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Your production
information lives in
six places. Five of
them are wrong.
Clier is the production data layer. Crew, cast, locations, schedule, vendors and client details go in once — and every document assembles itself from that single source. Change the location and it's right everywhere before you've closed the tab.
Spell clear the way a Spanish speaker would write it, and you get Clier. It comes out sounding the same in both languages — which is the argument for the whole product in one word. One thing, written once, read correctly by everyone who picks it up, whichever language they happen to be working in that week.
Change it once and you've changed it once.
The rest are now lying, quietly, to sixty people.
A location address appears on six documents.
Movement order, welcome package, tech package, rooming list, the map you sent, the WhatsApp thread. Fix one and the other five are still wrong — and nothing on screen tells you that.
A wrong pickup time isn't one mistake.
It's a driver at the wrong hotel at the wrong hour, a client alone in a lobby, and a unit that starts the day behind — repeated down every line of the movement order. The cost of a typo scales with the size of the unit.
"Is this the latest?" — asked hundreds of times.
Folders and naming conventions are not an answer to it. So the coordinator's day becomes forwarding, CC'ing, chasing, confirming receipt — invisible labour nobody values until it fails.
You rebuild the whole apparatus every job.
A studio has standing infrastructure. You spin up a full production organism, deliver it, tear it down — and start from a blank template next month in another country.
The documents are the company.
Before the first frame, the client has seen nothing of your work except PDFs. You're judged on formatting before you're judged on craft — and that judgement currently rests on whoever happened to be building the file at 11pm.
One source. Every document. Every party. On time.
Certainty
There is no "latest version," because there is only one version. The question stops being asked.
Information that moves on its own
The Production Calendar sends. The Flight Grid notifies the parties affected. Nobody forwards, nobody chases, nobody is left off the thread.
Brand integrity, structurally
Every document leaving your office carries your identity — automatically, not because someone remembered. Your client sees one company, not six formats.
The formats come with a shape already. Clier was built inside a working service company — Costa Rica, Panama, the Dominican Republic — by the people who were filling these documents in at 11pm the night before a travel day. They've been shaped by what crews actually misread, what clients actually ask about, and what fails at 5am in someone's third language. You start from a document that has already been through a shoot, not a blank template.
This is what the client sees.
Assembled from the project record, current by definition, and carrying your identity — not ours. Clier appears as a small grey mark in the footer and nowhere else. You pick one of three document voices and every document your office issues is set in it.
Unit 2 · Day 14
Six vehicles. 41 crew.
| Vehicle | Dep | Pax | Drop |
|---|---|---|---|
| Van 1 | 05:15 | 8 | 06:10 |
| Van 2 | 05:40 | 11 | 06:35 |
| Unit total | — | 41 | 07:00 |
Unit 2 · Day 14
Six vehicles. 41 crew.
| Vehicle | Dep | Pax | Drop |
|---|---|---|---|
| Van 1 | 05:15 | 8 | 06:10 |
| Van 2 | 05:40 | 11 | 06:35 |
| Unit total | — | 41 | 07:00 |
Unit 2 · Day 14
Six vehicles. 41 crew.
| Vehicle | Dep | Pax | Drop |
|---|---|---|---|
| Van 1 | 05:15 | 8 | 06:10 |
| Van 2 | 05:40 | 11 | 06:35 |
| Unit total | — | 41 | 07:00 |
Same document, same data, same markup — everything you can see between those three is the voice. It is set once in your organisation settings and applies to every export, so nothing your client receives is ever formatted by whoever happened to build the file. The dashed box is where your logo lands.
Built for the office that runs the shoot.
Your own production or a client's, at home or in another country: the job is the same — stand up a full crew, deliver it, do it again next month. Not a scripted-studio tracker with film labels on it.
Petty cash is the last thing anyone wants to reconstruct.
Not the budget — the float. Cash moves faster than the paperwork behind it, so the record gets rebuilt at wrap from memory and a bag of receipts. Clier keeps it current as it's spent, in the currency it was spent in.
Every advance belongs to a person.
Cash is issued to a crew member or a department and stays open until it's settled. What's out and with whom is a number on a screen, so nobody has to carry it in their head or ask around at the end of the week.
Photographed at the counter, not at wrap.
Shot on a phone, coded, attached to the float before the crew member is back in the van. The report is already written by the time wrap arrives.
Local as spent. USD as reported.
