A still in every video box. Wherever a page draws a box for a video — the file’s row, the player before it plays, the multi-camera tiles, the clap window and the selects preview — it now shows the sender’s still from the moment the page opens, instead of a black box. A box that is still waiting is shaded over the still only when there is one to show.
Nothing jumps when you add a select. Pressing Add to selects no longer moves the page. The yellow bar for the words you chose opens where you can see it and never scrolls the list.
Sync this take is a pop-up. Every sync status and result now opens over the page, in one fixed size, with Synced by Timecode · Sound · Clapper along the top and the choices in its foot. Nothing is pushed in under the cameras, and the take pauses while it is open. A timecode warning has its own box. Mark the clap is the same window with Clapper pressed: drag a strip to scrub with sound, or press Find the clap on a row, or Find every clap. It finds the clap for you to check; it never marks one by itself.
The same transcript buttons everywhere. Every transcript has one row: Transcript | Selects, Reading view, Paper edit, Expand down and Hide. When the column is narrow the view buttons move down together, two by two on a phone. A client on a plain link now gets Selects and Paper edit too, and their selects go to you; the client view shows the same row and does not send.
Opening something keeps your place. On the download page, in each player and on the app’s Transfers screen, the button you pressed stays where it is while what it opened is drawn, then the page glides just far enough to show it. It never glides when you close something, and it steps aside as soon as you scroll or type. The download page’s pinned column keeps its place when it changes size.
Selects and Paper edit in the app. The app’s own player (Sent → a transfer) now has Transcript | Selects and Paper edit, and your selects are the same list in the app and on the page. In the app a select plays in its player, Trim this part opens Trim on it, Send in chat posts your selects as a reply, and a select from another clip opens that clip in Paper edit at its in point. The transcript no longer disappears from the app’s card when the preview check refreshes it.
Every transfer email is the narrow card. The last five notices that still filled the whole window — the recipient’s reminder, your link-expiring notice, someone downloaded, you haven’t sent it yet, and free storage — are now the same 600-pixel card as the transfer email itself, with the still or the file’s tile and a card for each file.
Previews for a crowd. The servers that make previews can now use up to 320 machines at once (it was 64). Each minute, a camera clip waiting for a preview is started on every free machine, oldest first — not two a minute as before — and the clips are dealt one transfer at a time, so one big sender can’t take every machine while others wait.
How many are ahead of yours. A clip waiting for a machine now says where it is, on the download page and on the Sent card — for example Preview: 14 ahead of yours · about 3 min. It is a line on the card, not a pop-up.
Dates in transfer emails, in your order. Reminders and notices printed every date month first for everyone. They now follow the order of the person who sent the transfer — month first for US and Philippine English, day first otherwise, the month always a word (Sun, Oct 25 or Sun 25 Oct). Transfers sent before today keep month first.
A select’s number stays with its words. The number now sits right after the select’s own last blue word. A select that ended a fraction of a second into the next line used to put its number on that line, after words that weren’t part of it.
Smaller fixes. The download page and the confirmation receipt write dates the way your browser’s language does; wording across the app, the public pages and the emails was made plainer; and links and downloads were hardened.
Signed out, /app opens the Welcome card. A signed-out visit to the app now opens the Welcome card instead of an empty, locked Today. If you followed a link to a particular screen or transfer, it is kept for a day and opens after you sign in. The card itself reads more clearly: Google is a real button, nothing is set too small, and Or use any email address sits under it.
Asked for selects, the client opens in Paper edit. When you ask a client for selects, their link opens the first clip with words in Paper edit, with Your selects beside it, ready to note and send. When their selects come back, the email’s button opens your Sent tab at that transfer’s card with the conversation unfolded.
ProRes and DNxHR play. A MOV or MP4 in ProRes, DNxHD/DNxHR, XDCAM or MPEG-2 is now treated exactly as an MXF is: KitSlate makes a preview of it, and until then its tile names the codec (Browsers can’t play ProRes). An H.264 MOV is unchanged, and ProRes RAW is camera RAW, which needs a proxy.
One transcript style, every view. In every player and every mode the line being heard is a grey bubble, the words you highlight are yellow and your selects are blue — with rounded edges that hug the words instead of filling the line. A select has one number, inline after its last word, and Paper edit opens with the picture showing.
A quote plays where it is. In Paper edit, Play on a select plays it in Paper edit’s own picture, from its in point, without leaving the screen. A quote from another file opens that file in Paper edit.
Multi-camera header on one row. The header above a take is now one row: View, Layout and a Synced by menu with Re-sync now, with an amber dot when a camera’s timecode disagrees with its sound. Quality and Full screen are on the player bar only, and Quality there now changes every camera. On a wide card the spec sheet puts each value beside its label, with the long group in two columns.
Errors in words. When something fails — a transfer, the download page, an invoice or payment, an email, sign-in, an invite, a document, a calendar feed, a backup — KitSlate now says in plain words what happened, what it means for your files or money, and what to do. It never shows a code, the browser’s network text or [object Object].
Smaller fixes. Too many sign-in attempts and a failed seat invite are said in KitSlate’s words; and changing your email address now sends a KitSlate email, like the other sign-in emails.
A human check on the public forms. The contact form, the waitlist on the home and pricing pages, a profile’s enquiry form, the invite screen and the email sign-in link now carry a quick human check, and it follows the page’s Night or Day setting. The listing form says how many listings a day you can post. Crew wrap-up emails from a new account count towards its daily email allowance, and Crew pay says how many went and how many are waiting.
The sign-in emails. The four sign-in emails are plainer, carry the same cards at the foot as the other KitSlate emails, and either button signs you in. They and the other emails KitSlate sends from the site are now 600 pixels wide, like the transfer emails, instead of stretching to the window.
The export window shows only what you can choose. Download this part now shows only the steps that have a choice — Crop for a clip for social, Sound where the format can carry it — and Next names the step it goes to. The compressed MP4 has the Sound step too. A select has Trim this part, which opens Trim on its range, and the selects’ files are saved through your browser’s save dialog where it has one, with the button saying what it saved (Download for Premiere works again).
The player fits. The meters band under the bar works without the side panel and shows only the lanes with sound. A menu that fits the window opens whole, with no scrolling inside it. Expanded always fits the window, and fits again when Trim changes size.
A quote is called QUOTE. Your quote editor said PRODUCTION QUOTE while the client’s copy said QUOTE. Both now say QUOTE.
Smaller fixes. On the Send page, Save is as tall as Email it, so the drop window is shorter and the gap under Send has gone; and the Clean speech status says tracks 1 and 2.
Clean speech. A clip’s sound can now be cleaned of background noise on KitSlate’s own servers. Clean speech… in the player opens a window with a strip of the clip’s sound to pick where to listen, a sample of 10 seconds, 30 seconds or a minute, Play this part, Compare with the sound as recorded, and Clean the whole clip. The controls: Strength from 3 to 40 dB, Reach, and a post filter with its own strength. Each track has a switch that says what it does — cleaned · here and in the download or as recorded · here and in the download. Download with cleaned sound gives one MOV: the picture as it is, the chosen tracks cleaned. It works on sound files too, as one cleaned WAV per track. The original file is never changed. Only the tracks you are hearing are cleaned, four at a time: a minute on two tracks took 36 seconds (eight tracks took about 80). The window says what the next press will do, the button fills while it works, and the terms (section 32.1) set out exactly what happens to the sound.
The export window. Trim → Download this part now opens one window over the player, with the player’s controls under the picture: what to make, Crop (with No crop after 16:9), Sound, Export and Save. The progress fills the Export button with a small graph of the speed, as the speed test does, and the window always fits the screen. The Sound step for a clip for social offers As heard, As recorded, Mix to mono or None, with each channel set to left, right or off.
A player bar on one line. The player’s bar never takes a second line: when it is short of room, tools fold into … in a fixed order. Comment and the downloads — Original, Proxy MP4, Sound M4A — share one line under it.
Meters under the bar. The big meters are now a band under the bar: two meters and the waveform, nothing else. The side panel keeps every control, and both can be on at once.
Every pop-up pauses. Clean speech, Tracks, the keyboard sheet and the export window pause the player when they open. In a multi-camera take the side panel sits beside the cameras, and Paper edit in a take shows the live camera.
An ended link shows what KitSlate does. Under This link has ended, the page now shows the card from the bottom of the transfer email: four tiles and See what KitSlate does.
The pictures on the site. What they receive shows all four transfer emails, two and two: the recipient’s, your own copy, the ending notice and the reminder. The homepage’s Media Center steps are six, with every picture re-taken from the player as it is now.
The still in the send box. Send it on and Ask for selects, from a Sent or saved card, now show the clip’s still in the email preview, and the email carries it.
Smaller fixes. The player’s bar no longer shifts by a few pixels when Clips opens or closes, and in the page view Clips and Meters show one at a time; the trim strip shows its frames again when a quality is chosen; text no longer sits under the heading in Paper edit; links in the player’s note keep its colour; the Attach to a comment panel has a Cancel button; and the invite lists what the Media Center does.
Previews start at once. A camera preview that was waiting on its sound check or a retry used to wait for the next minute. It now starts straight away: in the first test on KitSlate the servers were at work on it about a second later.
A still before the upload. In Chrome and Edge, the first frame of an MXF is read from the camera file on your computer and sent the moment the link is live, so the email’s tile, the link card, the Sent card and their page’s waiting box show the picture while the file is still on its way. Elsewhere, the server’s frame fills in as before.
Previews that fail are tried again. A preview that fails is tried twice more by the server and reads as still being made while it waits; the Sent tab asks once more by itself before ever saying it failed. Try again on a camera file whose first track is silent now remakes the sound mix. A camera file over 180 Mbps (an FX6 clip can be about 240) gets a preview made under the limit instead of a refusal, and the preview bar moves from the moment it is asked for.
More formats are video. Every format KitSlate’s servers can decode now counts as a video, for previews, Trim, Clip for social, takes and transcripts; camera RAW says it needs a proxy. A MOV or MP4 with several sound tracks is mixed for its preview, and a camera file’s sound downloads as one WAV per track.
Sync you can trust. A timecode take opened in multi-camera is checked against its sound: a sure match lines the camera up, an unsure one asks. Timecode recorded on an audio track (LTC) is read and offered as a way to line up, and a camera whose timecode disagrees with its sound is named, with how far off it is.
Your view is the page itself. Sender view now opens your transfer’s page in the same tab, with Activity · only you see this under it, and saved transfers have it too. Client view shows the page as they see it, with the chat greyed and Answer from Your view →. In the Sent tab, Sender view and Client view say what they open and the conversation folds. Every email in a transfer’s conversation is the transfer email’s narrow card.
Selects and Paper edit. Ask for selects starts the transcript straight away. A transcript’s tag is blue on the clip it came from and grey on a file that shares it, and opens it. Kept selects stay marked in blue in the transcript. Paper edit is a document: the transcript and your selects side by side, the one transcript size, and Space plays. Sync by sound, Mark the clap and Add to selects show however the page was opened, and follow your plan — greyed when it doesn’t include them.
Listening. Boost under Hearing raises quiet sound by 6 or 12 dB through a limiter, and is remembered. Two channels sent to both ears no longer drop in level. Meters is a button in two halves — the meters in the panel at the right, or the big meters under the picture — and the meters and every keyboard shortcut work in the page view. Space plays after you press any player button, and a clip that stops moving says Buffering… and is nudged on. The transcript beside a sound file follows the voice from play and can expand down.
Saved transfers wait the plan’s days. A transfer you save to send later is kept for 3 days on Free, 7 on Solo and 14 on Studio, or what you set in Settings (more than 3 is paid). The Send page, the Sent tab and Settings say so, an email reminds you the day before it goes, with Keep it 7 more days, and the link’s days start when you send it.
Every way of sending, the same rows. The send box from a Sent or saved card shows the same rows as the Send page, dimmed with the reason where one doesn’t apply. Email it with Right away sends the email when the upload starts.
Moving to Free. On Plans, Move to Free on the Free card ends a card subscription at the end of its period with one confirmation, and Keep my plan undoes it. A link set never to expire gets 30 days once its sender is on a plan below Studio.
An upload is never stopped by a reload. Nothing reloads the app while an upload is going — a change made on another computer had held a 73 GB send behind Reload site? — and a big camera file’s preview asked for during its upload is no longer refused.
Smaller fixes. Every jump link opens with its heading in view; Open your Media Center never opens the sandbox; an emailed picture is always a picture; the Hearing row’s long value takes its own line; there is one Show specs fold on every page; the meters’ routing rows follow a channel count that arrives late (no more L R R R R R); the captions strip shows no box between lines; the recorder lanes say how far they have read; LUT with no look chosen opens the chooser; and primary buttons lose their glow.
