Help and contact

In “Projects”, click “New project”, give it a title and pick what you are writing: feature, short, series, documentary, stage play… The title is enough. Author, production, genre and logline can be set later.

“Templates”, in the sidebar, opens “Start from a template”: each template creates a project with its first elements in place (feature film, short film, TV episode, commercial, documentary, treatment or stage play). For a first project, the welcome screen also offers “An empty project”, “An example” or “Import a text”.

“Projects” lists all your projects, and “Recent” reopens the ones you worked on last. The “Search…” field at the top of the sidebar also finds them by title.

Open “Project settings” (from the “⋯” menu on the project card, or inside the project): title, author, production, genre, type, status, language and logline are edited there. To change the format (feature, series…), the “⋯” menu also offers “Change format”.

The “Film card” is filled in under “Project settings”: prep start, shoot start and end, shooting locations and format. It shows at the top of the overview and goes with the team invitation e-mail; everything is optional.

The “Overview” shows the whole film at a glance: logline, film card, page count, drawn panels and shooting days, then each sequence with what the other tools did with it. It is also where you see “Team” with access to the project.

The screenplay language is chosen in “Project settings” (French, English, Spanish, Italian, German, Portuguese, Japanese, Korean). It is independent from the interface language, which is set in “Preferences”.

The free plan allows one project at a time. Projects in the trash don’t count, nor do projects others shared with you. To have several at once you need a Studio or Production plan.

Pick “Stage play” as the project type: the editor switches to acts, scenes, lines and stage directions. At the start of a line, type for instance “a” then Enter for an act, “sc” for a scene, “+NAME” for an entrance. Changing the type later keeps the text.

In “Projects”, click “Import a screenplay” and choose your file: Final Draft (.fdx), Fountain (.fountain), Word (.docx) or text (.txt), 5 MB at most. The import creates a new project and leaves your original file untouched.

No, importing a PDF does not exist yet. The formats read are Final Draft (.fdx), Fountain (.fountain), Word (.docx) and text (.txt). With a PDF, copy the text and paste it into the editor: it will be sorted into scenes, characters and dialogue.

Paste your text into the editor: it is sorted on your computer into scene headings, action, characters and dialogue, and a banner says what was recognised. “Paste as plain text” (or ⌘⇧V when pasting) keeps the text line by line, unsorted.

In the editor, the “Export” menu offers PDF, Word (.docx), Final Draft (.fdx), Fountain (.fountain) and Text (.txt). For a stage play, Final Draft and Fountain are not offered.

“Export” then “PDF” opens your browser’s print window, with the page as the editor shows it in “Pages” mode. Choose your printer, or “Save as PDF” to get a file.

Every line has an element: Scene heading, Action, Character, Parenthetical, Dialogue, Transition, Shot or General. Enter creates the next line with the right type, Tab and Shift+Tab change the element, and ⌘1 to ⌘8 pick it directly.

Page format, font, size and line spacing are set in “Project settings”, Screenplay section: US Letter, A4 or French A4. The “Pages” mode shows the page as it will print, and “Classic page” shows a white page in black Courier.

Select the text, then click the I (Italic), G (Bold) or S (Underline) button in the editor bar, or press ⌘I, ⌘B, ⌘U. The styling comes out in Word, PDF, Final Draft and Fountain exports.

The exported Word file numbers its own pages: top right, followed by a period (like 12.), nothing on the title page. In theatre mode the number is centred at the bottom. For PDF, use the Pages view then Print.

Tick “Scene numbers” in “Project settings”, Screenplay section. You can also open the command palette with ⌘K and choose “Show scene numbers”. The same setting drives exports: numbers come out in Word (left and right margins, left only in the French format), text, Fountain and Final Draft.

“Automatic French typography” (in “Project settings”) adds as you type a narrow no-break space before ; : ! ?, the « » quotes, the curly apostrophe ’ and the ellipsis …. For text already written, the ⌘K palette offers “Fix French typography”.

Put the cursor in a line of dialogue that directly follows another one, then click “Dual”: it will be spoken at the same time as the previous line and shown beside it.

