From scene breakdown to shoot day, in four steps.
No import, no setup wizard. You build the film the way you already think about it — film, episode, scene — and PropsHub does the arithmetic underneath.
Film, then episodes, then scenes.
Start with the film. If it’s a series, add episodes underneath it. Then add scenes — each one carrying its location, INT/EXT, time of day, cast, status and notes, the same fields you’d put in a paper breakdown.
That structure is what everything else hangs off. There’s no separate “setup” step; the film is its scenes.
List what’s in the scene. That’s the whole data-entry job.
On each scene, add the props that appear in it and how many. That’s the only place a prop quantity gets entered — there’s no separate “update the inventory” screen, because the inventory isn’t a screen you maintain.
You didn’t touch the inventory. It’s already right.
- Sc. 08 INT. Pawn shop — Day ×1
- Sc. 22 EXT. Docks — Night ×1
- Sc. 40 INT. Attic — Day ×1
Cut scene 22 and the total drops to 2 the moment the scene is saved — not the next time someone remembers to check.
Calendar, scene card, open tasks — one screen.
Shoot days sit on a calendar; click one and you’re on the scene. Print or email that scene’s card — DIN A4, with the current prop table and open tasks — and hand it to the AD or keep it in the truck.
The numbers on the card are the same numbers everyone else on the film is seeing, because there’s only one copy of them.
The film stays exactly where you left it.
Nothing about how the film works changes at wrap — the scenes, props and exports are still there. What changes is what you’re paying for. A production with a hard end date usually takes the flat Production Pass over a subscription.
See your own breakdown do the arithmetic.
PropsHub is invite-only while we onboard the first productions by hand. Tell us about yours and we’ll set it up with you.