Download and open this CSV example or this Excel example , in Excel (or another spreadsheet tool). If your file contains columns that Turnover doesn’t recognize, they will simply be ignored during import. Then upload it on the Crew page in Turnover.

To ensure a job is created for the crew member Department and Job Title must be filled out.

Attribute: Optional. If several jobs would otherwise have the same Department and Job Title, use the Attribute column to tell them apart — it's just a free-text differentiator and has no effect on pay. Leave it blank if not needed.

Processor: To ensure the correct processor is applied to a job, fill in the Processor Identifier column with one of the identifiers listed on the Processors page. If you need a version other than the current one, specify it in the Processor Version column.

Rate: Enter the crew member’s rate in the Rate column. In the Rate Interval column, specify whether the rate is per hour or per day. If the crew member sends invoices, add any value (e.g. “yes”) in the Invoicing column.

Date of Birth: Enter the crew member's date of birth in the Date of Birth column using the format YYYY-MM-DD. Rows with an invalid value in this column will import normally, but the date of birth will be skipped.

National ID and Bank Account: Enter the crew member's Norwegian national ID (fødselsnummer/D-number) in the National ID column and their bank account number in the Bank Account column. Rows with an invalid value in either column will import normally, but that specific field will be skipped.

Address: Fill in Address Line 1, Address Line 2, Postal Code, City and Country as needed. Country must be a two-letter ISO code (e.g. NO, SE, DK).

Access is set in two places. What somebody may do in the company is a set of permissions; what they may do in a single production is one access level off a list. A person can hold both, and the company's reaches further — see Permissions carry over below.

Access Levels in a Company:

In addition, CREW+ or EMPLOYEE + can edit their own jobs, department and fee.

Permissions carry over to any productions the company may have. So if an admin get the permission Manage Employees, he/she can also manage crew members in a production. If you want to only give access on one production, leave the company permission off and give them one of the production levels below instead.

Access Levels in a Production:

• OWNER — The subscription holder. Full access to everything in the production.
• PRODUCER — Same access as the Owner, but cannot delete the production.
• ADMIN — Full management access, but cannot edit production details or edit access.
• COORDINATOR — Has access to crew list but not accounting data.
• CREW + — Can edit their own jobs. Handy for shorter productions.
• CREW — Can clock hours on their jobs and access the front page of the production.
• GUEST — Minimal access just for the purpose of clocking hours.

Public registration is a setting that allows employees to self-register to a production using a shareable link or code. When an employee registers this way, they are automatically created with CREW + access, which gives them permission to create jobs.

Their access level can later be changed to CREW if you want to remove these additional permissions. The registration link or code can be added to your callsheet to make onboarding quick and simple.

A rate set is a named set of meal rates — Oslo, London — that whoever claims a per diem picks from, instead of typing a figure in from memory. It says what breakfast, lunch and dinner are each worth, how much of each is tax free, and where the two halves are booked.

Where they live

On Company → Accounting, on the Per diems card. What the company lists is offered on every one of its productions. Add to it on Production → Accounting only where that production is paid on rates the company does not list — shooting abroad, for instance.

They sit with your accounting rather than with your agreement because the figures come from the state and change on their own schedule. A production can need Oslo, Bergen and Copenhagen in the same week, so setting them once here means whoever claims a per diem picks a place rather than remembering the numbers.

Set one up

1. Go to Company → Accounting and find the Per diems card.
2. Add a rate set named after where the day is spent.
3. Pick the country it books into. One for the whole set, not one per meal.
4. For each meal, enter the total and how much of it is tax free. Leave a meal blank to say the set does not cover it.
5. Save. Whoever adds a per diem now picks the set, and the amounts fill themselves in.

A meal is either left out entirely or filled in completely. A set that covers breakfast and dinner and says nothing about lunch is fine — it means lunch is not claimed on it — but a meal given a tax-free part and no total could not be paid, so it is refused here rather than discovered on a payslip. A set that states any meal at all has to say which country it books into, for the same reason.

The tax-free part

Part of a per diem is tax free, and the state sets that part per meal and per country — not as one limit on the day. That is why it is stated on the set, next to what the meal is worth: a rate set is the published table typed in once.

Each meal is then paid as two amounts: the tax-free part up to the figure the set states, and whatever is left over on the taxed one. Claimed straight off the rate set, that is exactly the split the state published — a meal worth more than its tax-free figure still has a taxed remainder.

Which country to pick

The countries are numbered rather than named because you decide which is which: point every Norwegian rate set at Country 1, every Danish one at Country 2, and so on.

Behind each one sit the salary types Turnover ships — one for every meal, in five countries, on each side of the tax line: Breakfast Country 1 and Breakfast Country 1, tax free, and so on. You never pick those yourself; the country you choose is what selects the six a set uses. Give them your own codes on the Salary types mapping card, and say which account each posts to under account code mapping.

