The scheduler

Schedule rules say which scene a screen shows from a given time on given days, and the Scheduler draws every screen's day as a timeline you can drag scenes onto.

The Scheduler page and scene transitions are part of the Pro plan and above. On a lower plan the page still opens and still draws your schedule, but nothing on it can be dragged or edited — you set times from each screen's own editor instead, and every scene change is an instant cut.

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What a rule is

A rule is three things: a scene, a start time, and the days of the week it runs on. It has no end time, and that is deliberate. A scene runs until the next rule starts, so a day's rules always join up and there is never a stretch that nothing covers.

The consequence is worth holding on to. To make a scene finish at nine, you do not shorten it — you start something else at nine. Dragging the right-hand edge of a block would really be dragging the left-hand edge of the block after it, which is why there is no resize handle on a block at all, and why the last block of a day always reaches midnight.

On Pro plans a fourth thing rides along: how the screen arrives at the scene. That lives on the rule for the incoming scene rather than on the scene itself, so a scene's entrance travels with it however you rearrange the day.

How a screen decides what to show

A screen works through this in order, and stops at the first answer.

An override. Show on screen now, in a screen's own editor, holds that screen on one scene and ignores the schedule until you choose Stop showing or the screen restarts. The Presence panel's “Scene when someone's here” and “Scene when the room's empty” set the same override, so a screen with a camera can be holding a scene without anyone having pressed anything.

Today's rules. Of the rules that run today and have already started, the one with the latest start time wins.

Earlier in the week. Before the first rule of the morning has started, Mirra looks back day by day — up to six days — for the last rule that ran, and that scene is still on the wall. This is what makes an evening scene carry through the night rather than the screen going blank at midnight.

The default scene. If no rule anywhere in the week applies, the screen shows the scene marked as its default. That is why every screen has one, and why Mirra refuses to delete a scene that is the default somewhere until you have made another scene the default there.

What the screen asks itself, in order, until something answers.

Reading the timeline

Screens down the page, a day across. The tabs at the top choose which day you are looking at, and the page opens on today. Every row's midnight lines up with every other row's, which is the whole reason to see the screens together rather than one at a time — you can tell at a glance that the hall and the kitchen change over at the same moment, or that they do not.

To the left of each track sit the screen's name, a dot that is green when it is online, and the scenes you can drag onto that row. A solid chip is a scene the screen already has. A dashed chip with a + is a shared scene belonging to another screen, offered here so you can put it on this one without going and finding the row that already has it.

Blocks are coloured per scene. The colour is derived from the scene's identity rather than its name, so renaming a scene does not change the colour it has been on the timeline all week. Each block shows its transition icon, the scene's name and the time it starts.

One screen's Tuesday. The faded block at the left is last night's scene, still running.

Adding a rule

Pick the day
The day tabs at the top. A rule created by dropping runs on the day you are looking at and no others, so start on the day you actually mean.
Drag a scene chip onto that screen's row
A line follows the pointer with the time it would land on. Times snap to the nearest five minutes; minute precision would make lining two screens up by eye near impossible, and nobody has ever wanted a scene to start at 07:03.
Let go
The block appears and saves itself — there is no save button on this page. It arrives as a cross-fade of nine-tenths of a second.
Add the other days
Click the block to open its settings underneath the timeline, and turn on the days you want. A rule that should run every weekday is one drop and four clicks.

Dropping onto a time where a rule already starts on that day replaces that rule rather than making a second, zero-length block that nothing could select or remove.

Everything in a block's settings

Scene: Which scene this rule brings up. The list is the scenes this screen has.Default: The scene you dropped
Starts at: The time it takes over from whatever was running before it. Typing here is exact to the minute; dragging the block on the timeline snaps to five.Default: Where you dropped it
Arrives by: How the screen gets from the outgoing scene to this one: Cut, Cross-fade, Fade through black, Push left, Push right, Push up or Push down. Fade through black is the calmest of them on a mirror. The description under the dropdown says what each one does.Default: Cross-fade on a rule created by dropping a chip; Cut on one made in a screen's own editor
Transition length: How long the transition takes, from 0.2 to 4.0 seconds. The control is hidden when Arrives by is Cut, which has no duration to set.Default: 0.9s
Days this runs: The days of the week, Monday first. The last remaining day cannot be turned off — a rule that ran on no days would disappear from every row with no way back to it. Turning off the day you are currently looking at makes the block leave this row, and Mirra says so rather than letting it vanish silently.Default: Only the day you dropped it on
Remove: Deletes the rule. Whatever was running before it now runs on through that time.Default: —
Done: Closes the panel. Nothing is held back by it — every change has already saved.Default: —

