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WHY SETLINE EXISTS

Twenty years on set taught me what it costs to work apart

I've spent over twenty years on real productions. I started in the Art Department — Resident Evil: Extinction, Nacho Libre, The Air I Breathe — and moved into Camera, where I work as a Focus Puller and First Assistant Camera on titles like Sicario: Day of the Soldado, Dual, Desert Warrior and Coppola: The Agent, on sets across the US, Mexico, Finland and beyond. On every shoot, regardless of country or budget, I saw the same pattern: each department solving its own problems with its own tools — a spreadsheet here, a WhatsApp group there, references that never reached the person who needed them in time. Art would find out about a wardrobe change already on set. Camera would see the location for the first time on shoot day. Production would find out about an expense after it was already made.

That disconnect isn't a small detail — it's time, money and quality lost on every production, no matter the size. That's why I built Setline: not as one more tool to add to the pile, but as the place where every department on a production — Direction, Camera, Art, Wardrobe, Locations, Production, Post-production — works from the same information, from day one of the project.

Setline is built to prevent cost before it happens: every change in pre-production is shared instantly with whoever needs to know, so the whole team stays aware and production never has to absorb wasted effort or unnecessary spend because information arrived too late.

— Mauricio Waldo, VP Camera Tech / Focus Puller — founder of Setline