From the moment you
slate the scene
to the moment it
hits the screen.
We make three apps for independent film. One runs your shoot day. One runs everything between picture lock and your premiere. One books you screens and sells the tickets. Use any of them on their own. Use them together and you stop retyping your own film.
The demo is the real app with a real shoot day loaded. Nothing to install, no sign-up.
Start here
Which app do I need?
Find where you are right now. You do not have to use all three, and you do not have to start at the beginning.
You are
Shooting, or about to
You are an AD, a producer, a UPM, a script supervisor, or a department head, and you need the day to run without forty text messages.
You want SetDots
You are
Finished, and now what
Picture is locked. Now there are festival deadlines, screeners to send, three versions of the cut, and an E&O policy somebody has to renew.
You want WrapToScreen
You are
Looking for a screen, or filling one
You want to put your film in front of an audience without a distributor taking the relationship. Or you run a theater with dark nights to fill.
You want ReelVenue
How it fits together
Each app hands the next one your work.
Normally every stage of a film starts from a blank page, and somebody spends a weekend copying last month's spreadsheet into this month's. Here, the next stage opens with your film already in it.
While you shoot
SetDots
The day gets written down as it happens, by the people it happens to. Status, roster, scenes, safety, camera cards.
Hands over
The wrap book
Script as shot, every day's report, releases, credits.
After picture lock
WrapToScreen
Your festival and delivery campaign in one place instead of a spreadsheet and your memory. Deadlines, screeners, cuts, rights.
Hands over
A film ready to book
Deliverables done, rights clean, and the cut that ships.
Getting it seen
ReelVenue
Book nights at independent theaters, sell your own tickets, and get paid without chasing anyone for a settlement.
You end up with
A paid-out run
What played, what sold, and who got paid what.
Nothing is retyped at a handover, so nothing goes missing at one.
The apps
What each one actually does.
Everything listed here works today. Nothing on this page is a roadmap.
SetDots
One person writes and everyone else reads, on the phone they already have. When the AD changes the status, every phone on set knows before the walkie does.
Made for: 1st and 2nd ADs, UPMs and line producers, script supervisors, department heads, DITs, and every crew member who just needs to know what is happening.
Script breakdown and stripboards
Call sheets, published and emailed
Live set status on every phone
Roster, check-ins, and roll call
Department readiness and notes
Camera-card custody for the DIT
Safety incidents and printable reports
Appearance and location releases
A daily report, already filled in
Turnaround and meal-penalty warnings
Set chat, and a QR sign for the gate
The wrap book, compiled at the end
WrapToScreen
The stretch nobody makes software for. Your film is finished and now it has to reach people, through festivals, markets, and a delivery list somebody keeps in their head.
Made for: producers, self-distributing directors, sales agents, festival strategists, and anyone holding the deadline calendar.
wraptoscreen.comFestivals and markets you are targeting
Every deadline, and what is about to lapse
Submissions, fees, and what they answered
Screener links, and who actually opened them
Your cuts, with what changed between them
Rights binder: E&O, insurance, options
A warning before a document expires
Delivery checklists, per festival or buyer
Clashes caught before you promise a premiere
Patterns across every film you have out
Imports your SetDots wrap book
Hands ReelVenue a film ready to book
ReelVenue
Theaters list the room, the projector, and the house rules. Filmmakers ask for nights and sell their own tickets. The money splits and settles in the app, so nobody invoices anybody.
Made for: filmmakers doing their own release, four-wallers, and independent theaters and programmers with nights to fill.
reelvenue.comVenue listings: screen, kit, and policies
Open nights, and requests to book them
Instant book for filmmakers who qualify
A week's run booked as one booking
Sales opened or closed night by night
Ticketing, with a ticket that scans once
Refunds fans can do themselves
Settlement and payout to both sides
A public page for your film, on your own link
Turns your master into a DCP
Audiences find films, review, and message
Streaming screenings in a set window
On set
Built by people who have stood on one.
Most production software is designed for the office and then carried onto a set, where it stops working. These are the decisions that came from the other direction.
It works with no signal
Locations do not have bars. What you type gets held on your phone and sent the moment there is signal again, and the app tells you plainly which of those two things is happening.
Crew do not need an account
A background actor, a vendor, or a driver can scan the sign at the gate and read the day. No app store, no invitation, no password, and no access to anything private.
One hand, in daylight
Every screen is built for a phone held in one hand by somebody already carrying something else, with a high-contrast daylight mode for when the sun is on the screen.
It does not pretend to know things
SetDots never says it verified your footage, because it never reads your cards. A missing check-in is called a missing tap, not a missing person. If we cannot stand behind a sentence, it does not ship.
And the questions you get asked later
Because the day was written down as it happened, the answers are already there when somebody asks months afterwards.
How long did it really take?
Scheduled against actual, by day or night and interior or exterior.
Who worked, and which days?
Rostered against checked in, per person, for payroll and credits.
What happened on the safety side?
Incidents, turnaround, meals, and who signed what.
Where did the cards go?
Every camera card, who moved it, and when.
Which cut did they see?
Each version, and the festival or buyer it went to.
What did the run bring in?
Screens, nights, tickets, refunds, and the split.
Where we are
Early, and straight with you about it.
We would rather tell you the stage up front than have you find out after you have put a production on it. All three apps are built and working. None of them has a crowd yet.
SetDots
Built, taking productions
The furthest along of the three, and complete for a shoot day from call to wrap. Open the demo and judge it yourself rather than taking our word.
WrapToScreen
Built, early
The campaign tools are in place and the handover from SetDots works. What it needs now is films going through it from lock to premiere.
ReelVenue
Pilot, signing up theaters
Booking, ticketing, and settlement all work. We are starting with a first group of independent theaters in a few cities rather than claiming a national network we do not have.
Come in early
Being early has a real upside: you get a direct line to the people building it, and the things you ask for tend to get built.
Productions
Shooting soon and willing to run the day in SetDots.
Independent theaters
With screens to fill on the nights you are dark.
Partners
Insurers, payroll, festivals, and post houses.