演员用工表生成器
免费的演员排期网格生成器
设好拍摄天数和演员名单，然后点格子标上 SW、W、H 和 WF 代码：这个生成器会做出那张标准的演员排期网格，也就是执行副导演和制片主任平时得从 Excel 模板或 Movie Magic Scheduling 这类付费软件里拿到的东西。合计、档期跨度和校验会随着你点击实时更新，做完的表还能导出 CSV。
演员用工表展示每位演员在整个拍摄计划里的用工形态：什么时候开工（SW）、哪几天在拍（W）、哪几天是带薪待命（H）、什么时候杀青（WF）。选角导演把它附在用工协议后面，制片主任按连续雇佣规则据此核算成本，演员的经纪人也会在客户点头档期之前先看它。
全部在你的浏览器里运行，并在本地自动保存。没有任何演员姓名或排期数据被发送到服务器。
演员编号沿用剧本拆解的编号，1 号通常是主角。最多可加 40 位。
点任意格子可以在主要代码之间循环：空、SW、W、H、WF、SWF。在格子上按 Tab 会打开完整状态列表，包括排练（R）和转场（T）。
| 角色 | 第 1 天 | 第 2 天 | 第 3 天 | 第 4 天 | 第 5 天 | 第 6 天 | 第 7 天 | 第 8 天 | 第 9 天 | 第 10 天 | 工作 | 待命 | 跨度 |
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| 1演员 1 | 0 | 0 | 0 | ||||||||||
| 2演员 2 | 0 | 0 | 0 | ||||||||||
| 当天在工作的演员 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | |||
SWStart Work：这位演员在片场的第一天。
WWork：开工与杀青之间的正常工作日。
HHold：在薪酬名单上但当天不拍。按连续雇佣规则照付。
WFWork Finish：这位演员的最后一个工作日。
SWFStart Work Finish：同一天开工并杀青（单日演员）。
RRehearsal：排练日，和工作日分开统计。
TTravel：转场日，和工作日分开统计。
报表摘要
演员人数：2
拍摄天数：10
工作日合计：0
待命日合计：0
校验
没有发现问题。每位有排期的演员都有一个开工日、一个杀青日，跨度之外也没有多余的安排。
工作原理
行是演员，列是拍摄日，每个格子存一个状态代码。生成器会统计工作日（SW、W、WF、SWF）、待命日（H），以及每行从开工到杀青的跨度，还有每天有多少位演员在工作。校验持续运行，检查的正是副导演手工检查的那些：每人一个开工日、一个杀青日，跨度之外不排任何安排。把网格导出成 CSV 拿去 Excel 或 Google 表格用，或者把文字摘要直接复制进一封制作邮件里。
演员用工表是什么，谁会看它
这张表是唯一一页能让整组演员的档期一眼看全的东西。执行副导演从拍摄进度板上做出它，制片主任据此核算成本，选角导演把它附在用工协议后面，经纪人在客户签字前会先看它。大多数制作至今仍把它放在 Excel 模板里，或者放在 Movie Magic Scheduling 这类有授权的软件里；这个免费生成器给出同样的演员排期网格，不用授权，也没有学习成本。
这些代码背后是钱。按美国演员工会的连续雇佣规则，演员从 SW 到 WF 都要付酬，中间的每一个 H 日也算在内，所以一份把某位演员的三场戏摊到三周里的计划，无论摄影机转不转，那些待命日都要付钱。这也是副导演反复挪动进度板条子、把每位演员的跨度压紧的原因，也是「先放人、之后再签回来」这种做法之所以存在的原因。
这张表是从拍摄进度板流下来的：改一下拍摄顺序，所有的开工、杀青和待命日都会跟着动，所以它在筹备期里被反复重做。因为这个生成器完全在你的浏览器里运行并在本地自动保存，你可以几分钟就试出几个不同的排期版本，看每一版对待命日的影响，等某一版值得传阅了再下载 CSV。
适合谁
- 执行副导演和制片主任 在筹备期起草并比较演员排期，不必为一部短片或小成本长片去买一整套排期软件。
- 选角导演和统筹 在谈档期时，给经纪人一张干净的开工、工作、待命和杀青日网格。
- 电影专业学生和独立制片 在第一次制作会之前，就学会在一张真实的演员网格上读懂 SW、WF 和待命代码。
Day Out of Days Generator: the complete guide
It builds the standard day out of days report in the browser: cast rows, day columns, SW/W/H/WF/SWF/R/T codes per cell, automatic totals per row and per day, and validation that flags missing starts, double finishes, and codes outside the span.
