PreCue

A shoot’s reference media, sitting beside its paperwork. PreCue puts the song chart on the left and the reference clip on the right, so a production note lands on the line it is about and the second it happens at — and comes back out as a cue sheet the crew can read without the media to hand.

The demo opens one real plan: a three-page chart, its clip, and five notes already anchored in the margins. You can add your own. Click a line, type the note, and it is pinned to that line and stamped with the clip’s current timecode, exactly as a note taken in the product is. A reset control puts the original five back whenever you want them.

A new note arrives as a draft. That is PreCue’s own behaviour, not a demo shortcut: a note you have just written carries a red dot and a green ✓ button, and the cue sheet is built from committed notes only — a sheet that printed half-formed thoughts would be worse than one that waited. Press the ✓ and the dot turns green; from then on the note exports to the PDF with the rest. The five that ship with the demo are already committed, which is why they are there on the first export. Your notes are kept in this browser’s own storage, so they survive a reload unless the browser is blocking site data — the demo says so on screen if it is.

Typing is this demo’s path. Dictation is the real one. In PreCue the Director watches the reference and talks over it — the speech is transcribed, shaped into a production note with its tags, and pinned to the selected line and the playing timecode, without anyone looking away from the screen. That works today and is what the product is for. It is off in this public build for one reason: speech-to-text is billed by the minute to whoever runs it, and this page is open to anyone. There is nothing here to switch on.

What is real, and what is not

• The chart is the real document. Not a stand-in drawn for the demo — the actual three-page chart this plan was worked from, served as itself and read by PreCue’s own parser, which is what puts each note on the line it names. “Egypt” is © Bethel Music — Brian Johnson, Cory Asbury, Ethan Hulse, Lee Cummings and Phil Wickham — and the chart appears here as this plan’s paperwork, not as a publication of the song. The five seeded notes are the one authored part: they are written for the demo in the Director’s register and are not anybody’s working notes. Their timecodes are real, taken from his own marks against this clip.
• The cue sheet is built; it just is not handed over. Export opens the finished sheet — the chart with every committed note beside its line — rendered in your browser by the same code the product ships. Download and print are switched off there and say so when you look.
• The demo makes one deliberate third-party request: the YouTube player for the reference clip. The embed runs on youtube-nocookie.com, so it sets no ad or tracking cookies — but the player script itself still comes from youtube.com, so this is “no tracking cookies” rather than “no third-party requests”. Everything else, fonts included, is served from this origin. If a content blocker stops the player, the demo says so and names the clip rather than showing an empty rail.
• Your notes live in your own browser’s storage and nowhere else. Nothing is uploaded and there is no account.

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