Faster, measured on real sends. Every figure here is from a real transfer on KitSlate today, not a lab number.
Transcripts come in as they’re heard. While a transcript is made, each line appears as its minute of sound is heard — the first within seconds — fading in one after another, instead of arriving in blocks.
The free profile’s limits. On the free profile a transfer holds up to 25 GB of live links at once (it was 100 GB), a link lasts up to 3 days and can’t be kept longer, and you can send up to 50 GB a day. Links already sent keep their dates. Longer links, Keep it 7 more days and more room come with Solo — they stay on screen on the free profile, greyed and marked Solo. While KitSlate is in beta, free sending as a whole has a ceiling: when it is reached, a free send waits until older links end, and the Send page says so. The terms (section 32) say the same.
If you move down to Free. Links you’ve already sent keep their dates and files, and transcripts already made stay readable on them until they end. New links follow the free plan, and the “link is expiring” email now follows your plan at the time it’s sent — it no longer offers “Keep it 7 more days” once that isn’t on your plan. Plan & billing says so beside the free plan.
Clip for social. Trim → Download this part on a camera file now offers Clip for social: drag a 9:16, 1:1, 4:5 or 16:9 frame over the picture and the media server makes the part (up to 3 minutes) into an HD MP4 for phones, from the original, with the show LUT if you want it.
One question, every account. What will you use KitSlate for? — Sending files or Running productions — is now asked of every account that hasn’t answered, on any computer, and once more when a paid plan starts (the same two choices, neither picked for you). The answer is kept with your account.
Previews start together. Up to 64 camera previews now start at once (the last limit held it to 44 a minute), and HQ shows the preview queue: machines in use, anything waiting, and the last day’s wait.
What the camera was set to. A Sony camera file’s spec sheet has a Camera group: lens, iris, focal length, focus, ISO, shutter, white balance, ND and the look, as the camera recorded them at the first frame — and a lone master now names its camera (Sony ILME-FX6V, not just Sony) from the details the camera embeds in the file, with no card folder needed.
Quality for the whole take. In multi-camera view, when the cameras play KitSlate proxies or light previews, the bar under the take has Quality — Auto, 720p, 480p, 360p — that steps every camera down together. Light previews (KitSlate’s own copy of a camera proxy, so it can step down) come with Studio and up; on Solo the setting stays in place, greyed and marked Studio.
When the link opens. On the Send page, Their link opens offers Right away — their page shows each file as it arrives, and Download everything now keeps going as more arrive, into the same folder — or When it’s all here: until the last file is up their page shows how much has arrived and about how long is left, and opens by itself; nothing plays or downloads before then. Settings → New transfers start with sets the default. Your own view of the page always shows it filling.
Minutes on every plan, stated. The pricing page, the plan comparison and the terms now say how many preview and transcript minutes each plan includes a month — previews 300 on Solo, 1,000 on Studio, 3,000 on Production House, 10,000 on Enterprise; transcripts 600, 3,000, 10,000 and 20,000 — and Plans & billing shows how many you’ve used. They reset on the 1st and nothing is ever charged beyond the plan.
Studio holds 1 TB. Studio’s storage across live links is 1 TB (it was 2 TB); a transfer can still be up to 1 TB. Nothing already sent is touched.
Blue for a proxy. While a camera proxy or a KitSlate preview plays, the scrubber, the waveform’s played part and the multi-camera playhead are blue — the blue of the proxy tag — and they stay the accent colour for the original file.
Transcribed, down the side. Each clip with sound wears its transcript’s tag in the file list: Transcribed, Transcribing…, or Transcribe, which makes it there and then. While one is made, the lines heard so far appear under its progress. Highlight words in a transcript and they turn yellow, ready to add to your selects.
Sharing the media server fairly. When several accounts are making previews at once, they share it: one account’s big card no longer holds every slot while another customer’s first preview waits. Alone, an account still has all of it, and your own trims and downloads are never held back.
Smaller fixes. A link still uploading plays its light previews (it said “this link has ended”); the hidden “._” files a Mac leaves on a camera card are no longer sent for previews or offered a transcript; Multi-camera opens at its top and never starts a download, showing Proxy processing boxes until each camera’s preview is ready; your page in another tab shows the finished transfer within moments of the last file; the uploading screen’s per-file figure now says it is that file’s share; and a file’s size never breaks across two lines.
A long upload is never interrupted by your sign-in. A sign-in is renewed once, however many connections an upload is using and however many KitSlate tabs are open — before, a long upload could renew it many times at once, be refused, and sign you out. While a transfer is uploading, KitSlate never signs you out, never shows the Signed out box and never asks to reload the page; if your sign-in really does need renewing, the upload waits where it is, says so on its card, and carries on by itself as soon as you sign in again in another tab.
On the free plan you send as yourself. Your name and email go on every email and download page; sending as your company — its name, email and phone — comes with Solo. The company, its phone and choosing who people ask stay where they are on the free plan, greyed and marked Solo — press one to see what Solo adds — so every plan’s screens look the same. The Pro review tools panel now lists Send as your company with the paid plans and mentions Download only for everyone, and it opens properly from the Sent tab (it showed with no background). On the free plan, Trim now shows greyed in your own view of a transfer, like the other Pro tools.
Tidy the Sent list. Every transfer that has ended, been stopped or cancelled now has a ⋯ menu: Archive takes it off the list into Show archived at the foot, with nothing deleted (Unarchive brings it back); Delete the files appears while a stopped transfer still holds its files and frees the storage now, keeping the record; and Remove forever deletes the record, who opened and downloaded it, its conversation and any files — it asks first and can’t be undone. A live link is never removed from here: stop sharing it first.
Download only. On the Send page, What they get now offers the Media page (the player, comments and transcripts, as before) or Download only: one plain page with your note, Download everything and the list of files — no player, no conversation, and no previews or transcripts are made. Switch any live transfer either way later, on its Sent card (Their page) or from your own view of the page. Every plan has both.
A new first screen for kitslate.app/transfers. It opens on what makes a KitSlate transfer different: the link works at 0:00, clips play the moment they arrive, and proxies, sync, multi-camera, transcripts, selects and the conversation build while the rest is still uploading. Beside it, the real Media Center steps through a transfer — the link at 0:00, a clip playing, every camera in sync, a 45-minute interview transcribed in 7.7 minutes, the conversation — with Pause, like the home page’s tour. It fits one screen on a phone or a desktop, follows the site’s light or dark theme, and stands still if your device asks for less motion.
Play this select plays it, once. In the Selects tab, Play this select now starts at the select’s first word straight away and stops at its last — it no longer leaves a loop running that kept jumping back. In multi-camera it plays every camera together from that moment. The select’s timecode box no longer lets its length spill out under the border.
Watch it while it uploads. The uploading screen now has Watch as it arrives: a player for the clips already up (camera clips from their own proxies) and a strip showing which are ready and which are still on their way. Open your page opens the full page in a new tab while the rest uploads, in every mode — even Save, where nothing is shared yet.
An upload on your other computer shows on this one. Signed in on two computers, the Sent list no longer calls an upload running on the other one “paused”: it says Uploading · other computer, with how far it has got, and Show more gives the file it is sending, the speed, the time left and when data last arrived. If that computer goes quiet the card says so, and after ten minutes it is a paused upload you can finish here. Client view and Your view open the page in a new tab — exactly as your client sees it, or with your sender bar — and neither is counted as an open.
Your selects, beside the player. On a transfer you sent, the transcript card now has two tabs, Transcript and Selects: highlight words, press Add to selects, and they are listed in the Selects tab, played in the player right beside it, with Download for Premiere, EDL, Copy and Send in chat underneath. The separate card at the foot of the page, with a second transcript and a button for every file, is gone. The gaps between the cards on a transfer page are now even. Automatic transcripts of camera files still uploading wait for them instead of failing.
Every video shows its frame, at 16:9. The picture at the top of a transfer email, on its link card and on its Sent card is now always 16:9 — a vertical clip sits whole inside it — and it comes from a playable proxy rather than an MXF a browser can't draw. A transfer that went out with no picture gets one from KitSlate's own preview of the clip as soon as that preview is ready. Send it on shows the email they will get much larger, whole and at its real width. On the Send page, switching between Email it, Get a link and Save no longer changes the size of the box.
Mark the clap finds the slate. Each clip in Mark the clap now opens on the spike shaped like a slate clap — silent, suddenly loud, gone in a tenth of a second — rather than the first loud sound, and timecode comes first: where clips have timecode it picks the clap they share at one timecode. A clip with no timecode opens on its own clearest clap. A take now always opens synced by timecode when its files have it.
Timecode sync puts the sound recorder in the right place. A recorder running at 23.976 (a Sound Devices Mix664, say) was placed about half a minute late against its cameras when a take was synced by timecode — its WAV's start was read as a raw sample count instead of its timecode. It now lines up with its cameras by its own timecode, on new uploads and on transfers already sent. Synced by now shows the choice in use in the accent colour, and choosing another re-syncs every camera and the recorder on it. Quality is now on big camera files too, whose preview plays in parts, and Auto no longer steps down just because you scrubbed.
Multi-camera, tidied. Syncing by sound has a Cancel button while it listens; nothing changes if you stop it. The player's own full-screen button (and F) now takes the whole multi-camera take full screen, not the player alone. The Info panel beside an expanded or full-screen player lists Picture, Sound and Source one under the other instead of squeezing them into slivers. The two columns of a transfer page stay level as cards open and fill in. The Quality button says Quality. Highlighting words in a transcript opens its bar at the top of the card, over the header, so nothing jumps down the page; Your selects plays each select in a small preview right there. The comparison pages now cover multi-camera sync, selects and playback size for every service.
Transcripts start at once, and go faster. A transcript starts the moment it is asked for or a clip finishes uploading, rather than at the next minute, and up to six pieces of one clip are heard side by side. Transcripts now come with a monthly allowance: 600 minutes on Solo and 3,000 on Studio. The transcript panel shows the minutes left; when they run out it says so, and they start again on the 1st.
Multi-camera, easier to follow. A take opens on the layout for its number of cameras: two across, three across, or four stacked. Back to single view has its own button. Every camera plays together, with no play badge on one of them. A camera that hasn't started recording yet says Not recording yet, so it never looks frozen. Drag anywhere on the timeline's lanes to scrub, and the track meters now read in decibels, so you can see them move. The Audio menu has two tabs, The camera and Sound recorder, and what you choose to hear stays as it is when you change camera, layout or view. Changing Synced by shows what changed, clip by clip: who moved and by how much, who joined the take, who fell out. The page no longer jumps. Re-sync. A multi-camera take has Re-sync beside Synced by (pressing Timecode or Sound again does the same): every camera and the recorder go exactly back on the take's clock. While playing, one that drifts is now nudged back instead of jumped, so playback no longer stops and glitches to catch up. Quality, like YouTube. A KitSlate proxy has Quality in the player: Auto (full size, stepping down when the picture keeps stopping to load), 1080p, 720p, 480p or 360p. In multi-camera the cameras you aren't hearing play a smaller size, so a slow connection keeps up. The transcript is always on the left. Beside a multi-camera take it now sits on the left, as it does beside a single clip, and runs down to the foot of the take's panel so both columns end level. Sync help, then your hand. Timecode lines a take up on its own. Sound listens to the take's clips in place and the box shows how far it has got and what it found, or why it couldn't, with Try by sound again and Mark the clap by hand every time. In Mark the clap every row's sound now arrives in seconds (the first three minutes first), Mark each at its first spike marks them all for you to check, and Line them up by sound hands the clips back to the sound match. Mark the clap now goes down the line: every clip is a row with its own sound strip, so the claps' spikes sit side by side. Each row starts at the first loud spike. The picture is small, with its timecode in a bubble under it, and marked rows turn blue. On a phone a take shows one big picture with the other cameras under it, and the header no longer runs off the side. Going from a grid back to One big brings the camera column back.
Selects. The selects card is as wide as the page. Dragging across the words highlights them in yellow, and Add the highlighted words makes the select. Words already added stay blue, with their number.
The LUT is a switch on each clip. Every clip opens as shot. The LUT switch in the player puts a look on the clip you are watching. Media Center Settings and the Send page no longer have a LUT choice, and the clip you watch while uploading plays as shot. Also: the two columns of a transfer page end level, only the blue proxy tag shows (not a second badge on the picture), the preview's progress never splits across two lines, a link that never expires says so on its Sent card, and Space plays and pauses in Mark the clap.
