Plans
Priced for the person who actually does the breakdown — and who, more often than not, pays for their own tools. Thirteen euros a month, not two hundred: the point is that you can put it on your own card without asking the production for anything. The two paid plans do the same things. The difference is who is buying: Pro is one person, working alone, with everything they have ever broken down open at once; Production is a company that buys once, opens the films it has, and puts ten people on them — and there the whole crew reads it for nothing, however many they are.
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Inside the Production plan
Putting the rest of the film on it
Seats are what Production is: Pro is one person working alone, and the moment a film needs more than one pair of hands you are buying Production. It comes with ten full seats across all your films, you add more when you need them, and everyone else — the whole crew, however big — reads it for nothing.
Full seat €12.99 per person, a month
10 included with Production · more at the price below
Loads the drafts, keeps the schedule, corrects the whole breakdown, ticks the scenes off, runs the analysis, exports. On most films that is four or five people: first AD, second AD, script supervisor, production.
| 1–4 seats | €12.99 each |
|---|---|
| 5–9 seats | €11.69 each −10% |
| 10–19 seats | €10.39 each −20% |
| 20 or more | €9.09 each −30% |
You always pay the cheaper way to get at least the seats you need — ask for nine and you pay for ten, because ten costs less, and you get the tenth.
Crew seat Free as many as the film has
Unlimited with Production · never counted, never billed
Every department head, on their own phone. They see the day as it moves, open any scene, read their own department's lines, and forward what changed to their own people on WhatsApp, already written. A crew seat reads and passes on; it never writes — which is what makes it safe to hand to thirty people, because there is one document and it says the same thing on every phone.
There is no cap and there never will be. A cap would mean asking a production which department heads to leave out, which is the same as asking them not to use it.
Every correction carries a name, every invitation is in the log, and the log is read by everyone on the film — nobody asks permission, nothing is hidden. When the shoot wraps you switch the seats off: nobody is deleted, the archive stays yours, and if the film comes back so do they, without redoing a single invitation.
What the AI is for, and when to use it
Most of this app never touches AI. It is worth being precise about the part that does, because you pay for that part by the scene.
Everything that can be read from the structure of a screenplay: scene numbers and sluglines, interior and exterior, time of day, locations, which characters speak in which scene, page eighths measured from the real page, stripboard, shooting schedule, DOOD, sides, marked script, calendar. This is the bulk of a breakdown and it is arithmetic, not judgement. It costs nothing to run, so it costs you nothing.
The pass you would otherwise do by hand, with a highlighter, scene by scene: reading the action text and pulling out what each department has to prepare — props, costumes, set dressing, vehicles, animals, background, stunts, special effects — plus a one-line summary of each scene. On a feature that is an evening's work. Here it is a few minutes and two euros: a feature runs 100 to 140 scenes.
When to use it
- When a script lands and the sheets are due tomorrow. This is the moment it earns its keep. You get a complete first draft of the department breakdown, then you spend your time correcting it instead of typing it. Two hours of work for two euros, and the two hours are the ones you would have spent after dinner.
- On the scenes that matter. You choose how many scenes to analyse — the first few to see what it makes of your script, a reel, or the whole thing. Nothing runs until you press the button, and the cost is shown before it does.
- Once per scene, not once per draft. Every scene carries a fingerprint of its own text. When a revision arrives, scenes that did not change keep the breakdown you already have — and so do your own corrections. You pay only for what the writer actually rewrote.
What a credit is
One credit, one scene. A €1.99 pack covers 100 scenes, and there is no monthly quota to use up before it expires — credits you have bought stay bought, across months and across plans. If you break down two films a year, you spend about four euros a year on AI. Analysis at Deep, from the Pro plan up, uses a more capable model and costs three credits a scene, because it costs us three times as much to run. It is worth it on scripts where what the departments need is written into the prose rather than shouted in capitals — which is most scripts written by people who write well. Smart, which both paid plans have, handles a script that names its props in capitals perfectly well.
When not to bother
- For the schedule, the DOOD, the sides, the eighths. None of those need AI, and none of them will get better for having used it.
- When you already know the film. If you have the sheets in your head, typing them in is faster than reading a machine's guess.
It is a first draft, to be corrected — not an oracle, and not a replacement for you. It reads what is written on the page, which means it cannot know that the car in scene 40 is the same one from scene 12, that the dog was cut in the last production meeting, or that "the usual bar" means the one you already scouted. Every single entry it produces is editable, and your edit is the one that survives into the next revision. Nobody signs a call sheet a machine wrote, and this one does not ask you to.
Frequently asked
The PDF file is never uploaded: it is parsed by code running in your own browser. What your account stores is the breakdown that comes out of it — scenes, cast and scene text — so you can pick your projects up from another computer. That data is yours, is never shared and is never used to train anything, and deleting a project deletes it. The text reaches an AI model only for the scenes you choose to analyse.
The whole structural breakdown: scenes, interiors and exteriors, time of day, locations, cast with speaking and non-speaking presence, page eighths, character matrix, stripboard, schedule and DOOD. One screenplay at a time, on screen, for as long as you like. It is a demo in the honest sense — everything works, you just cannot take anything out of it. Export and AI analysis start at €9.99 a month.
In credits, and one credit is one scene. A €1.99 pack covers 100 scenes; a feature runs 100 to 140, so a film costs about two euros to analyse. Credits are not a monthly allowance — you buy them and they stay bought, across months and across plans, so nothing is lost if you go three months without a script. The Deep level on Studio uses a more capable model and costs 3 credits a scene, because it costs us three times as much to run.
Only for the scenes that actually changed. Every scene carries a fingerprint of its own text; unchanged scenes keep the breakdown you already paid for. On a typical revision that is a small fraction of the script.
Pro is you. One seat — yours — with every film you have ever broken down kept open at the same time, every export, Deep analysis, and draft comparison. You can put other people on your films, and nothing stops you: they just bring their own plan, because Pro never bills you for anybody but you.
Production pays for everyone else. Ten full seats across all your films instead of one — and the eleventh is on the production too, at €10.39 a month, not on the person filling it. Three films open at a time, 1,500 AI credits for everybody to draw on, an administrator who opens the films and decides who is on each, and the whole crew reading it for nothing. That is the line between the two: on Pro everybody pays for themselves, on Production nobody does.
Production companies with several films running and more than one person who needs the same archive. Everything a single person needs is already in Pro, including Deep analysis. Most people reading this page do not need Studio, and we would rather say so than sell it to you.
No — prices are shown net of VAT. The rate charged at checkout is the one for your own country, because that is how VAT on digital services works in the EU. If you are a business with a valid EU VAT number outside our country of establishment, no VAT is charged at all (reverse charge). Outside the EU, local rules apply and are handled at checkout.
You drop to Preview. Your projects and everything already analysed stay exactly where they are, and export switches off. Credits you had already bought are still there, waiting, if you come back for the next film. Nothing is deleted.
Yes. Run without a database and it works in personal mode: no accounts, no plans, everything unlocked, archive in your browser. Get in touch if that is what you need.
Still deciding?
Load a screenplay on Preview and see the whole structure first.