You sell one stage. Two hundred parts get packed.

Quote, order, delivery note, invoice

A customer calls with a need. In Jobtura that becomes a quote, with specific equipment, with services, or as a production offered at a flat rate. Whether availability of the offered material is already checked at that point is your decision.

The finished quote goes to the customer and can be signed online. Once it becomes an order, it carries on without a break: the order produces the packing list, the material is picked, and the items actually issued are assigned by scan. From that follow the delivery note and the invoice.

Commercially too, Jobtura covers the whole job, from the deposit through interim and partial invoices to the final invoice. Then come incoming payments and, where needed, reminders. After that the data goes to the accounts.

Selling, scheduling and making the production work

In event technology, what the customer buys is not necessarily what gets packed in the warehouse later. That is exactly where the real scheduling begins.

A dry hire customer orders a particular projector or speaker type. For a full production, by contrast, only the result is sold at first: a stage, a sound concept, an event package at a flat rate. Jobtura can join the sales view and the scheduling view, or deliberately keep them apart.

From the stage that was sold, detailed planning derives the actual requirement: trussing, speakers, lanterns, cables, cases. Then comes the decisive question: how much of that do we really have available in the period needed? Own stock is checked against running and planned jobs. Shortfalls become visible and can be substituted, sub-hired or purchased.

After the production the process runs backwards. Material is scanned back in, quantities and items are checked, anything missing or damaged shows up. Items can be flagged as faulty and sent for inspection.

When renting turns into real production planning

At job level, revenue, external costs and own costs can be set against each other. That shows not only what a production brings in, but what is actually left commercially.

Schedules structure the production in time: from the site visit several weeks before the event, through delivery, build-up and rehearsals, to the show running order down to the minute and the get-out afterwards.

Staff can be planned by requirement as well. At first it is not a named person that matters but the role needed: sound engineer, lighting engineer, operator, production manager or crew. Then you check who can cover it.

The same goes for transport and logistics. Which vehicles are needed, what volume and tonnage has to move, does the scheduled material even fit in the vehicles planned, and which staff may drive them by licence class?