A camera file's tracks, kept apart. An MXF with more than two tracks used to preview as a stereo mix, so tracks 3 and up were greyed out. Now each track plays on its own under the picture: switch any of them on or off, send it to the left or right ear, and watch its own meter — nothing is mixed. Files already sent get their tracks too, a few minutes after this change. A browser that can't play them keeps the stereo preview as before.
Sync by sound reads every clip. Clips that heard the same room now line up — the listening results were being dropped before they were compared. Previews start sooner: a card's camera proxies and small files upload first, and every camera file starts its preview at once instead of waiting behind the first. The preview's progress bar is a slim line, and the Audio menu shows every track without scrolling.
Multi-camera, laid out like an edit suite. Press Multi-camera on a take and it gets the page's full width: the cameras down the left (press one, or its number, for the big picture, outlined in yellow), the live camera large in the ordinary player, and under it a timeline of when each camera and the recorder were rolling, the recorder's tracks as lanes. Synced by Timecode, Sound or Mark the clap, and Full screen, sit in its header. Mark the clap now opens a window of its own with only the clips you ticked, the picture large and the sound around the playhead where the clap is the spike. Takes are found inside a folder: upload one folder holding every camera card and the recorder and the takes are found — before, the folder itself was taken for one camera. The views are now Single view and Multi-camera.
The player, tidier. The status says what is playing — KitSlate proxy, Camera proxy or Original. The audio panel runs the full height beside the picture, with Audio and Tracks at its foot and Show waveforms under them; waveforms are read as soon as a clip opens, with no "Drawing" note. The downloads have a box of their own: Original, Proxy MP4, Sound M4A. Ask for selects is on every Sent card and on your own page, and on your own transfer Add to selects builds your own reel for Premiere.
Multi-camera, tidier. The timeline's playhead is one clean line with a handle: drag it, or press anywhere on the bars and the recorder's lanes, to scrub the whole take. Switching a recorder track or pressing Solo moves Hear to the sound recorder. Layouts are Two across, Three across and Quad (four stacked; three in it leave the fourth place outlined), and every camera fills its own box. The Audio menu opens whole, without a scrollbar. Under a take the transcript gets most of the window, and the transcript is one size everywhere. Mark the clap sizes its picture to the screen so the sound strip and the buttons always fit. Press Transcript in a multi-camera take and, on a wide screen, the cameras sit on the left and the transcript on the right, so you watch every angle while you read. Previews of very large camera files start their sections as fast as the media server will take them.
Selects you can play and send. Every select has Play this select, which plays exactly its part. On your own page, Send in chat posts your selects in the conversation; a selects message there, yours or your client’s, has Download for Premiere and EDL beside it. Mark the clap now draws the sound for a preview made in parts, from the camera file itself. Never a LUT twice: a camera proxy starts with the LUT off — cameras often record their look onto the proxy — and a proxy that already has it is never given KitSlate’s curve as well.
Smaller things. Camera specs fold behind Show camera specs (your browser remembers). In the sending box, Recent and Crew appear when you click in To or type. Your own transfer page starts with ← Back to Sent. The Send page says Expires in. In Pick your sound bites the transcript has its own outline beside your selects. Reading view on a sound file shows every track of its channels whole.
Transcripts, much faster. A camera clip in a take with a sound recorder now shows the recorder’s transcript, in sync, and a camera master sent with its proxy shows the proxy’s — so Make automatically makes one transcript for each piece of sound instead of one per file. Transcripts are made side by side, and the next part of the sound is read while the last one is being heard. Copying a camera file’s own sound tracks, when nothing else has the sound, now reads the file straight through instead of asking storage for it a frame at a time. The Send page says how many camera proxies it found, and what that means for playback. A paused transcript says what it is waiting for, not “this hour’s allowance”.
Proxies in another folder are linked. A proxy kept in a Proxy, Proxies or Sub folder — or named like A001C014_Proxy.mov — now links to its clip by name, but only when its length (and timecode, when both have one) agrees, so a wrong file is never attached. The page plays it labelled Linked proxy; the camera's own proxy still says Camera proxy, and a clip with neither gets a KitSlate proxy. Two cameras that both wrote C0001 each keep their own proxy.
Multi-camera layouts. A take's header has a Layout switch: One big (the live camera large, the others down the left), Side by side and Quad. A two-camera take opens side by side, three or four in quad, five or more in one big; the one you pick is remembered in that browser. Under a take the files and the conversation sit in two half-width columns. Sound files join the take: a recorder's WAV — and now its MP3, which carries its timecode in the tag at the end of the file — is placed by its timecode like a camera clip, so the take plays and downloads as one. Transfers already sent pick this up when opened.
Uploading, and the LUT switch. While files upload, the clip you are looking at plays full width under the upload list, with its settings beside it. The LUT switch is offered on every camera clip, on the Send page and on their page: when the camera doesn't say its log curve, the switch asks which one. The Sent detail opens wider, the page no longer grows without end under a framed Sent view, and nothing asks to reload the page while an upload is in progress. Previews for links that never end were being refused and showed as failed; they are made again with Try again. Download this part from a transcript selection opens its menu where you can see it, and Pick your sound bites opens at the page's full width, the transcript on the left and your selects on the right.
Every email in one design. Sign-up, sign-in and password emails, new enquiries, market messages and the waitlist notice now arrive in the same card as everything else KitSlate sends: the name at the top, what it is, the message, one button in a grey box, and the footer. Same words as before.
The Media Center keeps one width. Sent and Settings now use the same width as Send, so nothing jumps when you change tab, and the cards on Sent have more room.
Camera previews in minutes, not half an hour. A camera file of 2 GB or more now gets a low-resolution preview made in two-minute pieces, many at once on bigger machines, instead of copying the whole file to the encoder — so even a 50 GB take plays in the player, full screen and the multi-camera grid a few minutes after its upload finishes. The download is still the untouched camera file. Sync by sound now listens to every audio track, and the preview bar moves the whole time.
Ask for selects. Save an upload without sending it, then Ask for selects: your client gets the video and its transcript, highlights the sound bites they want and sends them back. You get every select — clip, timecode in and out, the words — in the conversation and by email, and Download for Premiere gives you a sequence of them cut from your original files. An EDL is there for Avid and Resolve.
Mark the clap by hand. When sound can’t place a clip, Sync by now offers Mark the clap: open each clip, step to the clapper frame and press M or I. Two marked clips make a take, kept like any other. In the player, ↑ and ↓ now step one frame forward and back, and the shortcuts sheet lists them.
Sync by sound in seconds. It listens to the first 30 seconds of each camera clip, all at once, and only goes further — three minutes, then the whole clip — when a clip isn’t found there. The line says about how long is left, it never waits for the previews, and a reload doesn’t lose it. Picking clips puts the box beside each clip, not over its picture.
Choose what gets synced. Sync by sound now asks which clips first — a box on each, shift-click for a run — and listens only to those, keeping earlier takes. Your client can sync from their own link too, and the takes show on both sides.
What will you use KitSlate for? A new account on the free plan is asked once: Sending files or Running productions. Sending files starts in the Media Center; Running productions, while paid plans are by invitation, puts you on the list — and when your plan starts, the production suite turns on by itself. A paid plan is still asked by its welcome, never twice. Change it any time in Settings → Profile & account.
Stop sharing keeps the files for a while. Stop sharing still turns the link off for everyone at once, but the files now wait 3 days before they are deleted — 30 days on a paid plan, if you choose it under When you stop sharing in the Media Center’s Settings — and never past the link’s own end. While they wait they don’t count toward your storage, and the Sent card says Stopped · restorable for 3 days with Restore the link (the same link, back until its own end) and Delete now. Delete them at once is still there for anyone who wants the old way.
Notice before a link ends. Anyone who hasn’t downloaded gets You haven’t downloaded … yet a day or more before the link ends, with the files by name, and again six hours before — counted in hours on the last day. You get one email listing who has downloaded and who hasn’t, with Keep it 7 more days. Both are switches under Before a link ends.
Camera files of any size play on their page. A camera file of 30 GB or more — a long take on a 4K camera — used to get its specs and Download only, because the encoder takes nothing that big. Now it is cut into parts of about 9 GB (an exact copy of the frames, nothing re-encoded), the parts are made side by side, and the page plays them back to back as one clip: one timeline, every comment and timecode where it belongs, in the multi-camera grid too. While it works the page says Cutting the camera file into parts for the preview. The media server also takes files up to 200 GB now, so Sync by sound hears every camera.
Sync by sound, listening for the slate clap. Cameras that weren’t jammed to one clock can now be put in sync anyway. On a transfer’s page, the sender presses Sync by sound: KitSlate listens to every camera and the recorder (Listening for the slate clap…), matches them (Matching the dialogue…) and places each clip to within a few milliseconds — the clap pins it, the dialogue carries it where there was none. The takes it finds appear as Takes by sound, with All in sync, Download Take and the sync sheets just as for timecode. A clip worth checking says so; one whose sound didn’t match is left out rather than guessed. The features page gains a Multi-camera section.
Links that never expire, on Studio and above. Link lasts on the Send page gains Never: the files stay on their page until you stop sharing them, the page and the email say the link doesn’t expire, and there is nothing to extend. The Media Center’s Settings can make it your default. On other plans it shows greyed, marked Studio. The speed test on kitslate.app/transfers and the send boxes’ Ready to send lists no longer use tick marks.
A preview being made shows how long it has left. While the Media Center makes a playable preview of a camera file, the download page keeps the clip’s own shape — 16:9 when the file does not say — instead of shrinking to a small box. Across it reads Making the preview: a moving bar while the original is copied to the encoder, then the encoder’s own percentage, with the time left worked out from how fast it is really going, and the four stages — Copy to the encoder, Queue, Encode, Ready to play — ticked as each one finishes.
Audio opens as it was recorded. Every clip now starts with channel 1 in the left speaker and channel 2 in the right — nothing mixed together, nothing carried over from the last clip you played. A track that seems silent is labelled, never muted. The audio panel shows each channel’s level and the speaker it comes out of, and Tracks… opens Tracks and speakers: a Left and a Right dot for every channel, the camera file’s own tracks measured underneath, and As recorded to put it all back. The waveform also always finishes now: a part of the file that is slow to arrive is asked for again rather than leaving the lane stuck part-way.
The download bar sits in the page. On the download page, a download’s progress now shows in the summary card under Download instead of floating over the page. A transcript that is still being made waits under the files, then opens over the file list when it is ready.
Send it on opens in the same pop-up as every other send. Send email on a sent transfer now uses KitSlate’s shared sending box: To, Sending as, the contact details shown on their page and your message on the left; the email they will get on the right; Cancel and Send to the person’s name at the foot. In the sandbox, a line under Send to explains that you need a free account to keep your own address book.
The LUT is off by default, and Send asks for a subject. The Media Center’s Settings, the Send page and any transfer that never made a choice now start with the camera’s own picture; you switch a LUT on when you want one. The optional field on the Send page that read “Name” — which looked like it wanted a person’s name — now reads Subject. Send as your company, under Sending as, is a box of its own.
Transfer emails look the way they were designed. Every card in a transfer email now has properly rounded corners. Someone who already has a KitSlate account gets a second card under the plans card — There’s more in your account — with what else KitSlate does (call sheets, quotes into invoices, gear, crew and calendar) and See what KitSlate does. No card prints a bare web address under its button any more.
After an upgrade, one question. When you move to a paid plan, the welcome asks How do you want to use KitSlate? — Just the Media Center or The full production suite — and the next step follows your answer. Your choice is the Production suite switch in Settings → Profile & account, so you can change it there at any time. The Media Center’s own Settings gain a Your sidebar line saying which you have, with a link to that switch.
All in sync takes more than four cameras. Five or six cameras play three across, seven to nine in a 3×3; with ten or more, nine play and the rest wait under the grid as stills — N more angles — where a press swaps one in. A tile that can’t keep up, and isn’t the one you are listening to, pauses on its picture so the others stay smooth.
The manual’s Media Center has its own menu. The single long chapter is now seven sections: Sending files; Sent, and Send it on; the page and the player; Trim; Takes and multi-camera; Transcripts; and Free, Pro and compared. Every old link still opens the right place.
Takes by timecode. When a transfer holds files from different sources — two or three cameras and a sound recorder, say — whose timecode overlaps, the Media Center now groups them into takes. The download page has a Group by bar: Folders as uploaded or Takes by timecode. Each take shows its number, timecode range, length and sources on one rail, labelled A-cam, B-cam, Sound and so on from their folders, and Download everything saves each take in a folder of its own. Files that don’t share timecode with anything stay as they are; nothing is guessed. In the Media Center’s Settings, How files are grouped sets which view the page opens on and whether the person receiving can switch, and the Send page can choose differently for a single send.
