stopwatch sits directly above the save button, because that is the order things happen in: action, cut, log. It times the take itself, not the setup around it, and the duration it holds travels with the line: into the take, into the daily report, into the CSV that reaches Resolve. Nobody times a take on a phone and retypes it later.

Saving is not one button but two.

The take is called good or bad at the moment it is called on set, not an hour later from memory. The line lands in the log, the take number moves on, and the clip name follows it.

0:00.0Action
Multicam

Four cameras. One report.

Choose the cameras that are rolling. Each one arrives with its own card and its own clip name, and neither is ever typed twice: after every save the clip name steps forward on its own, and changing card sends the counter back to C001 with the new card already in the prefix. A single save then writes one line per camera, same scene, same shot, same take, same timed duration.

A clip name is typed once, on the first take of the card.

  • Next card turns A001 into A002, and sends the clip counter back to C001.
  • Clip names step forward on their own after every save, until you edit one.
  • A take is counted once in the day’s time, however many cameras saw it.
Multicam: select several
A

Clip names auto-increment after each save. Edit one to re-sync.

Dailies

The rushes arrive in script order.

Every transcode looks for its take by file name. The grid then sorts by scene, then shot, then take: scene 2 before scene 10, the way a human counts and a filesystem does not. Narrow it to the circled takes, or to one scene, and the day reads like the film.

The chips and the sort menu below are the app’s own. A clip that found no take says so, and goes to the end.

Dailies
1:04
A001_C011.mov
Scene 1 / Shot A / Take 1 · 32mm
1:16
B001_C011.mov
Scene 1 / Shot A / Take 2 · 32mm
★ GOOD1:28
A001_C012.mov
Scene 1 / Shot A / Take 3 · 32mm
1:04
A001_C013.mov
Scene 1 / Shot B / Take 1 · 32mm
★ GOOD1:16
B001_C012.mov
Scene 1 / Shot B / Take 2 · 32mm
1:04
A001_C014.mov
Scene 2 / Shot A / Take 1 · 32mm
1:16
B001_C013.mov
Scene 2 / Shot A / Take 2 · 32mm
1:28
A001_C015.mov
Scene 2 / Shot A / Take 3 · 32mm
★ GOOD1:40
B001_C014.mov
Scene 2 / Shot A / Take 4 · 32mm
1:11
A001_C016.mov
Scene 12 / Shot C / Take 1 · 32mm
★ GOOD1:23
B001_C015.mov
Scene 12 / Shot C / Take 2 · 32mm
0:47
A002_C001.mov
Not linked to the report
2:12
B001_C021.mov
Not linked to the report
Script order
scene, then shot, then take
By name
the match needs no manual link
One tap
to the circled takes only
Post-production player

The rush’s timecode. Not the player’s.

SETLINE opens the tmcd track of the camera file and starts where the roll started. Jump three seconds, five seconds, step a single frame and watch the last field move by one. Save the frame and the confirmation carries the timecode, the one you can read out to the lab.

10:04:12:07 means the same thing to everyone on the film.

  • Drop-frame written with a semicolon, as broadcast does.
  • Frame stepping through the player itself when the media allows it.
  • Swipe the image to move to the previous or next clip.

The frames are our own rushes, from the files the app imports. What this page reproduces around them is the transport and the timecode.

Timecode00:00:00:00
00:00:00:00
0:00-0:00
DaVinci Resolve

From the script report to the timeline, without retyping.

Export the day as a metadata CSV. In Resolve: Media Pool, right-click, Metadata Import. The match is made on File Name, and the native columns fill themselves, including the ones nobody fills by hand at the end of a shooting day.

Below: the day’s takes on one side, Resolve’s columns on the other. Run the import, or read the file the app actually writes.

File NameSceneShotTakeGood TakeCamera #Roll Card #Lens TypeFocal Point (mm)Camera ApertureWhite Point (Kelvin)White Balance TintFilterFPSEnvironmentDay / NightTake DurationComments

18 columns
filled from one save
File Name
the only key the mapping needs
Interior / Exterior
INT and EXT land in Resolve’s own vocabulary
Files7 items
No files yetLUTs, exports, call sheets, PDFs, CSVs…
Exchanges

One place, for the length of the project.

A shoot does not only move rushes. The call sheet arrives from production, the voice-over from the director, the logos and the lower thirds from the client, the LUT from the DOP, the Resolve project from the assistant. Today each of those travels through a different link, sent by a different person, and every link dies on its own schedule.

A transfer link expires. A project does not.

  • Anything the shoot needs, next to the day it belongs to.
  • Every file says who dropped it, in what role, and when.
  • Nothing expires while the project is open.

Below: the Files tab filling up as a shooting day goes. The icons are the app’s own, picked from the file extension.

Daily report

What production gets at wrap.

