FAQ
What RunSheets does, what it costs, what happens to your records after wrap, and what “limited testing” means. If your question isn’t here, email us — a person answers.
It’s the form a set-decoration department fills out every time something moves — what the item is, which vendor it came from, what condition it’s in, who picked it up, and when it’s due back. Some departments write it as one word, runsheet; some call it a pull sheet or a transfer sheet.
Traditionally it’s a carbon pad in triplicate: one copy to the vendor, one to the driver, one back to the office. RunSheets keeps that exact workflow and takes the paper out of it, so the copy that used to go missing is a record instead.
No, and they’re owned by different departments. A call sheet is production’s document: who is on set tomorrow, what scenes are being shot, and what time everyone is called. A run sheet is set decoration’s: what physical objects are moving, from which vendor, in what condition, and who has custody of them.
RunSheets does run sheets. It doesn’t generate call sheets.
A view built for the truck. Their runs, grouped into what’s happening now and what’s coming up; each stop showing the vendor, the address, and whether to take a cheque; a camera for condition photos; signature capture at the hand-off; and one tap to open the address in Maps.
There is nothing to configure and no training. A driver signs in, sees their day, and starts tapping. Drivers are never charged.
Yes — that’s the case it was designed around. Photos taken in a dead zone queue on the device and upload the moment coverage comes back. Hand-offs and purchase-request edits commit locally and sync in the background, so nothing hangs on set Wi-Fi or a loading dock with one bar.
An offline indicator tells the driver what state they’re in, and a hand-off the server rejects surfaces as an alert rather than quietly disappearing.
Nothing disappears and nothing gets locked. A lapsed plan only stops new run sheets from being dispatched — drivers can finish runs already in flight — and every record you’ve already built stays readable.
This is deliberate. Custody history and condition photos are evidence, and evidence you can’t open when a vendor disputes a deposit two months after wrap is worthless. We don’t hold your show’s record hostage to a renewal.
The production pays, per production, so the charge codes to that show’s budget line instead of a department subscription. A one-off job is a Spot: one time, up to 200 run sheets. A series season or a feature is a Production plan, billed per active month with unlimited run sheets, and it pauses when the show goes on hiatus. A studio running many shows can be quoted annually.
Crew are never seats — add every coordinator, buyer, decorator and driver on the show. Drivers never pay anything.
Your studio, your crew roster and your vendor file — they live above any individual show and carry from job to job. You can import the vendor list you already keep in Excel or a CSV rather than retyping it.
A show’s plan starts when you start the show. That’s the point where run sheets, purchase requests and custody tracking begin.
Yes, and that’s the normal case in this industry. Crew and vendors live at the studio level, so the same person can be a buyer on one production and a driver on another, holding different roles on each.
Their profile is theirs — one account carried show to show, not a new login per production.
Condition is graded good, fair or damaged at every hand-off — pickup, delivery and return — with photos attached, up to eight per object, each stamped with who and when.
If an item is graded damaged later that wasn’t damaged at pickup, a loss and damage case opens by itself with the before-and-after photos already attached, and the office gets notified. When the rental house calls, you’re sending a timestamped record instead of having an argument about it.
Yes. A run marked as a rental requires a return date, and when the pickup dispatches, the return leg is scheduled for you — same vendor, same objects, sitting on its due day until a driver takes it.
Anything past its return date goes into a daily digest to the show’s buyers and decorators. The wrap dashboard shows what’s still out and which deposits are at risk before they cost you.
The office works on the web in any modern browser, and the web app installs as a PWA. The iPhone and iPad app is distributed through TestFlight while we’re in limited testing. The Android app is built, with store distribution in progress.
The apps are role-aware rather than split into separate products: an iPad in the coordinator’s hands is the full office, and the same app on a driver’s phone is the truck view. Plan and billing management lives on the web.
We’re a proudly Canadian company, and RunSheets works for productions anywhere. Dispatch, custody, condition photos and wrap records don’t care what country you’re shooting in.
US productions are quoted and billed in US dollars; everyone else in Canadian dollars.
RunSheets is being used by a small group of working set-decoration departments before it opens up broadly. Early testers get set up personally, talk directly to the person building it, and shape what gets built next.
In exchange we ask for honest feedback from a real show — not a demo account. If that sounds like a fair trade, request early access and tell us what you’re working on.
The product tour walks through every part of the loop, pricing explains the per-production model in full, and what is a run sheet? covers the paperwork itself for anyone new to the department.
RunSheets is in limited testing with a small group of set-decoration departments. Tell us what you’re working on — if it’s a fit, we’ll set your show up personally.
Request early access