Your work in one place, coverage that scores what it is worth and what it can sell for, and an assistant that does what you ask.
Waiting on a decision from you
Coverage on “Cardumen”
Waiting for your approval · 2 days
Budget for “Temporada de ceniza”
Shooting costs changed · yesterday
Shooting
El ruido del agua
Shooting · Day 14 of 32
Las horas muertas
Post · Cut 3
Changed since your last visit
My work
Your tasks, the reads assigned to you and anything waiting on your approval, in one list ordered by date.
My work
Today
Tomorrow
This week
Coverage
Every category is scored on its own: concept, structure, characters, dialogue, theme and tone. Each one comes with an observation and the page where you can see it.
The score sits next to the section name. Click it and you jump to the paragraph that explains it. No more opening the PDF.
The verdict comes out of those scores. It is compared against the rest of the coverage in your account, so “Consider” means the same thing today as it did last month.
Creative quality
0
6 categories
Market potential
0
Home and international
Verdict
Consider
Coverage
Concept & Premise
7/10
The premise is stated on page one and the script delivers on it.
The object that links the segments works as a promise and a threat at once, and that holds the read together even when the blocks change register. What is unresolved is what triggers it…
Plot & Structure
4.5/10
A five-segment anthology where two can be cut with no consequence.
The mechanism linking the blocks is stated but never given rules. The fates of the two brothers are settled in a single intercut line (p.113) when they are what the third act needs to collect on screen…
Marketability
5.5/10
The anthology format is not what fills theatres; the route is festival then platform.
An anthology with no single lead calls for a campaign selling tone, not story. The genre circuit provides the press and a limited release becomes a consequence of that, not the other way around…
Marketability
A script can be beautifully written and hard to sell. Two different questions, and now two numbers.
In your own market: which distributors, platforms and festivals actually operate there, and what comparable releases did. What they cost and how they went.
Outside your market: territory by territory, whether there is a route or there is none. That there is none helps too, because it saves you months on a closed door.
Creative quality
0
6 categories
Market potential
0
Home and international
Marketability
5.5/10
An anthology with no single lead is not the format that fills theatres. The viable route is the genre festival circuit and then a platform.
International marketability
6.5/10
Sitges and Fantasia are concrete destinations for this profile. The likeliest buyer for English-language territory is a genre platform.
Development notes
There are six: the verdict and its conditions, the structural diagnosis, production viability, market comparables, the similarity alert and a rewrite plan.
Written the way a dramaturg would say it: what to cut, what to move and on what page. The letter you send the writer comes out of these, without scores or verdict.
Development notes
The call and its condition
Two things have to be true for this to move forward. The first is that the object linking the segments has a causal function in all of them…
Structural diagnosis
Paradigm: five-segment anthology with a supernatural thread and a revealing epilogue. This is not an act problem, it is a curation problem…
Production viability
Estimated range and shooting days. What drives the cost is not effects: it is six art departments that share nothing…
Market comparables
Six titles with what each one did —budget, festival run, buyer— and what applies directly to this script…
Similarity alert
Two medium-risk overlaps with existing work, and which differentiating material is already on the page and unused…
Rewrite plan
Thirteen notes ordered by priority: critical, important and suggestions, each with the page where it resolves…
Coverage context
If you uploaded the sales deck, the coverage reads that too. That lets it point at the distance between what the team says the film is and what is on the page — exactly what a development executive adds, and what coverage, by definition, cannot say.
And the comparables your team picked come in with their real budgets and real runs, not with whatever the model remembers about them.
The more context the project carries, the less generic the coverage. It is the difference between reading a script and reading a project.
What the coverage read
Comparables
| Cardumen | $1.2M | platform · 4 festivals |
| El ruido del agua | $3.4M | limited release |
| Temporada de ceniza | $2.1M | international sale |
Real budgets and real runs, not recalled from memory.
Production
You upload the script and SlateCore breaks it down scene by scene: cast, props, wardrobe, makeup, vehicles, effects, stunts and animals, each element with the scene it appears in.
