Studiovity and CineLog get compared because both put the whole chain in one suite, the script, the breakdown, the stripboard, the shot list, the storyboards and the call sheet, and because both of them have native apps on iPhone and Android, which almost nobody else in this category does. So on the homepage they look like the same product at two prices. What I usually like to do is pick on the shape of the production instead, because a writer who wants a first draft of everything generated for them and a crew of 25 with a locked script and twelve days to shoot lose things in completely different places, and these two tools are built around those two shapes. So if you got here by searching for a Studiovity alternative, or for apps like Studiovity, 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 Studiovity side against their own site and help center, the App Store and Google Play listings, and the price data their pricing page loads, because the page itself shows no numbers to anything that isn’t a browser. Studiovity also runs sale windows through the year, and a Halloween one was on when I checked, so the prices here are the list prices, not the sale ones. 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 the script is locked and the crew is real. When the revisions need A-pages, OMITTED scenes, asterisks and colored revised pages, because Studiovity’s own blog tells you to write the revision color on the day break by hand. When the call sheet has to reach each person as their own PDF and the AD needs to know by seven who opened it. When the DP needs the shot list in tomorrow’s order. And when offline has to mean the whole project on every device, including the Mac and the Windows laptop, for a stated seven days, with everything merging when the signal comes back.
Studiovity is a suite that drafts things for you. Its editor suggests dialogue and translates, its breakdown tags the script in a pass you then correct, its scheduler groups the scenes into a first-draft board, its shot list proposes the coverage, and its storyboard generates the panels in a style you pick. Around that it has a budget, a calendar, a task board, chat, a teleprompter and a lighting planner, and it runs on iPhone, Android and the web at a price that’s hard to beat on paper.
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 chain, built from what the crew decided, not from a draft to correct. |
| 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 call sheet that has to be confirmed by morning | A personal PDF per person by email, with delivered, opened, confirmed and bounced on every name. |
| A crew on laptops and phones where the signal drops | Native apps on macOS, Windows, iOS and Android, the whole project on every device, editable for up to seven days offline. |
| A shoot that’s going to be split across days | A scene can be split across two days on the board, and the cast numbers follow it onto the strips and the sheet. |
Head to head
Prices are list prices in US dollars, checked November 2, 2026. Both are cheaper on an annual plan.
| Studiovity | CineLog | |
|---|---|---|
| Script editor | Yes, with suggestions, translation, dual dialogue, version history | Yes |
| Script import | .fdx, Fountain, PDF | .fdx, Fountain, PDF, RTF, text, with a diff on re-import |
| New draft of the script | Version history, no scene-by-scene comparison documented | Scene-by-scene diff, breakdown and shot list survive |
| Locked pages and revision colors | Not documented, their blog says to note the color on the day break by hand | Yes, scene and page lock, A-pages, omitted scenes, revised-pages-only export |
| Breakdown | Yes, a generated pass corrected by hand, departments, custom categories | Yes, tagged from the script text, cast numbered for you |
| Stripboard | Yes, generated first draft, multi-episode, a boneyard, day breaks, a day out of days and a one-liner | Yes, with day breaks, a boneyard, scene splits and a board PDF, no day out of days report yet |
| Budget, calendar, tasks | Yes | No |
| Shot list | Yes, generated or by hand, 30-plus fields, grid and list views, no per-day view | Yes, in script order and per production day, seventeen columns plus your own |
| Storyboards | Generated panels in a chosen style, or an uploaded image per shot | Yes, several frames per shot, no drawing tool |
| Call sheets | Yes, from the day break, templates, weather and maps | Yes, from the schedule day, weather, sun times, hospital and address lookup |
| Sending | PDF by email, app push, “email blast” | A personal PDF per person, with delivered, opened, confirmed and bounced |
| AV script | Yes, with generated images | Yes, with a client review link |
| Works offline | Claimed on the mobile apps, no stated length or scope | Yes, every tool, every device, up to seven days |
| Native apps | iOS and Android, on a Mac it’s the iPad app on Apple silicon, a small Windows store package the site doesn’t link, web | macOS, Windows, iOS, Android, plus the browser |
| Who pays | Per plan with two team members included, extra seats $5 a month each on Productions | One subscription, collaborators are free |
| Entry price | Screenwriting $3 a month, Productions $20 a month | 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 price is 80% of your decision, skip to the last section and come back.
The script and its revisions
The first thing is the script, because on a scripted production the script is where every other document starts.
