The screenplay goes in. The production comes out.
One canvas holds the references, the scenes, the shot list, the lighting plans and the gear. The same production then runs the shoot day. Here is all of it.
Before the shoot
- One surface, three documents
- Moodboard, storyboard and shot list are not three files. They are three states of the same image. A reference you dropped on the canvas becomes a shot card with a size, a lens and a duration, and the shot list rebuilds itself. Nothing is exported between tools, so nothing loses the reason it was chosen.
- An infinite canvas that holds a whole film
- Pan and zoom without limits. Cards carry images, clips, sketches, notes and comments, and marks drawn straight onto the board say what happens between two shots. Each scene is its own canvas, and switching between them keeps the camera where you left it.
- Shot lists that survive being reordered
- Numbers renumber as you drag, and a number you typed by hand is kept, so 12A stays 12A while everything around it moves. Durations sum per scene, which turns a list into a rough schedule while it is still cheap to change.
- Lighting plans a gaffer can work from
- Top-down plans in a room with a size, walls, doors and windows, drawn with real instruments: key, fill, back, practical, bounce, flag, plus the camera, the subject and the backdrop. A fixture carries a height, a beam angle, a colour temperature and an intensity, and the light is modelled rather than decorated: it falls off with distance, adds where beams cross, and stops at walls, flags and backdrops. A window with a kelvin on it is a source. Beside the plan, a preview of the subject lit by that rig, updated as you drag a lamp; a preview, not a render. Pick from a hundred real lamps or type your own. Modifiers go on the fixture and come out on the packing list, because three sources through silk need three silks.
- The plans a shot has been
- Keep a version before you change your mind, and go back to it later. A version holds the plan and never the record: restoring an earlier idea about a lens cannot roll back what you actually shot.
- Screenplays in and out
- Import a Fountain draft and every scene arrives as a board with its location, interior or exterior and time already parsed off the slugline. The cast comes with it, so the lighting subject field knows their names from the first flip. Connect a shared script and Frameboard tells you which scenes changed, without ever deleting your work. Export the script back out the same way, or as a Courier PDF.
On the day
- Shoot days, and the schedule that falls out of them
- A scene belongs to a day. The day then knows its scenes, its shot count, its running time, its locations, its cast and the gear that has to be in the van, because all of that is already in the plan. The timetable is computed, not typed: breaks anchor to the scene they follow, so moving a scene carries the company move with it, and the wrap is labelled an estimate everywhere it appears.
- Call sheets nobody retypes
- Four fifths of a call sheet is already known by the time somebody sits down to make one. Frameboard writes that part: scenes in shooting order, sluglines, locations with their access, parking and power, the day's cast with who plays them and when each is called, the crew with individual calls, the gear. You enter the date, the crew call, the unit base and whatever the day needs said. It prints as a PDF built to be read on a phone at six in the morning, and as plain text to paste into the group chat.
- On Set: one shot at a time
- A separate screen for the day itself. One shot, large, with its size, lens, movement, duration and reference frame. Log a take as good, maybe or NG, circle the one you want, mark the shot done and it moves to the next one owed. Mark a pickup and it comes back to you at the end. It works on a phone in one hand, and a production with no shoot days is an ordinary case meaning the whole film rather than an error.
- What was planned against what was shot
- Every shot carries a status: planned, ready, rolling, shot, needs a pickup, scrapped. The counts add up honestly, a scrapped shot leaves the denominator because a shot you decided against is not one you are behind on, and the overview reads the same numbers the shot list does. Takes, sound tags and continuity notes ride on the shot and come out on the exports.
- Cast, crew and places as real records
- A character carries the actor, their contact and their own call time. A location carries the address, how to get in, where the vans go, what there is to plug into, the permit and the noise, plus the photographs and floor plans the recce came back with, and four of those fields reach the call sheet automatically. Click any of them and see every scene they are in, with shot counts and which days they shoot.
With everybody else
- Sharing that grants nothing
- A share link is read-only and revocable, and it renders the scenes, the script, the lighting and the documents without an account. Collaborators are invited by email and are owner, editor or viewer. knowing a production URL never grants access.
- A sentence held against shot 12
- Comments anchor to a card, a scene or a day, thread, and resolve. Mentions reach the people who already have access, and a bell tells you when somebody named you or answered you. A viewer can write one, because the reason to show a producer the board is to hear back from them.
