01
See what a title has cleared
Every requirement carries a status and its evidence. Not a self-certified tick: the poster satisfies the poster requirement because the poster is in the library.
For studios and distributors
The delivery schedule is the deal.
Acquiring is the easy day. What follows is a deliverables list per title, a clearance position you have to be able to defend, and a calendar of dates that each depend on a drive arriving. This tracks all of it in one place, per film.
Built for one title. It does not pretend to be an ERP.
FOR STUDIOS AND DISTRIBUTORSMODULES 22REQUIREMENTS 104COST TO START 0
01 What a slate actually costs you
- A delivery schedule agreed in a contract that nobody reconciles against what the producer can actually supply.
- Clearance positions living in an email thread, then re-litigated at the E and O stage.
- A city calendar where every date silently depends on a drive and a key nobody is tracking.
- Reporting a producer chases you for, assembled by hand each time.
02 How it works
02
Read the deal in structured form
Term, territories, rights granted, splits, expense cap, cross-collateralisation, windows. Recorded as fields, so the review reads them instead of asking somebody to confirm they looked.
03
Run the city calendar
Dates, venues, showtimes per day, evening screenings, capacity, and the box office when it comes in. An awards run gets checked against the current rules with the source attached.
04
Track what has to physically arrive
Drives, keys, posters and standees per venue, with a ship-by date derived from the play date rather than typed by someone optimistic.
05
Give the producer a window, not an inbox
They see their own plan. You control which sections and which assets they can see, and when.
03 The deal review
Four clauses decide whether you ever see money.
Record the terms and the review reads them. An uncapped expense cap is not a missing field; it is the dangerous state, and it is the one nobody notices.
ACQUISITIONTERMS AS RECORDED
Term: 300 months
Recoupable expenses: uncapped
Cross-collateralised: yes
Distribution fee: 25%
Lawyer has read it
Every flag carries the checklist's own wording, so the advice cannot drift.
04 Read a finished one
A distributor acquisition
An offer on the table, recorded as terms rather than filed as a PDF. A twenty-five year term, uncapped recoupable expenses and a cross-collateralised deal, each flagged in the checklist's own words. The lawyer step stays a human one.
05 The same release, from another chair
06 Questions people actually ask
We have a delivery system already.
Most of what exists is either a spreadsheet or an enterprise platform priced for a studio slate. This sits at the title level and is aimed at the part that goes wrong: the dependency between a clearance, a drive and a date.
Does it replace our contracts?
No. It records the terms so they can be read back and flagged, and attaches the contract for signature. A lawyer still reads it, and the checklist keeps saying so.
Can producers see everything?
Only what you allow. Visibility is per section and per asset, per audience, with an embargo date where you need one.
Storyline
Rather be pitched than read a page?
Three minutes, swipeable, and it makes the whole case for you rather than listing what the product has.
See every storylineSet up a title.
Start with one film and see the shape of it. You will be asked to make an account first.
