Pew Pew Stage Factory - Dev Log

PCSL's real non-threat, and a rifle target

The white PCSL target was never a non-threat. In PCSL that white silhouette is the rifle target, so asking for a non-threat quietly handed you a rifle target instead. There is now a proper non-threat for both PCSL and PCSL Comp - red, with a black X across the body - and a new button on the target menu flips any threat between pistol and rifle. The rifle target shows here as a light grey rather than white, because a white target on a white stage vanishes; in 3D, where it sits on grass or dirt, it stays white. Hard covers work on a rifle target exactly as they do on a pistol one, and the choice carries through to the build sheet so the crew knows which target to staple up.

Custom hard covers here too

The hard covers you draw are now available in the 2D editor. Double-click a target and your saved covers sit at the end of the usual left-hand, top-half, v-neck row, each showing its own shape rather than a name you have to read. Pick one and it goes on. The + at the end of that row opens the same drawing window used in 3D, and saving applies the new cover to the target you were working on. Covers are shared between the two editors, so anything you have already drawn is waiting for you here, and a cover follows the target when you turn it to face house left or right.

Measure distances right on the stage

Turn on the new Measure tool, press Set (or the M key), and click to drop an anchor anywhere on the stage. A line then follows your cursor, reading the distance in feet from the anchor. The anchor stays where you put it while you work, so you can measure to any spot - or drag a target or wall and watch the distance update as it moves. Press Set again to move the anchor when you need to. It is a view-only aid: it never changes your stage and is not saved with it.

A heads-up when par time needs shooting positions

On a GPA stage, par time is worked out partly from where your shooters move. If you save while par is set to calculate on its own but you have not placed any shooting positions, the editor now pauses to let you know the par time will not be accurate. You can save anyway, go back without saving, or switch par to manual mode - which opens the par tab and the par wizard so you can set the par yourself.

Steel that doesn't count

Placing a steel as a mechanism rather than a scored target - say a popper behind a paper target to trip a mover - used to pad your steel count, round count, and par time. Select the steel and use the new don't-count button next to the lock to take it out of all three. It stays on the stage and fades so you can tell it apart; it just no longer counts.

Save your own start positions

Next to the GPA, IDPA, and USPSA start-position buttons there is now a Custom button. Click it to open a window where you can save your own start-position wording under a name, then drop any saved one into a stage with a single click. Load a saved entry to edit and re-save it, or remove the ones you no longer want.

Your saved start positions are yours alone and follow you between the 2D and 3D editors, so the wordings you use most are always a click away.

Drag to reorder your props and templates

Open the Prop Manager and drag your custom props or saved templates into whatever order you like. That order is the order they appear in the editor, so the pieces you reach for most can sit right up front. Club mates' shared props and templates can be dropped in anywhere among your own, and your arrangement is yours alone - it never changes the order anyone else sees.

Editor fixes

• The dots on the ends of a drawn line used to vanish after an undo or redo, leaving the line stuck at its size with no way back short of deleting and redrawing it. The endpoint handles now stay put.
• Objects sent to the background no longer get caught and dragged along when you rubber-band-select other things. They stay fixed the way you set them.
• Picking a drawing tool now switches off whatever tool was active before. No more leaving the freehand Draw tool running while you place a rectangle.

Ruleset target types

• New IPSC ruleset button on the stage editor, library filter, and match plan badges.
• Picking a ruleset now sets a default target type: GPA / IDPA / Other use the IDPA target, IPSC / PCSL / PCSL Comp each get their proper silhouette, USPSA uses the IDPA shape (close enough in practice).
• PCSL gets a sub-toggle for PCSL vs PCSL Comp targets.
• The prop library target thumbnail updates to match the selected ruleset.
• Perspective skew (Shift+Q / Shift+E) keeps the new ruleset targets lined up with their stands.

Rotate buttons on the wall arc menu

Select a wall and the arc menu above it now has two extra buttons on the wings: rotate CCW on the left, rotate CW on the right. Same 22.5 degree increments as the Q/E shortcuts, for anyone who hadn't found those yet. The lock icon scoots up a bit so it stays clear of the wider arc.