Studiovity writes, and it imports .fdx, Fountain and PDF. The editor has comments and real-time collaboration, it added version history in late 2025 so you can go back to an older draft, and dual dialogue in the summer of 2026. The assistant suggests lines, checks the format and translates into a long list of languages, and you can take it or leave it. What I couldn’t find anywhere, on the site, in the help center or in the store listings, is a revision mode. No locked scene numbers, no page lock, no revision colors, no asterisks, no revised-pages-only export. Their own blog post on mid-prep revisions says to note the revision color and the affected scene numbers on the day break by hand, and their advice on locking a schedule is to export a dated PDF as the baseline. Those are the workarounds a crew uses when the tool doesn’t do it.
CineLog has a full editor too, 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. What CineLog doesn’t do is suggest lines or translate.
So for Harbor, where the script gets locked about two weeks before day one and then revised every few days, CineLog hands the AD the pink pages with the page numbers still true. On Studiovity, the AD writes “pink, scenes 12 and 14” on the day break.
The breakdown and the schedule
Now that the script is in, the next thing is the breakdown and the schedule, and here the two tools do the same job in two different orders.
Studiovity’s breakdown starts with a generated pass. You press the button, it tags the cast, the locations, the props and the rest, reads the interior and exterior and the day and night off the headings, and counts the pages, and then you edit, merge and override by hand. The categories come in departments, with custom ones on the paid plan, and the reports print to PDF or Excel. The scheduler does the same thing one step later: it groups the scenes by location and cast into a first-draft board, you drag it into shape, and the day breaks go in by hand or from a pages-per-day setting. There’s a boneyard, banners, several episodes on one board, and the day out of days, the one-liner and the shooting schedule print from it. What I couldn’t find is a scene split across two days, or a documented cast numbering scheme, although a screenshot on their blog shows cast IDs in a breakdown view.
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, 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 doesn’t draft the board for you.
For Harbor, twelve days and 25 people, both boards do the job. Studiovity drafts it and prints the day out of days. CineLog’s board carries the cast numbers from the script to the sheet without a step in between, and it splits the two long scenes that won’t fit in one day.
Shot lists and storyboards
Now that the days are laid out, the next thing is the shot list, and this is where the two feel different in the hand.
Studiovity’s shot list can start from a generated pass that proposes the coverage, wide, medium, close, and then you edit it, with more than thirty fields on a shot, lens, movement, lighting, sound, equipment, duration. There’s a grid view, a list view and a presentation view, it exports to PDF or Excel with the fields you pick, and the mobile app lets the crew check shots off on set and take a reference photo with the phone’s camera. The storyboard generates panels from the script text in a style you choose, with character consistency across panels, and you can upload your own image per shot instead. What it doesn’t have is a shot list per shooting day as its own view, a stated number of frames a shot can hold, or a pencil. Their FAQ on drawing skills answers “not at all”, because the generator draws.
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 generator. 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. Both open on an iPad. CineLog opens on tomorrow.
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.
Studiovity builds the sheet from a day break, so the scheduled scenes, the cast and the tagged elements come in, and you pick a template and show, hide or reorder the sections. Each cast member gets arrival, pickup, makeup and on-set times. The locations come from the department list, the weather and a map come in for the shoot day, and the sheet goes out as a PDF by email, as a push to the mobile app, or as an email blast, with a watermark on it. What their pages don’t show is a status per person. Sharing is a send, and their own October article on confirmations talks about them in general, depending on the tool. There’s no sunrise and sunset on the sheet, no hospital field, and no address lookup that I could find.
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.
So both build the sheet from the schedule, both put the weather on it, and Studiovity pushes it to an app where CineLog emails it. For Harbor, the difference is the morning after. On CineLog the AD knows by seven which three people haven’t opened their sheet.
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 section where Studiovity deserves more credit than most.
Studiovity has had native apps on iPhone and Android since 2021, and the web app runs in any browser. Their pages say the mobile apps work offline and queue the edits until the signal comes back, and the shot list help page says the same. What they don’t say is for how long, or which tools, and the web app tells you it has no connection when the connection drops. On a Mac, what you install is the iPad app, on Apple silicon only, and the Windows listing on the Microsoft Store is a small package the site itself doesn’t link to. So the phone is the real client, and the laptop is the browser.
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, on the laptop as much as on the phone. 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, and both tools survive that. The production designer sits in the stone-walled house with a Windows laptop and the breakdown open, and only one of them survives that.
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.
