The whole picture, not one stage of it
A producer is accountable for the parts of a film that do not belong to any single department — whether the budget is real, whether the schedule is achievable, whether the thing will actually be finished and seen.
That job is badly served by tools scoped to one stage. A screenwriting application ends at the script. A scheduling application starts at a breakdown someone else produced. The connective work — does this budget reflect this schedule, does this schedule reflect this draft — falls to you, usually in a spreadsheet.
Here the whole lifecycle sits in one project, which means the connective work is largely already done.
Development through delivery
One project, with each stage feeding the next.
- 01Development
Beats, character bibles, drafts and coverage — including reading a script the way a reader will, before someone else does.
- 02Breakdown and schedule
What the script requires and how many days it takes, generated rather than transcribed.
- 03Budget
Top sheet and line items from the same data, in your own currency across 110 supported.
- 04Production
Call sheets, continuity and daily reports — the record financiers and bonds may ask for.
- 05Distribution and festivals
EPK, distribution planning and a festival run sequenced against the post schedule rather than after it.
Financing needs documents, not intentions
A financier reads a top sheet, a schedule and a pitch. What persuades is not optimism but internal consistency — a budget that reconciles against its line items, a schedule that matches the script, a post plan that reaches the delivery date it claims.
Because these derive from one another rather than being assembled separately, that consistency is structural rather than something you check for at 2am before a meeting.
Where we are not the right answer
If you are producing at studio scale, procurement will ask about SOC 2 Type II and Trusted Partner Network membership. We do not hold either; Filmustage does, and that is a straightforward reason to choose them for studio work.
If a completion bond or financier requires Movie Magic deliverables, we do not export them. And for episodic television, Movie Magic's multi-episode and multi-unit scheduling is deeper than ours.
We are the stronger choice for independent features, regional-language production and companies where development and production planning are the same job rather than two departments.
Common questions
Can my whole team work in one project?
Yes — shared workspaces with role-based permissions, pooled credits and one organisation-level bill. Cast and crew get view access without taking a paid seat.
How does pricing work for a production company?
Pay-as-you-go credits rather than a subscription, with no per-seat or per-project fee, so there is no monthly cost during months when nothing is shooting. For continuous production, a subscription competitor may work out cheaper — that comparison is on the /vs pages.
Do you handle festival submissions?
Not submissions themselves — those go through FilmFreeway and the festivals' own platforms. What lives here is the strategy: which festivals, in what order, against what deadlines, and what post has to deliver to hit them.
What about security certifications?
We do not currently hold SOC 2 Type II or TPN membership. If your production is under studio confidentiality requirements, that is likely to be a procurement blocker and worth resolving before you invest time.
Can I model different budget scenarios?
Yes. Because rates, schedule and breakdown are connected, you can see what changing a rate band or tightening a shooting order does to the total — which is the practical question when a budget comes back over.
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