Custom props earn target status

Upload an SVG (or PNG you traced), then click Behavior on its card in Custom Props. Pick a preset (Threat, Non-Threat, Steel Popper) or roll your own with the freeform knobs - default shot counts, counts-as-target, treat-as-steel. Your custom prop now contributes to stage target counts, par-time math, and the per-instance shot editor, just like stock IDPA targets. Re-classifying a prop later updates all the stages it appears in on next open.

Help popups dismiss on outside click

Click anywhere outside a help popup (the "?" icons in the settings panel) to close it - no more hunting for the question mark to dismiss the Visibility levels card.

Club-shared templates and custom props

Templates and SVG custom props you save are now visible to your club mates. Right-click a club mate's item to copy it into your own library, or drag it straight onto the canvas to use it as-is.

Stage HTML style picker

Choose which print/output style your stage's match book page uses. Style swaps without re-saving via the picker in the Settings panel.

Paint your steel

PCSL puts colours on steel: blue for handgun, white for rifle, yellow for 3-Gun handgun or birdshot, grey for birdshot. Select a steel, press the new brush button and a row of colours opens - those four plus orange, red and green. It works on poppers, on configurable plates, and on the multi-plate props too: a plate rack, the Texas Star and the polish plates each take one colour for the whole prop, since a rack gets set up for one firearm rather than plate by plate. The colours are there on every ruleset, not just PCSL, and steel you leave unpainted looks exactly as it always has, so nothing you have already built changes. Your choice shows on the top-down view and, more usefully, on the build sheet - somebody has to paint them.

Dump barrels

A dump barrel is an open drum tilted back toward the shooter on a base, held at the angle by a brace down each side. There are two in the Furniture section now: Rifle Dump is a full drum and Pistol Dump is the same thing at half the size. They block a shooter walking through them the way a table does, and each one gets its own line on the build sheet so a crew counting drums knows which size to bring.

Steel safety limit follows your ruleset

How close a shooter may stand to steel is a ruleset rule rather than one number: USPSA and PCSL allow 7 yards, GPA and IDPA ask for 10. The editor used to warn at 10 yards whatever you were building, which flagged perfectly legal steel on a USPSA or PCSL stage. Editor Settings now carries a Steel safety limit with both values, and it follows whatever ruleset the stage is set to until you pick the other one yourself. If you open an existing USPSA or PCSL stage you may find a warning or two has gone; those were the ones that should never have been there.

Draw your own hard cover

Hard cover used to be a fixed list - left hand, right hand, top half, and so on. Now you can draw your own: select a target, click the brush button and pick + New, then click corners onto a grid laid over the target you are working on. Name it before you save, because that name is what the crew setting up the stage reads off the build sheet. Your cover then becomes one more stop on the hard cover button alongside the built-in ones, and tick Shared to let your club use it too.

Build your own plate rack

The plate rack used to be a fixed model - six plates, one size, take it or leave it. There is now a Plate Rack you configure: anything from one plate to twenty, your own plate size and spacing, and the height of each leg set separately so you can slope the rail. Set it up as a Standard rack with the plates side by side facing you, or Inline with them nose to tail running away from you.

Steel that falls over

Hit a popper or a steel plate in walk mode and it goes down instead of standing there taking it. Run a par run and the steel falls in sequence as the shooter works through it, so the run reads the way it will on the range. Resetting stands everything back up.

Your hits leave holes

Shots you take in walk mode now leave a hole where they landed. A hole sticks to whatever it hit, so one you put in a mover travels along with the target as it runs. They clear when you reset, and they are left out of the picture saved with your stage - so a stage you have been shooting at does not get published full of holes.

More than one target on a moving stand

A moving stand used to carry one panel. Now pick up a target or a non-threat and click a target that is already on a stand, instead of clicking bare ground, and the new one joins that stand rather than starting its own. Hold Shift to keep adding.

Everything on the stand travels together, so a threat and the non-threat beside it cross the bay as one rig instead of two you have to line up by hand. It works on a stand that does not move as well, if you just want a pair of panels that stay put together.