All in sync. On a take, All in sync plays every camera at once — each in its own tile with a white outline and its running timecode, the one you are listening to ringed — with the sound recorder’s card and waveform underneath. One set of controls drives them all, in sync. Press a tile to carry on in the single player at the same moment. Download Take saves the originals in the take’s folders with everything that came with them, and paid plans add sync sheets: an FCPXML for Final Cut Pro and DaVinci Resolve and an XML for Premiere, so the edit opens already lined up. All in sync is one of the Pro review tools, on the sender’s plan.
Send it on. Send email on a sent transfer now opens a proper form — pick from your crew and clients or type an address, choose Sending as, add a note — beside a live preview of the email they will get. Each person you add gets their own link.
An account for sending files is just that. An account created from kitslate.app/transfers now starts with the production suite switched off: the sidebar, Jump to and the phone menu show the Media Center, Activity and Profile, with one card to turn the rest on. Settings → Profile & account → Production suite switches it either way, and nothing is deleted when you do. Every existing account keeps the sidebar it has.
A shared link opens out into a picture. Paste a transfer link into Messages, WhatsApp, Slack, LinkedIn, Facebook or X and it now shows a card: the first frame with KitSlate’s play mark, the title, and what is in it — clips and files, size, format, frame rate and audio tracks. The line underneath is you and the first line of your note.
Smaller changes. On kitslate.app/transfers, Test my speed is a full-width button under the two speeds, and says when it is measuring and when it is done. The transcript beside the player now ends level with the player’s controls and scrolls on its own, and pressing / searches it.
Transcripts in the Media Center. Any audio or video file in a transfer can now have a searchable, timecoded transcript of what is said. Click a line and the clip jumps there; words light up as it plays; select some text to trim that moment or comment on it. Read it beside the player, in a full-width card that follows along as the clip plays, or in a reading view that keeps the line you are hearing in the middle of the screen. Captions can show under the picture, and the transcript downloads as text, with or without timecodes. Transcripts are a Pro review tool — available when either the sender or the viewer is on a paid plan. They are made automatically only when the sender switches them on (off in Settings to start with, and a choice on each send); otherwise you can ask for one from the player’s Transcript tab. They are made by machine, and the page says so: check before you quote one. MP3 files are included, and a file type that can’t have a transcript yet says so instead of the tab disappearing.
The waveform is there before you press play. The whole file’s waveform is now drawn as soon as it loads, left to right, instead of filling in only as the sound plays. The file’s length comes from the file itself, so a long MP3 shows its real running time.
Your view of a sent transfer is your client’s page. A sent transfer’s name now opens the same page your client gets, marked Sender view, with your own bar across it: Copy link, Send email, Keep it 7 more days, how often it has been opened and downloaded, and Stop sharing, which asks before it acts. Send email adds someone with their own link — for when a client decides they wanted an email after all.
The download page, tidied. A download shows a strip at the foot of the page with the file, how much has arrived, the speed and the time left; Download everything shows which file it is on. A preview opens on its first still instead of a black box, and Play plays on the first press, Safari included. The trim strip’s in and out points are larger and easier to grab, and your default trim handles — None, 1 s, 2 s, 5 s or Custom — show in the selection bar, where you can change them.
The player’s tools work on previews too. The audio meters, Snapshot and the trim filmstrip now work on clips playing from a preview the Media Center made, where before they sat silent or empty.
Terms 1.4. The Terms of Service now say what happens to your transfers if a paid plan ends: links already sent keep working until they expire, and the Pro review tools depend on the plans in force when the page is opened.
Nothing crammed in the app. Every row of buttons and chips now has the same space between them, the copy button beside an email address or phone number no longer touches the words, and the income report’s monthly figures never break an amount over two lines.
File transfer is now the Media Center. Sending is one thing it does. The sidebar, the page header, Activity, the invitations, the feature page and the manual all use the new name.
One player, on both sides. The page your client opens and your own view of a transfer now use the same player: one row of controls that never wraps (extra tools fold into ⋯), an audio rail with a lane, meter and solo for each track, an Audio menu, and a spec sheet read straight from an MXF’s header or a WAV’s embedded details, with drop-frame timecode shown correctly. Expanded and Full screen fit one screen at the clip’s own shape. LUTs and picture tools are in the player, with a default in Settings and a choice on each send. Every video box is black, in light and dark themes alike.
Trim and download just the part you need. The player’s Trim opens a filmstrip with in and out handles, shows the in, out and length in the file’s own timecode, plays the selection, attaches the range to a comment, and offers Download this part. A WAV is cut exactly, in the browser, at full quality — a multi-track WAV can also be saved one track at a time. An MP4 or MOV part is the original, cut from the keyframe at or before your in point. Each download says whether it is Original or Compressed. Trim is one of the Pro review tools: it works when either the sender or the signed-in viewer is on a paid plan. Free plans see the tools dimmed, with a line saying why.
Previews say how far they have got. A clip that needs a preview says how far along it is, plays the moment it can be streamed, and shows its still while it waits. A transfer’s link works from the first second of the upload, and the page answers while files are still arriving.
The Media Center compared. New pages at kitslate.app/transfers compare it with Media Shuttle, MASV, WeTransfer, Dropbox and FileZilla, feature by feature. Every fact about another product links to the page on that product’s own site it came from, says “Not stated” where they don’t say, and says so where they offer something KitSlate doesn’t.
The sandbox uses made-up companies. The demo’s two companies are Fernway (Demo) and Copperline (Demo), with matching example addresses and invoice numbers, everywhere the sandbox and the public pages show them. Press Reset sandbox to see it.
Room to breathe. Buttons sit a little further apart and their labels stay on one line. When a production’s document tabs don’t fit the window, the extra ones fold into ⋯ instead of squeezing. Expense rows have more space, and pronouns now show only on the call sheet and in Crew.
Invoices come from [email protected]. Invoices and their payment reminders are now emailed from their own address; every other email still comes from the usual one.
Anyone can open a free account. Any email address can now sign up for a free account with file transfer, your public page and the market. Paid plans show Request access and are still by invitation. On the free plan the sidebar holds File transfer, Activity, Market and Profile, with one card describing the production toolkit, and the Send page takes typed addresses and suggests the people you have sent to before.
Transfer limits follow your plan. How much you can send at once and how much you can keep stored now depend on your plan, and every plan card says so. The free plan sends up to 5 GB per transfer and keeps up to 100 GB at a time; when that fills up, the oldest live transfer ends to make room, and the Send page tells you which one before you send and confirms it afterwards. Drop files on kitslate.app/transfers and they are carried through sign-in onto the Send page.
A camera card arrives as clips. Send a card straight from the camera and the download page shows one row per clip — thumbnail, length, name, codec, frame size and frame rate — with the master, proxy, thumbnail and metadata folded under it. Play plays the camera’s proxy and Download fetches the full-quality master. A clip with no proxy can be given a playable preview, with an MP4 to download.
Sending, clearer. The uploading screen shows progress and the files side by side, and a finished file plays from your own copy straight away. The transfer email shows the first file, lists every file as a card, and ends with Download everything and Open the download page. Uploads now use more connections at once, so a fast connection is no longer held well below its speed. The recipient picker floats over the form instead of stretching it.
Receipts get the company’s own address. Each company now has a receipts email address and page named from its handle — yourcompany[email protected] and kitslate.app/receipts/yourcompany — and the confirmation email gives that address. The older random address and link keep working.
Open a receipt and do everything with it. On the Receipts page, Open shows the receipt beside the same controls the job uses. Move it from one job to another, from a job to a business expense or back, or edit it there. The page shows its totals, no longer jumps about as you click, and a phone no longer zooms in when you pick a job.
The sandbox can be any plan. Switch the sandbox to any plan and it behaves as that plan, so you can see exactly what each one includes.
A Receipts page for the whole business. Each company now has a receipts address and link of its own, not tied to any job. The new Receipts page lists what has arrived on it and every receipt across all your jobs, with where each one went: a job, a business expense, or declined. A waiting receipt goes onto a job through that job’s own check, is kept as a business expense, or is declined. Settings → Companies shows the address, and Reports counts spending with no job as Business. The sandbox opens with receipts in every state.
File transfer for every account. Every signed-in account now sees File transfer, with an Ask to join the beta button. Transfer emails come from [email protected], as your company via KitSlate. kitslate.app/transfers is the front door for sending files, and Send files is in every footer.
Transfers, polished. A sent transfer’s details are laid out properly: the figures stand out, the people table has room, and the activity reads as a timeline. The speed test shows each direction separately and stacks on a phone. The play control is a small KS | Play pill. The comment box has two lines with the moment written above it. Comments you post from your own transfer page come from you, and the page no longer asks you for your name.
Smaller fixes. The sidebar menus, the phone menu and notices now work from the keyboard and with a screen reader. A Google Calendar write that fails is reported on the company it failed for, in plain words. A confirmation box no longer opens with the keyboard focus ring already on a button. If an invoice goes back to draft, has card payment switched off or is marked paid by hand, a card form your client has open closes.
File transfer, in beta. Invited beta testers now have File transfer in their sidebar — Send, Sent and Settings — for sending big files to clients and crew. Uploads resume if interrupted and are tuned by a speed test. Each person gets their own email and link to a branded download page with resumable downloads and Play. Comments are pinned to a timecode, and the conversation shows on the page, in Activity and in Messages. Download, reply and reminder emails go automatically, and expired files are deleted. A moment in a clip reads as time from the start and as the source timecode, and Copy TC copies it. The download page carries KitSlate’s wordmark and its own light/dark switch, and plays in Safari.
The sandbox has File transfer too. Send, Sent and the download page are in the sandbox, fully simulated — nothing leaves it.
The legal pages cover file transfer. The Terms (1.3), Privacy Policy (1.5), subprocessor list and Security page now cover file transfer, prohibited content, and copyright and takedown. Recipient addresses, activity and replies on a transfer are deleted 12 months after its link ends. The download page’s footer links them.
The Invoices list fits a 1280 laptop on Windows too.
Turn an enquiry into a production in one step. An enquiry’s card in Activity and its row in To do now carry Create production. It opens the usual Create Production form, filled in from the message: the client (an existing customer with that email, or a new one, checked for duplicates first), any dates the message gives, and a name from the subject. Once it is created, the enquiry is filed and names the production it became.
Invoice payment reminders. Settings → Money → Invoices has a new Payment reminders section, off until you switch it on: a reminder a few days before the due date, one on the day, then one every few days after it, up to a number you set. The wording is one template under Email templates, Invoice payment reminder. Each job’s Settings tab can follow the default or switch reminders on or off, and the invoice’s page lists the next reminder and the ones already sent. Sending an invoice schedules them. Voiding it, taking it back to draft or switching reminders off cancels them. Scheduled emails, including the crew wrap-up email, now follow the job’s time zone and wait until 8 am rather than going out overnight.
Money adds up. Home, Reports, a client’s page and the crew page no longer add pounds to dollars. Every receipt carries a currency, and two currencies are never added together. A weekly rental bills three days for every week started, not three days in total. Tax collected stays out of income. A payment counts in the month it arrived. Payment history says how each payment was made, and a settled invoice’s page shows what was paid instead of $0.00. A negative amount reads -$185.91, never $-185.91.
A second company stays itself. A second company’s documents no longer print the first company’s address, logo, tax number or reply-to address. Replies to its documents are answered as that company, and moving a job to the other company moves the company name in its drafts too.
Printed documents. Every printed page of a quote or invoice now says its number and “Page N of M”. An invoice’s total always shares a page with the last lines it adds up. A long shoot schedule names itself on every page. A long project name, PO number or location no longer pushes the client’s name off the invoice.
Gear, calendar and phones. An inventory of a thousand items or more now opens in a fraction of a second. Scanning a code checks out exactly the unit it names. A faulty item stays faulty through a scan and is asked about before it goes out. Every item keeps a service history, and an item that is out can’t be deleted until it comes back. Adding gear to a job warns you when another job or a rental has it on those dates. On the calendar, night work is drawn past midnight, and an imported event marked free no longer blocks a room. On a phone, buttons, ticks and menus are full thumb-sized, and the expense ledger shows as cards with every figure on screen.
Nothing goes without asking. Deleting an imported invoice, an expense or a crew member’s document asks first. A client still used anywhere can’t be deleted, and the message lists where it is used. A company with issued invoices can’t be deleted. Agreement signing links now expire 30 days after they were sent, and a signature on any link a signer was sent reaches the agreement. Opening an old signed agreement no longer changes it. If the database is briefly unreachable, a guest link says it couldn’t load instead of claiming the link is broken.
