Series, episodes, stripboard days and delivery.
One record runs each series. Seasons, episodes, coloured revision pages and the stripboard schedule sit together, while deal memos, call sheets, daily production reports and the episode budget attach to the same episode. Colour grade, sound mix, music clearances and the delivery schedule then close each episode once the commissioner signs off the final master and textless files.
- Delivery lists and episode records entered as you work
- Open productions and crew lists migrated from your sheets
- Stage and cost code edits handled by our staff
Producers, line producers, coordinators and post supervisors at TV and OTT production companies run this system, which GullySystem sets up around their cost codes. Each episode carries script drafts, stripboard shoot days, cast and crew bookings, cost against budget, grade and mix stage, plus masters, subtitle files and cue sheets. Payment tranches follow the delivery list.
What goes wrong before the software.
How the work flows through it, step by step.
- 1
Commission
The series opens on one record with logline, bible, episode count, budget envelope and delivery dates, and each approval point names a commissioner contact instead of an inbox.
- 2
Script and prep
Script drafts are versioned by colour. Every department, from prosthetics and armoury to stunt coordination and the camera crew, receives a scene breakdown naming its own cast, props and vehicles. Cast, crew and locations are booked. Deal memos go out. Prep opens once each is signed or flagged.
- 3
Shoot
Shoot days are ordered on the stripboard. Call sheets go out the evening before each one, and after wrap the daily production report records pages shot, set-ups completed, meal penalties and lost time for every unit.
- 4
Edit and notes
Rushes are logged card by card. Cuts go to the commissioner, and every set of notes is listed against the exact cut it belongs to, with an open or resolved mark beside each note.
- 5
Finishing
Finishing is tracked by episode. Music licences, archive releases and cue sheets are collected before the colourist, the dubbing mixer or the subtitling vendor hands over a master. Clearance gaps surface early.
- 6
Delivery and settlement
Masters and files are ticked off the delivery schedule, tranches are invoiced as items clear, and the final cost closes against the episode budget. Each season ends with reshoots and overages explained.
What is inside.
Every module can be switched on, left out or changed to match how your team already works.
The business modules it is built from.
Each one is also available on its own, or inside a system built for you.
- Task Management
Offline edit, colour, mix, subtitles and quality check are set as dated tasks with an owner, so the post supervisor sees which episode is stuck.
- Resource Allocation
Actors and crew are allocated across shoot days, and a hold that ends before their last scene is flagged to the coordinator.
- Estimate/Quotation Management
The episode budget is built from the script breakdown by cost code, then compared with orders and invoices as the shoot runs.
- Project Timelines with Gantt Charts
Shoot days, prep weeks and edit slots are laid on one timeline, so a moved location day shows its effect on the cut dates.
- Project Document Management
Music licences, archive releases and signed location papers sit against the scene or episode they cover, with expiry dates noted.
- Workflow and Approvals
Each cut goes to the commissioner for approval, and the returned notes move the episode to colour only once the sign-off is recorded.
- Purchase Order Management
Camera, grip and vehicle hire is ordered against shoot days and coded to the episode budget before the invoice arrives.
- Project Management Reports
Cost to complete, overtime and pages shot against plan are read by episode and by season in the executive view.
How we would put it in.
Setup, data migration, integrations and anything built on top.
One system, each person sees their part.
For the executive producer
See every series by stage, the cost against the commissioner’s envelope and the deliverables that decide the next payment, without waiting for the Friday cost meeting.
For line producers and production managers
Hold the budget, the stripboard, the hire bookings and the weekly cost to complete for each episode, and catch an overtime trend before it becomes an overspend.
For production coordinators
Issue call sheets, chase unsigned deal memos and permits, and keep the cast and crew lists current as people join, leave or swap days across the block. Runners and floaters are listed with their dates.
For the first assistant director
Read the day’s scenes, cast times and unit lists in the morning, then enter the daily figures from a tablet after wrap, while the count is fresh.
For post supervisors and editors
See incoming rushes, cut versions, commissioner notes and the stage each episode has reached, so the editor opens one list of changes instead of three email threads.
The numbers the owner asks for.
- Episode budget against actual cost and cost to complete
- Shoot days planned against shot, with pages completed
- Overtime and lost time by unit and week
- Deal memos unsigned or expiring
- Episodes by post-production stage
- Deliverables owed to the commissioner
- Clearances missing before delivery
Who this is built for.
- Scripted drama and comedy producers
- Unscripted and reality format makers
- Documentary series producers
- Children’s and animation-led series producers
- OTT original producers working for one or more platforms
- Production companies running several series together
When it is not the right choice.
- A one-person company making a single short film can manage with a stripboard sheet, a budget workbook and a shared folder for releases.
- A broadcaster that schedules transmission slots, sells advertising breaks and plays out the finished programmes needs a different product from a company that makes them.
Adapted to your business before it goes live.
You are not handed a login and left to it. The product is set up around your records, your people and the tools you already use.
Works alongside
- Accounting export
- SMS
- WhatsApp or other messaging
- Cloud file storage
- Calendar
- Payroll export
Questions owners ask before a demo.
Is this production software or a scheduling tool?
It is production office software. Scheduling is one part, sitting beside budgets, deal memos, daily reports and delivery, and a stripboard file from your assistant director can be imported when the schedule starts there.
Can we run several series in one account?
Yes. Each series keeps its own seasons, budget and commissioner. The executive view reads across all of them, and shared crew records follow a gaffer or script supervisor from one series to the next.
How are episode costs tracked against the budget?
Purchase orders, timesheets and invoices are coded to the episode’s cost codes, and the budget screen shows spend, commitments and the cost to complete.
Does it handle cast and crew contracts?
It records deal memo terms, status and dates. The legal wording of contracts is prepared by your own advisers, and the signed copy is attached to the person’s record for later reference.
Can the commissioner’s notes on a cut be recorded?
Yes. Each set of notes is logged against the cut version it refers to, with an open or resolved mark, so the editor works from one list.
What does the delivery list cover?
Whatever the commissioner’s technical specification asks for, such as masters, textless versions, subtitle files, audio stems, cue sheets and music licence summaries. Items are ticked on arrival. Missing ones sit on the post supervisor’s board.
Can the daily report be filled on a phone?
Yes. A unit manager or coordinator on set can type the day’s numbers into a tablet or phone, and the office sees them once saved.
Will it take our current spreadsheets?
Yes. Running budgets, cast and crew lists and shoot schedules are imported and checked by your production office before the first week on the system.
Who owns the production records?
Your company does. How the records leave, as a spreadsheet export or another format, is agreed in writing when the proposal is drawn up.
How is the price worked out?
No price is listed. The amount moves with how many series run at once, how many office staff sign in and whether an accounting package is linked. A walkthrough of the screens comes first.
Wondering what it would cost? Share your requirements and an engineer will come back with a scope.
Businesses that use this.
See TV and OTT Production Company Management Software with your own data.
Tell us how you run things today. We’ll show you the parts that matter to you and say plainly what would need changing.
- No obligation
- A reply within one business day
- Your details stay private
Start with your requirements
Seven short steps that tell us what you need. An engineer reads them before getting in touch.
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