Call Sheets & Shooting Schedules

Here is how the work lines up. Call sheets in Canada are bilingual the moment a Quebec address is on the schedule. Our coordinators publish English-first sheets with a fully translated French column for any shoots in Montreal, Quebec City, Trois-Rivières or the Gaspésie. The daily ride accounts for IATSE 12-hour turnaround rules that govern crew rest across Locals 411, 514, 667, 669, 873, 891 and 1006, with WGC writers' late hours, DGC director and assistant-director conventions, and ACTRA and UDA performer rate schedules — including the extra Quebec UDA notice provisions — all reconciled against the cast and crew matrix before delivery.

Winter call-time math is built in rather than guessed: Toronto sunrise lands at roughly 8:45 a.m. In late December, Whitehorse closer to 9:30 a.m., so a 'first shot of the day' on a Yukon block is sequenced backward from civil twilight rather than the producer's wishful 7 a.m.

Here is how the picture comes together. Festival and event blackouts get logged against the calendar before the schedule is even shared. TIFF closes blocks of King and John in early September, Hot Docs eats Bloor in late April, Just for Laughs and the Grand Prix shut Saint-Denis and the Circuit Gilles-Villeneuve corridor in Montreal each summer, and Sundance the third week of January draws crew south even though it's a US festival — each one of those windows becomes a flag on the call sheet so a 5 a.m.

Here is what we have to work with. Crew bus doesn't try to handle a marathon route. Aurora Borealis night shoots in Yukon. The Northwest Territories drive sun-down to sun-up sequencing with thermal-comfort breaks, hot-water and dry-clothing logistics, and licensed wildlife-monitor standby. Updates push through Movie Magic, Croogloo, Studio Binder or Setkeeper to email, SMS and dedicated apps with read receipts. The change log is preserved alongside the final wrap report so audit, payroll and union grievance review have a single source of truth.