What picking one does

It fills the amounts in, and decides how each meal is split and where each half is booked. All of it is copied onto the per diem when it is saved, so editing a rate set never reaches back on its own into an amount somebody has already claimed, and never re-routes a payment already made.

A job can name the set its per diems start from under default overrides, but that is only a starting point: any set on the menu can be picked on the entry itself.

Can a per diem be claimed for a different amount?

Only where the production says so. Production → Accounting, on the same Per diems card, asks Per diem amounts and takes one of two answers:

• From the rate set only — the default. Whoever adds a per diem ticks the meals they had and nothing else; the amounts are filled in from the set and shown, but they cannot be typed over.
• Editable on the entry — the amounts are open. Use it where a day is settled against receipts rather than against a published rate. Raising a meal then puts the extra on the taxed side, and lowering it below the tax-free figure leaves the whole thing untaxed.

It is asked once, of the production, and binds everybody on the job — including whoever approves the per diems. There is no second way in: signing a job does not reopen the fields. A job that belongs to no production follows From the rate set only. It is not a default override, so no job or crew member can answer it differently, and changing the answer does not touch per diems already claimed.

This also decides whether a per diem already paid can be corrected by claiming a negative amount against it, which is what the next section turns on.

A production's menu

A production's card lists everything it is offered, the company's sets included, with Set by saying where each one came from. What you can do to a row is on the menu beside it:

• Add a rate set the company does not list and it is offered here as well as everything else.
• Amend for this production takes the company's figures as a starting point and keeps the name. Only that one set is replaced — every other set the company lists stays, and keeps updating when the company changes it. Drop this amendment later and the company's is offered again.
• Do not offer it here takes a set off this production's menu without touching the company's list or any other production. Use it for one that does not apply here at all. It stays on the card, marked Not offered here, and Offer it again puts it back.

When a rate set was wrong

Because the figures are copied onto each per diem, correcting a set leaves the claims made under the old ones holding them. That is right when the old figures were right for their days — and wrong when the set itself was wrong.

For the second case use Re-price per diems, on the same menu. It moves per diems still editable and claimed at what the set used to say onto what it says now, and reports how many it moved. It leaves alone the two kinds it has no business touching: ones already approved, and amounts somebody typed by hand.

Approved per diems are corrected by claiming against them instead, which needs the amounts open on the production. If they are not, edit the set for the days still to come and settle the paid ones outside Turnover.

A lunch deduction is what a workday is docked when the employee was provided lunch, so the meal's value is reported correctly for tax. The named amounts your crew pick from are set on Company → Accounting, on the Lunch deductions card.

Setting them up

A lunch deduction is a name and an amount — Canteen, and what it costs. Name it after the occasion rather than the figure, so the menu still reads properly when the price changes. The amount is what comes off the day, so it is zero or negative; the editor will not take a positive one, because it could never be submitted on a workday.

What the company lists is offered on every one of its productions. Add to it on Production → Accounting only where a production pays something the company does not list.

What a production can change

A production's card lists everything it is offered, the company's entries included, with Set by saying where each one came from. What you can do to a row is on the menu beside it:

• Add a lunch deduction the company does not list and it is offered here as well as everything else.
• Amend for this production takes the company's amount as a starting point and keeps the name. Only that one entry is replaced — everything else the company lists stays, and keeps updating when the company changes it. Drop this amendment later and the company's is offered again.
• Do not offer it here takes an entry off this production's menu without touching the company's list or any other production. It stays on the card, marked Not offered here, and Offer it again puts it back.

What changing one does

Nothing to the days already worked. Picking a deduction on a workday only fills the amount in; the number then lives on that day, so correcting the list later never moves a deduction already taken. Days still to come get the new figure.

To have one selected automatically whenever hours are clocked, set it as a default override rather than leaving each person to pick it. For what the field looks like on the day itself, see Lunch Deduction.

Turnover has its own salary types, each with a number. Your payroll system has its own numbers for the same things. Salary types mapping is where you say which is which, so a payment leaves Turnover already carrying the code your accountant expects.

The Turnover column is our number and never changes. Type your own beside it, in the column named after your company. The Mapping column shows what a payment will actually be sent as — our number until you replace it, and yours once you have. Leave a row alone and it keeps ours.

A production can set a different code for the same salary type on Production → Accounting, and that wins for that production only. Everything it does not answer falls back to the company.

This is where the thirty seeded per diem types get your codes — Breakfast Country 1, Breakfast Country 1, tax free, and so on, one per meal, country and side of the tax line. Which of them a per diem uses is decided by the country on its rate set, not here. See Per Diem.

Mapping a code is not the same as saying which account it posts to — that is account code mapping, the step after this one.

Account code mapping defines which account a payment for a given salary type should be posted to in your accounting system. If your accounting system already handles this through salary types, you can ignore this in Turnover.

An account code can be mapped to a company, production, department, job title, crew member, or job - or any combination of these. If multiple mappings exist, the most specific one is used (for example, a job overrides a crew member).

A mapping can also be restricted to a specific salary type or a salary type category. These mappings have higher priority than mappings without salary type restrictions.