Team seats see only what they should. A seat without access to money is never shown invoice figures or told an invoice is paid, and crew day rates are now withheld by the server, not just hidden on screen. A seat whose access changes or ends is told so.
Search everything. Jump to (⌘K) now finds a person wherever they appear: on call sheets (with role, call time and whether they confirmed), on agreements, on invoice and quote lines, on expenses they paid, and in Activity. Type an amount and it finds that exact figure across expenses, lines and document totals, with near misses listed separately under Also close. It finds an invoice or quote by its number, and words inside call sheet, quote and invoice notes. Names typed without their accents and phone numbers typed as plain digits are found too.
Search settings is on every Settings page, in the same place, and finds a setting by the words on its controls.
An approved quote is frozen. Once a client has approved a quote, it stays exactly as they agreed it. To change it, undo the approval first.
Accessibility. Dialogs keep the keyboard inside them, every control has a name a screen reader can say, and colours and tap targets meet the accessibility standard. The last browser alert boxes are now notices on the page.
Smaller fixes. Archived and hidden productions leave your calendar feed. Receipt links work on Solo. The installed app opens straight into KitSlate. Replies to your feedback show in Activity as a conversation. The income CSV now includes KitSlate’s own invoices, not just imported ones. A call sheet template no longer carries another job’s crew. A GBP invoice’s discount note says pounds. Plan, team and public-page screens say exactly what your plan includes.
Half days are billed as half days. A line of 1.5 days used to be billed as 2, and 2.5 as 3. Days and quantities now keep two decimals and are priced exactly. Whole-day lines are unchanged.
Receipts in another currency. A receipt in euros, pounds, yen or another clearly named currency is now pre-filled in the job’s currency at the European Central Bank rate for the receipt’s date. The rate and the day are shown beside it, and you can change the figure to match your card statement. A receipt is never counted in the job’s currency until it has a figure in it. A thirteenth receipt sent in one day no longer pushes out the first. CSV amounts written as “44,53” or “1.234,50” are read correctly, and refunds are kept.
Clients get the call sheet; crew confirm it. A client is sent the call sheet — the full sheet and its PDF — and their page says Sent to you. They are no longer asked to confirm and get no receipts link. With Also let them send receipts on, each crew member also gets the upload link as an email of its own, so it can’t be missed at the foot of a long sheet.
All your email wording in one place. Settings → Messages & wording holds the wording for all sixteen emails KitSlate sends, grouped by job, with KitSlate’s own wording shown faded until you write yours. Every sending box links to it. Replies from Activity now use the same sending box as everything else, with the email shown exactly as it will arrive.
A manual you can find your way around. The manual opens on a front page with a pinned search box, a six-step Quick start and a card for each area, then shows one area at a time. Help & manual in the app opens it. Every footer has Help — Manual, Report a bug and Contact — and the contact form takes screenshots.
Smaller fixes. A refund can be recorded on a sent invoice. A signature is dated on the signer’s own day, not the server’s. Dates near midnight show your local day everywhere. Receipt decisions show on the crew member’s own page. Feedback works in the sandbox, Jump to opens in the large window, and the privacy-choices banner no longer appears inside the app.
The quote, the invoice, the equipment list and the call sheet are edited on cards. Each tab used to be a facsimile of the printed page with boxes typed into it. Now each part of the document is a card of its own — the quote’s facts, one card per section with Pick from rate card, Pull from Gear List, Add line and the Show all / One line / Hide switch beside the title, Totals, Terms & payment; the equipment list’s facts, camera settings, one card per category or case with the four packing marks, rental value; the call sheet’s day, key times, key dates, crew, schedule, talent, clients on set, shoot plan, nearby, meals and notes — and the printed page appears once, at the foot, as a read-only Preview drawn by the same engine that prints the PDF and the email. Nothing the client receives has changed. Fields sit two to a row, each the width of its column, so a long address or a maps link never scrolls out of its box; on a phone every line of a table restacks into a labelled block. Dates show in full; a rate prints with two decimals in its own box.
One mark-up, called what the industry calls it. The production fee is the one percentage KitSlate adds on top of a job’s costs, and it is calculated only on the sections you tick — never on its own line and never on payment fees. Expenses are billed at cost. Card and wire fees are their own lines at cost and are never marked up. Settings → Money → Expenses & fees sets the default percentage (a preset, or Other typed to half a percent) and what it is calculated on; every job’s Settings tab has a Production fee card with an on/off switch showing the amount on the quote; the quote’s and invoice’s Totals card says where the fee sits and what it was worked out on.
One filming location. The job owns its address — on the create form, on the job’s Settings tab and on the call sheet it is the same control the crew and client forms use: type and pick, the parts fill in, the map draws, and a Google Maps link is made from it (open it, or copy it). Paste a Google Maps link into the box under the map and the address fills in the other way. The call sheet follows the job’s location; type on the sheet and that sheet keeps its own for the day, with Use the job’s filming location to follow again. The pasted-link field is gone: the PDF, the crew’s page and the email all make their map link from the address, so the two can never disagree. Sheets you already had follow their job too; only a sheet you type a different address on keeps its own. On the job’s Settings tab and the call sheet the map stands beside the address fields, full height; Job and Venue name share the call sheet’s first row with Notes beneath; Key times and Key dates sit side by side; Province / State and Country are the same width; the job card on the Settings tab takes the card’s width the same way. Day 1 of the call sheet and the Settings tab are one filming location, edited from either; Day 2 onward follows it or keeps an address of its own typed on that day, and is never edited in the other direction. When the job moves, every day that was holding a copy of the old address moves with it. The crew’s page reads the same rule, and under its map it prints the venue name and the address, with the map pinned from the address. The PDF, the crew’s page, its email and the preview all read the address through the one rule, so a moved job moves every one of them; a new crew row no longer takes a copy of the sheet’s address.
Search Console. The market’s category pages name their listings and leave product markup to each listing’s own page, which carries it only when the listing has a photo; the pricing page describes KitSlate as software with a price per plan rather than as a product awaiting reviews. Market rows show their city again. On the homepage’s chain of documents the caption and the three-way switch sit on their own rows, so the switch is in the same place on every chip.
Public addresses have a policy. A handle or company handle is five characters or more, letters, numbers and dashes, none of KitSlate’s own words, and nothing rude — spelled plainly or with digits standing in for letters. The word list is the public one most sites start from, loaded whole. The rule is the same in the picker, at publish and on the server. HQ → Accounts lists every public address with the policy’s verdict on each.
Two companies per account. Every plan from Studio up runs up to two companies — the number KitSlate has been tested properly with. The pricing page, the plan comparison, the manual, the plan cards in the app and the Add company button all say so, and a third company cannot be added on any plan. Nothing already in a workspace changes: an account that had more than two keeps every company it has.
Upload more, from the copy email. The “Your receipts went to … — your copy” email now ends with Upload more (their own link), Copy email address and the address to forward receipt emails to — and says that until a receipt is checked they can edit or remove it from the same link.
Work history buttons take you there. In a crew member’s expanded profile, Open job, Check it, View invoice and Ask for it now close the profile and open the job, the invoice check or the email in front, instead of behind it.
Crew can fix a receipt before you check it. On their receipts page, every receipt still waiting for your check has Edit and Remove — change what it was, the category, the date, the amount or whose money, or take it off — so a wrong price no longer means photographing it again. You see Edited by them — was $46.44 beside the figure when you check it. Once you approve a receipt it reads Approved — can’t be changed on their page. The page’s day headings now read as days, and long descriptions wrap instead of being cut off.
A Crew pay page, and two layout fixes. There is a new feature page, Crew pay, for asking the crew for their invoices, checking every line against the job and recording what you paid. A crew member’s Work history now shows what they earned on a job the quote never priced them on, from their own invoice, marked as invoiced. On a phone, a job’s header line wraps instead of cutting off the date and address, and the Invoices page no longer runs wider than the screen on a tablet or narrow laptop.
The sandbox has crew pay in it. Every finished job in the demo sandbox now has what a real one would by now: crew invoices in, checked against the job and their receipts, the older ones paid by each person's chosen method with their receipts paid back, the newer ones with differences to check, a wrap-up email sent, and one invoice waiting to be recognised. Each crew member's Work history and pay details fill from it. Press Reset sandbox to see it.
A more visual Home. Home now opens on four tiles — Needs you and Waiting on others (each naming its top three, every line clickable), Owed to you and Gear out — then This week as a strip with each shoot drawn across its days and every day's events under it, In flight as small job cards with progress and the next step, and Today as one bar of the day's hours with a line at now and the full list beneath. The counters under At a glance show again (they had been squashed out of sight). Money stays hidden until you press Show on the Owed to you tile — while it is hidden no amount appears anywhere on Home — and the choice is kept on that device only.
A lunch link that is not a web address says so. Pasting something like "ask Steve, he's ordering" into a call sheet's group-order link no longer makes a button that goes nowhere — not on Home, not in the call sheet editor, not in the crew's email. The editor tells you to paste the link itself, and a link pasted without https:// still works.
Crew pay: the crew record is a button, and the sending box shows each person’s link. On a job’s Crew pay tab, Their crew record (or Add pay details) is now a button on each person’s action line, level with Ask for it and Check. In Email crew for invoices and receipts, anyone who already has an upload link shows it under their name with a Copy button, and once the email has gone the person reads emailed and the date — there and on the Crew pay tab.
Project cards show what matters right now. On All Projects each card now reads its stage. Before the shoot: call and wrap times, then four tiles — Crew confirmed, Gear packed, the Quote total and where it stands, Agreements signed. After the shoot: Invoice balance, status and due date, Gear back, Expenses still to bill, and Crew pay invoices in and money to pay. Every tile opens its page. One Next action with a Do it button sits underneath, and jobs more than a month out say “In 34 days” instead of a bare date.
Expand shows the whole job. A card’s ⤴ Expand (was “Summary”) opens a large view: nine headline figures — quote, invoice, balance due, gear, crew, agreements signed, expenses, crew to pay — then a card each for gear, call sheet, quote, invoice, agreements, expenses and crew pay, and a What’s left list that now includes invoicing, billing expenses and paying crew.
Crew wrap-up email settings line up. In Settings → Crew wrap-up email, the Custom hours box, the When picker and the on/off switch are now the same height on one line.
Crew pay from All Projects, and a crew member’s whole history. Every project card with crew now has a Crew pay chip beside Gear List … Expenses — dimmed until an invoice comes in, green once everyone is paid — and it opens that job on Crew pay. In a crew member’s expanded profile, Work history runs the full width of the window with every row the same height, and their Notes now show there too (they were missing from the expanded view). The last “Charge them on” labels now read Bill the client.
Job names in emails are written plainly. Subject lines and wording now say Please sign the release for Hilton Shoot, not for “Hilton Shoot” — the agreement, reminder and signed-copy emails, the receipts and form links, and the new crew wrap-up email.
Crew pay: every crew invoice on a job, checked and paid. A job with crew now has a Crew pay tab. Crew send their final invoice through the same upload link as their receipts — KitSlate recognises an invoice and files it here instead of with the receipts. Check sets each line against the job: their day rate on the quote, and their receipts on the Expenses tab — matches, dollar differences, lines with no receipt, receipts already paid back and correctly left off, and receipts still owed. Mark paid records how you paid them — method, date and reference, from the same list as an invoice payment — and marks the matched receipts paid back; Undo paid takes back exactly that. The tab has its own progress bar: invoices in, expenses paid back, people paid. Email crew for invoices and receipts sends everyone on the call sheet their own upload link — the one they already have, or a new one — with a thank-you you can reword. Anyone who has already sent receipts is told how many and their total, and asked not to upload them again — just list them on the invoice, so nothing comes in twice. Set it to go automatically a few hours after the last day’s wrap in Settings → Money → Expenses → Crew wrap-up email, or per job on its Settings tab; it is scheduled when you send the call sheet, and sending it by hand cancels the automatic one so nobody gets it twice. Each crew member’s profile now shows, per job, what they earned, their expenses and receipts, and whether their invoice is in or paid, with buttons straight to the job.
An invoice you mark as sent says so. One you mark as sent — because it went out through Wave, QuickBooks or your own email — now reads Marked sent, on the Invoices list and on the invoice’s own page, rather than looking like one KitSlate delivered. Viewed now only appears when the client link is opened on or after the day the invoice went out; an open before that was you checking the page, not your client. Changed your mind? Undo mark as sent under Actions takes it back to Approved — or to Draft, if marking it sent was what approved it. An invoice KitSlate emailed has no undo, because that send happened. The How it went out choices in that dialog now wrap onto a second row instead of running off the edge.
