Three products. One company. One record that nobody else can assemble.
A film passes through production, then finishing and festivals, then exhibition. Today those three stages run on different software owned by different companies, and the record of the film is rebuilt from scratch at each boundary.
SlateScreen owns all three stages. That is the whole thesis, and everything below is either an argument for it or evidence that it is built.
The thesis
The handoff is the product.
Each stage hands the next one a finished artifact rather than an empty form. That is what makes this a suite rather than three companies that happen to share a logo.
Stage one
Production
SetDots. The shoot day recorded as it happens, by the people it happens to, because retrospective data entry never survives contact with a set.
Hands forward
The wrap book
Stage two
Lock to premiere
WrapToScreen. The least-served stretch in the whole lifecycle, and the one where an independent film most often stalls.
Hands forward
The delivery package
Stage three
Exhibition
ReelVenue. A two-sided marketplace with a take rate, rather than a seat licence, and the only stage that closes the loop with revenue.
Closes the loop
The settlement
The asset
By the time a film reaches a screen, we hold its provenance.
Every item below is a byproduct of running the production, not a survey anyone fills in afterwards. That distinction is the defensibility: a competitor who starts at stage three cannot reconstruct stage one, and nobody will retype it.
Estimated against actual
Scheduled time against real time for every scene, split by day and night and interior and exterior. Scheduling accuracy is the number every financier and bond company cares about, and nobody measures it.
Verified crew days
Days rostered against days checked in, per person, across productions. The beginning of a crew graph that is earned through utility rather than bought.
The compliance chain
Incidents and acknowledgements, turnaround and meal exposure, camera-card custody, signed releases. Exactly the artifacts insurers, bond companies, and unions require, produced as a side effect of the day.
Version and rights history
Every cut with its runtime and checksum, every festival and market it went to, and the state of the rights that made it sendable.
Exhibition and revenue
Screens, nights, tickets sold and refunded, and the split, on an append-only double-entry ledger that balances on every entry.
All keyed to one film
Not five exports to be reconciled later. One object, carried forward, answerable end to end. Owning all three stages is what makes that possible and what makes it hard to copy.
Why it compounds
Four things that get stronger with use.
A marketplace, not only a licence
ReelVenue has three sides: filmmakers, venues, and ticket buyers, with revenue taken on the transaction rather than per seat per month. Every venue makes the platform better for filmmakers, and the reverse.
A crew graph, earned not bought
Crew claim their own place on a production, carry a portable profile between shows, and accumulate a verified record of days worked. That is a professional network forming underneath a tool people already need.
Compliance as the wedge
Insurers, bond companies, and unions already demand these documents and currently accept whatever arrives. Becoming the format they expect turns a convenience into a requirement.
Switching cost that builds itself
The record starts on day one of the shoot and follows the film to the screen. Leaving midway means abandoning the provenance, and the cost of that grows with every day of production.
What's built
Software, not slideware.
There is no usage to point at yet, so here is the other thing worth judging a pre-launch company on. All three products are running code on a shared backend. The counts below are read off the test suites themselves.
| Product | Automated tests | Tested modules | Also covered by |
|---|---|---|---|
| SetDots | 619 | 77 | Security-rules suite, storage rules, headless render smoke |
| WrapToScreen | 423 | 46 | Shared rules fence, bundle budget |
| ReelVenue | 481 | 36 cloud functions | 9 database-emulator suites, 19 browser journeys |
The money is proven, not hoped
Every path that touches money runs against a real database emulator on every build: two buyers racing for the last seat, a payment webhook delivered twice, a refund racing a ticket scan, an oversell attempt. The ledger is append-only and double-entry, and each entry must balance before it is written.
One backend, one tested fence
All three products share a single backend and a single set of security rules, sectioned per product and tested with cross-product negative cases: proof that ReelVenue cannot read a SetDots shoot, and the reverse. A shared suite is a liability unless that fence is real and tested.
The copy cannot overclaim
Honest wording is pinned by tests. SetDots will not say it verified footage it never read. A compliance report calls itself exposure as the record shows it, not a ruling. Change the wording to something unsupportable and the build fails. In a category full of claims, this is a position.
Built for where film happens
Sets have no signal. Writes queue offline and sync on reconnect. Crew with no account read the day from a QR code at the gate. These are the details that decide whether production software is used or quietly abandoned in week one.
Stage
Pre-launch, and specific about it.
We would rather state the stage than have you discover it. Nothing here has an audience yet, and we will not print a number we cannot stand behind. What we have is built product, a thesis we can defend, and a pilot to run.
SetDots
Built, taking productions
Furthest along, and complete for a shoot day from call to wrap. The demo is the real interface, so the product can be evaluated without a meeting.
WrapToScreen
Built, early
Campaign tooling in place and the SetDots bridge working. Needs films running through it end to end.
ReelVenue
Pilot, signing up theaters
Booking, ticketing, and settlement built and race-proven. Deliberately starting with a first group of independent theaters in a few cities.
What we will show you
This page is a summary. The detail behind it exists and we are happy to walk through any of it.
The product, live. Not a deck of screenshots. All three, driven by us or by you.
The codebase and its history. Written plans, one change per round, debt recorded rather than hidden.
The pilot plan. Which cities, which theaters, what has to be true before we widen it.
The business model. Where revenue comes from in each product and how they differ.