Example: You can map the department DIRECTOR and job title ASSISTANT DIRECTOR to account code 11-1214, and then overtime to 11-1215. This means everyone with that department and job title will use this account code. If a more specific mapping exists (for example on the crew member or job), that code will be used instead.

Note: Account code mapping is under development. Currently, you can only create mappings for crew members or jobs, and only without salary type restrictions. If you need more advanced mappings, please contact support.

Under Company → Settings there are two lists of employee details, ticked one field at a time: Required for all employees and Required for salary recipients. Changing them takes a company admin.

Required for all employees is what the company insists everybody has on file, whatever they happen to be working on. Required for salary recipients is asked only of the people being paid a salary through Turnover, so somebody invoicing from their own company is not chased for it. Your accounting program adds requirements of its own on top, for salary recipients — Tripletex and PowerOffice both need a national ID and a bank account before they will take the employee.

Somebody missing a required detail shows as incomplete on the crew and employee lists, where you can send them a request to fill it in. Nothing is required of an employee who is archived, or whose every job has been archived — there is nothing left to ask them for.

Required for all employees also decides what a close leaves behind. The crew data step deletes the personal details of crew whose work for the company is over, but a field ticked in that list is kept instead, for everybody, indefinitely. So a company that ticks National ID there keeps every finished crew member's national ID, and closing a production will not remove it. If the point was to have it gone, untick it first. The other list, and what your accounting program requires, make no difference here: those exist to pay and sync somebody who is still working. See How do I close a production?

A production is closed when the shoot is over and nothing more should be logged against it. Go to Production → Settings → Close production and press Review and close. It takes a production ADMIN or a company admin.

Start closing archives nothing and deletes nothing. What it does is put a notice on every crew member's own job page saying the production has come to an end, with a Close my job button under it. Anybody holding entries they never sent is told how many, and told to check them and send anything they should be paid for first — closing the job stops those entries counting. So the one question a producer cannot answer, whether somebody has clocked everything they worked, is put to the person who can, and every job they close themselves is one you do not have to chase.

That is what makes this worth starting in the last month of the production rather than after wrap. The crew wind their own jobs down as they finish, so by the time you reach the checklist most of the sweeping is already done. Nothing is forced: the notice is an invitation, it blocks nothing on their page, and you can still archive any job yourself from the close screen.

Stop closing takes the notice away again — but jobs already archived stay archived, and crew data already cleared stays cleared.

The checklist has five steps, and each one says where it stands on this production:

1. Jobs archived — archives the jobs in batches. A job still holding unsent entries is left alone and named on the screen, since archiving it would stop the crew member being paid for hours they logged. Send or reject those entries first, then archive the job from its own page.
2. Hours in a payroll — an entry in no payroll is on nobody's list to be paid. Put the remaining hours in one from Production → Hours.
3. Payrolls closed — settle them on the payroll screen. Closing a production changes no payroll: a payroll belongs to the company and may still be gathering another production's hours, so a shared one is left out of the count.
4. Public registration — shut the link, or anyone still holding it can sign themselves up. See public registration.
5. Crew data cleared — permanently deletes the national ID, bank account, date of birth, address and phone number of crew whose work for the company is over, and only of them: anybody still holding an open job anywhere keeps everything. Make sure your accounting program has the data first. Name, email, employment number and external ID are always kept — and so is any field your company has ticked under Required for all employees, which is why a company that requires all of them sees this step clear nothing.

When all five are done, Finalise marks the production closed. Closed productions sink to the bottom of the lists that show them. Closed is not final: there is no reopen button, but un-archiving any of its jobs reopens the production.

Closing is not the same as deleting, and it is the step that has to come first. See How do I delete a production?

Deleting a production removes it for good. There is no undo and no copy of it anywhere, so it is worth being sure that closing is not what you actually want.

A production must be closed before it can be deleted. Deleting is not a quicker close: hours that never reached a payroll go with it, and the crew's personal data is not removed by a delete — it sits on the company's employee records, so it outlives the production with nothing left to clear it. The crew data step in the close is what clears it.

Only an owner can delete: a crew member with OWNER access on the production, an owner of the company, or the account holder. If the delete card on the settings page is not yours to use, it names the people to ask instead.

The steps, from Production → Settings → Delete production:

1. Choose Delete this production please and press Continue. This deletes nothing.
2. Type your password. It proves who you are for this one production, and only for the next five minutes.
3. Read the confirmation screen, which lists what this delete takes and what it leaves, then press Delete permanently.

What goes: jobs with a crew member behind them are offered back to the person who did them, who keeps the hours they logged on their own job outside production context; a job belonging to somebody with no account is deleted, and its entries with it. The crew list, this production's salary type and account code mappings, its per diem rates and the whole notice board go too.

What stays: payrolls, which belong to the company and may hold hours from other productions. And on a job handed back, every approval keeps the name of the person who gave it — so a timesheet still says who approved the day.