Gorilla Scheduling and CineLog get compared because both run the chain from screenplay to breakdown to stripboard to call sheet, and since September 2026 both run it in a browser. Gorilla has been doing the scheduling half of that chain since 2002, which is longer than most of the people reading this have been on sets, and it carries that history in its reports, its rate book and its Movie Magic exchange. So the feature list tells you less than the shape of your production does. What I usually like to do is pick on that shape, because a UPM building a budget off a schedule at a desk and a crew carrying the plan around four locations on their phones lose things in completely different places. So if you got here by searching for a Gorilla Scheduling alternative, or for apps like Gorilla Scheduling, this is the long answer.
One thing before we start. Everything in here was checked on November 2, 2026. The CineLog side against the app itself, version 1.5.6. The Gorilla side against Jungle Software’s own pages, and there are a lot of them, because Gorilla is now four apps with four sign-ins and two pricing pages that don’t agree with each other. The prices here are from the pages their menus link to on that day. Both tools ship changes every month, so read every number as correct on that date and check the pricing pages again before you decide.
Short summary
CineLog is the pick when you want the whole chain in one app that the whole crew can open anywhere. When the script is written, locked and revised in the same place as the breakdown, with A-pages and colored revised pages. When the DP’s shot list and the AD’s board are two views of the same project, not two subscriptions. When the call sheet has to reach each person as their own PDF with a status on it. And when the crew is on phones and tablets with no signal, because CineLog is a native app on every platform and the whole project works offline.
Gorilla Scheduling is a scheduler first, with a budgeter linked to it. The screenplay sits inside it, you tag the text, the strips fill the board, the day out of days comes off the board, and the days worked flow into a linked budget with union rates in it. It reads and writes Movie Magic files, it prints the reports a production office expects, and it now runs in the browser as Gorilla Online with a desktop version still sold next to it. Around it, Jungle has added Page One for writing, Shot Monkey for shot lists and boards, and Koala for call sheets on the desktop, each a separate app.
Those two paragraphs are the article. Everything below is the reason for it.
Let’s put a real production on the table
So we’re not talking in the abstract, let’s invent one. Let’s call it Harbor. It’s a scripted feature, about 90 pages, twelve shooting days, a crew of 25. Four locations, and two of them are out of town where phones drop to one bar. Six people need to change things in the plan. That’s the director, the first AD, the DP, the producer, the script supervisor and the production designer. The other nineteen need to get a call sheet every night and open it in the morning. We’ll come back to Harbor in every section, because the numbers only mean something on a real crew.
When CineLog is the pick
| Production shape | Why CineLog |
|---|---|
| A scripted shoot of two to twenty days, like Harbor | Script, breakdown, strips, shot list and call sheets are one app, one sign-in, one price. |
| A script that keeps changing after the lock | Locked scene numbers and pages, A-pages, OMITTED scenes, asterisks and a revised-pages-only PDF, with a scene-by-scene diff when the new draft comes in. |
| A DP and an AD on the same project | The shot list per production day and the stripboard share the shots, the cast numbers and the days. |
| A crew on phones and tablets where the signal drops | Native apps on iOS and Android with the whole project on the device, editable for up to seven days offline. |
| Six people changing the plan | No seats and no collaborator caps. On Gorilla Online, six editors means the $99 plan. |
Head to head
Prices are month to month in US dollars, checked November 2, 2026, from the pages Jungle Software’s menus link to. Both are cheaper on an annual plan.
