Two Editors, One Platform

Open the 3D editor and you are already standing in a bay, ready to build. Drop in walls with doors and windows, barrels, GPA / IDPA / USPSA / IPSC / PCSL / ICORE cardboard, and steel - then walk the stage at par speed, or put on a headset and stand in it, and find the awkward transition now instead of on match morning. Sight lines are cast as real shadow, so the floor greys out exactly where your shooter cannot see.

Moving stands are modelled as the mechanisms they are, not as canned animations: a swinger is a damped pendulum that rests loaded on its start side and decays to vertical, an out-and-back swings out and settles back, and a clamshell gives you an exposure window measured in tenths before the no-shoot covers the threat. Set the periods and the travel times and they run on your numbers. Wire any of them to a stomp box or a steel popper and the stage fires itself when the shooter trips it, doors included. When you want the stage on real ground, trace your own range from satellite imagery, berms and all.

The 2D editor is the fast way in. Drag on walls, targets, steel, and props, or draw the rest yourself with the line, rectangle, circle, and free-draw tools - fault lines, start boxes, and the one-off shapes no prop library ships. The bay is laid out flat while targets, steel, and props are drawn in perspective, the way a stage diagram has always read, so a shooter can tell at a glance what is facing them. Size the field in yards to match the bay you actually shoot, and upload your own prop artwork - a PNG or a photo comes back as a clean, scalable SVG in your personal library.

Both editors autosave as you work and feed the same stage library, version history, and match books, so you can pick the right tool for each stage without leaving the platform.

Plan the Run, Not Just the Layout

Stage design is half the job. Both editors ship with a shooting-position planner: drop positions, mark standing, kneeling, prone, or on-the-move, link the targets engaged from each one, and get distances and movement times back. A signed shot-angle overlay flags awkward sweeps before they show up on match day, and one click numbers your targets T1, T2, T3 in the order a shooter actually meets them.

Sight lines answer the question directly in either editor: turn them on and the floor greys out everywhere the shooter cannot see from that position, so cover reads the way it does on the range. In 3D the test runs at peeking eye height against the actual geometry, so a stacked barrel blocks while a single one you can shoot over does not, and a window stays a designed sight line whether its leaf is open or shut.

Then hit Par Run. The stage runs itself: the shooter walks your position chain, draws, engages each target you marked, trips the activators as they shoot them, and finishes on the clock. The timing is not a guess or a canned animation - it is the same GPA par calculation from the panel, spent second by second, with the draw held before the first shot and the movement paced to the route your waypoints actually describe.

Shooters get the same planner in Book Mode - a phone-friendly view that lets them sketch their own run on top of any stage in your match book. Their work saves automatically for sixty days, and no login is required.

A Living Stage Library

Every stage you publish becomes part of a searchable, filterable community library - sorted by scoring type, target count, round count, concealment, and more. Members rate stages from one to five stars, and lineage tracking shows the chain of designers who built on each other's work.

Every save also takes a versioned snapshot. The last ten versions are kept on disk, so you can view, restore, or copy from any point in a stage's history without fear of losing a good idea.

Make It Yours

The default prop set covers most stages, but designers always have one more idea. Upload a PNG, JPG, or GIF and the platform converts it into a clean, scalable SVG ready to drop on the stage. Calibrate the size once and it lives in your personal prop library forever.

Save reusable groupings of props, targets, and walls as personal templates, then drag them into any stage to skip the busywork and get straight to the design.

In 3D it goes further. Build your own wall shapes in the custom wall creator instead of settling for the stock panels, and model the bays you actually shoot - trace the perimeter off satellite imagery, set the berms, pick the ground surface, and every stage you design there sits on real ground. Share a bay and the whole membership can build on it.

Sponsors get their due too. Upload a logo, trace it to clean vector, and hang it on a wall or a barrel in the stage itself - so the people paying for the match see their name in the diagram, not just on a banner at the gate.