Build a production system around your projects, your crew and your deliverables.
A production company runs on projects. Each has a budget, a crew, a schedule, a pile of footage and a client waiting for a final cut that may still change twice.
Records for one project are often spread out. The budget is in a sheet and the call sheet is in a document. Footage sits on several drives, and approvals are buried in an email thread that only one person has read.
Production software built by GullySystem would treat the project as the centre. Budget, crew, shoot days, assets, review notes and invoices hang off it and read from each other.
Production businesses we can build for.
A radio station airs daily and a film house works on one picture for a year. Their records differ, so the first screens differ too.
- Film production houses
- TV and OTT production companies
- Ad-film companies
- Documentary producers
- Animation studios
- VFX companies
- Recording studios
- Video production houses
- Photographers and videographers
- Publishers
- Radio stations
- Podcast producers
- Post-production and colour houses
- Music labels
- Equipment rental houses
- Event and live-stream producers
- Corporate video teams
- Dubbing and subtitling studios
The modules, and what each one covers.
Nothing here is a fixed package. Each module is built, left out or changed to match how your organisation already works.
The project record
Everything starts with the project: who it is for, what is being made and what has been agreed.
- Project name and code
- Client and brief
- Format and deliverables
- Producer and creative lead
- Key dates and milestones
- Contract and scope of work
- Status from pitch to delivered
- Linked quotes, invoices and assets
Pitch, quote and treatment
A quote is built from a brief, then changed many times. The version the client accepted is the one that matters later.
- Brief received and logged
- Treatment and script versions
- Quote lines by department
- Revised quotes with version history
- Client acceptance recorded
- Advance and milestone payments
- Pitch won or lost with a reason
Budget and cost tracking
A budget is a plan. The cost report compares the plan with what has actually been spent, line by line.
- Budget by department and line
- Purchase orders and vendor bills
- Petty cash from the unit
- Crew and cast payments
- Equipment and location costs
- Committed against actual spend
- Contingency used
- Cost to complete
- Profit by project
Overspends are easiest to correct while the shoot is still on. A running cost report gives the producer that chance.
Crew, cast and talent
- Crew database with roles and rates
- Availability and holds
- Offer letters and deal memos
- Cast and voice talent records
- Day rates and overtime
- Travel and accommodation
- Payment after wrap
- Past work and ratings kept by the producer
Schedules and call sheets
The shoot plan decides who turns up where and when. A late change should reach every person it touches.
- Shooting schedule by day
- Scene and shot breakdown
- Call sheets with times and contacts
- Locations and permissions
- Unit transport
- Meals and facilities
- Weather backup plans
- Changes sent to the affected crew only
Equipment, studios and rentals
Cameras, lenses, lights and rooms are booked against projects. Each item is somewhere, and the list should say where.
- Equipment inventory with serial numbers
- Booking by project and date
- Check-out and check-in
- Damage and loss notes
- Studio and floor calendar
- Rental rate cards
- Maintenance and service dates
- Third-party hire costs
Footage, media and asset library
Footage is large and easy to lose. Each file needs a project, a shoot day, a card and a place to live.
- Camera cards logged on ingest
- Backup copies recorded by location
- Rushes by day and scene
- Proxy and master versions
- Music, fonts and stock licences
- Release forms and permissions
- Archive and retrieval
- Links to your storage system
Edit, VFX and post-production tracking
- Shots and tasks by artist
- Status of each shot
- Versions and renders
- Review notes tied to a frame or timecode
- Artist hours against shot budget
- Turnover from edit to VFX
- Sound mix and colour grade stages
- Client cut versions
Review and client approval
Feedback arrives from several people and often contradicts itself. One page of notes, with a name and a date on each, settles most disputes.
- Review links sent to the client
- Comments on a frame or timecode
- Notes consolidated by the producer
- Approval of each cut
- Version in force
- Extra revisions beyond scope
- Final sign-off recorded
Delivery and technical specifications
- Deliverable list by client and platform
- Format, codec and frame rate
- Subtitle and dubbing versions
- Quality check results
- Files sent and receipt confirmed
- Master archive location
- Delivery sign-off
Rights, licences and releases
Who may use what, where and for how long is a record that gets asked for years later. It is easier to keep it along the way.
- Music and stock footage licences
- Location and property releases
- Talent and appearance releases
- Territory and term of use
- Expiry dates and renewals
- Rights sold or retained
- Royalty statements
Invoicing and client billing
- Milestone invoices
- Tax invoices under your own tax rules
- Currency per client
- Advances adjusted against final bill
- Outstanding by client
- Overdue reminders
- Credit notes for dropped scope
Broadcast, programming and publishing
Radio stations and publishers work to a calendar rather than a single project. Their records follow schedules and issues.
- Programme schedule and slots
- Presenters and guests
- Ad spots booked and aired
- Playlist and music logs
- Manuscript, editing and proof stages
- Print runs and issue calendar
- Author and contributor payments
- Subscriber and distributor lists
Studio sessions and photography bookings
- Studio and engineer booking
- Session deposit and balance
- Photo shoot packages
- Image selection by client
- Album and print orders
- Delivery of final files
- Event coverage schedules
Owner dashboards and reports
A founder wants to see which projects make money. A producer wants to see which ones are running over.