Three views: “Continuous” to write, “Pages” to see the layout as it will print, “Reading” to read without the editor (Esc to leave). “Distraction-free mode” hides the rest of the screen.

⌘F opens “Find in screenplay”; ⌘⇧F adds the “Replace with” field, with “Replace” and “Replace all”. You can match case or search for a whole word.

“Revisions” marks every changed element with an asterisk in the margin, in the colour of the current revision (blue, pink, yellow, green, goldenrod, buff, salmon or cherry), on screen and in print. The setting applies to the whole team, and only people who write can change it.

Open the command palette (⌘K) and choose “Title page”: it shows the title page, made from the title, author and production entered in “Project settings”.

Spelling is checked on your computer, nothing is sent: turn on “Spell checking” in the editor’s “More” menu, then fix mistakes one by one, “Add to dictionary” or “Ignore”. A deeper check by a third-party service exists in the script doctor, only if you start it, after a warning.

Your text is saved as you type: the editor’s indicator goes from “Saving…” to “Saved”. Offline it shows “Offline”; keep the page open, your changes are kept on the device and go out when the network returns.

⌘Z undoes the last action and ⌘⇧Z redoes it. To go back to an older state of the script, reopen a saved version in “Versions”.

In “Versions”, click “New version” and give it a name (for example Draft 02, Director’s version, Shooting version). Each version is a complete state of the script: nothing is ever overwritten, things are added.

In “Versions”, click “Restore” on the older version: this makes a copy of it and switches to it. Nothing is overwritten, the current state stays a full version you can find in the list.

“Compare” puts two versions side by side and shows what was added, removed, rewritten or moved, scene by scene. You need at least two versions: duplicate the current version from “Versions”. In Simple interface this tool is hidden: switch to Advanced in “Preferences”.

“Lock” freezes a version: writing is refused, autosave included. “Unlock” makes it editable again, or “Duplicate” makes a copy so you can keep writing. To send a frozen state to a reader, lock the version before creating its reading code.

In “Versions”, “Delete” permanently removes a version and all its scenes, after confirmation. You cannot delete the current version: open another one first. A screenplay always keeps at least one version.

In “Versions”, “Certify this version” creates a digital fingerprint (SHA-256) of the exact text, with its date. You can ask a third party (FreeTSA) for a timestamp: only the fingerprint is sent, never the text. It is useful technical proof, not a legal deposit.

In France your screenplay is protected as soon as you write it, with no mandatory deposit; what can be missing is proof. The guide “Protect your screenplay” compares SACD, INPI, Scam and WGA, and DUKE-DRAFT prepares the file to deposit. It is not legal advice.

Select a passage of the screenplay, then click “Comment” (⌘⌥M), write your note and send it. Comments appear in the “Comments” panel and belong to the version where you write them. A read-only person can read them, not add any.

In the “Comments” panel, “Reply” lets you discuss it, “Resolve” files the point as settled and “Reopen” brings it back. The “Open” and “Resolved” tabs keep them apart.

In the editor, click “Share” then the “Share a reading code” tab: say who it is for, how long it stays valid (7, 30 or 90 days) and “Create a code”. Copy the ready-to-send message, or e-mail the code. The person needs no account: they type the code on the reading page, read and annotate.

The person reads the screenplay without being able to download it, with their first name watermarked on every page. They select a passage, click “Annotate” and their notes come back to you as comments. The code opens the version shown in the sharing window: to send a frozen state, lock it in “Versions”.

In “Share a reading code”, click “Revoke” next to the code, then “Confirm: cut access”: the code stops working. You also see who opened it and how many notes it produced. A project cannot have too many active codes: beyond that, revoke one.

Several people can write at the same time in the same screenplay: changes show up live. The “On this screenplay” avatars show who is there, and “Follow” makes the page follow someone’s cursor. If the network drops, keep the page open: your changes go out again when the connection returns.

In the editor, click “Share” (or in the overview’s “Team” section), “Invite to write” tab: enter the e-mail address, pick a function, set access space by space, check, then “Invite”. The person gets an e-mail with the link and signs in with a code, no password to create.

