Strategy, positioning, release planning, brand — and every agreement your production needs. For producers who don't need a shot list. They need a plan and paperwork.
The plan is always the same: finish the film, post the trailer, ask the cast to share it, ride their followers for two weeks, watch it go quiet. Then do it again with a new film — because a new film is the only lever left. That's not a strategy. That's a fuse. Studios don't work that way. They have a room that decides who the film is for, what it says, when it enters, and what happens in month nine. You've had access to the camera for a decade. You've never had access to that room.
Six departments on your actual project: film strategy and competitive positioning, marketing and audience architecture, release planning and rollout sequencing, brand and visual identity, distribution strategy, and an executive planner that turns every finding into dated tasks. Not a template — an analysis of your film.
A 39-agreement library covering every seat on a set — actors to colorists, locations to LLCs — assembled to fit your production through guided questions, with plain-language walkthroughs of every clause, document explainers, and chain-of-title, clearance, E&O, and delivery checklists. Education and templates, not legal advice.
Built for filmmakers — attorney review in progressBuild an electronic press kit with a public link, draft a press release to newsroom doctrine with section-by-section editing, generate story angles and an interview kit, and route your outreach through four lanes — direct pitches with per-outlet drafts, free wires, paid wires, and local press. Social cards (quote, laurel, countdown, streaming) at zero credit cost, a campaign calendar filed into the Executive Planner, and audience email capture on every published EPK.
Studio plan — upgrade anytime, proratedStrategy is cheapest while the set is still up. Behind-the-scenes footage, cast interviews, poster stills with the lighting still rigged — free on shoot day, a reshoot afterward. And if you know your positioning before you roll, you shoot a different film: you cast for the audience you're reaching, you frame for the key art you'll need, and you know your festival deliverable specs before a rejection teaches them to you. The plan should be older than the footage.
Copy any term you don't recognize — "withdrawal approval threshold," "possessory credit," "sync license" — paste it into the Crew Assistant, and get a plain-English answer. The studio explains itself as you use it.