Number your steel by hand

Steel could only get its S number from Auto T# / S#, which needs a finished run plan before it will do anything. Now select a popper or a steel plate and press the new # button to give it the next free number. Double-click the number on the steel itself to type a specific one, or blank it to take it off.

Two moving stands that actually travel

Every moving stand up to now turns or lifts where it stands. These two cover ground. There is a Track Mover, a target on a carriage running along a pair of ground rails between two end plates, and a Rope Mover, a target hanging from a trolley on an overhead rope strung between two poles.

Both take two clicks to place: one for the start, one for the far end. The rails or the rope follow your cursor in between so you can see the run before you commit to it. Grab either end plate afterwards to re-aim it or change its length.

You set the duration for the run and separate accel and decel times, so you can build a motor that eases up to speed and settles, or drop decel to zero for a weight-driven rig that runs flat out and hits the end stop. Travel is one-way or out and back. A Track Mover can have the holder fall over once it arrives, or start face down and rise as it sets off. A Rope Mover can turn edge-on instead, since a hanging target has nowhere to fall to.

Set the two poles on a Rope Mover to different heights and the rope slopes, so the target runs downhill as it crosses. The target keeps its distance below the rope as you adjust, and the editor will not let you set up a run that would drag it through the ground.

Both turn up on the printed top-down at full size - the end plates, the rails or rope, and an arrow showing which way the target runs - so whoever builds the stage can see how much of the bay the rig takes up.

Movers charge through doors

Put a door across a mover's run and the target now drives it open on its way past. There is nothing to wire up: if the door is physically on the run, it gets hit. A saloon door across a Track Mover's rails is the one I built it for, and it looks about how you would hope.

The door swings away from the target whichever end the run starts from, and it starts moving early enough to be out of the way by the time the target gets there rather than being shoved along with it.

Height decides whether a given target reaches a given door. A low target on a Track Mover catches a saloon door; a target hanging six feet up on a Rope Mover sails straight over the top of one. A full-height door stops both.

Resetting the mover shuts whatever it pushed and puts the swing back the way you set it, so one click re-arms the whole sequence for another run.

Bays you can share with everybody

Tick Shared on one of your bays and it turns up for every other member, not just your club. I have put the ones I shoot most up there to start with: the HSC pits, the WBRC bays, and the five pits at Sanner's Lake, all traced off satellite and shaped to the real perimeter.

The Active bay list in the 3D editor now splits into My bays and Shared by others, with the owner's name beside each shared one, so you can tell at a glance which are yours before you pick.

Open somebody else's bay and you can look around it and build stages on it, but you cannot write over it. Save becomes Save as Copy and hands you your own version to change however you like, and the bay panel has a Copy to my bays button that does the same without opening the editor. Their original stays exactly as they left it. The satellite tracing image does not follow a copy across, since those are stored per member, but the shape, berms, and downrange all do.

A heads-up when par time needs shooting positions

On a GPA stage, par time is worked out partly from where your shooters move. If you save while par is set to calculate on its own but you have not placed any shooting positions, the editor now pauses to let you know the par time will not be accurate. You can save anyway, go back without saving, or switch par to manual mode - which opens the par panel and the par wizard so you can set the par yourself.

Sight lines now show you the shadow

Sight Lines used to tint the floor blue everywhere your shooter could see. It now works the other way round: the floor goes grey everywhere they can't see, and stays clear where they can. Cover reads the way it does on the range - if it's shaded, you're hidden in it.

The shading stays put now, too. Turn it on with a shooting position selected and it stays with that position while you click around the stage checking walls and props. It only moves when you pick a different shooting position, and it clears when you switch Sight Lines back off.

Up and Down targets

A new moving stand joins the swinger, drop-turn, and the rest: the Up and Down. It rests low behind cover and, when its activator is hit, lifts the target straight up to a height you choose, holds it there, and drops it back down. Grab it from the moving-stand buttons, then set the rise, the start delay, and how long it stays exposed. Assign an activator the same way you do for any mover and take it for a run in Walk or Par mode.

Turn on Bob and it keeps bobbing up and down instead of a single lift - you pick the cycle time and how many times it repeats.

