Plot the whole show before load-in

URSA Broadcast G2s with B4 glass, flown PTZs, the jib and the RF cameras — every position on one to-scale plan of the room, with a PDF the client can read and the gear list for the rental order.

No install neededStart plotting in your browser Or get it for Get it for iPhone & iPad → Get it for Mac → Get it for PC → Get it for Android →

Free to start · Your crew views for free · Team seats for production companies

URSA Broadcast G2Fujinon · Canon B4Panasonic AW-UE150 · UE160Sony FX6Jib · rail · SteadicamFollowspotsWireless mics

The tour · 2:58

Every feature, in three minutes

The real app, start to finish: a project and its setups, a ground plan at true scale, cameras, lenses, lights, mics and cables, then the report and the live link your whole crew works from.

An awards-night plot in CamPlot on the Mac: three URSA Broadcast G2s on the front-of-house riser, PTZs flown from the downstage truss, a jib, a rail at the stage lip, a Steadicam and RF cameras, followspots and audience mics, with the show’s segments listed on the left

Mac · Northwind Summit, Awards night — 11 cameras, 2 followspots, 4 mics

Built for the ballroom

The plot your crew, your client and your rental house all read

CamPlot starts from the camera: pick the body and its sensor area, type the lens the way it is written, and the cone on the page is the angle that glass actually sees from that riser.

URSA Broadcast G2 + B4

B4 glass on a URSA G2, done right.

Pick the camera’s 4K or 5.3K sensor area and CamPlot gives the true angle through the B4 mount. Put a portable lens on the 5.3K area and it tells you it will vignette — and how to cover it.

XA20sx8.5BRM, UJ86x9.3B, HJ14ex4.3B — read to their published range
4K, 5.3K and 6K sensor areas, as on the camera
Box lenses are credited with more coverage than portables on the 5.3K area
Coverage in feet at the stage, so a medium close-up is one

The camera panel for a URSA Broadcast G2 with a Fujinon XA20sx8.5BRM on the 5.3K sensor area: 12 mm, 56 degrees, 20x zoom 8.5 to 170 mm on 2/3 inch glass, and an amber note that the lens will vignette on this sensor area, with the ways to cover it

The camera panel · the 5.3K area picked

PTZ

PTZs with their zoom built in.

Pick a Panasonic AW-UE150 or UE160 and its 8.8–176 mm lens fills itself. Fly it from the truss or hang it off the LED header and see exactly what it covers from there.

The PTZ’s own sensor — the cone is its real angle at every focal
Flown, clamped or on a stand — support is part of the camera’s card
Remote operators on the roster like everyone else

Two PTZs flown from the downstage truss, their cones on the lectern and the MC

Cams 9 + 10 · flown from the downstage truss

The camera panel for a Panasonic AW-UE150: its built-in 8.8 to 176 mm lens, 60 mm and 12 degrees on the 1 inch sensor

Room

Drop in the ballroom plan.

Import the venue’s PDF or CAD export as a ground plan, start from a satellite map, or scan the room with LiDAR. Set the scale once and plot on top of it.

PDF, image, map or LiDAR — or draw the room by hand
477 set pieces to scale — stage decks, risers, truss, lecterns, LED walls, 60″ and 72″ rounds of ten
Search the library — “round table” finds every round, drawn to size

A ballroom plan with stage, thrust, LED wall and rounds of ten

The Ground Plan panel: Set Scale Reference, and add a ground plan by Draw, Import, Map or Scan Room

Segments

One show. Every segment.

Doors, the keynote, the product launch, the panel, the awards — a setup for each, so every camera move is planned before rehearsal, in one project that shares the room, the crew and the gear.

Duplicate a segment and change what changes
Group segments by day or session and drag them into running order
The inventory counts across every segment — what the show needs at peak

The Setups list: General session and Awards night groups with six segments

PDFs

Client-ready PDFs and the gear list.

Export the plot with the show’s name and the segment across the top, a report for every camera, and the inventory report for the rental order — cameras, lenses and support, counted at peak.