What wins when two rules overlap

Two rules on the same day cannot both be showing, and the later start time wins from the moment it starts. A rule at 07:00 and a rule at 09:30 are not in conflict at all: the second simply ends the first, which is what having no end times means in practice.

Two rules starting at the same minute on the same day is the one case with no sensible answer. Dropping a chip on a start time that is already taken replaces the rule that was there, so the timeline cannot create one. Typing the same time into two rules is not blocked, and there is no promise about which of them wins — if you find yourself with a duplicate, move one of them.

Rules on different days never interact, except through the carry-over described below.

The day always adds up to twenty-four hours

Two things on a row are not rules you placed, and neither can be edited from where it is drawn.

A faded, dashed block at the start of the day labelled from yesterday is the tail of another day's last rule, still running when this day began. It is shown so the row is honest about what the screen is doing at four in the morning. Editing it here would silently change the other day's rule, so it is shown for context and nothing more — go to that day to change it.

A flat hatched stripe labelled default covers any stretch that nothing reaches: no rule today, and nothing carried in from the six days before. The screen falls back to its default scene there. It is drawn rather than left blank because a gap on a timeline reads as “off”, and the screen is not off.

Putting a shared scene on another screen

Dropping a shared scene onto a row that does not have it puts the scene on that screen as well as scheduling it. That is not a convenience — a rule pointing at a scene the screen was never given would sit on the timeline looking scheduled and do nothing, because the screen's configuration never carries the layout.

If the scene was drawn in the other orientation, Mirra says so after the drop: it has been added, re-flowed to fit this screen, and the screens it is already on are unchanged. Nothing is rewritten on the way in — the original keeps the shape it was drawn in, and each screen re-flows it on the way out.

A scene that has not been shared cannot go onto another screen at all. Dragging one is refused with the name of the screen it belongs to and what to do about it: open it there and press Share in the toolbar. Removing a scene from a screen — or turning sharing off again — also deletes the schedule rules that pointed at it there, because a rule for a scene the screen no longer has is a block on a timeline that does nothing.

The same schedule, seen two ways

The Scheduler and the Schedule panel in a screen's own editor edit the same rules. There is one schedule; a second, parallel model would be two things to keep in step and two answers when they disagreed.

They are not equally capable. The sidebar panel gives you a scene, a start time and the days — as many rules as you like, on one screen at a time — and it is available on every plan. The timeline adds transitions, five-minute dragging, the carry-over and fallback stripes, and every screen at once.

On a plan below Pro the Scheduler page opens and draws every row, so a household can always read its own schedule. Nothing on it can be dragged, dropped or opened, and a panel at the top names the plan the feature belongs to, with a See plans link to the billing page.

Pressing Save & push in a screen's editor rewrites that screen's entire schedule from the sidebar panel — and that panel has no transition field. Every rule on that screen goes back to Cut, even if you never touched the schedule during that visit. If you have set transitions in the Scheduler, make schedule changes for that screen in the Scheduler.

The scene editorThe scene editor is where you arrange a screen's widgets on a twelve-column grid, watch the real widgets render behind them, and push the result to the wall.
Widget appearanceEvery widget carries its own appearance settings — the layer it sits on, the surface behind it, how its contents are aligned, how large and how solid — and these are what make overlays possible.
Screen settingsEvery setting on a screen's own page that belongs to the screen rather than to a scene — its shape, which way up it is, its camera and gestures, the commands you can send it, and unpairing.
Plans and allowancesWhat each Mirra plan includes — screens, household members and assistant credits — how credits are metered, and what happens when you reach a limit.
BillingHow to subscribe, change plan, find your invoices and cancel — and what Mirra does on an install where payments were never configured.
A screen is blank or showing old informationHow to tell a screen that has lost its connection from one that is doing exactly what its schedule and scenes tell it to, and what to check in which order.