Steel that doesn't count

Sometimes a steel is there to do something, not to be scored - a popper tucked behind a paper target just to trip a mover. Select any steel and use the new don't-count button to drop it out of the steel count, the round count, and the par time. It stays a real, working activator - in Walk mode a shot through the paper in front still triggers it - it just stops padding your numbers. It fades on the stand so you can tell at a glance which steel is along for the ride. Available in both the 2D and 3D editors.

Configurable steel plate

There is a new steel plate at the top of the Steel section in the prop palette. It stands on a slim upright with a small shelf, and you set its shape from the plate's settings: a round plate, a many-sided plate with anywhere from 3 to 11 sides, or a rectangle. Round and many-sided plates take a diameter; rectangles take a width and a height. Sizes read in inches or centimeters to match your chosen units. To set how high it sits, grab the plate and drag it up or down, the same way you raise and lower a cardboard target. It counts as steel for your round count and par time.

New moving stand: Range Master Steel Max Trap

There is a new moving stand in the prop palette. The Range Master Steel Max Trap starts with a non-threat standing in front of the target, keeping it covered. On activation the non-threat swings out of the way to expose the target, holds it open for as long as you set, then swings back to cover it again. In the stand's settings you can dial in the delay before it opens, how far the non-threat swings, and how long the target stays exposed. Because the target hides behind the screen, you set its target number from that same settings panel.

Suggest a procedure

The Procedure field in the Stage Info panel now has a Suggest button. Click it and we draft a procedure from your shooting positions and the targets engaged from each one, with shot counts and steel called out. Edit the result however you like; if you change your mind there is a brief window to undo and get your original text back.

Size your text labels

Text you place in a stage now honors the label text size, and each label remembers its own. Select a label and use the new size button on its ring menu to step through sizes; Shift-click to step the other way. New text starts at the size set in Editor Settings.

On-the-move targets are marked

When a target is engaged from an on-the-move shooting position, a green runner now sits on the ground in front of its stand, so you can see at a glance which targets are meant to be shot on the move. There is one marker per stand, and it covers steel as well as cardboard.

Build your own walls

There is a new wall workshop where you design a wall from the front and then drop it into your stage. Start from a full-height or legged panel, set its size, then cut openings of any shape, add wood beams and structure, mark sections as see-through fence, and hang openable leaves on any edge.

Place your design in the 3D editor the way you place any wall, and pick from your saved walls at any time. The leaves behave like a window sash: in walk and par run the shooter pushes them open on approach, so a covered opening is one more thing to clear before you can engage through it. Open a saved wall to edit it later and every copy already placed in a stage updates to match.

Your walls are yours, and you can share a design with your club so your club mates can build with it too.

Crouch in walk mode

Hold Ctrl (or C) while walking your stage to crouch down, and let go to stand back up. Handy for checking sight lines under a port or over low cover. Shift still runs.

Windows you have to open

A window wall can now carry a hinged sash that fills its opening. Select the window to give it a leaf, pick the opening size, and choose whether it swings in or out. In walk and par run the shooter pushes it open automatically on approach, so a covered port becomes one more thing to clear before you can engage through it.

Walk your stage in VR

If you have a VR headset, the 3D editor now has a VR button next to Walk. Put the headset on and you are standing inside your stage at full size, free to look around and move through it the way a shooter would. Glide around the bay with the left thumbstick and turn with the right.

The VR button only shows up when your browser and headset support it, so it stays out of the way everywhere else.

Props stay put in custom-shaped bays

If you build on a bay that isn't a plain rectangle, props you placed or dragged could jump away from where you dropped them, sometimes by a good ten yards. That's fixed. Props now land and stay exactly where you put them, and the bay's edge guidance lines up correctly no matter the shape of the bay.

Share a stage in 3D

You can now send someone a link that opens one of your 3D stages in a clean, branded page - they can orbit, zoom, and walk through it, with the start position, scenario, and procedure right alongside. No account needed to view.

Open a 3D stage in your library and look for View in 3D in the details. Create the link, copy it, and share it anywhere; you can disable it again at any time. Club members see the link on your 3D stages, and if a stage is shared publicly, anyone viewing it can grab the link too.

