Crelace is film production management software for filmmakers, production houses and studios. It brings crew profiles and hiring, screenwriting, script breakdown, storyboards, stripboard scheduling, call sheets, budgets and review into one platform, so a production runs from the first hire to the final cut without switching tools.

Any production with a script: features, series and OTT, ads, music videos, documentaries, shorts and micro-drama. 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 and multi-language scripts are native, but nothing in it is India-only.

Yes. Post an open role on a production, collect pitches from crew, review them in a pipeline and bring the person straight onto the production with the right access. Crew build profiles as they work, so the next production can find them.

Yes. The stripboard schedules scenes, not episodes, so scenes that share a location or cast can sit on the same shoot day whichever episode they belong to.

Yes. A series, a vertical micro-drama or a branded run is a screenplay like any other, and every plan includes unlimited productions, so each season or campaign can be its own production with its own crew, schedule and budget.

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. The difference 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.

The stripboard, DOOD, call sheets and budget cover the scheduling and on-set work most productions use those for. It does not do union-specific payroll accounting or the deeper studio budget forms some completion bonds ask for yet. If you have a live Movie Magic schedule, we help import it.

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.

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 context that feature needs is sent. You can export everything and delete a production at any time.

In secure, managed cloud infrastructure. Each production’s data is visible only to the people you invite. If your production or studio needs data kept in a specific region, tell us before you start and we’ll confirm whether we can meet it.

No, unless you decide they should. Access is per production and per role. Crew see the overview, their own tasks, the schedule, call sheets, files and review. Budget, rates and negotiations are not visible to them.

Call sheets are built to be read on a phone at the location, and the PDF is the fallback when there is no signal at all. Full offline editing is not there yet, so if your locations are genuinely dark, send the PDF ahead of the day.

Anyone who can open the production, per person rather than per device. Crew you bring on for a single shoot count only while they have access.

Email support for every production, plus a Slack channel and an onboarding session when you’re bringing an existing schedule across. We answer within one working day, faster during a shoot week.