You never type a production budget in WeClickk. You plan the shoot, and the budget derives itself: crew day rates from Team, rentals from Equipment, fees from Locations, all rolled up against what the client pays. Watch it build below.
This is a real WeClickk brief going through approval: V1 out, client notes back, V2 signed. Drive it yourself.
Desert Film bills Nike MENA JOD 11,300, set once in Define. Every cost you planned already lives somewhere: day rates in Team, rentals in Equipment, fees in Locations. Derive the budget, add the one cost no feature owns, then add a rental and watch the whole number track itself.
Set what the client pays and the margin you want to keep. The budget pill then follows you around the project: add a crew member or a rental and it recalculates on the spot, so you always know if you still hit your number.
Day 1 locks your plan as the baseline. Anything extra on set gets logged in seconds, you pick who pays, and your margin updates live. All from your phone, between takes.
Crew, talent, equipment, locations, wardrobe, catering, units: every category rolls up live from the features you already filled.
Set a rate on each person in Team and the crew line becomes rate × shoot days, updating when either changes.
Billing lives in Define: what the client pays against what you spend, so the margin is visible all the way to wrap.
Mark a kit RENTAL, OWNED, or BORROWED and its cost lands in the right line: the gear list and the budget are one thing.
Permits, contingency, the thing you only remember on Thursday: Other costs holds the lines no feature owns.
Start from what the client pays, then allocate it across the real categories: crew day rates, talent, equipment rentals, location fees, wardrobe, catering, transport, and a contingency. In WeClickk you skip the allocation step: each category derives from the feature where you planned it.
For most commercial shoots: crew, talent, equipment, locations, wardrobe and props, catering, units and transport, and other one-off costs. WeClickk rolls up exactly those, each with its own color, share bar, and a link back to its source feature.
Working practice for small commercial shoots is 5 to 10 percent of the total. On Desert Film that is JOD 750 on an 11,300 budget. Keep it as its own visible line, not padding hidden inside other numbers, so you know when you are actually eating into it.
Rarely one big line. It is the untracked small ones: the cash permit with no receipt, the extra rental day nobody logged, the spreadsheet that stopped matching reality on day one. A budget that reads from the plan itself cannot drift away from it.
The brief gets signed before the shoot, V1 to locked.
PLAYBOOKSigned on set with a QR code, before take one.
PLAYBOOKPlan every shot and check them off on shoot day.
PLAYBOOKThe day in blocks, and the callsheet reads from it.
PLAYBOOKThe one-page plan your crew reads the night before.
PLAYBOOKStart the day, log every take, and wrap on time.
PLAYBOOKCrew, kit, talent, and locations saved once, reused every shoot.
PLAYBOOKThe brief gets signed before the shoot, V1 to locked.
PLAYBOOKSigned on set with a QR code, before take one.
PLAYBOOKPlan every shot and check them off on shoot day.
PLAYBOOKThe day in blocks, and the callsheet reads from it.
PLAYBOOKThe one-page plan your crew reads the night before.
PLAYBOOKStart the day, log every take, and wrap on time.
PLAYBOOKCrew, kit, talent, and locations saved once, reused every shoot.