Expenses are billed, not “charged on”. Everywhere KitSlate talks about putting a cost onto the client’s bill — the Expenses tab, its totals, the job’s progress rail, the Add menu, the fee settings, the manual and the feature pages — it now says billed. The button that puts leftover expenses on the document reads Bill the client.
Line controls look like the rest of KitSlate. Under each line on a quote, invoice, gear list or call sheet, + With gear, + Details and the ledger picker are now the same small outlined button used everywhere else, one height and one shape. The picker reads Ledger: Crew — the ledger the line books to — and lists the plain names when opened. On a job’s Agreements tab, ＋ Add a clause matches Edit template and Archive beside it.
Replacing a payment fee on an invoice’s page changes the invoice. With the job last left on its Quote tab, the Payment methods card on the invoice’s own page — and the dialog behind Manage payment methods — were editing the quote: switching to American Express and choosing Replace the fee put the Amex fee on the quote and left the card fee on the invoice. They now always act on the invoice, and the fee line changes with the choice.
Every setting named is a link. Wherever KitSlate tells you where something is set — “Settings → Money → Payments” — the words now open that page. Only paths that exist are linked; directions to another product’s settings stay as text.
The payment details point the right way. On the invoice and the client’s page they read “Pay by card using the button below” — the Pay box sits under them.
A large workspace loads on any device. A browser keeps about 5 MB for a website, and a busy studio’s year of productions can be more than that: on a new computer, or after clearing site data, KitSlate could not load it, and when storage filled up it dropped attached PDFs to make room. It now stores a workspace that does not fit in compressed form — roughly three times smaller with photos in it, far more for text — so it loads, saves and keeps its attachments. Ordinary workspaces are stored exactly as before. If one is ever too large even compressed, KitSlate says so in plain words; everything stays safe on the server.
Every date follows your country. Dates across the app — Activity, Today, the calendar, sync and import history, messages, crew and client replies, the crew member’s page — and on call sheets, their emails and agreements now print in the order set in Settings → Accounting → Country & market (or the job’s own setting): “Tuesday, 25 August 2026” or “Tuesday, August 25, 2026”, never “Tuesday, 2026-08-25”. Times follow your 12- or 24-hour choice in Preferences.
Company comes first. On the forms that send as a company — asking crew or a client for their details, sending a copy of an invoice — Send as is now the first field, and on a job’s Settings tab the Letterhead card comes first, straight under Still to do.
Fits a laptop screen. Three places that ran out of room below a large monitor:
Invoices opens on All invoices. The page used to open on whichever tab had something in it; it now opens on the full list every time.
The Invoices list reads the whole name. Customer, Production and Company run to a second line before anything is shortened, and the fixed columns are sized to what they actually hold, so on a laptop-width window the names are no longer cut to “Casual Fil…”.
Camera settings tiles draw whole. On the equipment list’s Web preview and in the email, each setting’s tile had corners missing and sides thinned to a hairline. The tiles now carry a complete rounded outline.
The Pay button says the amount. On the invoice and on the client’s page it reads Pay $2,349.91 — the figure, nothing else. The line above it still says the payment goes through Stripe.
The code beside the Pay button, on the invoice’s own page. The published copy shown there carried the payment address but not the code that goes with it, so the panel said “scan the code” beside a button with no code. It draws it now, as the editor’s preview and the client’s page already did.
The editor’s preview shows the client’s prices. With the production fee set to Apply and hide, the preview at the foot of the editor and its PDF now show each line marked up and no fee row — what the client receives — while the cards above keep the fee as its own line for you to edit.
The ledger summary is a panel. On the invoice it sits under the totals in the same grey panel as the payment details: each item with its figure beside it, as many across as the page fits, spread evenly, then the next row.
Even gaps under the sections. Every subtotal row on a document — a section’s own, Subtotal at listed rates, Discount — now carries the same space above and below its figure; the gap between one section and the next is unchanged.
Production fee: Apply and hide. A third choice for what the client sees. The fee is folded into the prices, line by line — every line on the ticked sections is marked up by the percentage and there is no fee row — while your own copy keeps the fee as its line, so the ledger and the total do not move. The client’s total, the printed sections and the published lines are the same figure to the cent.
Expenses are their own section, and Misc stays its own. A receipt added to the invoice bills under Expenses whatever Misc is set to: hide Misc and only Misc’s own lines leave the document. Expenses shows as every line or as one line, like the rest; it has no Hide, because a line comes off on the Expenses tab. Misc keeps its own card with Show all, One line and Hide, and starts off until it has a line. The ledger summary reads the same sections the total does.
The Totals card is two columns. The ledger summary runs down the left, the section subtotals and balance down the right, on the same row rhythm, with a closing figure each.
A draft again reads as a draft everywhere. Edit an approved invoice and its page shows the edited document with a note that the client still sees the approved version; the Versions card offers Save, which approves it again. Save changes is only for an invoice that has been sent.
The email preview shows what is attached. Under the message, Attached to this email lists the invoice PDF and every receipt going with it, each one openable.
Receipts sent in: approve one at a time, and View opens every receipt. Each row in the check now has its own Approve beside Decline — it adds that receipt to the job and the rest stay waiting. Rows start unchecked and look the same as any other row — a checked row is lit, not the others dimmed — one button checks or unchecks them all, and Add still takes the checked set together. On the Receipt upload list, View opened only the first receipt a person sent; it now opens each one.
The invoice editor names the next step. On an approved invoice the editor’s main button is Send invoice, the same as on the invoice’s own page; once it has been sent it reads Email again. An invoice you edit after approving drops back to Draft, and the button that takes it back is Save on both screens — it approves the invoice again with your edits. A first approval still reads Approve invoice. The button that read “Invoice record” is gone from those states.
Card payment on an invoice is switched on by the server, when the invoice is published. Turning the switch on is a request; the server now answers it inside the same step that publishes the invoice, and again whenever you change the switch on a live invoice, using one set of rules. The invoice page shows the answer: Online payment enabled, or Online payment requested — not enabled with the reason and a Retry. A request that the server could not confirm is never reported as on, and the Share dialog, the invoice page, the editor’s own preview and the client’s page all read the same answer. Invoices that started as saved drafts could never be enabled before this, because their currency was never stamped at publication; that is fixed, and the check that used to fail silently now answers with a named reason.
Every dollar figure ends on the same right edge. On quotes and invoices the line totals, the section subtotals, the balance due and the ledger summary now share one right edge, on the preview, the PDF and the client’s page. Two columns that follow the total — the editor’s delete column and the overtime column — used to keep their width when switched off and pushed every line total inward.
Any edit after approval puts an invoice back in Draft. The check used to read only the priced lines and the number, so a changed line date, a note, the terms or the discount display left an edited invoice reading Approved. It now reads everything the client would see.
When card payment cannot be switched on, the page says why. If the server refuses to switch the client’s page on, the Online payment row on the invoice page prints the server’s answer with a Try again button, and the switch says the same, instead of reporting it on.
An empty section stays off the document. A quote or invoice section with nothing in it — Misc with no lines, say — is left out of the document, the PDF and the email until it has a line, instead of printing “Nothing here yet” and a $0.00 subtotal to the client. It is still on the editor, with its Add line button, and Show empty sections on the Totals card prints the empty ones if you want them.
Discounts: shown, or the typed rate is the price. When a line is priced below its listed rate, the Totals card offers Show as the price and Show the discount. Shown, the document prints the listed rate and the saving under the line, with the subtotal at listed rates and the discount above the total; as the price, the typed rate is what it costs, with no discount anywhere.
The ledger summary prints on the invoice. Where each line books — Rental, Crew, Studio hire, Expenses, Bank charges — now sits under the totals on the invoice, the PDF and the client’s page, the same figures the Totals card shows. On a quote it prints only when switched on.
The location prints as a block. The Location row on quotes and invoices, on the editor and on the printed document, prints the address on its lines rather than one long line, the same as the call sheet.
Back to draft holds. Taking an approved invoice back to draft now puts it back in Draft everywhere — the page, the list, the job — with Approve invoice back on the bar, until you approve it again. The client’s link keeps working meanwhile.
The invoice page shows the whole document. While an invoice is still a draft, its record page shows the document as it is being built — letterhead, dates, rates, terms — instead of a bare list of lines and totals.
Card payment: one answer on the invoice page. The Online payment row and the Stripe switch on an invoice’s page now read the same setting. When card payment is on and the invoice is approved, the page switches the client’s copy on and says so, and the document prints Card payment online in its payment block. The row used to offer “Enable online payment” under a switch that already said Enabled.
The quote’s preview shows the quote. The switch beside the preview reads On screen and PDF; the on-screen view is the quote as the client reads it, not the email summary card.
Line dates keep the section in date order. Change a line’s date on a quote or invoice and the line moves to where it belongs — earliest first, lines without a date after them.
Back goes back. Opening a Settings page from a document — Payments from the invoice, say — and pressing the browser’s Back button returns to that document. It used to open Home or on a Settings page you had not asked for.
The selection bar is as wide as the page. On a wide screen the bar that appears when you pick inventory items ends where the page ends, instead of running to the edge of the window.
The sandbox’s sent invoices carry their card fee. Demo invoices that offer card payment now show the fee line and include it in their total, and the switch moves it on and off.
What they receive. A new page under Features shows the other end of every send: the call sheet email with the person’s own day at the top, the page it opens on a phone, the quote, agreement and invoice emails, the equipment list, the one email a client gets when several documents go out together, the requests for details and receipts, the seat invitation, the waitlist and plan-ending notes from KitSlate itself, the signing page, the hosted invoice, the PDFs, and the status cards that report back. Every capture is the sandbox’s own output. Nobody “owes” you their details or a signature any more: the homepage, how it works, the manual and the new page say what you need from a person instead. The captures sit in rows with no empty space: a phone view beside a longer page runs to the same foot and shows more of its page, and an odd one out takes the row with its title at the side. The equipment list, quote and invoice PDFs on the examples page and the homepage are now the printed PDFs themselves, not screenshots of the editor with its controls and drop shadow. The three phone screens are cut at phone width and twice the height, and an email frame never crops its margins: it fits whole on the inbox grey, which runs to the foot of the row. The invitation email’s Getting started block is now five steps in the order a new account actually goes: accept and sign in, create your profile and choose public or private, put in your business details, import your equipment list, then explore the flow. Its What’s inside grid lists every feature area KitSlate has now, eight tiles from productions to the used-gear market, where it used to list six.
Online payment can be switched on before an invoice is published. The switch on the invoice is your choice at any stage, like QuickBooks: on a draft it is recorded and applied the moment the invoice is published or approved, and the panel underneath says what still stands between it and a Pay button. It used to refuse with “could not be turned on” as soon as a draft had a server row, and the box kept the tick the browser had drawn. The refusal only appears now for a live invoice the server cannot make payable, it says what is blocking, and the box always shows your choice. If the company cannot take payment yet — no confirmed billing currency, Stripe not connected, or Stripe still finishing its checks — switching it on says so once, names what to set up, and offers the way to Settings → Money → Payments; the same line sits on the panel with the link until it is done. The keyboard focus ring on outline buttons now sits on the border instead of outside it, so it no longer reads as a double outline.
Billed receipts book as Expenses. The ledger summary under an invoice’s totals now books receipts billed from the Expenses tab under Expenses, beside Studio hire and the rest, instead of under Other.
Online payment on means the card fee is a line on the invoice. Every invoice, every time, unless Settings → Money → Payments says the company absorbs card fees. It used to be a question asked when the switch went on, and an unanswered question added nothing, so an invoice could offer a card with no fee. Switching off takes the line off. The fee is worked out from the invoice’s lines whenever it is shown, so a line added or changed later moves the fee and its label with it. A percentage printed beside a payment method with nothing charged is gone: a fee is a line the client can see, or nothing. The invoice editor’s Online payment box read the server’s answer under the wrong name, so an invoice that was fully eligible showed “Not payable yet — unknown” it now reads Ready when the server says so, names any real blocker, and says plainly when the call itself failed. Switching Stripe on from a standalone invoice’s page now saves to the invoice; it used to change a copy the page had built and lose it. The Settings overview’s headings sit in a tinted band and its areas line up across both columns.
On a wide screen the preview sits beside the document. On the quote, invoice, gear list and call sheet editors, when the window is wide enough to hold the document at its full width and a preview column beside it, the preview leaves the foot of the page and sits on the right, level with the top, and stays there while you scroll and edit. Shrink the window and it goes back below. It either fits or it does not: the page never scrolls sideways, and the document’s fields stack in one column in the wide layout. Home and the calendar no longer run edge to edge on a wide monitor either: they stop at the same width as the Invoices, Clients and Inventory lists, with the grey around them.