| Gorilla Scheduling | CineLog | |
|---|---|---|
| Script editor | Page One, a separate browser app | Yes |
| Script import | .fdx and PDF in Page One, .fdx, .sex, PDF and Fountain in Gorilla Scheduling | .fdx, Fountain, PDF, RTF, text, with a diff on re-import |
| Locked pages and revision colors | Yes on Page One’s paid plan, colors and locked page numbers, no asterisks or revised-pages export described | Yes, scene and page lock, A-pages, omitted scenes, revised-pages-only export |
| Breakdown | Yes, tag by highlighting text, an AI pass as an add-on | Yes, tagged from the script text, cast numbered for you |
| Stripboard | Yes, multiple boards, a boneyard, banners, day breaks, a third row, a day out of days | Yes, with day breaks, a boneyard, scene splits and a board PDF, no day out of days report yet |
| Budget | Yes, linked to the schedule, with a union rate book | No |
| Shot list and storyboards | Shot Monkey, a separate app, per setup, with camera data and generated or uploaded frames | Yes, in script order and per production day, seventeen columns plus your own, several frames per shot |
| Call sheets | A report in Gorilla Online, printed or emailed from Koala on the desktop, $49 one time | Yes, from the schedule day, with weather, sun times, hospital and address lookup |
| Sending and tracking | No sending from Online, no tracking anywhere | A personal PDF per person by email, with delivered, opened, confirmed and bounced |
| AV script | No | Yes, with a client review link |
| Works offline | Desktop yes, Online a reduced mode on Solo and up, Page One on the paid plan | Yes, every tool, up to seven days |
| Native apps | macOS and Windows desktop, the rest in a browser, no phone or tablet app | macOS, Windows, iOS, Android, plus the browser |
| Who pays | Per plan, with collaborator caps: none on Solo, 2 on Production, 14 on Studio | One subscription, collaborators are free |
| Entry price | Free plan, then $19 a month for Scheduling Online, $29.99 for the desktop | Free plan, then $15 a month |
Six things I compare, in order
There are six things I compare when I look at tools like these, and those are the script and its revisions, the breakdown and the schedule, the shot list and the storyboards, the call sheet, where you can actually use the thing, and who pays. I go in that order because that’s the order a scripted production moves in. Everybody weighs these differently, so if the schedule and the budget are 80% of your job, skip to that section and come back, because that’s Gorilla’s section.
The script and its revisions
The first thing is the script, because on a scripted production the script is where every other document starts.
Gorilla handles the script in two places. Inside Gorilla Scheduling the screenplay shows on screen and you tag it, and the desktop version accepts .fdx, .sex, PDF and Fountain. For writing, Jungle has Page One, a browser editor with its own sign-in, which imports .fdx and PDF, exports .fdx and the .sex file Movie Magic reads, and syncs on demand with Gorilla Scheduling Online. Page One’s paid plan has a revision mode with the standard colors, Blue, Pink, Yellow and on, and a Lock Pages option that freezes the page numbers. An omitted scene stays visible and dimmed. What their page doesn’t describe is lettered scenes, A-pages, asterisks in the margin or a revised-pages-only print, and there’s no scene-by-scene comparison when a new draft comes in. One thing to know before you plan on it: on the day I checked, Jungle’s apps portal still listed Page One as alpha behind an access code, while the product page said start writing for free.
CineLog has a full editor, and it imports .fdx, Fountain, PDF, RTF and plain text. The part I lean on is what happens on the second import, because a scripted production gets new pages every week. CineLog shows the new draft as a diff against what you already have, scene by scene, and you accept what changed. It doesn’t wipe your breakdown and your shot list to make room for the new file. And once the script is locked, it does the real production thing. A new scene between 12 and 13 becomes 12A, a new page after 16 becomes 16A, and a cut scene prints as OMITTED and keeps its number for good. Every revision round gets its color, the changed lines get their asterisks in the margin, and you can export only the revised pages on that color, because that’s what goes out to the crew on a Tuesday night.
So for Harbor, where the script gets locked about two weeks before day one and then revised every few days, both can lock the page numbers. CineLog hands the AD the pink pages with the asterisks on them, from the same project the board lives in.
The breakdown and the schedule
Now that the script is in, the next thing is the breakdown and the schedule, and this is Gorilla’s home ground, so let’s give it its due.
Gorilla breaks the script down by highlighting text and tagging it with a category, across scenes at once if you want, and an AI pass can take the first swing on a plan that includes it. The stripboard has been refined for twenty-four years. Multiple boards, a boneyard for the unused strips, banners whose page counts total into the day breaks, a third row on the strips, and online a dual board for two units. The reports are the ones a production office knows by name: the one-line, the shooting schedule, the day out of days, the SAG Exhibit G, the breakdown sheets, the calendar. And the thing nobody else in this comparison does: the days worked from the day out of days flow into a linked budget with the union rate book in it. What the board doesn’t do is split one scene across two days. And on the desktop, two people can’t work the same schedule at the same time, which is the reason Gorilla Online exists.