Eleven functions pre-tick the access: Production, Directing, Writing, First AD, Script supervisor, Camera, Department head, Post-production, Actor, Reader, and Custom (nothing is open, you choose everything). You then adjust each access before confirming.

Each space (script, scenes, storyboard, budget…) is set to “None”, “Read” or “Edit”. The real right is the most restrictive between the person’s role and the space’s level: a refusal always wins. A closed space disappears from the person’s menu, and by link they see “You don’t have access to this space.”

By default, only the Production function opens the budget, the financing plan and the financing file; the other functions have no access. These spaces are marked “Sensitive”: you can open them to a person by setting their access. A person invited before functions arrived keeps their original rights until their access is set.

In “Share”, next to the person, click “Edit access”: change the function or the level of each space, then “Save access”. “See their menu” shows what the person will see. A “Review your team’s access” banner reminds you of people whose access was never set.

In “Share”, click “Remove” next to the person, then “Confirm removal”: they no longer have access to the screenplay. For an invitation not yet accepted, the button is “Cancel invitation”.

Invited people who have not opened the screenplay yet are listed under “Waiting for sign-up”. You can “Resend email”, “Copy link” to send it yourself if the e-mail did not go out, or “Cancel invitation”.

No, there is no account to create: the invited person signs in with their e-mail address and gets a 6-digit code, then the screenplay is straight away in their projects. If they only need to read, the reading code spares them even signing in.

“View the access log” (in “Share”, reserved for the project owner) lists every change: who set which space to which level for whom, or closed it.

“Manage the team” is a separate right: it lets someone invite people and set other people’s access. It is marked “Sensitive” and mostly meant for the Production function; no one can grant more than their own level, or touch the owner.

This message means the project owner has not opened this space for you. Ask the project’s producer to open it.

Only the project’s owning team can share it: the “Share” button does not appear for a person invited to this screenplay. Ask someone from the owning team to invite the person for you.

The chat is the project team’s discussion thread, with no private messages. Open it with the narrow strip on the right of the screen (a speech bubble), which opens as a sidebar, or from the “Chat” line in the project bar (the only way on a small screen). Enter sends, and you can reply, react and see who has read.

If you cannot see the chat, the project owner has not opened it for you. Ask them to open the “Chat” row for you in “Share”. A person who reviews with a code never has access to the chat.

In “My account”, section “Chat and presence”, turn on “Appear offline”. People in your projects no longer see when you are online, and the time of your last activity stays hidden.

“Scenes” shows every scene as a card with its summary. Drag a card to move the scene: the script follows. The arrows do the same from the keyboard, and in the editor Alt+↑ or Alt+↓ moves the scene in the list.

“Characters” lists the script’s roles: a sheet appears as soon as a name speaks in the text. Each sheet has age, occupation, description, personality, arc and notes; what you write there stays even if the character disappears from the text.

“Locations” lists the places picked up from the scene headings (INT. PLACE - DAY), with the number of scenes set there. Each sheet has a notes field for scouting and constraints.

“Production notes” tracks feedback from a producer, a broadcaster, a commission or a reader, one by one until the reply. Paste the memo you received: each note becomes a line to follow, and the reply to the notes prints in one click.

“Table read” reads the script aloud, one voice per character. In rehearsal you take a role: the reading stops at your lines.

The “Script doctor” points to places to look at, calculated from your text: long scene, character absent for a long time, repeated line, heading without INT. / EXT., and more. Nothing is guessed, nothing is sent anywhere. Its language correction (LanguageTool) only sends the text when you ask.

“Style” measures the rhythm, repetitions and lengths of your text. You can pick a heading there, or let the script tell you which kind of cinema it already writes in.

“Ripple” shows what a rewrite forces you to review: when a scene is rewritten, the storyboard, floor plan, breakdown and shooting schedule that depend on it show up until you mark them as reviewed.

“Coverage” holds what a reader hands back after reading the script: the pitch, a summary, a comment, a mark per criterion and a verdict. The text’s figures add themselves. “Suggest a draft (Claude)” sends the whole screenplay to Anthropic, only after you confirm.