One A4 landscape sheet: the day’s numbers, each camera’s configuration, every take with the circled ones picked out, the roll recap, the DOP notes and a place to sign. Composed from the very rows you logged between two setups. Nothing is typed twice.

[ PRODUCTION RECORD · CAMERA / SCRIPT ]

DAILY CAMERA & SCRIPT REPORT

ARCANE BESTIAIRE

LOGGED BY SAMY · DIRECTOR OF PHOTOGRAPHY

DOC NO.AB-CR-000
SHOOT DAY14 OF 32
UNITMAIN
VERSION1.0 · EOD
TAKES11
CIRCLED4
SCENES3
SETUPS4
ROLLS2
CAMERAS2
SHOT TIME14:10
[ CAMERA CONFIGURATION ]
CAM AARRI ALEXA 35
TAKES6 · 1 CIRCLED
ROLLSA001
LENSES32MM
WB5600K
FILTERSNone
FPS24, 48
CAM BARRI ALEXA MINI LF
TAKES5 · 3 CIRCLED
ROLLSB001
LENSES32MM
WB5600K
FILTERSND 0.6
FPS24, 48
[ TAKE LOG ]★ = CIRCLED TAKE
SC.SHOTEFFECTTKGDCAMROLLCLIPLENSF(MM)TFPSDURWBFILTERNOTES
1AINT/DAY1AA001A001_C01132mm32T2.8241:045600K
1AINT/DAY2BB001B001_C01132mm32T2.8241:165600K +3ND 0.6
1AINT/DAY3★AA001A001_C01232mm32T2.8241:285600KBest energy, hold for edit
1BINT/DAY1AA001A001_C01332mm32T2.8241:045600K
1BINT/DAY2★BB001B001_C01232mm32T2.8241:165600K +3ND 0.6Best energy, hold for edit
2AEXT/DAY1AA001A001_C01432mm32T2.8241:045600K
2AEXT/DAY2BB001B001_C01332mm32T2.8241:165600K +3ND 0.6
2AEXT/DAY3AA001A001_C01532mm32T2.8241:285600K
2AEXT/DAY4★BB001B001_C01432mm32T2.8241:405600KND 0.6Best energy, hold for edit
12CINT/NIGHT1AA001A001_C01632mm32T2.8481:115600K
12CINT/NIGHT2★BB001B001_C01532mm32T2.8481:235600K +3ND 0.6Best energy, hold for edit
[ ROLL RECAP ]
ROLLCAMTAKESGOODFIRST CLIPLAST CLIPSCENES COVERED
A001A61A001_C011A001_C0161, 2, 12
B001B53B001_C011B001_C0151, 2, 12
[ DOP NOTES / END OF DAY ]

Sc. 2 crane move retimed after blocking, coverage complete on take 4.

Condensation on rear element during river setup, two takes flagged for QC review.

Lab to confirm checksums on all A-cam rolls before card wipe. Dailies LUT v3 applies.

[ SIGN-OFF ]
DOPSCRIPTPRODUCTION
GENERATED BY CINÉHUB · METADATA AVAILABLE AS DAVINCI RESOLVE CSV

Built for the way a shooting day actually runs.

Report

  • Scene, shot and take steppers, auto-incrementing after each save
  • Take stopwatch, action to cut, feeding the take’s duration
  • Lens, focal, stop, filter, FPS, white balance and tint
  • Configurable lens and filter kits
  • The shooting script as a PDF, reopening at the last page read

Dailies and stills

  • Transcodes imported from Files, thumbnail and duration read on the way in
  • Real rush timecode, frame stepping, ±3 s and ±5 s jumps
  • Current frame saved straight to Photos, add-only permission
  • Set photographs captioned and attached to their scene
  • Any other file (LUTs, call sheets, exports) with who dropped it

On the iPad

  • Native SwiftUI, iPadOS and iOS 17 or later
  • Everything local: the media sits in Files, on the device
  • Takes on the left, form on the right, on a full-size iPad
  • The client space plugs into the storage interface already in place
  • Exports work offline: a report leaves the iPad without a network
Pricing

Priced by the days you actually shoot.

A production pays for its shooting days, not for a subscription that runs through prep and the edit. Licences are unlimited for the crew for the length of the project.

Local
€15
per shooting day

Everything stays on the iPad. The report, the dailies and the exports never leave the device unless you send them.

Cloud
€25
per shooting day

The same day, mirrored to the client space. The crew opens the rushes from wherever it is, the editor pulls them without waiting for a drive.

Rush access extension
€5
per day after wrap

Once the shoot is over, the rushes stay watchable. Charged only for the days you keep the access open.

On top of Local or Cloud

Rates per day, applying from 15 January 2027. Seats are unlimited for the crew, for the length of the project.

Your next shoot deserves better than a shared drive.

Native on iPad and iPhone. Everything stays on the device; nothing leaves it unless you export it.

Available from

iPadOS and iOS 17 or later