CineLog does the breakdown by selecting text in the script and picking one of twelve categories, and it marks the page with the underline, the circle, the asterisk and the box that people know from paper breakdowns. The thing I like most is what happens with cast. CineLog tags every character on every line they speak, gives each one a numbered talent slot, and that number sits on the strip and lands in the cast grid on the call sheet. You tag once. It shows up everywhere. The stripboard has day breaks, a boneyard for the scenes you haven’t placed yet, the standard strip colors for interior, exterior, day and night, and it lets you split a scene across two days, because that’s how real days go. A finished day flows straight into that day’s call sheet, and the board exports as a PDF. What CineLog doesn’t print yet is the day out of days report, and it has no budget and no rate book.
For Harbor, twelve days and one unit, both boards do the job. If Harbor’s producer needs the budget to come off the schedule with union rates in it, that’s Gorilla’s reason to exist, and I’m not going to argue with it. CineLog’s board carries the shot list and the call sheet with it, which is the next two sections.
Shot lists and storyboards
Now that the days are laid out, the next thing is the shot list, and this is where the two tools diverge in how they’re put together.
Gorilla’s answer is Shot Monkey, a separate app with its own sign-in that Jungle released in October 2026. It’s organized as shot groups, setups and shots, and each shot carries real camera data, the lens, the focal length, the stop, the focus distances, the height and the angle, plus the cast, the props and the vehicles in the shot. The frames come from a built-in library of illustrated shot types, from a generator in several styles, or from your own uploads, with arrows and camera-movement graphics for markup and a top-view setup builder. You can assign shoot days to setups. What it doesn’t have is a shot list per shooting day as a report, custom columns, or a stated number of frames a shot can hold, and on the Pro plan you can invite three people per project. The desktop Gorilla Scheduling has its own older storyboard and shot list, and Gorilla Scheduling Online has none.
CineLog runs two shot lists off the same shots, a linear one in script order and one per production day, with seventeen default columns, your own columns on top, and your own dropdown values for shot type, angle, lens and movement. You can populate the first pass of the list from the script and then reorder by drag, whole scenes at a time. The Cast & Crew column shows the cast by the same numbers the schedule uses, so one look tells you who’s in the shot. Each shot holds several storyboard frames, and the shot list PDF prints the frames next to the rows. What CineLog doesn’t have is a drawing tool or a camera-data sheet per shot. You bring the frames in as images, from a sketch, a photo or a previs render.
For Harbor, the DP wants the shot list on an iPad at the location scout, in tomorrow’s order, and the scout has no signal. That’s CineLog, and I’ll get to why in a minute.
Call sheets
The next thing is the call sheet, and this is the document the whole crew judges the tool by, because it’s the only part nineteen of our 25 people will ever see.
Gorilla Online includes a crew call sheet in its reports suite, on every plan including the free one. It prints. It doesn’t send, and Jungle’s own pages don’t claim it does. On the desktop, Koala Call Sheets is a $49 one-time add-on that builds the sheet, makes the PDF and emails it, with the weather and the standins typed in by hand. Neither one tracks who received the sheet, who opened it or who confirmed, and Jungle’s own comparison pages give that point to other tools.
CineLog’s call sheet pulls the day from the stripboard and the shot list, so the schedule block is a live copy of the day and not a re-typed one, and the cast grid carries the numbers the breakdown gave the cast. It fills the weather and the sunrise and sunset from the location and the date, it carries the nearest hospital and the parking you saved on each location, and it autocompletes the addresses. It sends a personal PDF to each person by email, and for every person you see delivered, opened, confirmed or bounced. And the night before day five, the sheet for day five starts from what day four already knew, because most productions shoot the same place several days in a row, and re-typing the parking notes every night is the part that wears an AD down by week two.
For Harbor, that’s nineteen people who need a sheet every night. CineLog sends nineteen personal sheets in one go and shows nineteen statuses in the morning. With Gorilla, the AD prints the report and sends it from the mail client, or buys Koala and sends it from the desktop, and finds out who’s coming by phone.
