Invite your team

SceneMatch is built to be shared. There is no limit on how many people you can add to a production, and members never pay — billing is the production owner's, not the team's. So there is no reason to ration access, and every reason to have the people doing the work looking at the same records.

Inviting someone

Invite by email address, choosing two things as you go:

• A department — hair, makeup, costume, script, props, art, AD, casting and the rest. One is enough here; you can add more to their membership once they are in.
• A role — what they are allowed to do.

If the address already belongs to a SceneMatch account, the invitation appears for them to accept. If it does not, they get an email, sign up, and the invitation is waiting on their home page when they arrive. Either way they see nothing of the production until they accept.

What gets rejected

Two things, both deliberately:

• Inviting someone who is already a member. Including yourself — the owner is already on the team.
• Inviting an address that already has a pending invitation. Re-inviting does not create a second invitation or change the first one's department.

If you invited someone with the wrong department or role, change it on their membership rather than inviting again.

Managing memberships

Once someone is on the team, their card is where you change things: their departments, their role, or removing them from the production entirely. Departments show as badges, so the team page reads as a crew list rather than a permissions table.

An invitation carries one department, but a membership is not limited to one. Someone who covers hair and makeup, or props and set dressing, gets both from their card once they have joined — that is the place to widen it, not a second invitation. They can hold as many as the job needs and must keep at least one; the team page groups them under the one they file under and badges the rest.

Where several departments are involved the order matters, and they can be dragged into it: the one at the front is where their photos and notes are filed by default, and the rest are simply things they can also see and edit. Nobody has to get that right at this end, though — the person themselves switches it as they work. Roles, departments and who can see what covers what that default does and where they change it.

Changing a role or a department takes effect immediately — there is nothing to re-send and nothing for them to re-accept.

Roles and departments decide what they see

This is the part worth getting right, and it has its own page: roles, departments and who can see what.

The short version is that the two settings do different jobs. The role decides what kind of thing someone can do — manage, edit, contribute, view, or nothing. Their departments decide which parts of the production that applies to, and being in any one of them is enough for that department's work. A separate production-level setting decides whether departments are a boundary at all, which by default they are not.

If you are inviting a working crew rather than production staff, Contributor is usually the role you want: it lets someone add photos and notes and mark scenes filmed, without letting them restructure the breakdown.

The thing that is not obvious

Removing someone does not remove their work. The photos they took, the notes they wrote and the looks they built belong to the production and stay when they leave.

That is what makes it safe to remove access promptly when someone wraps — you are closing a door, not deleting a contribution. Productions that hesitate over this tend to end up with a team list full of people who finished months ago.