“Bilingual version” puts the script and its translation face to face, scene by scene. When the original is rewritten, the translation flags it and shows what changed. “Suggest a translation (Claude)” sends the scene to Anthropic after you confirm, and only fills empty cells.

“Season arcs” lays the season out on a single board: episodes in columns, storylines in rows, one beat per cell. Each episode has its hook, its cliffhanger and its running time.

“Lines and presence” shows who speaks, how much and where, who is on set in each scene, and how long the play lasts. It fills in from the lines written.

“Shot list” gathers every shot of the film in a table, scene by scene. Each shot is described in its scene’s storyboard: what changes there changes here.

The project’s “Menu” button (or G then O) opens the list of all its tools, with a field to search for one. “My tools” puts those of your role first; G then 1 to 6 opens one of them directly.

⌘K opens “Search”: a project, a scene, a character, a word in the script, equipment, a page or an action (theme, role…). It always finds every tool, even in the Simple interface.

The “Film library” holds writing references arranged by school, each film being there for what it teaches someone who writes. “World studios” shows the big studios on a globe: the sheet says what the studio offers and what it costs when it publishes that. Both are in the Advanced interface.

Three functions use Claude (Anthropic) when you start them: “Shot list by Claude” in the storyboard, “Suggest a translation (Claude)” in the bilingual version and “Suggest a draft (Claude)” in coverage. Nothing goes in without your approval. The free plan has no access, Studio counts 50 requests a month, Production has no limit.

The “Breakdown” lists, for each scene, what must be gathered on shooting day: cast, props, costumes, vehicles, effects… Cast comes from the script; the rest is added by hand, or by highlighting the text in the editor with “Break down”. Three tabs: “Breakdown sheet”, “Elements” and “Cast list”.

In “Shooting schedule”, each strip is a scene: drag it into a shooting day, its colour tells the set and the light (interior or exterior, day or night). “Propose a schedule” groups the unscheduled scenes by set and light, for you to rework by hand: the software knows neither the actors’ availability nor the locations’.

In “Shooting schedule”, “Add a day” creates a “Day N”: set its date, drag scenes into it, and you see the total of scenes and pages. “Delete the day” asks for confirmation and sends its scenes back to “Unscheduled”. The project’s overall shoot start and end dates are entered separately, in the film card.

The “Call sheets” are made day by day from the shooting schedule: date, general call, location, address, parking, nearest hospital, the day’s scenes and the actors called, with “Print the sheet”. Weather is typed by hand: DUKE-DRAFT consults no weather service. Each day’s “Call sheet” button in the shooting schedule leads there.

“Storyboard”: create a storyboard linked to a scene, add shots and draw each panel with pencil, marker, eraser, shapes and stamps; each shot has size, angle, movement, lens and duration. “Animatic” plays them in sequence, and “Print” outputs the board. A “Shot list by Claude” button can propose the breakdown of a scene, each shot for you to accept or refuse.

“Floor plan”: create a plan, drop a ready-made set-up from the library (shot / reverse shot, three-point, interiors…) or draw the walls (W), then drag in characters, cameras and lights. A camera shows its field according to the lens, and the gear you place feeds the equipment list. You can export as a “PNG image” or print to scale.

“Moodboard”: create a board and drop in images, colours, notes, text and links. “Templates” offers ready structures (film palette, characters, sets and light, tone, references, look), and “Extract the palette” pulls the colours out of an image. The board is shared live with the team.

The “Equipment list” is drawn from your floor plans: every object placed is counted, sorted by department and weighed, and it updates by itself. You can also complete it by hand (“4 c-stand” adds four) and export it with “Export as CSV”.

The “Camera” space gathers the cinematographer’s tools: optics, exposure, sun, frame rate, data, film stock, lighting plan, camera shots, looks and LUTs, and camera report. The lighting plan and camera shots reuse what is placed on your floor plans.

In “Budget”, “Start from a template” lays out the lines of a typical budget (short film, low-budget feature, feature), in the order and numbering of the CNC model; you can also start from a blank page. Social charges, overheads and contingency are calculated for you, and the summary gives the cost of a shooting day.