- Active projects by stage
- Budget against actual
- Margin by project and client
- Crew and equipment use
- Receivables and cash due
- Pipeline of quotes
- Delivery dates at risk
One connected workflow, end to end.
Every stage below can sit in one system, so nobody re-enters what the last stage already captured.
- Brief
- Quote and acceptance
- Budget lock
- Crew booking
- Pre-production
- Shoot
- Ingest and backup
- Edit and post
- Client review
- Delivery
- Invoice and collection
- Archive
You do not have to replace everything at once.
Each phase is usable on its own, so the system earns its place before the next part is built.
- 1
Projects and budgets
The project record, quotes, budgets, vendor bills and the running cost report. Producers and accountants use these first, since every other record in the system depends on the money attached to a project.
- 2
Crew, schedule and equipment
The crew database, call sheets, shoot calendar, equipment bookings and the changes that must reach the unit.
- 3
Assets, review and delivery
Footage logging, post-production tasks, client review notes, versions, licences and the final delivery list. Editors, colourists and the delivery coordinator work from the same status for every shot and cut.
- 4
Billing and reporting
Milestone invoices, receivables, margin by project, owner dashboards and links to your accounts and storage.
How a build actually runs.
- 01
Understand
We follow one finished project from brief to final invoice. We read the budget, the call sheets, the review emails and the delivery checklist, and ask the producer where each one went wrong.
- 02
Map
Departments, roles, equipment, deliverables, approvals and each point at which money is committed.
- 03
Design
A phone view for the unit manager on location, and a desk view for the producer and the accounts team who need the full picture.
- 04
Build
Projects, budgets and crew first. Cost control matters most while a shoot is running.
- 05
Test
One live project is run on it next to your usual sheets, and the cost reports are compared line by line.
- 06
Deploy
Open projects, crew lists and equipment records are carried across. Producers, editors and accounts staff are shown their own screens.
What you bring, and when.
The build moves at the speed of the answers. These are the things we ask for, in the order we ask.
- 01
Budgets, call sheets and delivery specs
Bring a past project’s budget, call sheet and delivery sheet. Add a crew rate list. They show how a production is planned and closed.
- 02
A line producer and a post lead
The line producer understands budgets and schedules. The post lead understands deliverables. The head of production rules when needs clash.
- 03
Crew rates and spend approval
Crew rates, spend approval and review stages must be agreed as development moves. A producer tries each module on a live project. Slow answers pause what follows.
- 04
Running projects and storage access
Projects in progress arrive with budgets. Access to your storage and review tools is arranged. The head of production picks the start date.
Systems we can put together for you.
- Production management systems
- Budget and cost reporting tools
- Crew and talent databases
- Call sheet and schedule software
- Equipment and studio booking systems
- Footage and asset tracking
- Post-production task tracking
- Client review and approval portals
- Rights and licence registers
- Project billing and receivables
- Radio and programme scheduling tools
- Publishing and editorial workflow systems
- Studio session booking software
- Multi-project dashboards
Questions owners ask before starting.
What is custom media production software?
It is software built around one production company’s habits, from its project stages and budget lines to the people who sign off each approval. A general project tool does not know what a call sheet is.
Will it hold our large video files?
It tracks the files and where they live. The footage itself usually stays in your own storage, and the system links to it.
Do clients get to review a cut and leave notes?
Yes. A review page can show the cut, take comments on a timecode, and record which version was approved and by whom.
Does it suit a single shoot as well as a long series?
Yes. A short job uses a simple project record. A series adds episodes, rolling schedules and budgets that carry from one episode to the next.
Can it link to the edit suites and storage we already use?
In many cases. Each tool decides what it lets outside systems read, so that is tested first. Where no link exists, someone keys the status in manually.
How are taxes and currencies handled?
Invoices follow your own tax rules and the currency of each client. Your accountant reviews the invoice format during implementation.
Can freelancers see only their own work?
Yes. Every role sees its own screens and no others. A freelancer sees their own call times, tasks and payment status, and nothing about other crew rates or the project budget.
Can we bring in old project data?
Yes. Old budgets, crew lists and client details come in from your sheets, and a person on your team checks every imported row before the first shoot depends on it.
How we work with this trade.
Ready products for this work.
If one of these fits, it is cheaper and faster than building from scratch. We will say so.
Build a system that keeps the budget visible while you shoot.
Production companies seldom lose money on the day itself. They lose it on a hundred small approvals that no one wrote down, each of which looked harmless when it was given.
Send one finished project with its budget, schedule and invoices. We start with the cost lines and the approvals, and add review tools and dashboards after that.
Tell us how your media and film production companies runs today.
We will tell you what can be digitised, what can be connected, what is worth automating, and what you should leave alone.
What happens after you share your requirements
- A senior engineer reads your answers. Nobody phones first.
- Within one business day you get a written note: what we understood, what we would start with, and the questions we still have.
- If it fits, a proposal follows with the order of work, what we need from you and what you receive at each step.
- No call is booked and nothing is paid until you have read the note. Your details stay with us.
Start with your requirements
Seven short steps that tell us what you need. A senior engineer reads them before anyone gets in touch.
Share your requirements