Scenes
1Warehouse2 3/8
2Rooftop1 1/8
3Lab4/8
4Street1 6/8
Scenes in eighths. Every scene is sized the way a schedule reads it, eight eighths to a page.
Film and video production softwareThe whole film,
in one project.
Spring Pro is production software for film and video. Write the script, break it down, schedule the shoot, record every camera and cut the film, all in one project, so nothing is retyped and nothing falls out of sync.
Get the highlights.
INT. LAB - NIGHT
Rain on the skylight. Maya crosses to the console.
MAYA
Nobody comes in here after midnight.
Write the script. The real Hollywood page, as you type.
3IntLab
1IntWarehouse
End of day 12 7/8
2ExtRooftop
4ExtStreet
Plan the shoot. Breakdown, schedule and call sheets from the page. Coming
Shoot every camera. One clean multiview on your machine. Coming
Cut the film. The Director's Cut holds everything.
Gaffer works in the background. Drafts you can change, never lock-ins.
Script to screen
One project.
Start to finish.
Spring Pro keeps the script, the plan, the shoot and the cut in one project. Nothing is retyped between them, and nothing falls out of sync, because every step reads the same source.
A page is55 rowsthe real screenplay geometry
Every1 pageis about one minute on screen
Everything in1 projectfrom the first line to the final frame
Write
A script that reads
like a script.
Twelve-point Courier, the page a professional expects, scene numbers and a page count as you type.
INT. LAB - NIGHT
3Rain on the skylight. Maya crosses to the console, sets down the brass key and wakes it. Four screens flicker into life.
MAYA
quietly
Nobody comes in here after midnight.
A door closes somewhere below. She does not turn around.
DEV
Then who left the lights on?
Dev is in the doorway, soaked through. Behind him, footsteps on the stairs.
MAYA
Take the key. Go.
EXT. STREET
4INT. LAB - NIGHT
3Rain on the skylight. Maya crosses to the console, sets down the brass key and wakes it. Four screens flicker into life.
MAYA
quietly
Nobody comes in here after midnight.
A door closes somewhere below. She does not turn around.
DEV
Then who left the lights on?
Dev is in the doorway, soaked through. Behind him, footsteps on the stairs.
MAYA
Take the key. Go.
EXT. STREET
4Title: The Long Night Credit: Written by Author: Maya Chen Draft date: 5 October .INT. LAB - NIGHT Rain on the skylight. MAYA crosses to the console. MAYA (quietly) Nobody comes in here after midnight. > CUT TO:
THE LONG NIGHTWritten byMaya Chen
2.
1 INT. WAREHOUSE - NIGHT
Crates to the ceiling. A single bulb swings over the table.
DEV
We move it tonight or not at all.
A door closes somewhere below.
MAYA
Then who left the lights on?
3.
3 INT. LAB - NIGHT
Crates to the ceiling. A single bulb swings over the table.
MAYA
Nobody comes in here after midnight.
A door closes somewhere below.
DEV
Then who left the lights on?
US letter · 12 pt Courier · 1.5 in binding margin · 3 pages
EXT. STREET
No time of day in this headingThe camera pushes in on a parked car.
Pro-read flags. What a reader would circle is marked before the script leaves your desk.
Dev slides the key across the table.
MAYA
Tabto accept
Names that stay right. Autocomplete learns every character, so no one gets spelled two ways.
2Rooftop1 1/8
3Lab4/8
4Street1 6/8
AltUpmoves the scene, pages and all
Move a scene. One keystroke moves a whole scene up or down, pages and all.
Plan Coming
Plan the shoot
from the page.
Breakdown, schedule and call sheets, built from the script itself, not retyped from it.
Tag it once.
Use it everywhere.
Select a word, say what it is. Tag all mentions finds it on every page, and one list serves the whole project.
- Cast, props, locations, wardrobe and the rest, by category.
- One list that the schedule and the call sheet read.
INT. LAB - NIGHT
3Rain on the skylight. Maya crosses to the console, sets down the brass keyProps · 3 mentions and wakes it. Four screens flicker into life.
MAYA
quietly
Nobody comes in here after midnight.
A door closes somewhere below. She does not turn around.
DEV
Then who left the lights on?
Scenes become strips.
Strips become days.
Each strip is sized in eighths and shaded by interior, exterior, day and night. Move a day, and everything follows.
ScI/ESetD/NPagesCast
3IntLabBrass keyNight4/81, 2
6IntLabDay1/8
1IntWarehouseNight4/81, 2
End of day 1Mon 5 Oct1 1/8 pages
2ExtRooftopDay2/81
4ExtStreetDay2/82
5IntCar, movingNight2/81, 2
End of day 2Tue 6 Oct6/8 pages
The sheet, ready
before the call.
Pick a day. Cast, crew, times and locations fill in from the schedule, and the sides carry only that day's pages.
Call sheetThe Long NightMon 5 Oct · Day 1 of 12
Crew call06:30Shooting call 07:30
Light rain, 12°Sunrise 07:14 · Sunset 18:52Nearest hospital: St Mary's, 2.1 km
Scenes
ScSetD/NCastPagesLocation
3INT. LABNight1, 24/8Harbour lab, stage 2
6INT. LABDay1/8Harbour lab, stage 2
1INT. WAREHOUSENight1, 24/8Pier 9 warehouse
Cast
#CastCharacterPickupMakeupOn set
1Ana ReyesMaya05:4506:0007:15
2Tom HaleDev06:1506:3007:30
Notes Rain rig on the skylight from 06:00. Brass key: two copies on set, engraved 0417 and 1740. Sides attached, 1 1/8 pages.
The work, where the film is.