In “Budget”, “Print the budget (PDF)” opens your browser’s print window, and “Export for a spreadsheet” downloads a CSV file (chapter, item, label, quantity, rate, total). “Carry over to the funding application” takes the estimate into the application.

Only authors and production can edit the budget; others who have access see it read-only. For a person to see or edit it, set their access in “Share”.

The “Financing plan” shows where the film’s money comes from: each source is filed in its family (producer, CNC, regions, broadcasters, platforms, SOFICA, distribution, Europe, private), with its rules and benchmark figures. The budget to finance is taken from the detailed budget, excluding tax; its lines are also those of the funding application.

The “Funding application” gathers the written parts of an aid request and prints them in the order the funder expects: CNC writing aid, CNC advance on receipts or a regional fund. It holds synopsis, statement of intent, team and CVs, production note, estimated budget and financing plan. The screenplay itself is exported from the editor.

In “Backup” (or “Save to my computer” in a project’s sidebar), “Download all my projects” gives a single .zip, or “Download the backup” one project at a time. It holds the script and all its versions, storyboards, floor plans and moodboards with their images, notes and comments, and a copy readable without DUKE-DRAFT (Word, Final Draft, Fountain, text). It contains your script in the clear: keep it somewhere safe.

In “Backup”, “Restore a backup” then “Choose the file”: take the .zip as it is, without unzipping it (600 MB at most). The project is recreated next to the others, nothing is overwritten. Your plan’s project limit applies.

In “Backup”, “Automatic backup”: “Choose a folder” (computer, external drive or a synced folder like iCloud Drive, Dropbox, Google Drive). Each modified project is saved there on its own, once an hour at most, while DUKE-DRAFT is open; the last 10 backups of each project are kept. It works with Chrome and Edge, and the browser asks for your permission again on each visit.

In “Projects”, the “⋯” menu on the project card offers “Move to trash” (then “Confirm: move to trash”). Nothing is erased: the project waits in the “Trash”, and it no longer counts toward the free plan’s project limit.

Open the “Trash” in the sidebar and click “Restore” next to the project: it comes back into your projects, with its text and versions. Nothing is purged automatically: a project stays in the trash until you delete it from there.

In the “Trash”, “Delete forever” erases the project and its files, after confirmation: it cannot be undone. The server’s encrypted nightly backups keep a copy until their retention period ends.

Screenplays already opened on a device are kept there: you can reopen them and write without a connection (“Offline” page), and everything goes out again when the network returns. Keep the tab open if the connection drops while you write. These copies are erased when you sign out, and you can turn them off in “Account”, Security section.

There is no separate sign-up: enter your e-mail address on the sign-in page, you receive a 6-digit code, and your account is opened on first entry. No password to remember. The free plan does not ask for a bank card.

On the sign-in page, enter your e-mail address and “Get my code”: a 6-digit code arrives by e-mail, valid for 15 minutes, single-use and cancelled after five mistakes. “Resend the code” is possible after 30 seconds, within a limit of 6 requests an hour. If nothing arrives, check your spam folder.

A password is optional: on the sign-in page, “I have a password” lets you use one. To choose or change it, sign out then click “Forgot your password?”: a code is sent to you to set the new one (8 characters minimum, overly common passwords are refused). Changing it also signs out all your devices.

In “Account”, the “Profile photo” section: “Choose a photo” (or “Change photo”). The file can be JPEG, PNG or WebP; it is cropped square and shrunk before upload. “Remove photo” brings your initials back.

Your role is chosen on first sign-in and sets which tools are put forward, not your projects. To change it, click the “Role” button in the sidebar (or G then M), or open “Account”, “Your profile” section. Your projects have not changed.

The software has no setting to change an account’s e-mail address: the one shown in “Account” is the one that receives your codes. For a particular case, write to the team.

Click “Leave” at the top of the sidebar then “Sign out”, or open “Preferences” at the bottom of the sidebar and click “Sign out”. The button is also at the bottom of the “Account” page. The session closes on this device and the offline copies there are erased.

