The one-liner above is the whole SALT FLATS shoot: 44 scenes, 70 pages, 12 days, printed from the same board as the stripboard template. It fits on two printed pages, which is the point of the format. Anyone can find their day, see the location and call, and count the scenes in about ten seconds.
For background on where the one-liner came from and how it's used, see what is a one-line schedule. This page covers the layout and how to produce one that people can trust.
How the lines are laid out
A one-liner has three kinds of rows.
Day header rows give the shoot day number, weekday and date, the location, and the crew call. "SHOOT DAY 6: SAT 10/10/2026. SUNDOWN MOTOR INN, UNION AVE. CREW CALL 4:00 PM" tells a grip everything they need to plan their Saturday.
Scene rows give the scene number, the set with a short synopsis, INT or EXT, day or night, pages, and cast IDs. The synopsis is shorter than on the shooting schedule, often five or six words. Add a note in parentheses only when it changes the day: tented windows, a tow rig, stunts, a sunset scene.
End-of-day rows carry the page total. Banner rows for meals, moves, and days off sit where they happen.
Cast IDs match the cast key in the header, which matches the breakdown and the day out of days. Don't print names in the scene rows. The line gets too long and the numbers are what people learn to read.
Filling it in
- Settle the order on the stripboard first. The one-liner is a printout of the board, and editing it by hand creates a second version of the schedule.
- Fill the header: production, version color and date, who prepared it, and the cast key.
- For each shoot day, write the day header with the date from the production calendar, the location name the crew knows it by, and the crew call.
- Copy the scene rows in shooting order. Trim each synopsis to a phrase someone will recognize.
- Add banners where they happen in the day: lunch plus a company move on Day 4, the fight rehearsal at lunch on Day 10.
- Total each day in eighths and put it on the end-of-day row. Day 8 is 1 4/8 + 1 7/8 + 6/8 + 2 2/8, which is 12 + 15 + 6 + 18 = 51 eighths, or 6 3/8.
- Add the off-day rows so the calendar reads continuously.
- Add the grand total and check it against the script. Week one is 291 eighths (36 3/8 pages) and week two is 269 eighths (33 5/8), for 560 eighths, which is 70 pages.
- Stamp the version and send it, with a line or two about what moved since the last color.
What a 1st AD reads off this page
Night work and turnaround. The one-liner makes it easy to see where the company flips from days to nights. SALT FLATS has two night exterior days, Day 6 on a Saturday before the day off and Day 12 at the very end. Day 11's 10:00 AM call gives the salt flats split day a night scene without cutting into Saturday. The article on scheduling night shoots covers the tradeoffs.
Cast runs. Scan down the Cast column for a single number and you can see Pace (5) on Days 4, 6, 9, and 12, with gaps in between. That pattern is what makes his row on the DOOD expensive.
The hard days. Day 4 has the most pages and a company move. Day 11 has the only stunt scene, which is why it's lighter at 5 5/8 and why the fight is rehearsed on Day 10.
Where one-liners go stale
A day header without the location or call. People plan their mornings from the one-liner, and "Day 12" alone doesn't tell anyone it's a 4:00 PM call in Shafter.
Totals that weren't recalculated after a change. If Scene 41 moves from Day 10 to Day 11, both end-of-day rows change. A stale total is how a producer ends up believing a day is lighter than it is.
Two versions in circulation. When the blue one-liner goes out, say clearly that it replaces white, and ask departments to throw the old one away. The advance schedule on each call sheet should always match the current color.
Synopses nobody recognizes. "Confrontation" could be half the scenes in the film. "Pace runs the plates" can only be one.
Documents printed alongside the one-liner
The one-liner is printed from the stripboard, sits alongside the longer shooting schedule, and feeds the advance section of each call sheet. The DOOD and the production calendar use the same day numbers, so a change here means those get reissued too.
One-liners and Storiara
In Storiara the schedule is built by dragging scenes into shoot days, and scenes come from the uploaded script with INT/EXT, time of day, and page counts in eighths already filled in. Changes on the stripboard carry through to the DOOD and call sheets.