Hand start marks

Mark where a shooter's hands start a stage. Pick Hand Mark from the prop palette and click any prop face or the floor to drop a paired X X mark, laid flat against whatever surface you clicked.

Select a mark to switch it between Horizontal (hands side by side) and Vertical (stacked), cycle its color through orange, white, black, and yellow for contrast against the surface, lock it, or delete it. Marks drag along their surface and re-seat onto another one if you pull them there, and they ride along when you move or rotate the prop they're attached to. They also show up in the read-only 3D view.

Hardcover variants on every target type

Hardcover (the dark cover that blanks out part of a target so only a portion stays scorable) now works on IPSC, PCSL, and PCSL Comp targets, not just IDPA and USPSA. Select a target in the 3D editor and step the hardcover cycle through L-Hand, R-Hand, Profile, the L-Hand and R-Hand diagonals, Top Half, Headshot, and V-Neck.

Each cover is cut to that target's own outline, so it lines up cleanly with the silhouette whichever ruleset you are building for.

Ground surfaces on bays

You can now lay down areas of dirt, shale, concrete, grass, or gravel on a bay floor. In the Bay Editor, pick the new Surface tool and trace a shape for each area, then choose its material in the inspector. Those surfaces show up on the ground in 3D on every stage built on that bay.

Two extras for tracing from a satellite image: a Ground opacity slider fades the floor and surfaces so the image underneath shows through, and a Complete path button (or the Enter key) finishes the current shape and starts a new one, which works for berms, blocks, and tree lines too.

Tree lines along your bay

Bays can have tree lines now. In the Bay Editor, grab the new Tree line tool and click along an edge to draw one. It shows up as a green band marking where the trees will stand, with a spacing control for how tightly they pack in.

Open that bay in the 3D editor and the band fills in with oak trees in a mix of sizes, planted along the boundary you drew, for a natural treeline at the edge of the bay.

Want a different look? The Bay panel has a Reroll Trees button that reshuffles the arrangement. Each stage remembers its own roll, so two stages built on the same bay can have different-looking tree lines.

Ruleset target types

• New IPSC ruleset button alongside GPA / IDPA / USPSA / PCSL / Other.
• Clicking a ruleset now sets the stage target type: GPA / IDPA / Other use the IDPA silhouette, USPSA / IPSC each get their own, PCSL gets the PCSL target.
• PCSL gets a sub-toggle for PCSL vs PCSL Comp targets right under the ruleset row.
• The threat-target and non-threat icons in the prop palette both update to match the current target type.
• Par staleness warning (the orange highlight on the par calc + Apply button) only shows when the ruleset is GPA. Other rulesets don't use the par calculator so it no longer nags them.

Sponsor logos on walls and barrels

Brand your stages. The new Sponsor Logos library (linked from Settings) lets you upload PNG, JPEG, or SVG sponsor art - 2 MB per file, 50 MB per account. Logos your club mates upload automatically show up under From your club in your library, so a club's sponsor pack is uploaded once and used by everyone.

In the 3D editor, select a solid wall or barrel and click the new flag button in the arc menu. Pick a logo to drop a banner on the wall (centered horizontally, hanging from the top, on the shooter-facing side) or a decal on the shooter-facing side of the barrel. Stacked barrels get a decal on each drum.

The picker has an optional background color: turn on BG and pick a color to wrap the logo in a colored banner with a bit of padding so it reads like a printed sign. Multi-select to apply one logo to many props at once.

Par Wizard in the 3D editor

The step-by-step Par Wizard from the 2D editor is now in editor3d too. Open the Par panel and hit the new Wizard button in the footer to walk through each section of the active par config one at a time. Distance legs pre-fill from your shooting positions; numeric fields pre-fill from whatever's already on the panel. Apply writes the total back and flips you into manual mode.

Flip par version on a new stage without saving

Changing the par config selector on an unsaved 3D stage no longer creates a placeholder stage in your library. The page reloads with the new config selected and your stage stays unsaved until you actually save it.

Position labels (Auto P#)

An Auto P# button now sits next to Auto T# in the 3D editor toolbar. Click it and pick how the first position should read - SP, P1, P2, ... or P1, P2, P3, ... - and labels drop on the floor at every shooting position in order. On-the-move SPs are skipped (they're transient). The popup also has a Remove text option to clear every label at once.

