Your film is finished. Now get it seen.
WrapToScreen picks up where the shoot ends: track your cuts, build the deliverables list distributors actually ask for, run your festival campaign, and send screeners — without a spreadsheet in sight.
Try the interactive demo — a fictional film, fully clickable, no account needed.
The stretch nobody manages — and it’s the one where the film is finally worth something
Between picture lock and premiere, an independent film runs on a producer’s spreadsheet
and a folder called FINAL_final_v3. Which cut is current. What this festival
requires that the last one didn’t. Which deadline you already missed. What the submissions
have cost so far. Where the signed releases went. WrapToScreen is one place for all of it, built
on the record your production already created.
Know which cut is current
Cut registry
Every version — assembly, director’s cut, locked v3, festival cut — with runtime, date, lock status, and what changed. The question that burns everyone, answered on one screen.
Checksums in the browser
SHA-256 a master without uploading it anywhere. The file never leaves your machine; the fingerprint travels with the record, so “is this the same file you sent the lab?” is a fact, not a memory.
Activity log
Who changed what, when. The paper trail that a distributor’s legal team will eventually ask you to reconstruct from email.
Deliver what each buyer actually asks for
Per-target deliverables
This festival needs a DCP and burned-in subs; that distributor needs ProRes and a cue sheet; E&O needs the release pack. Each target carries its own list, seeded from spec templates, with a readiness meter that is honest about what’s missing.
Chain-of-title binder
Option agreements, music licenses, insurance certs, and the signed releases — structured slots, completeness checks, and one indexed export: the pack an E&O underwriter asks for.
Music cue sheet
Every cue, its usage, timings, and rights holders, exported as the CSV music supervisors and PROs actually pass around — with the standard usage codes.
Post schedule & budget
A vendor checklist with dates and statuses — deliberately a list, not a Gantt chart — plus budget against actuals, with submission fees fed in automatically.
Run the festival campaign on purpose
Every deadline in one agenda
Deadlines, notification dates, and screening windows across all your titles, with a calendar file you can subscribe to. Premiere status is tracked, so you don’t burn a world premiere on the wrong festival.
Bring your spreadsheet
Import the festival list you already keep as CSV — including fees paid, dates, and outcomes — with a preview before anything is written. Or start from a dated starter pack.
What it’s cost
Submission fees totalled across the campaign, so the number in your head and the number in your account finally match.
Laurels
An acceptance becomes a proper laurel-wreath mark for the poster and the press kit — crisp SVG, no designer round-trip.
Put it in front of people
Press kit that builds itself
A public EPK page — synopsis, credits, stills, specs, laurels, contacts — generated from the data you already entered, not authored from scratch. Not indexed by search engines unless you say so.
Screeners you can revoke
Unlisted tokened links with an expiry date, per-recipient tracking, and a view log. Honest claims only: we log opens, we don’t pretend to be DRM.
“Where is the film?”
The printable one-pager your EP asks for every week — status, next dates, campaign spend — generated instead of retyped.
Collaborators
Bring in your editor, post supervisor, or publicist as editor or viewer. Only the owner grants access, and there is no self-elevation path anywhere.
Where this sits in the SlateScreen Suite
WrapToScreen is the middle of three products that hand a film to each other. One account, one project identity, and — this is the part that matters — nothing retyped between the shoot and the sale.
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SetDots — script to wrap
Runs the production and ends holding a complete record: the script as shot, every daily report, signed releases with evidence, the merged credits roster.
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WrapToScreen — lock to premiere
One click imports that record: credits become your end crawl, the releases ledger becomes your chain-of-title binder, stills and synopsis become the press kit. You start the festival campaign with the film’s history already in place instead of a blank form.
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ReelVenue — premiere to theaters
Book the film into theaters yourself instead of waiting for someone to buy it. You earn from the first screening, and every screening produces attendance and revenue figures that prove the film has an audience — the numbers that turn a later offer into a better one. ReelVenue needs a DCP, and can make you one. WrapToScreen hands off the film’s verified state — deliverables checked, releases attached, chain of title intact — so you are ready either way: release it yourself, take an offer, or do the first to strengthen the second. The manifest never lies: it reports what is not ready just as faithfully.
You don’t need the other two. A film shot before you ever heard of SetDots gets the full deliverables, festival, and press-kit value — you just type the credits in yourself.
Plans
Free is a real plan — one film, start to finish, no card required. The paid plans are for a slate on the circuit and for getting the film delivered and released.
Sign in — or start free
One account across the suite — if you already use SetDots, sign in with the same account and your projects come with you.
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