From that it builds the shooting schedule: it groups by location, watches continuity, and tells you how many pages and how many scenes fall on each shooting day.
And the budget comes out of the breakdown, by account and line item, in the format the funds ask for. You edit it like a spreadsheet and export it.
Breakdown
Shooting schedule
The project page
Milestones stopped being a list: they are a route, with what is done, what is left and what is overdue marked. You close one from the same dot you see it on.
Status is no longer something you type: it is worked out. A milestone 114 days overdue, or three months with nobody touching the project, say it on their own — and the reason is right there. If your case is different, you set it by hand and your call wins.
And the trailer lives on the page: it shows in the data room you send an investor and on your site, without pasting the link in two places.
Cardumen
Stage · Development
Status
Stalledsince May
Route · 2 of 3
Production bible
12 Mar
Character profiles
19 Mar
Outline v2
29 May · 114 days ago
Festivals and press
Where you submitted, which deadline closes, what got selected and what won. Plus press quotes with their byline and outlet, not loose headlines.
Only verifiable facts reach your public site: selected, nominated, winner, mention. Where you submitted with no reply yet, and where you were turned down, stay inside.
Festivals
Press
“A first feature that asks no one's permission.”
Cuaderno de Sala
“The find of the year.”
Semanario Reverso
Data rooms
Script, deck, coverage, comparables and trailer in one place, under your own name. You choose what goes in and what stays out.
One link per person, issued to them, with the script watermarked. It expires when you say so, and you can close it whenever you want.
No 80MB attachments bouncing, no transfer that expired on Tuesday, and nothing left sitting loose in anyone else’s inbox.
Private room
Temporada de ceniza
Script — v4
112 pages · PDF
Sales deck
18 pages · PDF
Coverage
Delivered September 14
Comparables
3 titles with budget and run
Trailer
1 min 40 s
For Marcela Otero only · the link does not work if forwarded
Your site
Projects, team, awards and press come out through an API your site consumes. You change something here and your site finds out — no one pasting a synopsis by hand.
Private by default: every project starts out, and you decide which ones go public. On a co-production each company decides on its own, about the same project.
Public visibility
Assistant
You write what you need: move a task, schedule something, ask about a project. No commands to learn.
It shows you what it is about to do before doing it, with the names and dates already resolved.
You confirm. If it was not what you wanted, it cancels without changing a thing. Included in your plan.
I found one task and one person. Here is what I would do:
Move Wardrobe review from Tuesday 23 to Thursday 25
Notify Irene Vázquez
Home and navigation
Home opens with whatever is waiting on a decision from you, what is shooting and what changed since your last visit — instead of a grid of widgets you had to read in full to find out whether any of it was yours.
The menu is down to seven rows. Slate and Inbox are now separate, because they are not the same thing: one is the material you already decided to take on, the other is what just arrived and nobody has ruled on.
And My work pulls your tasks, your assigned reads and anything waiting on your approval into one list, ordered by date. That used to be three different screens.
Waiting on a decision from you
Coverage on “Cardumen”
Waiting for your approval · 2 days
Budget for “Temporada de ceniza”
Shooting costs changed · yesterday
Shooting
El ruido del agua
Shooting · Day 14 of 32
Las horas muertas
Post · Cut 3
Changed since your last visit
Your material
A script is the most valuable thing a production company owns. That is how it is treated here, and how it always has been.
The script you upload trains no model. It's read once, the coverage is generated, and that's it. The result lives only in your workspace, is never shared outside it, and the SlateCore team does not read it. How we handle your script →
Transient processing
The model provider keeps no copy of your script for any other purpose: only temporary operational logs, deleted under its retention policy.
Private and encrypted
Private buckets with no public URL, encrypted in transit (TLS 1.3) and at rest (AES-256), isolated per company at the database level.
You control the lifecycle
Versions under your control, access revocable at any time, and deletion whenever you decide.
The full technical detail —encryption, backups, subprocessors, access policy— is in Security and in the Privacy Notice.
Your projects, delivered coverage, documents and your team’s permissions were not touched.
7-day free trial on every plan. Cancel whenever you want.