Where you can actually use it
Now that we’ve gone through the documents, the next thing is where you can open them, and this is the one people skip until day three.
Gorilla is honest about where it runs. The desktop version is a real macOS and Windows app that works at the desk without a connection, once it’s activated. Gorilla Online runs in Chrome, Edge, Safari or Firefox, with real-time collaboration, and on Solo and up it has a Work Offline mode that Jungle describes as a streamlined version of the app, for breakdown sheets, shoot days and rearranging the stripboard. Page One has offline typing on its paid plan. What Jungle doesn’t have is a phone or a tablet app, and their pages don’t claim phone or tablet support in the browser either.
CineLog is a native app on macOS, Windows, iOS and Android, and it also runs in a browser at app.cinelog.com. Every device keeps a local copy of the project, so the shot list, the script and the call sheets open with no signal at all. You can work offline for up to seven days after you’ve signed in, and when the connection comes back, your changes and everyone else’s merge in the background.
For me, for example, this is the one that decides it, because I’ve never been on a location where the signal was good in every room. On Harbor, two of the four locations are out of town. The DP scouts them with the shot list open on an iPad. The AD walks the stone-walled house with the schedule open on a phone and moves tomorrow’s first scene to the afternoon, right there. Gorilla gives you that at the desk. CineLog gives you that in the house.
Pricing, and who pays for the crew
And the last thing is the money, and the key here isn’t the first number on the pricing page. It’s what the number becomes once you put the real crew on it. It’s all about who pays for the person, and here it’s also about how many apps you’re paying for.
Gorilla Online Scheduling has a free plan with one project and twenty editable scenes. Solo is $19 a month with three projects, offline mode and no collaborators. Production is $49 with ten projects and two collaborators, so three people in all, plus 150 AI-tagged scenes a month. Studio is $99 with twenty projects and fourteen collaborators, fifteen people in all. Budgeting Online is priced the same, and the combo of both is $38, $98 or $198. The desktop is $29.99 a month or $249 a year for Scheduling or Budgeting, $49.99 or $429 for both, with the AI pass at $14.95 a month on top and Koala at $49 one time. Shot Monkey Pro is $14.95 a month with three invitees per project. Page One’s paid plan has no published price. Annual billing is two months free, and the older pricing page that’s still live shows numbers from before Online, so check which page you’re on.
CineLog has a free plan with one project, every tool, offline mode, and two collaborators. Filmmaker is $15 a month with three projects and twenty collaborators. Production Company is $40 with ten projects and fifty collaborators. Studio is $90 with thirty projects and a hundred collaborators. There are no seats and no collaborator caps below those numbers. The people you invite make a free account and get view or edit rights on the project, based on what you give them, and one subscription unlocks the app on every platform.
So let’s put Harbor on it. Six editors, nineteen readers, one project.
| Tool | Plan for Harbor | Month to month |
|---|---|---|
| Gorilla Scheduling | Online Studio, because six editors is more than Production’s three, plus Shot Monkey Pro for the DP | $113.95, plus Page One’s paid plan at a price that isn’t published |
| CineLog | Production Company, all 25 on the project | $40 |
That’s not a small difference, and it’s not because CineLog is cheap. It’s because Gorilla is three or four products with their own plans and their own caps, and CineLog is one. If Harbor’s producer also needs the budget, Gorilla’s combo adds the budgeting plan, and CineLog has nothing to add, because it has no budget.
What neither of them does
A quick word on what both leave out, because it’s the reason every production I’ve been on still had a spreadsheet open.
Text delivery. Neither sends the call sheet by SMS. CineLog sends a personal PDF by email, Koala emails from the desktop.
Drawing. Neither has a pencil. Shot Monkey annotates with arrows and camera graphics, and CineLog takes several images per shot, and in both the drawn frames come from somewhere else.
Post. Both stop at wrap. Review, approval and delivery are a separate tool and a separate bill.
A quick exercise before you pick
So here’s a quick exercise before you move on to a trial.
