Spreadsheet-style matrix tracks each talent’s work, hold, travel, and idle days across the shoot.
A Day-Out-of-Days (DOOD) report is a tabular grid that distills a multi-week production schedule into a single glance by showing what status each cast member (or production element) holds on every shooting day. Using letters such as “W” (work), “S” (start), “F” (finish), “H” (hold), and “T” (travel), the document enables accountants to forecast payroll, unions to verify rest periods, and assistant directors to negotiate cost-saving consolidation.
Paper DOODs emerged alongside colour stripboards in the studio system of the 1930s, when large ensemble casts demanded tighter resource management. Modern spreadsheet versions proliferated with Movie Magic Scheduling in the 1990s, though some 1st ADs still pin printed DOODs outside the production office for quick redline updates.
| Day | 01 | 02 | 03 | 04 | | — | — | — | — | — | | Actor A | S | W | W | H | | Actor B | — | T | W | F |
The 1st AD exports scene breakdowns to a scheduling program, which auto-generates initial DOOD codes. Human intervention fine-tunes union-mandated turnarounds, child-labour windows, and weekend dips. When script revisions cascade, the DOOD is often the first casualty; veteran ADs therefore lock the grid behind password-protection to prevent accidental recalculations.
The compressed nature of DOODs can obscure micro-turnarounds (e.g., late Friday wrap into early Monday call), leading to fatigue disputes. Conversely, studios sometimes leverage the data to negotiate reduced idle pay, prompting guild complaints that the report is weaponised against talent.
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