Breakdown27
Int. production office — 2:00 a.m.
Drop in the PDF. Every scene, location, cast day and page eighth — measured, not estimated.
No card. No trial clock. From €12.99 a month for the person who does the breakdown — the kind of number you put on your own card when the production won't — or from €79 a month for a production company, ten seats and the crew included. Pay monthly, six-monthly or yearly; the longer you commit, the less it costs. On Production the whole crew reads it for nothing.
EXT. FISH MARKET SQUARE — DAWN
First light on wet asphalt. A battered FIAT PANDA crawls past the shuttered fish market, one headlight out.
Behind the wheel, NORA VENTRI, 34, a production manager who has not slept. A THERMOS wedged between her knees. On the passenger seat, a CALL SHEET the size of a phone book.
NORA
(into the phone, patient)
Because the permit says seven, Dario. Not seven-thirty. Seven.
Across the square, forty EXTRAS in PERIOD COATS stamp their feet in the cold.
EXT · DAWN · Fish market square
Measured on a real 131-page feature. The page total matched the document exactly, because the app reads coordinates on the page instead of counting lines.
The part nobody warns you about
A revision is not a new script. It's forty pages you have to diff by hand, at night, against the sheets you already signed off.
You break it down once. Every sheet, every department.
Only the scenes that actually changed come back to you.
Your corrections carry forward. You never retype them.
Line by line, word by word — and it tells you which shooting days it hits, and which approved sheets are now out of date.
The other nineteen people
A breakdown is no use in one pair of hands. It has to reach the twenty people who work off it — and today that means a PDF from last Tuesday, a WhatsApp group, and someone shouting across a car park.
Loads the drafts, keeps the schedule, corrects the whole breakdown, ticks the scenes off, runs the analysis, exports. First AD, second AD, script supervisor, production. Four or five people — not thirty. Ten come with Production, and you add the ones you need: past five the price comes down, past twenty it comes down again.
Every department head, on their own phone. They see the day as it moves, open any scene, read their own department's lines, and forward what changed to their own people on WhatsApp, already written. They cannot change the breakdown — that is the point of giving it to everyone: one document, and it says the same thing on thirty phones.
Nobody asks anyone's permission and nothing is hidden: every correction carries a name, every invitation is in the log, and the log is read by everyone on the film. When the shoot wraps you switch the seats off — nobody is deleted, the archive stays yours, and if the film comes back so do they, without redoing a single invitation.
Three steps
Read in your browser, from the real coordinates on the page. Final Draft files are read exactly.
Scenes, day and night, locations, speaking and silent cast, eighths, stripboard, DOOD. No AI, no clock.
Props, costumes, vehicles, crowds, effects — a first draft you correct. About €2 a film.
One screenplay in
.fdx — what the scheduling suites importWhy this is not another breakdown tool
someone tags every element by hand before a single report exists.
Here the whole structure is on screen before you touch anything.
you upload the screenplay and wait for a server to read it.
Here it's parsed in your browser. The file never reaches us.
a new draft means re-tagging, in whole or in part.
Here every scene carries a fingerprint. You pay only for what moved.
a countdown trial, or a quote request.
The whole structural breakdown is free, with no expiry and no card.
Where the established tools are still ahead: production accounting, multi-unit scheduling, call sheets, payroll. If your production runs on those, this sits alongside them — the export exists to hand off, not to lock you in.
Confidentiality
Drop in the PDF and see the whole shape of it before you spend a euro.