- The client signs off, or sends it back
- A share link can ask for a decision. The client approves the scenes or returns them with a note, and what came back lands on the production's front page rather than in somebody's inbox.
- One kit list, every production
- On Pro, the lamps you own, the crew you call, the places you shoot and the lighting setups you like are kept by your account and pulled into any production. On Studio the same library belongs to the company, so a new production starts with everything the last one taught it.
- Something to show for it
- The coverage strip is three lines that carry the shape of a scene and none of its content: no titles, no images, no notes. Safe to post while the production is still under wraps. The wrap card is the same thing as an image. Both are free on every plan.
- No AI, on purpose
- Frameboard will not generate your shots, rewrite your script or suggest what to film. There is no model anywhere in it, and nothing you make here is sent off to be trained on. The tool holds a plan you made.
What each plan includes
Rows marked “Coming soon” are not built yet and are not charged for.
| Feature | Free | Pro | Studio |
|---|---|---|---|
| Active productions | 3 | Unlimited | Unlimited |
| Archived productions | Unlimited | Unlimited | Unlimited |
| Scenes, cards and shots | Unlimited | Unlimited | Unlimited |
| Uploads (stills, GIFs, clips) | 100 MB | 1 GB | 5 GB each |
| Sketching and notes | |||
| Connectors and colour tags | |||
| Flip any card into a shot | |||
| Import a screenplay (Fountain) | |||
| Automatic shot numbering | |||
| Lighting plans with real optics | |||
| Fixture catalogue, modifiers and backdrops | |||
| Lens, camera, movement and duration per shot | |||
| Production documents | |||
| Shooting script view | |||
| Shot versions: the plans a shot has been | |||
| Your library of kit, setups, crew and places | |||
| Save a lighting setup and reuse it in any scene | |||
| Shoot days | |||
| On Set mode: one shot at a time, on a phone | |||
| Shot status, takes and continuity notes | |||
| Day schedule with breaks and an estimated wrap | |||
| Cast, contacts and individual calls | |||
| Crew list | |||
| Location records: access, parking, power, permits | |||
| Recce photos and floor plans | |||
| Call sheet, PDF and plain text | |||
| Production overview: what is planned and what is shot | |||
| Read-only share links | |||
| People viewing a share link | Unlimited | Unlimited | Unlimited |
| People editing a production | 3 | 10 | Unlimited |
| Real-time editing | |||
| Owner, editor and viewer roles | |||
| Version history | |||
| Comments on shots, scenes and days | |||
| Mentions, replies and a notification bell | |||
| Client sign-off on a share link | |||
| A workspace your productions belong to | |||
| Company roles: admin, editor, viewer | |||
| Shared company library, one kit for every production | |||
| Move a production in or out of the company | |||
| Departments and ranks | Coming soon | ||
| Coverage strip and wrap card | |||
| Scene PNG | |||
| Shot list CSV | |||
| Shooting script (Fountain) | |||
| Full production JSON backup | |||
| Shot list PDF | |||
| Storyboard PDF (4 and 6 up) | |||
| Shooting script PDF | |||
| Frameboard line in the footer | Yes | No | No |
| Your logo on exports | |||
| Email support | |||
| Priority support | |||
| Onboarding call |
The whole board, from the keyboard
- Flip to shotT
- Next shot, with the details openAlt→
- Previous shot, with the details openAlt←
- New noteN
- New sketchS
- Insert an imageI
- Connect two cardsC
- Draw on the board (freehand)A
- Copy, to paste into another sceneCtrlC
- Cut what is selectedCtrlX
- Paste into this sceneCtrlV
- Duplicate what is selectedCtrlD
- Delete what is selectedDelete
- Find anything, do anythingCtrlK
- Jump to a section, along the rail1–7
- Zoom to fitF
- Fit the selectionShiftF
- Hold to drag the canvasSpace
- Previous sceneAlt↑
- Next sceneAlt↓
- Present the scenes full screenP
- Zoom in and out, or pan in trackpad modeScroll
- Pan sidewaysShiftScroll
- Zoom, in either modePinch
- Pan the boardRightdrag
- Pan the boardMiddledrag
- Pan the boardSpacedrag
- Select everything on the boardCtrlA
- Snap to grid, on or offG
- Clear the selectionEsc
- UndoCtrlZ
- RedoCtrlShiftZ
- Show this list?
Start with a scene already on screen
New accounts land in a sample production, so the first thing you do is edit something rather than face an empty board.