Studiovity has two plans. Screenwriting is $3 a month, Productions is $20, and the annual rate is about 35% less. Each plan includes two team members, and on Productions an extra seat is $5 a month and an extra project is $1, so the price grows with the people and the projects. Members can be given view-only rights, and whether a view-only member takes a seat isn’t published. There’s a “start free” button and no free-plan card, so the free limits aren’t published either, and their 2024 posts mention a seven-day trial. In the App Store the plans have different names and different prices, and there are sale windows a dozen times a year at 30% to 50% off, so the number you see depends on the day you look.
CineLog has a free plan with one project, every tool, offline mode, and two collaborators, and the limits are on the pricing page. 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. 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 |
|---|---|---|
| Studiovity | Productions with two members included, four extra seats at $5 | $40, if the nineteen readers don’t take seats |
| CineLog | Production Company, all 25 on the project | $40 |
This may sound like I’m stacking the deck, but the two numbers are the same, and that’s the honest part. The difference is what’s inside the number and what’s published about it. On Studiovity it grows by $5 for every editor past two and by $1 for every project, and the free tier’s limits aren’t written down. On CineLog the number is the plan, and the plan is on the page.
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.
Drawing. Neither has a pencil. Studiovity generates panels and takes uploads, CineLog takes several images per shot, and in both a drawn frame comes from somewhere else.
Text delivery. Neither sends the call sheet by SMS. Studiovity pushes to its app and emails, CineLog emails.
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 script is locked. If it is, and revisions are coming, open each tool and try to make scene 12A and a pink page. On CineLog that’s the lock button. On Studiovity, follow their blog and write it on the day break.
Second, send yourself a call sheet from each, and then look for where it tells you whether you opened it. That’s the feature the AD lives on from day two.
Third, check the signal at each location before you sign up for anything, and this time take the laptop. Stand in the room where you’ll shoot, open the breakdown on the laptop, and see what happens. On Studiovity the phone keeps working and the browser doesn’t. On CineLog both do.
The bottom line
Studiovity generates the first draft of everything at a low price and runs on a phone, which is more than most of this category can say. CineLog is the pick for the scripted shoot with a real crew, because it locks the script properly, tracks every call sheet per person, keeps the whole project on every device including the laptops, and prints its limits on the pricing page. That’s Studiovity vs CineLog.
Questions people ask
Is CineLog an alternative to Studiovity?
Yes, on the same chain from script to call sheet. CineLog adds locked pages and revision colors, a scene-by-scene import diff, a shot list per shooting day, per-person call sheet tracking, native macOS and Windows apps and a stated offline window. What CineLog doesn’t do is generate drafts, budgets, tasks or translations.
Which one is cheaper for a crew of 25?
They land on the same number for six editors: $40 a month, Studiovity on Productions with four extra seats and CineLog on Production Company with everyone on the project. Studiovity’s annual rate is lower, and its price rises by $5 for every editor past six.
Which one works offline on set?
Both claim it on the phone. Studiovity’s pages say the mobile apps queue edits offline without saying for how long or for which tools, and the web app needs a connection. CineLog works offline on every device, for every tool, up to seven days, and merges in the background after.
Can I bring my script in from .fdx or Fountain?
Both take both, and both take PDF. CineLog adds RTF and shows re-imports as a diff so your breakdown survives the new draft.
Which one handles colored revision pages?
CineLog. It locks scene numbers and pages, gives you A-pages and OMITTED scenes, colors every revision round and exports the revised pages only. Studiovity has version history, and its blog says to note the revision color on the day break by hand.
Does Studiovity have a day out of days?
Yes, with a one-liner and a shooting schedule, printed from the board. CineLog doesn’t print the report yet.
Do my collaborators need to pay?
On CineLog, no. They make a free account and get the rights you give them. On Studiovity, two team members are included and extra seats are $5 a month each on Productions.
Which one runs as a real app on a laptop?
CineLog, on macOS and Windows, with the project on the machine. Studiovity’s Mac option is the iPad app on Apple silicon, and its Windows store package isn’t linked from the site, so the laptop client is the browser.
Which one generates storyboards?
Studiovity, in a chosen style, from the script text. CineLog holds several uploaded frames per shot and doesn’t generate or draw.
Can I switch from Studiovity to CineLog?
Yes. Export the script from Studiovity as .fdx or Fountain and import it, and bring your contacts in from a spreadsheet. The breakdown is re-tagged on the page with the cast done for you, the shot list populates from the script, 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. Studiovity drafts everything for you on a phone at a low price. CineLog locks the script, tracks the sheet, and puts the whole project on every device the crew owns, at a price that’s written down.
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.