In “Account”, “Security and privacy” section, “Sign out of all my devices” then “Confirm: sign out everywhere” closes every session: you will have to sign in again everywhere, here included. Useful if you opened DUKE-DRAFT on a computer that is not yours. Changing your password does it too.

In “Account”, at the very bottom, “Delete my account…”: confirm with your password, or by retyping your e-mail address. Deletion is immediate and final, with your projects, versions, comments and files; the ones you shared disappear for the others too. If a subscription is renewing, cancel it first, and download a backup first.

Your progress measures real working time in DUKE-DRAFT: writing, drawing, preparing. It shows in “Account”, under “Your progress”, with the Bronze, Silver, Gold and Platinum tiers. A window left open with no activity does not count.

The “Interface” setting is in “Preferences”, at the bottom of the sidebar: “Simple” keeps the essential tools (the screenplay, storyboard, floor plan, moodboard, the tools of your role, sequences, characters, versions, notes), “Advanced” shows the whole of DUKE-DRAFT. Nothing is deleted in simple mode, and search (⌘K) always finds every tool.

The software language (French, English or Italian) is changed with the language selector, in “Preferences” at the bottom of the sidebar, in “Settings”, or at the top of the public pages. It only changes the display: the language of a screenplay is set separately, in the project settings.

The theme (light or dark, and other looks) is chosen in “Settings”, or in “Preferences” at the bottom of the sidebar. The choice stays on the device. Four themes (Day for Night, Darkroom, Three-Strip, Soundstage) are reserved for Studio and Production subscribers; without a subscription you can see them but not choose them.

The list of shortcuts opens everywhere with the ? key (or “Keyboard shortcuts” in “Preferences”). Here are the main ones; theatre, floor plan, storyboard and moodboard have their own too.

In theatre mode, you type a few letters at the start of a line then Enter: “a” for the next act (“a3” for act III), “sc” for the next scene (“s4” for scene 4), “tab” for a tableau (“t2” for tableau 2), “+claire, paul” for entrances and “-claire” for an exit, “n” for a blackout, “r” for the curtain.

In the floor plan, tools are picked from the keyboard: V select, H hand, W wall, P actor move, K camera move, M measure, A 180° axis, L sightline. The other shortcuts are below.

In a storyboard shot, the drawing tools are picked from the keyboard: V move, P stamp, B pencil, M marker, E eraser, L line, A arrow, R rectangle, O ellipse, T text. The left and right arrows change shot, and the space bar plays the animatic.

In the moodboard, a letter picks the tool: V select, H hand, N note, T text, I image, C colour, L link, F frame, S shape, A arrow, R connect two items, P pencil.

DUKE-DRAFT can be installed as an app, from your browser menu: it then opens in its own window, on the list of your projects. Screenplays opened on the device stay available offline.

Three plans: Free at €0, with no time limit, for one project at a time; Studio at €12 a month (€120 a year); Production at €29 a month (€290 a year). Yearly costs ten months for twelve. Studio and Production open unlimited projects, the writing assistant (50 requests a month, unlimited on Production) and four themes.

The Free plan is free with no time limit and no bank card. It gives you the editor and every film tool (storyboard, floor plan, breakdown, budget, import and export), for one project at a time. A project shared with you does not count towards that limit.

Studio and Production offer a one-month trial, once per account. Your card is asked for at the start, but nothing is charged for 30 days. Cancel before the trial ends and you pay nothing.

A licence code received from DUKE opens access with no payment. Enter it on the “Subscription” page of your account, in the “Licence code” section, then “Activate”; you can also tick “I have a licence code” when creating your account. It does not replace a paid subscription already running.

In “Subscription”, “Cancel” stops the renewal in one click: access stays open until the end of the period already paid, and “Resume subscription” undoes the cancellation until then. There is no commitment. “Return to the free plan” ends the subscription right away.

Your invoices are in “Subscription”, “Invoices” section, each with its PDF. The bank card is changed in Stripe’s secure portal, with “Manage payment and invoices” on the same page. If a payment fails, update the card: access stays open for a few days.

Payment is by bank card, Apple Pay or Google Pay (on devices where they are set up), on a page secured by Stripe. DUKE never sees your card number.