For this workflow, the central problem is clear: the day out of days grid usually lives in fragile Excel templates or paid scheduling suites, so small productions skip it and discover expensive hold days too late. Left unresolved, this creates downstream friction and slower decisions. The practical target is a validated DOOD cast grid with per-actor work, hold, and span totals you can export and circulate before the schedule locks.
Limitation to keep in mind: It does not read contracts or compute payroll; it tracks days and codes, so union rules like drop and pickup eligibility still need a human check against the applicable agreement.
Advanced workflow: Experienced ADs run one DOOD per schedule draft, compare total hold days across versions, and use that delta as the argument for reordering strips before anyone calls an agent.
Step-by-Step Workflow
- Set the number of shoot days and add optional date labels so the columns match your calendar.
- Enter cast numbers and character names from the script breakdown, lead first.
- Click through each row marking SW on the first work day, W on working days, H on paid holds, and WF on the last day, using the full list for rehearsal and travel.
- Fix any validation warnings, then download the CSV or copy the summary for the production office.
Use Cases By Profile
- First AD: rebuild the DOOD after every stripboard shuffle and confirm no actor's span quietly grew by a week.
- UPM: total hold days per cast member and put a cost on each schedule variant before committing to dates.
- Casting director: send agents a clean start, work, hold, and finish grid instead of a vague date range.
Common Mistakes To Avoid
- Marking every day between start and finish as W instead of separating true work days from holds.
- Giving a performer two starts or two finishes after a schedule change, which corrupts the span math.
- Building the DOOD once at the start of prep and never rebuilding it after the stripboard moves.
Professional Best Practices
- Sort cast by span, not by cast number, when hunting for schedule savings: the widest spans hide the most holds.
- Use SWF aggressively for day players; a one-day booking costs one day only if it starts and finishes on it.
- Keep the cast-working-per-day row under 10 where you can; heavy cast days slow coverage and stack turnaround risk.
Treat this tool output as a decision support layer, not a replacement for authorship. Great scripts are remembered for specific choices, emotional precision, and clarity of dramatic movement. Tools help by removing noise so your energy can go where it matters: character, conflict, escalation, and payoff. If you review outcomes after each pass and keep an explicit log of accepted changes, your workflow becomes faster and more predictable from draft to draft. That consistency is exactly what professional collaborators value: fewer surprises, clearer rationale, and a script that evolves with intent.
Extended FAQ
Who prepares the day out of days on a production?
The first AD or the production coordinator usually builds it from the stripboard, and the UPM reviews it for cost. On small shoots the producer often does all three jobs, which is exactly when a free generator earns its keep.
When should the day out of days be locked?
It stays live through prep and only locks with the shooting schedule, typically after the final production meeting. Cast deal memos reference it, so late changes mean calls to agents.
What is drop and pickup on a SAG-AFTRA contract?
It lets a production release a performer and rehire them later instead of paying holds through a long gap. It is generally allowed once per performer on theatrical agreements after a qualifying break, so it is a scalpel, not a default.
How does the DOOD relate to the stripboard?
The stripboard sets the shooting order of scenes; the DOOD is the cast-side consequence of that order. Every strip move changes someone's start, finish, or holds, so the two documents are always read together.
Can this replace Movie Magic Scheduling?
For the DOOD itself on a short, a small feature, or a student film, yes. Movie Magic still does more around it: stripboards, breakdown sheets, and reports. This tool covers the cast grid, free and in the browser.
What do agents look for in a DOOD?
Start and finish dates, the number of holds between them, and whether the span conflicts with other bookings. A tight span with few holds is an easier deal to close than a loose one.
常见问题
SW 是 Start Work，演员在片场的第一天。W 是正常工作日，H 是待命日，WF 是 Work Finish，也就是最后一天。SWF 表示演员同一天开工并杀青。R 标排练，T 标转场，两者都和工作日分开统计。
待命日（H）是演员开工与杀青之间、当天不拍但仍在薪酬名单上的日子。连续雇佣规则要求在大多数合同下，从 SW 到 WF 的每一天都要付给演员，所以待命日是真实的预算项，不是免费的空档。
真的。它完全在你的浏览器里运行，不用注册、没有水印、导出不限次数。你的网格自动保存在你自己的设备上，没有任何内容被上传到服务器。
可以做：演员放行、日期放列、代码填格子，合计用 COUNTIF 公式。这个工具做的是同一件事，只是代码、合计和校验都已经接好线了，然后导出的 CSV 能直接在 Excel 或 Google 表格里打开。
最多 40 位演员和 60 个拍摄日，覆盖大多数长片和任何短片。如果需要更大的表，就分段导出 CSV 再在表格软件里合并。