Each SP also has a P# button in its arc menu if you'd rather name positions yourself. Blank clears the label; up to eight characters per label.

Labels match the look of the text tool (white with black outline, no background) and lift up to clear stomp boxes and painted floor lines so they stay readable. Editor Settings gained a Label text size dropdown (48-96 px) so you can tune the size to your bay. Labels stay put when Show SP is off and appear in publish + capture renders.

Save clusters of props as templates

Multi-select two or more props in the 3D editor and hit the floppy icon in the arc menu (or right-click → "Save Selection as Template"). Name it and a top-down thumbnail lands in the new My Templates section of the palette. Click a tile to arm it, click the floor to drop the whole cluster - positions, heights, motion-stand activator links, and clamshell pairings all travel with the template. Hold Shift while you click to chain-drop multiple copies.

Templates your club mates save automatically show up under a "From your club" divider in the same list, with attribution. Right-click one to copy it into your own templates (any custom props it references come with it).

Wall wood color

Some clubs paint their wall beams. A color picker in the Wall Panels section of Editor Settings now lets you set the frame paint to match your bay. Persists per-user, updates live as you drag the picker.

Publish dropdown for HTML layout

The HTML Layout picker (which stage-print style your match book uses) moved out of the Editor Settings panel into a split-dropdown on the Publish button - same affordance as Capture. It's a publish-time choice, not a setup-time one, so it belongs next to the button that triggers it.

Spinning rotor props (Texas Star, plate rack)

The prop builder gained a Rotor section: tag at least 3 plates as Steel, mark the cross-arms as Rotor Structure, and the spindle position + rotation axis are auto-derived from the plates' geometric center and best-fit plane. A Test spin button knocks off the side plate furthest off the gravity-axis line and runs a 5-second gravity-driven spin so you can see what your physics knobs do before saving.

In editor3d walk mode, hitting a tagged plate makes it disappear and the rest of the rotor spins under its own moment of inertia until friction settles it. Backtick resets all rotors on the current stage.

Custom 3D props can be multi-target

Upload a plate rack (or any multi-mesh prop), pick meshes from the Behavior panel, hit Steel, mark the frame as Structure. Editor3d pins shot markers per plate and the par math counts each one.

The prop builder also got a shooter silhouette + DOWNRANGE arrow, a Detect Plates button, and a cyan outline on whatever mesh you've selected.

Moving-stand popup polish

The Configure stand and Configure stomp box popups are now draggable by their header bar, and the position you choose sticks across stands and across page reloads. Preview Motion runs the full decay duration on every stand type (swinger no longer cut short at 4.5s), a new Reset button beside it snaps the stand back to rest mid-preview or after firing, and clamshell stands now apply the Start delay setting to both halves so the back and front leaves stay synced.

Club-shared custom 3D props

Custom 3D props imported, extruded, or lathe-built by your club mates show up in your palette. Right-click to copy one into your own library.

Clamshell dual pop-up stand

A coupled pair of pop-up targets sharing a base. Back target rises first; front rises after the exposure window to block the back. Activator-fired, disc-reset like other moving stands.

Style switcher in 3D editor

Pick the stage's HTML output style from inside the 3D editor settings panel. Print HUD stays in sync.

Window wall variants

Window walls in 3D get the variant cycling treatment so you can pick the look that fits the stage.

Top-down SVG renderer

The 3D editor projects its scene into a 2D top-down SVG for library thumbnails and match book pages - one stage, two views.

Multi-panel attached targets

Click a target with a hardcover panel armed to attach the panel. Whole assembly moves and faces together.

3D match book viewer

Match books now embed a viewer-mode 3D editor for is_3d stages. Shooters plan runs from the same 3D scene the match director designed.

Custom 3D prop builder

Import a GLB, extrude an SVG, or lathe a profile to create your own custom 3D props. Saved to your account.

Classic wall style and stomp boxes

Classic wall style joins the wall variants. Stomp box prop added for activator-style stages.

Moving target stands

Target stands can be assigned moving-stand behavior in the target details popup.