One line for an invoice: Draft → Approved → Sent. An approved invoice that has not been emailed now reads Approved on the Invoices list, in its tab, on its page and on the job — it used to read Sent the moment it was approved or updated, with no email behind it. Sent means an email went, or you marked it sent. Edit an approved invoice before it is sent and it is a Draft again: approve it again and the copy at the client’s link updates as a new version. Once sent, an edit is saved as a new version with Save changes instead. The invoice page and the invoice editor carry the same bar — the next step, Edit invoice, View as client — and point at each other, so you move between them without going through the Invoices list. The Versions card no longer lists a version twice or shows a draft nobody saw, the activity list uses plain words, and the online-payment switch keeps your tick through every step: it is told to the server when the link is created and on every save.
Open on a To do row reaches the calendar. A hold, an inquiry or an awaiting approval on the To do page opens the calendar with that event selected; it used to select it and stay on the To do page, which looked like a dead button. The snooze control is now the word Snooze rather than a glyph.
Settings opens on an overview. Every setting in one searchable list — type time, dates, Stripe or a whole question like how are my times shown — and each result says where it lives, opens it, and links to the manual or the feature page. I want to… lists the usual starting points, and Browse sections… opens the section picker. The search words are mined from the manual’s own wording for each section. It is the one Settings page that runs the full width, so the index can sit in two columns. Billing still opens Plan & subscription directly.
The Dates setting explains itself the way the job card does. Settings → Accounting → Country & market now says what the order applies to, shows every button with both its written and numeric form, and prints today’s date in the chosen order underneath, so changing the country visibly changes the result. The Automatic button keeps one width, so the row no longer shifts as the country changes. Time format links to it, and it is listed under Where other defaults live.
The manual and the feature pages describe the date order. Settings → Accounting → Country & market and the job’s Settings tab each have their capture and explanation in the manual, and the productions, quotes & invoicing and calendar pages each say how dates print.
One rule for dates. Money and times already had one; dates did not, and every screen printed its own way, with quotes and invoices fixed to month-first. Settings → Accounting → Country & market now sets the order every date prints in, written and in numbers — 10 Jan 2026 and 10/01/2026, Jan 10, 2026 and 01/10/2026, or 2026-01-10 — and Automatic follows your country: day first almost everywhere, month first in the United States and Canada, year first in Japan, China, Korea and Taiwan. A production can choose its own order on its Settings tab, which links back to the default. The order is frozen with a published invoice, so the hosted page, the PDF and the editor print the same date, and earlier invoices print exactly as they did.
Quotes and invoices: a line date typed without a year prints as typed. A date entered as “Tue, Aug 25” on a quote or invoice line printed “Aug 25, 2001” on the PDF and the hosted page, because a month and day with no year was handed to the date parser and it answered 2001. A date with no year now stands as written; full dates still print as Sep 9, 2026.
HQ → Invites: the wording is saved with the workspace. The subject and both openings used to live only in the browser they were typed in. Each opening now has its own Save button. Typing is a draft that the preview shows; Save writes it to the workspace, so it is the wording every invite uses, on every device, until you change it. A send refuses while a box has unsaved changes, and Restore the original wording goes back to the shipped text. The Gumroad opening’s shipped text now tells the story in order: the spreadsheet a year ago, then Vizzcast, then this update built on the feedback.
Settings → How you work → Messages. Every wording you have saved from a sending box with Save as default — the quote, invoice, equipment list, agreement copy, crew request, receipts link — is listed in one place, editable, with Use KitSlate’s under each. Every Settings section now carries an icon in the section picker.
Preview as the web page or the PDF. Every document reaches its recipient two ways, and the Preview card at the foot of each tab now shows either: the crew’s own page for a call sheet (their call first, then the sheet, with the map), the hosted page a client opens and pays on for an invoice, the email itself for a quote or an equipment list — or the PDF that is attached. The switch sits beside the card’s title and remembers your choice per document on this device; the default is under Settings → You → Preferences → Document preview, and changing that default starts every tab from the new one again — an older switch click no longer overrides it.
The call sheet’s confidentiality line is yours to edit, on the Notes card, and every new sheet starts from the wording under Settings → How you work → Call sheets. Notes are one box now; walkie channels go in as a line of the notes.
Adding a second day no longer costs the first. On a single-day sheet with no key dates, Add a day deleted Day 1 — crew and all — and moving a job’s start could leave two sheets on the same date. Both are fixed; one day per date, and the first day stays.
Every job-level setting links to its default. A small link in the top right of each card on a job’s Settings tab — and on the documents’ cards where a default applies — opens the Settings page that owns it: numbering, payments, the fee default, the rate guide, the company letterhead, new-project defaults, camera presets.
An invoice’s detail page carries Edit beside the next step. It is the final, locked look at the document before it goes out, so the way back to the editor is a button, not a menu item.
The document toolbar no longer runs under the to-do chip on 1440-pixel laptops; its second button folds into the menu a little earlier.
The manual, the feature pages, How it works and the home page show the new editors and say how they work.
Every job has an email address for receipts. Forward a receipt to it — [email protected], the job’s initials and a short code — and it arrives in that job’s receipt check like a photo would. The address is on the Expenses tab and the job’s Settings tab with a Copy email button, in the crew’s receipt email as Copy email address, and on their receipt page. It follows the job when the job is renamed.
Forwarded receipts are read the way they arrive. An attached PDF or photo is the receipt. A receipt that is only the email itself — Square, Toast, Uber, Lyft — is kept as the email, shown as it looked, without its tracking links. A Lyft or Uber ride report becomes one receipt per ride, each carrying the report, labelled transaction 3 of 25 on this receipt. Large PDFs are stored once and referenced, so an 11 MB report costs nothing to send in. One forward, one copy back to you.
Check all, uncheck all, combine. The receipt check has a bar: check or uncheck every row, and combine the checked rows that share one receipt into one expense — Lyft — 25 transactions, Jan 30 – Nov 18 — with the rides listed underneath on the Expenses tab. Rows you leave unchecked stay waiting; declining is its own button.
Receipts kept are tiles: the receipt’s picture, one line of what it is, View, Download and Delete stacked at one width.
Receipts can go out with the call sheet, by a switch. Also let them send receipts on the call sheet’s sending box was a tick box whose words showed as a heading. It is now the same switch the invoice uses for attaching receipts, with its explanation underneath. On the Expenses tab, each person holding a receipt link is marked with a coloured line where there used to be a dot.
An expense row reads date | category, then what it was. Seven columns across cut the category short and squeezed the amount. Each row now stacks: the date beside the category on one line, the description full width underneath, the amount with room for four digits and cents, and whose money it was below that. The same row is used on the Expenses tab and in the receipt check, and it fits a 13-inch laptop beside the sidebar.
Add to invoice is the action. Turning the switch on puts the expense on the quote or invoice there and then, and the estimate line comes off; turning it off takes the expense back off. The separate Send to invoice button is gone. The red status under the switch says why a line is not on yet — Not on it yet, or No quote or invoice yet.
Spend by category. A ledger on the Expenses tab with one row per category the job has touched: Approved, Awaiting check, Declined and Total, and an expense total underneath. Every category and every figure opens the receipts behind it — Approved opens those expenses with the receipt beside them, Awaiting check opens the check filtered to that category, and Declined lists what was sent in and left out. A receipt left unticked at the check is now recorded as declined instead of disappearing. Every amount prints with two decimals and thousands separators.
Checking receipts happens beside the receipt. The check is now the size of the sending screen: the rows on the left, the receipt for the row you are on at the right, with previous and next. View larger opens inside the same window, and Back returns you to the check exactly as you left it. The title says whose receipts they are. Every receipt viewer in KitSlate now works the same way, including the crew’s own page: the whole receipt fitted to the window, click to zoom in where you clicked, click again to zoom out.
One Import button on Inventory. There used to be two importers side by side. Now there is one, and the file decides how it is read. A B&H invoice is read line by line — order number, serials, prices paid, the Payboo saving from its own line, the regular price and instant savings under each item, and shipping when it is printed — and each line’s category is guessed from the words in the product name. Any other vendor’s receipt, a photo, a screenshot or a scan is read by AI. A CSV or pasted list goes to the column reader. Categories go into your own list; a suggested category you do not have yet is created on import.
Expenses has its own Settings tab, under Money between Invoices and Payments. Categories are a table of names and descriptions you can edit, and adding a category from an expense row opens a short form instead of assuming the text in the field was new. Links you have sent crew for receipts pick up category changes as they happen.
Download or merge the receipts you keep. Two buttons on Receipts kept: Download all as one zip, and Merge and download as one PDF, with each file named the way the invoice email names its attachments.
Jump to searches your records as well as your screens. Projects, expenses (by what it was, the amount, the category, the date, or the words on the receipt itself), quote and invoice lines, clients, crew and equipment. An expense with a receipt kept offers the receipt beside it. The box no longer changes height as you type, and All Projects gets a search box of its own.
When Approve fails on an invoice, it says why. The message now carries the server’s own reason and the step that failed, instead of a general error.
The Privacy Policy states it in one sentence: nothing obtained from Google, including Google Calendar data, is ever sent to an AI provider.
Approving an invoice works again. Since 2 September, pressing Approve on an invoice whose draft already existed on the server failed with “not approved on the server”. The server now approves it, and if it ever refuses, the message says the reason it gave and which step stopped.
Crew keep a log of what they sent. Each person’s receipt page lists every send on the job with its total and whose money it was, and Receipt upload on the job keeps the same log for each person you gave a link to.
Expenses you bill are their own section on the invoice. Under Expenses, each line shows its date, vendor and what it was, with the category and receipt number beneath, and an Expenses subtotal. When the actual expenses go on, the estimate line comes off, so the client is not charged twice; withdraw the last one and the estimate comes back.
Attach the receipts to the invoice email. The invoice send has a Receipts switch, on whenever there are billed expenses to attach. It sends the receipts behind the expenses on that invoice, and nothing you absorbed yourself. Each file about to go is listed with its size and a View link.
The receipt reader looks at the picture as well as the text. A handwritten tip or total written on a printed receipt used to be missed. The reader now takes the amount actually charged, rather than a card hold or a total that still counts voided items, and a receipt printed across several pages is read as one receipt. The check asks you to confirm the amounts, because handwriting is hard to read.
Receipts sent in by crew are easier to follow. Each person’s receipts are listed under their name, red until checked and green once everything is accepted, and each line has View. A second batch sent on the same link no longer replaces the first. Giving someone access to send receipts uses the same sending box as every other hand-off, starting from the address book. On their phone, the Send button sits at the top of the page, each receipt shows its own progress, and the copy email lists what they sent.
Attach a receipt to an expense that has none, such as one typed by hand, without creating a second expense.
Approving an invoice raised from a production approves it on the server as well. The list and the header had carried on showing Draft, and the Send button never appeared. Pressing Approve again now finishes an approval that only got halfway.
Every job has an Expenses tab. Record the date, category, what it was, the amount and whose money paid for it — the company’s, a crew member’s, or the client’s. Each expense shows whether it is owed back and to whom, in a Who owes who card. A production fee of 10, 20 or 30 percent, or a figure of your own, is added as a line of its own.
Estimated against actual. The expense estimate is a line on the quote, which is what the client agrees to. The Expenses tab puts what was actually spent beside it, with the difference.
Expense categories are yours. KitSlate’s categories are the starting point. Add your own, rename one in a single step, and archive rather than delete. Reports → Expense tracker now counts expenses typed on jobs as well as imported ones, and adds a breakdown by job.
Receipts arrive on a job’s expenses. Drop in a receipt and it is read, shown to you to check, then added. Crew can send in their own receipts from their phone through a link of their own. The receipt is kept with the expense, compressed once and stored once.
Lists open where they can be read. Every dropdown and suggestion list now opens on the side of the field with more room, instead of running off the bottom of the window.
Three new feature pages — Productions, Reports and Integrations — and this page.
The Privacy Policy describes the Google Calendar connection as it now works, including the two permissions it asks for and why, and how long anything is kept.
One Google account per company. The Google Calendar connection used to belong to the whole workspace, so connecting a second account quietly replaced the first and moved every company onto it. A studio running two companies out of two Gmail accounts could not be represented at all. Each company now holds its own connection, its own calendar, and its own Disconnect — disconnecting one leaves the others untouched.
Calendar settings are organised by direction. Two tabs named after mechanisms — Connections and Publishing — are now four pages under Coming in and Going out. Coming in holds the calendars that fill KitSlate; Going out holds Your Google calendar, for your own accounts, and Other people’s calendars, for anyone with no KitSlate account. The Connections page had also been claiming KitSlate never writes to a calendar connected there, which stopped being true.
