Make it once. Sell it for years.

A pitch is whatever you are trying to get made.

An idea, a screenplay, a campaign, an event. Pitch it out to find money, a co-producer or a home. Or open it up and let other people pitch to you, then pick the one you want.

• Stamped and yours from the first draft.
• Storyboard it before anyone sees it.
• A pitch can open an opportunity, and an opportunity brings pitches back.
• The one you pick turns into a production.
• The ones you do not pick are still there, and can go out again.

You cannot sell an idea without showing it.

Room 88 never hands over a file. It opens as a reader, behind an NDA the recipient signs first, and every page carries a code belonging to that reader alone. If it ever surfaces where it should not, you know whose copy it was.

• Investors, buyers and clients read without an account. Email, NDA, then the reader.
• Time-limited access, two devices per recipient, one session at a time.
• Notes land on the page they are about, private until the reviewer commits.
• Screenshots logged, the sender alerted, the share revocable mid-read.
• Agents read under the same gate, so a delegated first read is traceable too.

Post what you need. Or be found.

Above the line or below it, put up the role, the service or the facility you are missing and the people who answer arrive verified, with the terms already agreed. Or put your own work up and let the jobs come to you.

• Directors, crew, cast, composers, studios, kit.
• One verification, good across every brief you answer.
• Negotiate to signature without leaving the brief.
• A confirmed yes lands straight on the production.

A greenlight is not a plan.

This is where it gets run: the deal, what it costs, when each day happens, who is confirmed for it, and what has to be delivered at the end. The terms stay live, and the work runs against them.

• Contracts, budget, schedule, call sheets and departments in one plan.
• Terms, deliverables and usage, agreed once and read by everything after.
• Who holds the IP, and what every share is worth.
• Everyone confirmed rather than assumed, with their deal attached.
• Shoot days, second units and live sessions all report here.
• Spend tracked against the line it was approved on.

Go live. Keep the footage.

Run the scout, the casting, the second unit or the brand session through Live Studio, and what happened live becomes footage you own, with the people in it released and the rights already settled.

• Scouting, casting, second units, brand sessions, reporters in the field.
• Direct, cut and talk back from one screen, crew on their own phones.
• Saves into a Project you pick, or one it opens as you go, then links to the production.
• A scout you shot in March can be licensed in December.

Where the footage becomes the work.

Everything a production shoots lands here and gets finished here, with every asset carrying who owns it, who is in it, and what it is cleared for.

• Review in place, with notes pinned to the frame.
• Permissions that reach down to a single asset.
• Faces released and rights attached as the work comes in.
• Deliver from the same place you reviewed.

Every file, findable and provable.

Footage, stills and documents from every production sit in one library, searchable by who and what is in them, with their rights and details travelling with the file.

• Search by the people, places and brands in the frame.
• A release signed once covers every shot that person is in.
• Each asset says what it may be used for: editorial, commercial or AI.
• AI tagging on demand for large catalogues.
• Outtakes, b-roll and unused stills stay in the library, ready to license.

Who is doing what, and by when.

Every task hangs off the work it is part of, with an owner, a date, and a state the whole team reads the same way.

• Assign to a person, a department or a whole unit.
• Your dates, on your calendar.
• Done is a state, not a reply.

Paying people is not a second job.

Crew, cast and rights holders are paid out of the work itself, in their own currency, on terms that were signed before anybody started.

• Pay crew and talent in any currency.
• Escrow that holds until delivery is accepted.
• Royalties keep arriving long after the job is finished.
• Line items reach your ledger with the project and the contract attached.

Cleared work, open to buyers.

Anything you choose to list goes up with its record behind it, so a buyer sees who made it and what it is cleared for before they pay. The license and the payout both run from that same record.

• Listings sorted into the categories buyers search, each marked with what it is cleared for.
• Royalties split however the IP owner sets them.
• Buyers can post a brief, and creators pitch to make it.