To change plan, open “Subscription”: choose Studio or Production, monthly or yearly, with “Choose this plan”. To go back to the free plan, “Return to the free plan”: you lose your plan’s benefits straight away and payments stop.

The writing assistant only acts on request, for three features: the storyboard shot list, the bilingual version and the reader report. Studio has 50 requests a month, Production has no limit, Free has none. When the quota is reached, the built-in proofreader stays available.

Your screenplays, their versions, comments and files are encrypted in DUKE-DRAFT’s database, and every access is checked project by project: a project only opens for people you have invited. Traffic with the site is encrypted, but it is not end-to-end encryption: the server decrypts the texts to show them, share them and export them. The site’s admin page never shows screenplays, only their count.

DUKE-DRAFT keeps your name, your e-mail address, an encrypted password if you choose one, your optional welcome answers, your working time and what you create. This data is only used to run the software for you: it is neither resold nor passed on. You have your GDPR rights, you can export everything and delete your account yourself.

DUKE-DRAFT trains no model on your texts. A passage only goes to a provider if you ask for it: the writing assistant (Claude, Anthropic) for three features, language correction (LanguageTool) after a warning. DUKE-CHAT makes no external call: your questions never leave your browser.

What you write belongs to you: the texts, images and files you create or upload remain yours, and DUKE-DRAFT only uses them to run the software for you. You can export everything at any time, including as a full backup.

The providers are the host (Hostinger), Brevo for sending e-mails (sign-in codes, invitations) and Stripe for payment. Added to these, only if you use them: Anthropic for the writing assistant and LanguageTool for language correction. Timestamping a priority certificate only sends a fingerprint, never the text.

The software is hosted with Hostinger. The country of the data centre is not yet stated in the privacy policy: to find out, write to the team.

Your account and projects stay as long as you do not delete them. Deleting a project from the trash, or your account, erases it at once with its files. The encrypted nightly backups keep a copy until the end of their retention, and invoices are kept ten years, as accounting requires.

No audience-measurement cookie and no advertising tracker. There is a session cookie when you are signed in, another for the chosen language, and in your browser your theme and, if you leave the option on, a copy of your screenplays to write offline, erased when you sign out.

To report a flaw or a security problem, write to bonjour@duke.fr describing what you saw, without attaching a screenplay. If you fear someone has access to your account, first sign out all your devices from “Account”.

DUKE-DRAFT is screenwriting software designed for French cinema: you write in the French (or US) format, then draw the breakdown, the shooting schedule and the call sheet from it without retyping anything. It also brings together the storyboard, the floor plan, the moodboard, the budget, the financing plan, writing together and versions.

The “Demo, no account” page opens the editor with a short example scene: you write, see the pages in French, A4 or US Letter format, and export to Word, Final Draft, Fountain or text. Nothing you type is sent or saved: the text disappears when you close the tab.

The “Production companies” page says what the software does for a team: who sees what, privacy, getting data out, and a pilot on a real project with your team, requested by e-mail.

Help is in three places: the small round DUKE-CHAT button at the bottom right answers your questions straight away, the “Help and contact” line in the sidebar opens the full page (frequent questions, keyboard shortcuts, the address to write to us), and ⌘K or Ctrl K finds it too. On the website, the “Help and contact” link is at the bottom of the page.

To reach the team, write to bonjour@duke.fr. The Production plan includes e-mail support within 24 hours.

To report a bug, write to bonjour@duke.fr saying what you were doing, on which page, and what happened instead. A project that will not open or work that seems lost: stop touching it, and write to us before starting again.

No, DUKE-CHAT is not artificial intelligence: it is a program that finds your question in the software guide and shows the answer written in advance. It does not understand everything, and says so when it does not know.

DUKE-CHAT’s answers come from the software guide, already present in your browser: no question is sent or kept, and it makes no call to an outside service. You can clear the conversation with the button provided, and everything also disappears when you close the page.

There is an “Admin” page, reserved for DUKE administrator accounts: it shows the site’s accounts, their access and the licence codes. Screenplays never appear there, only their count. If you don’t see it, that is normal.