The production operating system for independent film
Independent cinema, for all
A screenplay is not a production. Somewhere between the two sits a producer: someone who reads the script and returns a breakdown, a schedule, a budget, and an honest map of where the money could come from. Most filmmakers never get that first pass.
ARIA does it. Give it a script and it returns the full planning pass in accessible language: what you are shooting, for how many days, for how much, and which funds, labs, co-production markets and festivals actually fit the film you wrote. You keep every creative decision, and every number stays editable.
Open the beta Free, no cost to anyone. An account is optional.
01 — Script in, plan out
Paste it, or upload .txt, .pdf, .fdx or .celtx. The parser flags its own uncertainty instead of guessing quietly.
Breakdown, schedule, budget, financing, assessment and distribution, computed as one connected model. Change a shoot day and the budget follows.
Exports as PDF and .docx: top sheet, Day Out of Days, day cheat sheets, lined script, funding calendar, submission assets.
02 — What it does
Scene-by-scene tagged breakdown sheet from the screenplay, with parse-quality warnings where the document is ambiguous.
Shoot days, a full DOOD with SW/W/H/WF/SWF, day cheat sheets, a lined script and rudimentary boards. Editable: move a scene and the days re-solve.
ATL, BTL, post and other, as a real top sheet. Every account line is editable. Set a hard cap and it rebuilds the whole budget under the cap instead of just flagging the gap.
Funds, labs, co-production markets and private capital, scored for fit against your film, with a deadline calendar, plain explanations of each type, and application materials prepared for you.
A blunt read of the script on subtext, dialogue and cultural relevance, market propensity weighed against artistic ambition, and a pitch deck outline.
The festival, sales agent and platform path laid out as a timeline with its real costs, plus festival matching and a submission asset pack.
Which permits the script implies, from the city film office to marine, police and parks, and where to source what you need.
A production insurance checklist and a broker quote application filled from your own plan.
03 — How it behaves
The planning engine is computed, not improvised. Same script, same plan. It is a production instrument, not a chatbot.
A screenplay does not determine a budget. Estimates carry a range measured against real productions, and the range is stated rather than flattered. Tell it your real budget and it plans to that instead.
If the script is weak it says so. It never refuses to plan your film, and it never calls a film risky: low market propensity with high ambition is artistically ambitious, which is a different sentence.
Soft money is presented as a probability with admission odds attached, and it is capped inside any suggested funding structure. Nobody should build a finance plan on a grant they have not won.
Your shoot-day count, your attachments, your line items, your cap. The plan recomputes around your decisions.
ARIA does not take rights, fees or a position in your film. It is a tool you use, not a partner you sign with.
04 — Access
ARIA is open. Anyone can use it, nobody is charged, and there is nothing to buy. You can run a script straight through without making an account, or create one to keep your projects between visits.
It is a beta, and it says so honestly: things change, things occasionally break, and we would rather you find the rough edges than not have the tool. There is a feedback box inside. Use it.
The free tier is meant to stay a real, permanent tool rather than a trial: write and save a script, keep your projects, and run the assessment, the budget and an editable Day Out of Days without paying. A paid Studio tier will eventually cover raising the money and running the shoot. Not during the beta.