You pay for the person who starts the show.

Because a lot of theatre is not continuous. A community company doing one panto a year should not pay for twelve months of sync it uses for six weeks. If you are across three or more shows a year the Season licence works out cheaper, and that is the only reason to move up.

Nothing disappears. The show stays readable and printable, and you can still download the show file and run it locally. What stops is live sync between devices. Renew and it picks up where it was.

It covers the window where a fly plot actually matters: drawing it up, tech, the run, strike. Much longer and it stops being a production pass and starts being a subscription you did not choose. If your build starts earlier than that, say a school production plotted at the start of term and performed at the end, tell me when you buy it and I will set the clock to suit, or extend it later. Nobody's pass is going to expire mid-run.

The multi-device parts of a show you start. A free show lives on the one machine that made it: no cloud sync, no show code, so no Button Mode remotes, no operators and nothing on a wallboard. What you do get is the whole of the app on that machine, plot, cues, rig view, Fullscreen, Show Mode, CSV and both printed documents, with no time limit. What it does not limit is joining. A free account can be an Editor, an Operator or a Viewer on as many other people's shows as it is invited to, with full sync, forever.

Because plenty of theatre runs on no budget at all, and the fly floor is usually last in the queue for whatever budget there is. A school production or a community company with nothing to spend should still be able to draw a proper plot, write a cue stack and hand the crew paperwork they can follow. The licences from companies that do have a budget are what keep it that way.

No. Operators, Viewers and Button Mode remotes are unlimited on every paid tier, and Editors are unlimited from Season up. The only thing a licence really covers is the Admin, the person who starts shows and adds people. Everyone else joins with the six-digit code.

Because ten covers any venue that runs on one roster: a full production department, the duty techs and whoever covers when someone is away, with room to spare. It is there so one licence stays one venue rather than quietly becoming four. If you genuinely need more than ten, or you run several venues under one roof, get in touch and we will sort something out. That is a conversation, not a wall.

To you, but every role is granted show by show. Being the Admin on your panto gives you nothing on someone else's Twelfth Night unless they add you to it, and being an Operator on theirs costs you nothing. One account can be the Admin of its own show and a plain Operator on three others at the same time.

Inside the app. Open FlyCue, pick Production or Season, and Stripe handles the payment. This website never touches your card details. A House licence is set up with you by email instead, because it covers a whole crew and needs a short conversation first.

Two of them, depending on who is actually paying. A student or a teacher buying it out of their own pocket gets 50% off any tier. A school, university or college buying an institutional licence gets 25%. Get in touch from your institution's email address and it is applied.

The free tier is not a trial. It is the whole app minus cloud sync, with no time limit. Build a real plot, write a real cue stack, print the paperwork, and only pay when you want several devices following each other live.

On the free tier, only on your machine. On the paid tiers it syncs through the cloud so devices can follow each other, and you can pull a full show file down at any time. The export is never locked behind a subscription.