One place to run a production shoot from the first brief to the final approved cut. The brief, the plan, the callsheet, the budget, shoot day, and delivery all live in the same thread instead of being scattered across email, spreadsheets, and chat groups.
People who run shoots for clients. That covers solo filmmakers and producers, creative studios shooting every week, and production houses running many shoots at once. If your work involves a brief, a crew, a shoot day, and a client who has to approve something, it fits.
No. WeClickk follows the order a shoot already happens in: define the brief, plan it, send the callsheet, shoot it, deliver it. Nothing is invented. What changes is that each step feeds the next, so the callsheet knows the schedule, the budget knows the plan, and the wrap report knows all of it.
Yes. You do not have to start at the brief. Create the shoot, fill in the parts you already have, and skip the rest. Plenty of people start at the callsheet because that is the piece hurting most, then work backwards on the next production.
A first shoot with a client, a few crew, a location, and a shot list takes about fifteen minutes to put in. The second one is faster, because the crew, talent, locations, and equipment you used stay in your library and get reused with a click.
No. Clients open a private link, read the brief or watch the cut, leave notes, and approve. No account, no app, no password to reset the night before a deadline.
Only what you send them: the brief and the cut. Not your budget, not your margins, not your crew rates, not the internal notes your editor left. The link is built for the client view and nothing else is on the other side of it.
When a client approves, WeClickk stamps it with their name and the exact time, and that record cannot be edited afterwards. So when someone says two weeks later that they never signed off on version two, the history answers it for you.
You send a new version. The old approval stays in the record with its own timestamp, and the new round sits beside it. Nothing is overwritten, so the full trail of who approved what and when is intact at the end of the shoot.
Yes. Client notes come back into the same shoot rather than into your inbox, and they are counted in the wrap report at the end so you can see how many rounds a client really took.
Yes, on Studio and Production House your logo goes on callsheets and every private link. On Filmmaker it is available as a paid add-on.
STUDIO AND ABOVE, ADD-ON ON FILMMAKERNo. The callsheet arrives as a link and opens in any browser. One tap confirms. Nobody downloads an app to find out what time they are called.
Yes, that is the whole point of sending it through WeClickk instead of a group chat. You see confirmed and unconfirmed at a glance, so at ten at night you are chasing two people instead of scrolling a thread counting thumbs up.
Update the shoot and resend. Everyone opens the same link, so there is one current callsheet rather than four screenshots of different versions floating in a group.
Yes. Export it and print it, attach it, or keep a copy for a client who insists on paper. Handy too when you are shooting somewhere with weak signal and want the day on a page in your pocket.
No. Crew you have worked with live in your resource library with their role and contact, and you pull them into the next shoot instead of rebuilding the list from an old WhatsApp thread.
A view built for the person standing on set. It shows the scene you are on now, the shot you are rolling, and what is left. You mark shots done as you get them and the day keeps score for you.
You tap when a take starts and mark the one you liked. It takes a second on set and saves an argument in the edit, because the take log travels with the shot instead of living in someone's notebook.
You carry them over to the next day or mark them skipped with a reason. Either way they show up in the wrap report, so nothing quietly disappears between the plan and what you actually shot.
Yes. A dead battery, a location that closed, an hour lost to weather: log it in the moment with a time stamp. It lands in the wrap report, which is how you explain an overrun to a client with facts instead of memory.
The day closes into a report that was written by the shoot itself: shots captured, takes, how far off schedule you ran, who was on set, and every issue logged. You did not type any of it.
It derives itself from the plan. Crew, talent, equipment, locations, and catering that you put in the shoot become budget lines, so the budget is a view of the production rather than a spreadsheet you maintain in parallel and forget to update.
Yes. Lines carry a planned amount and what really went out, and anything that was not in the plan lands in its own bucket so overspend is visible instead of buried.
No. WeClickk tracks the money on a production, it does not move it. You keep invoicing and paying however you do today, and the numbers stay in one place instead of six spreadsheets.
Yes, budget reports and exports are included on Production House, and margin and billing views come in from Studio.
MARGINS FROM STUDIO, EXPORTS ON PRODUCTION HOUSEYour own reusable rosters: crew, talent, equipment, locations, and wardrobe or props. Fill it once and every future shoot starts half built.
No. Start a shoot and add people and places as you go. They land in the library on their own, so the library fills itself while you work rather than becoming a data entry evening.
On Studio and Production House the library is shared across the whole team, so your producers are all pulling from the same crew list and the same location notes.
SHARED LIBRARY FROM STUDIOYou show a QR code, they scan it with their own phone and sign there. If they are not on set you can send a signing link instead, and if their phone is dead they can sign on your tablet.
Attached to the shoot they belong to, with the time they were signed and how they were signed. So a year later, when a client wants proof for the person in frame at second twelve, you are not searching a camera roll for a photo of a paper form.
A release for a minor records the guardian who signed on their behalf as part of the same signed record.
Only the people you add. Every shoot is private by default. There are no public pages and nothing is discoverable, so your client list, your rates, and the production you have not announced yet stay invisible.
Yes, in transit with TLS 1.3 and at rest. Budgets and contracts are never readable in the open.
Yes. Export shoots, releases, and budgets whenever you want. Your work is yours, and it should never be locked behind a subscription.
No. It is never sold and never shared. Your footage belongs to you, not to us.
Team seats come with roles and permissions from Studio upwards, and every change is recorded in an activity history so you can see who changed what and when.
ROLES AND PERMISSIONS FROM STUDIOThree plans: Filmmaker at nineteen dollars a month, Studio at forty nine, and Production House at one hundred and forty nine. The full breakdown is on the pricing page.
No, and that is deliberate. Plans are flat for the whole workspace. Most tools a production team uses charge per seat, which quietly punishes you for bringing more of your crew into the tool.
No. Active shoots are unlimited on every plan. What changes between plans is team seats, storage, and the team and finance features.
Move up a plan when you need more seats or storage. Filmmaker is one seat, Studio is ten, Production House is unlimited.
It works anywhere, but it was built here, by people running shoots here. The workflow assumes the way productions actually run across the region rather than a template borrowed from a studio system somewhere else.
The app itself is in English today. Everything you type carries through as you write it, so Arabic names, locations, scene notes, and client details all sit in your shoots and on your callsheets exactly as you enter them.
You set the currency on the shoot, so a production budgeted in dirhams, dinars, or dollars reads the way your client expects it to.