First, figure out whether the budget has to come off the schedule. If a UPM needs the day out of days to feed a budget with union rates, that’s what Gorilla was built for, and CineLog doesn’t have a budget. If the budget lives in a spreadsheet or a budgeting tool anyway, read on.
Second, count the apps. Write down who writes, who schedules, who runs the shot list and who sends the call sheet, and next to each name write the Gorilla app they’d sign into. Then count the sign-ins and the plans. On CineLog the answer is one.
Third, check the signal at each location before you sign up for anything. Stand in the room where you’ll shoot, open a web page on your phone, and see what happens. If it doesn’t load, ask whether the person standing there needs to change the plan or just read it.
The bottom line
Gorilla Scheduling is a serious scheduler with twenty-four years behind it, a budgeter linked to it, Movie Magic on both ends, and the reports a production office knows by name. CineLog is the pick for the scripted shoot with a real crew, because the script, the board, the shot list and the call sheet are one app for one price, every person gets their own sheet with a status on it, and the whole project works on a phone in the basement. That’s Gorilla Scheduling vs CineLog.
Questions people ask
Is CineLog an alternative to Gorilla Scheduling?
For the chain from script to call sheet on a scripted shoot, yes. CineLog adds the shot list per shooting day in the same project, per-person call sheet delivery with tracking, native phone and tablet apps, and free collaborators. What CineLog doesn’t do is the budget, the rate book, the day out of days report or the Movie Magic file exchange.
Which one is cheaper for a crew of 25?
CineLog, at $40 a month on Production Company with everyone on the project. Gorilla Online with six editors needs the Studio plan at $99, and the DP’s shot list is a second app at $14.95.
Which one works offline on set?
CineLog, on any device, for every tool, up to seven days. Gorilla’s desktop works offline at the desk, and Gorilla Online has a reduced offline mode on Solo and up. Neither Gorilla product runs as an app on a phone or tablet.
Can I bring my script in from .fdx or Fountain?
CineLog takes .fdx, Fountain, PDF, RTF and plain text, and shows re-imports as a diff so your breakdown survives the new draft. Gorilla Scheduling on the desktop takes .fdx, .sex, PDF and Fountain. Page One takes .fdx and PDF.
Which one handles colored revision pages?
Both can, on the writing side. Page One’s paid plan has revision colors and locked page numbers. CineLog also gives you A-scenes, A-pages, OMITTED scenes, asterisks on the changed lines and a revised-pages-only export, in the same project as the breakdown.
Which one prints a day out of days?
Gorilla, on the desktop and online, and the days worked feed its budget. CineLog doesn’t print the report yet.
Does Gorilla Scheduling send call sheets?
Gorilla Online prints a call sheet report. Koala Call Sheets, a $49 desktop add-on, builds and emails them. Neither tracks delivery or confirmations. CineLog sends a personal PDF per person and shows delivered, opened, confirmed or bounced.
Do my collaborators need to pay?
On CineLog, no. They make a free account and get the rights you give them. On Gorilla Online, Solo has no collaborators, Production includes two and Studio fourteen, and the price past the cap isn’t published.
Which one runs as a real app on a phone or tablet?
CineLog is native on iOS and Android with the whole project on the device. Gorilla has desktop apps for macOS and Windows and a browser version, and no phone or tablet app.
Can I switch from Gorilla Scheduling to CineLog?
Yes. Export the script from Page One as .fdx, or bring the original in as .fdx, Fountain or PDF, and import your contacts from a spreadsheet. CineLog doesn’t read Gorilla files, so the breakdown is re-tagged on the page with the cast done for you and the board is rebuilt by drag.
To recap
To recap, in this article we talked about picking on production shape instead of feature count, we walked six things in order, the script and its revisions, the breakdown and the schedule, the shot list and the storyboards, the call sheet, where you can use it, and who pays, and we put a twelve-day, 25-person feature on both price lists. Gorilla Scheduling is the scheduler for the production office, with the budget linked to it. CineLog is one app for the crew, from the first draft to the last call sheet, on any device, with or without a signal.
If you want to see the CineLog chain for yourself, the Free plan is one project with every tool, and you make the account inside the app after you download it. So put your own Harbor on it, and then move on to the part that matters, which is the shoot.