Gaffer drafts the shot list for each scene. Tasks sit by department at the shot they belong to, and narrow to one set, one scene, one shot.
4 shots · 0:15 planned
0:000:050:100:15
Shot AShot BShot CShot D
ShotSizeAngleMoveLensLengthDescription
AWideEye levelStatic24 mm0:06The lab in rain light
BMediumLowPush in35 mm0:04Maya at the console
CCloseEye levelStatic85 mm0:03Her hand on the brass key
DInsertHighTilt down50 mm0:02Four screens wake
Cinematography1/3
Rain rig on the skylightP1
Push-in on a sliderP1
Monitor glow testP2
Lighting1/3
Screen flicker cueP1
Practical desk lampsP2
Haze for the beamP3
Art direction1/3
Console labelsP1
Wet floor finishP2
Rain on the glassP3
Props1/3
Brass key, two copies (0417, 1740)P1
Four monitors, workingP1
Raincoat, wet lookP2
Where others stop
Most tools end at
the call sheet.
Planning tools stop before the camera rolls, and editors start after it stops. Spring Pro is both.
| Planning tools | Spring Pro | |
|---|---|---|
| Script | ||
| Breakdown and schedule | ||
| Call sheets | ||
| Every camera, recorded | ||
| The cut, motion and 3D | ||
| One project from page to picture |
Plan and shoot are coming. Script and cut are here today.
Shoot Coming, desktop
Every camera,
one clean screen.
Four or five cameras, decoded on your own machine, live in one multiview.
AWideRec
4K · 23.976 · ProRes 422 HQ0 dropped
BMediumRec
4K · 23.976 · ProRes 422 HQ0 dropped
CCloseProgram
4K · 23.976 · ProRes 422 HQ0 dropped
DInsertRec
4K · 23.976 · ProRes 422 HQ0 dropped
Every camera, its own file. Full quality, recorded locally while you watch.
Logged against the script. Every take lands on its scene and shot.
Upload at its own pace. The cloud copy catches up in the background.
Mac and Windows. The same room on both.
Cut
The Director's Cut,
always the root.
One timeline holds the footage, the titles, the motion and the 3D. Nothing lives outside it.
One design panel. Every property of every layer, in one place.
Animate in place. Keyframes on the same panel, one click per property.
Tracks and scenes. Footage, comps, text and the Mix on one timeline, scene by scene.
Text and transitions. Titles and cuts from the same toolbar, editable on the same panel.
3D
A 3D room,
inside the cut.
3D in the engine, 2D on the surface. Depth is always there and never in the way: a flat, locked view by default, and a real 3D room the moment you want the camera. The scene plays inside the same timeline, not in another app.
One camera, pixel exact. Anything flat stays exactly 2D. Anything pushed back gets real perspective.
The frame is the camera. Frame the shot once, and key the camera only when it should move.
Three material styles. Vector for flat design, Toon for banded shading, Physical for real light.
A material library. Metal, glass, wood, stone and fabric, linked across every scene like a colour style. Coming
VFX
Effects that stay
editable.
Every effect lives under the section it changes: fill effects inside the fill, stroke effects inside the stroke, type motion inside the text. Each one is keyframed like anything else, and nothing is baked.
Write-on and draw-on. Fill reveal, trim paths and marching dashes, on any shape or line of type.
Repeater flow. Copies of any layer, each with its own offset, spacing, size and fade.
Particles. Rate, velocity, spread, gravity, turbulence, wind and trails, every one keyable.
One GPU point engine. Particles, volumes, trails and simulations as the same points, in 2D and 3D. Coming
Sound
The Mix. One sound
room for the film.
Sound is half of how a film is judged. Every film gets one Mix, a sound room beside the picture with the program playing above it, so sound is never cut blind. Levels and pans key on the same panel: a duck under a line is two keys.
00:00:14:080:000:100:200:300:40
Voice
Music
Room tone
Door, rain
Keyed fades and ducks. Volume and pan are channels, animated like any property.
Voice to text. A voice clip becomes a transcript you can read and search.
Stems and loudness. Dialogue, effects and music as separate mixdowns, measured to delivery spec. Coming
Sound in 3D. The scene camera is the listener, so a sound in the room moves as the shot moves. Coming
Send it. They press play.
A link opens the cut in a clean player, with nothing to install.
Gaffer
A producer that works
in the background.
Gaffer drafts the storyboard and the shot list while you write. There is nothing to chat with. One undo takes back any run, and everything it makes stays editable.
0:000:100:200:300:40
Doc
Rain on the skylight. Maya crosses to the console...Nobody comes in here after midnight.
Storyboard1Wide, lab in rain light2Maya at the console3Hand on the brass key4Four screens wake5Door below6Dev in the doorway
1Wide, lab in rain light2Maya at the console3Hand on the brass key4Four screens wake5Door below6Dev in the doorwayFootage
Footage for scene 3 lands here
Gaffer drafted 6 storyboard frames from scene 3 of the script.Undo
One script.
Everything follows. Coming
Select a scene or the whole script and decide what it becomes: a new video, a video you have, or a whole project. From an AV script to a feature, with only what you need switched on.
INT. LAB - NIGHT
3Rain on the skylight. Maya crosses to the console and wakes it.
EXT. STREET - DAY
4A parked car. Its engine is still ticking.
YouTubeAn AV script becomes a series, one video per section, with publish dates on the calendar.
CommercialOne script becomes every cut-down, each its own video, all reading the same page.
CinemaThe full suite: breakdown, stripboard, call sheets, sides and a locked script with revisions.
Be there for
the first cut.
Write and cut today. Plan and shoot are next, and invites get them first.