A calendar that blocks nothing now says so. Display only is the setting a new connection takes by default, and nothing said what it meant — so a calendar could import perfectly and protect nothing, silently. The card now reads Nothing — never blocks a date, the resource map marks the source Reaches nothing, and the control tower carries a warning with the event count.
The resource map tells the truth about a paused connection. Pausing a calendar from the control tower stopped the availability engine honouring it, but the map, the connection card and the planning sources all carried on describing it as though it still blocked dates.
Coming back from Google opens the right page. Returning from the consent screen used to show an unrelated calendar page for a second or two while the connection finished.
A change reaches Google in seconds. A sync run that was lost in flight used to sit for up to fifteen minutes before anything retried it. Lost runs are now picked up within about a minute and a half, and the connection card says retrying when that is what is happening.
The equipment list document was rebuilt. Camera settings draw as tiles online and as a two-column typed list on paper; equipment stays one item per row. Serial numbers are internal only — visible when you are receiving gear back, never on anything sent out. A rates switch controls whether day rates print.
Nine feature pages and a hub, so a search for what you actually do has a page to open.
The crew directory and the used-gear market are readable without JavaScript. Both were rendering their listings only in the browser, which meant search engines saw empty pages. Both now carry their listings in the HTML and grow hub pages by city, service and category.
Every email fits a phone screen. Quote, invoice, confirmation and handoff emails were laid out for a desktop window and cut off on a phone.
The homepage names the Google Calendar connection on a cold load, instead of only after the scrolling animation had started.
A new quote keeps its terms, letterhead and PO field, and Settings → Quote no longer freezes when it loads.
The crew’s brief renders correctly on a phone — the time tile no longer spills its box, and the paired frames across the public pages are one size.
The manual caught up with the app, including the calendar’s year view.
Preferences. A settings tab of your own: 12-hour or 24-hour time across every screen, document and email, and what a new project starts with — its length, where it happens, and whether the gear list shows day rates.
Camera settings on the gear list work like the preset editor. The dropdown rows are gone. Pick the brand and camera, set each setting on its own tile, add a setting the camera does not list, and assign a preset or send it to someone to set up.
Every email KitSlate sends looks the same. A white card with the message, the part meant for that person in a grey panel — their day on a call sheet, the figures and button on a quote or invoice — and a clear break before any document that travels with it.
The crew’s page gets a Meals section with the note and an Order lunch button. After confirming, the crew member is offered their call sheet in one tap and told a confirmation email is on its way.
Replies go to the company that sent it. Anything sent in a company’s name now replies to that company, and a changed reply address takes effect on the next send.
Phone numbers, one way. Every phone field has a country picker. A number is kept once with its country and shown the way people read it — national format inside the app, with the country code on every document that leaves.
Sent links. A card on the production’s Settings tab lists every call sheet link, one row per person per day, with what happened — sent, opened, confirmed — and Copy link, Resend, Reset confirmation and Cancel. Resetting a confirmation sends nothing; the link already in their inbox asks them to confirm again. A re-sent sheet waits for a second confirmation.
A Notes row on the call sheet, under Job, for things like “call times vary, see below”. It prints on the sheet, the PDF, the email and the crew’s page.
The crew’s page shows a map of where that person starts, with Open in Maps beside it. The location link on the document is a link you can tap.
One call sheet per day. For a shoot where people start on different days, add a day and the current sheet is copied onto it. Each day’s sheet is sent and listed on its own. Days and key dates are one list, and the production’s start, end and number of days follow them.
Ask crew how they would like to be paid. A crew record carries a preferred method and the same banking fields the company keeps for itself. Crew can fill them in on their own form, and the account number is masked wherever it is shown.
The year view uses the screen. The months take the full width and the year’s figures sit in a band beneath them.
KitSlate writes straight into Google Calendar. Connect a Google account once and every hold, booking, date move, status change and deletion is written to your Google calendar within seconds. It is one-way: nothing changed in Google alters KitSlate. The subscription feed stays for Apple Calendar and anyone who prefers it.
A payment says what the customer paid with — card, ACH, cheque, cash, Zelle, PayPal or Venmo — instead of “Online” or “Manual”.
Every calendar entry can have its own colour, a production included. Each planning type starts with a default colour, and “Use the company colour” puts it back.
Snooze a to-do. Every row in To do can sleep until later today, tomorrow, three days, next week, a month, or a date you choose. It leaves the count and comes back on its own; a Snoozed band at the foot of the list shows what is asleep, with Wake now.
Reminders and deadlines are things to do. A reminder or deadline on the calendar appears in To do with a Done button. A deadline that passes without being marked done moves to the top.
Planning events reach your subscribed calendar. Holds and pencils go out as tentative; blocks and travel as busy. A new Planning events switch controls whether they are included.
Annual billing. The plan picker offers Monthly or Annually, and the homepage and pricing page show the annual price. A refunded subscription payment now says refunded, or partly refunded with the amount.
Reports read money three ways, as accounting software does: quoted, from quotes on booked jobs; invoiced, from published invoices; and received, from what was actually paid — each split into studio, equipment, crew and other. Tax collected is shown and never counted as income.
Group and sort the income mix by section, client, job or month, and sort by any column.
The signed copy goes out the moment someone signs. It used to be sent when you next opened the agreement. It is now sent immediately, in your name, and it is the signed agreement itself.
Confirming a call sheet emails the crew member their confirmation right away, with the way back to their own page.
Send several things in one email. A bundle sends one person everything they need from a production — an agreement to sign, details to confirm, an invoice to pay — each with its own link, plus one page showing what is done and what is still to do.
Several agreements on one production. Choose which agreements each person gets. Send for signature can include the production’s other agreements in the same email.
Agreement templates you can carry. The New agreement list is divided by who signs, and every deal term prints one way. Copy as a pack and Paste a pack move your own terms between accounts or companies.
Requests you have sent out are one list. A request for someone’s details shows the same status everywhere — Sent, Opened, Answered, Needs review, Cancelled, Expired — appears in To do when it needs you, is recorded in Activity, and can be cancelled.
Cookie preferences. KitSlate sets no cookies, and nothing optional runs on the public pages until a visitor has said yes. The choice can be changed from the footer at any time.
One pay panel, everywhere an invoice goes. The PDF, the page the client opens and the email now show the same centred payment panel with a QR code beside it. The email carries Pay and View online buttons, and the emailed PDF carries the button and the code too.
Many ways to pay, one fee. An invoice can list as many payment methods as you like, but only one card or processing fee is ever added to what the client owes.
Editing an invoice after emailing it is no longer silent. An invoice changed after it was emailed now says so, because the client is holding a PDF for a different figure. Reopening an approved invoice to edit it pauses payment instead of refusing.
One sending box for every message. Every document and request is sent from the same box, at the same size, with a preview of the letter itself. Your wording is kept as the default for each kind of send.
Clients can fill in their own record. Email a client a private link, the way you already can with crew. What comes back fills blanks only; anything that disagrees with what you hold waits for you to accept. Camera settings can be requested the same way.
A date picker in KitSlate’s own style, replacing the browser’s.
Signed out, nothing can be edited. Work typed while signed out was being kept in that one browser and attached to no account.
Each production has a Settings tab. What used to sit in a narrow rail beside the equipment list — including the letterhead, which decides the company name, logo, address, bank details and numbering on every document — now has its own tab, reachable from any document.
Renaming a job renames it on the documents — the quote, the invoice and the call sheet, which each kept the old name before.
A map beside the company address, with the letterhead preview underneath, as client records already had.
One colour picker for every colour in KitSlate — brand colour, app accent and templates.
The calendar on a phone shows words. Events were drawn as coloured dashes; they now show their titles. Every day in the year view opens the same day card.
Your public page settings are one page, with the rail as jumps down it rather than separate screens.
Banking details is its own Settings page, instead of a collapsed section three levels deep inside Payments.
Addresses complete as you type. Suggestions come through KitSlate’s own server, so no third party sees what you are typing. Picking one fills the address fields.
A single client picker, the same wherever a client is chosen.
The legal pages were rewritten, with a Security page, a register of subprocessors, and a Contact page in place of an email link. Every page shares one footer.
Each person on a call sheet gets their own page. The call sheet email opens with their call time and links to a page showing their day, which needs no account. They confirm on that page, and the link stays the same.
Availability you can read. Studio rooms show free or busy with the reason, and crew appear on the productions they are booked on, with double bookings flagged.
The Control tower gives one verdict on the calendar and names the weakest link. A connection that has stopped syncing reads stale, and the rooms it covers read “availability uncertain” rather than free.
Home becomes Today — what needs doing now, not a report.
Subscribe to a company’s calendar. Each company gets a private live feed that Google Calendar, Apple Calendar or Outlook can subscribe to. It never carries amounts, notes or contacts, and regenerating the link kills the old one immediately.
Planning events. + New on the calendar creates holds, pencil bookings, scouts, travel, blocked time, reminders, deadlines and more, each with its own status.
The calendar gets four views — month, month and day side by side, a day timeline, and a year overview.
Every document preview has its own Download and Print PDF.
The call sheet schedule becomes a run sheet. Each item has a start and an end time, an order you set, and an optional category.
Team & Access. Invite people into your workspace, give them a role, and suspend, reactivate or remove them. The seat count now matches what the server counts, including invitations still out.
Enterprise is priced on request, with a Contact us button in place of a public price.
A production can hold many agreements. Each is its own document, so changing one no longer converts another that someone is still waiting to sign. An agreement that has been sent cannot be reworded under a signature.
Signers can type their signature, as the producer already could.
Two devices can no longer overwrite each other silently. When a save would replace something changed elsewhere, KitSlate stops and shows you the conflict.
Releases become Agreements. The Location Release and an Other / Custom Agreement join the talent release, all signed the same way. Starting a new agreement takes fewer clicks.
Invoice version history. Republishing an invoice keeps the earlier version instead of replacing it, so the copy a client was sent still exists. Editing a published invoice is a revision you can view beside the published copy before it replaces it.
Duplicate an invoice as a fresh draft under its own number.
Edit an invoice after sending it, with payment details set per method.
Stripe’s fee is a company setting, including who pays it, and when it is charged to the client it appears as a line. Bank details are a free payment method of their own. You decide on online payment before an invoice goes out, not after.
Clients can open and pay an invoice online. Every published invoice has a private link to a page the client opens without an account. Card payments go to the company’s own Stripe account, and KitSlate takes no cut. The PDF and the email link to the same page.
Create an invoice without a production — a blank invoice, with lines and customers picked from what you already have.
Activity. One running feed of everything that moved — forms returned, sheets opened and confirmed, agreements signed, invoices sent, viewed and paid.
Invoices and Quotes join the main navigation, with an Invoices page listing every invoice and its status.
Invoice numbering is set per company.
A Privacy Policy and Terms & Conditions, linked from every page.
Public profiles. Publish a page with your bio, roles, city, the kit you hire out and the gear you have for sale, with an enquiry form. Add a photo, company logos and pictures, and up to six Vimeo or YouTube links as a showreel.
Find crew. A searchable directory of published profiles by role and city, which understands that a DP and a director of photography are the same thing.
Marking a listing sold records the sale, and every listing has a page of its own.
A new look. Light first, with a coral accent and a new typeface. Dark mode is a neutral grey with a slider that takes it all the way to black, and an Aa button switches to high-contrast text.
The used-gear market. List gear for sale free, with photos, and talk to buyers inside KitSlate. KitSlate never touches the money and takes no fee. Sellers get an email when a message arrives.
Send feedback from inside the app, and sign in with an emailed link as well as Google.
The call sheet email carries the call sheet, not just a cover note, with a one-tap Confirm for each person. Quote, invoice, gear list and release emails carry their content too.
Hand a document to someone else to fill in. Email a guest a private form — for a gear list, a quote, an invoice or a call sheet — and what they submit comes back into the project. They never need an account.
Quotes, and turning a quote into an invoice. Discounts per line or on the total, and payment details per company. Turn into invoice makes the invoice its own document.
Rental terms. Price gear per day, weekend, week or month; a weekend counts as one shoot day, a week as three, a month as ten.
Sending a call sheet shows who has it. Each person’s status — sent, opened, confirmed — is listed before and after you send.
Sign in with Google, and your workspace is kept in your account rather than only in this browser.
The Rate Guide. Community benchmarks for crew, equipment and studio rates, showing where your own rate falls. You see the community’s figures by sharing your own.
Talent releases as a document on the shoot — now part of Agreements.
Dietary needs on crew records, and catering on the call sheet.
Reports replaces Stats, with income and expense trackers.
Something behaving differently from how this page or the manual describes it? Get in touch and tell us what you expected to see.