The operating system for how entertainment gets made.

Runs the production company, not just the projects. Submissions get logged and routed for coverage instead of piling up in an inbox, packaging and rights sit with the title they belong to, and every project shows exactly where it stands. One place the whole company works from — creative executives, business affairs, finance, assistants and interns each see their own view of the same slate, so nobody has to ask what happened to a script. The agency edition tracks submissions per client, deals, quotes and options, and what is due when.

For the vendors this business runs on: post houses, visual effects, equipment, stages, facilities, service companies. Bids and quotations built off what the last job actually cost rather than a guess, change orders captured when scope moves, then invoicing, collections and margin per job. Underneath it, the company’s own books: funding, VAT, multi-currency cashflow and a month close that locks. A cost will not save without its receipt.

For companies producing across borders. We hold the incentive rules for 47 jurisdictions as numbers the software can work with, so you can model the same production in four countries and see what each one actually pays back. Then it runs the job: location scouting and the production plan, budgets net of rebate, spend tagged for eligibility as it is entered, and the claim carried through to payout.