The platform builtfor filmmakers.

One production.Six ways in.

Access is per production and per role. Everyone opens the same workspace and sees the part of it that is theirs, and nobody sees the budget unless the producer says so.

Feature, ad, series and OTT productions of any size. A solo filmmaker taking a short from logline to delivery uses the same app a production house runs a thirty-day schedule on; the difference is how many people are on it, not what it can do. It is built around Indian production practice first, so rupees, WhatsApp, multi-language scripts and Indian crew structures are native rather than bolted on, but nothing in it is India-only.

For writing and breakdown, yes. The editor is format-aware, handles scene headings, character cues, dual dialogue and revision marks, and exports a clean PDF. Where it goes further is that the script is not a separate file: lock a draft and its scenes, cast, locations and elements already exist in the schedule, the call sheets and the budget. You are not exporting a PDF and re-typing it into a second tool.

The stripboard, DOOD, call sheets and budget cover the scheduling and on-set work most productions use those for. What it does not do yet is union-specific payroll accounting or the deeper studio-level budget forms some completion bonds ask for. If you have a live Movie Magic schedule you want to move across, we help import it rather than asking you to rebuild it by hand.

Yes. Final Draft (.fdx), Fountain and Celtx files import with scene structure intact, and a PDF script can be brought in and parsed. On import the breakdown runs automatically, so characters, locations and elements are tagged and ready to schedule rather than starting from an empty board.

You do, entirely. Your scripts, storyboards and production data are never used to train any model, ours or a provider's. When an AI feature runs, only the scoped context that feature needs is sent, and it is not retained for training by the providers we call. You can export everything and delete a production at any time.

Production data sits in a managed Postgres database hosted on AWS in the United States (us-east-1), with uploaded files in object storage. If your production requires data to stay in a specific region, tell us before you start and we will confirm whether we can meet it, rather than you finding out later.

You give it the brief, references and character sheets that live in the project's Context. It drafts scene by scene, and every pass is a proposal you accept, edit or reject rather than something applied to your draft. Ghost-text finishes a line in the register you have already established. The doctor pass looks at act structure and pacing across the whole script instead of a single scene.

Anyone who can open the production. It is per person, not per device, so the same producer on a laptop at the office and a phone on set is one user. Crew you bring on for a single shoot count only while they have access, so a production that staffs up for four weeks and wraps is not paying for them afterwards.

No, unless you decide they should. Access is per production and per role. A producer sees everything. Crew see the overview, their own tasks, the schedule, call sheets, files and review. Budget, rates and negotiations are not visible to them, and an accepted pitch does not give someone the finance tab.

Call sheets are built to be usable on a phone at the location, and the PDF that goes out over WhatsApp and email is the fallback when there is no signal at all. Full offline editing is not there yet. If your locations are genuinely dark, the honest answer today is to send the PDF ahead of the day.

Script as PDF, call sheets as PDF, the stripboard and DOOD, budget as CSV, shoot days to Google Calendar, and investor decks pulled from live production data.

Email support for every production, and a dedicated Slack channel plus an onboarding session when you are bringing an existing schedule across. We answer inside one working day, and faster during a shoot week if you tell us you are on the floor.