Side by side, at the rate that applied on the day. Your client's number and your accountant's number reconcile because they were never two separate numbers.
It doesn't replace your budget software. It feeds it.
Clier is the operational layer: who, where, when, and what was actually spent on the ground. Budgeting, cost reporting and closing stay where your production accountant already works — expenses leave here coded, receipted and ready, instead of arriving as a photo of a notebook.
Actuals, with codes attached
Settled floats push out to the platform your budget already lives in, account codes intact — through the API, or through a named integration where one exists.
Exports your closing can use
CSV and XLSX built for whoever does the books, receipts attached to the lines they belong to — not a folder of images with dates for filenames.
Where your crew already lives
Dates subscribe as a calendar feed. Documents arrive as PDFs in an inbox or a thread. Nobody is asked to adopt a new app to read a pickup time.
Named connections, so nothing has to be moved by hand:
Google DriveConnectedDocuments land in the project folder you already share with your client. Your folder structure doesn't change — it just stops being maintained by hand at midnight.
DropboxConnectedThe same, for offices that live in Dropbox. Paperwork sits beside the media it belongs to, in the account your company already pays for.
Settled floats and coded actuals going straight into the budget, so what was spent on the ground meets the cost report without being retyped.
Service companies and production houses.
Teams that stand a production up from nothing.
Line producers, production managers and coordinators — running your own job or someone else's, at home or in another country. If your infrastructure is rebuilt every project, this is built for you.
Scripted studios with standing infrastructure.
If you already have permanent systems, permanent staff and a script driving the schedule, the tools built around scripts and shoot days will fit you better than this will.
Works on a phone, in the sun
Review tasks run one-handed. Structural work — finalizing, exports, budget lines — stays on desktop and says so, instead of being half-possible in a van.
Your identity, automatically
Every document carries your name and logo without anyone remembering to set it. Our mark is grey, in the footer, and that is all.
Nothing changes without a trace
Returns, deletions and reopened settlements carry who did it and why. Local currency, local time zones, English and Spanish in the same release.
Your first project is standing up by the afternoon.
No migration project, no six-week implementation, no asking your coordinator to learn a system during a shoot week.
Seats are for your office. Your crew doesn't need one.
You're billed for the people who build the paperwork — production, coordination, accounting — not for the sixty people who receive it. Crew and clients read documents without an account, so a unit that doubles overnight doesn't change what you pay. What scales is how many productions you have open at the same time.
Twenty-five companies take 40% off Studio or Agency, and keep that rate for as long as they hold the account. Not an introductory discount that expires in three months — the price you join at is the price you renew at, while the standard rate moves with the product. Twenty-five is what we can onboard properly while still answering the phone during a shoot week. It closes at twenty-five accounts or on 31 December 2026, whichever comes first.
- Every tool, no limits
- Unlimited crew and documents
- Your logo on every document
- Archive stays readable after wrap
- Everything in Filmmaker
- Crew & vendor database across projects
- Your document templates and voice
- Org roles and permissions
- Priority support during shoot weeks
- Rate held for as long as you stay
- Everything in Studio
- Agency controls across client accounts
- Ten productions open at the same time
- Seats for the whole coordination team
- Rate held for as long as you stay
- Your domain and your mark — ours disappears
- Multiple orgs under one account
- Document system built to your spec
- Onboarding for each office
The questions producers actually ask.
Who owns the data, and what happens after wrap?
You do. The project record is archived rather than closed — readable, searchable and exportable in full, for as long as you hold an account. Documents also land in your own Google Drive or Dropbox as they're issued, so the paperwork exists in your storage whether or not it exists in ours.
Does every crew member need an account?
No. Only the people working inside the system need a login — production, coordination, accounting. Crew and clients receive documents the way they already receive them. Nobody is asked to install anything to read a movement order.
Is this just spreadsheets with a nicer face?
A spreadsheet stores a value. Clier stores a fact, and knows every document that depends on it. That difference is invisible until the location changes at 9pm — and then it is the only thing that matters.
Our client insists on their own template.
The document voice is an organization setting, so everything your office issues is consistent by default. Client-specific formats and a fully custom document system are what the Partner tier is for.
English or Spanish?
Both, in the same release — not a translation shipped a version late. Your team works in one language while a document goes out in the language of whoever receives it.
We work in three countries with three currencies.
So do we. Local currency, local time zones and local formats are handled per production, not per account — and reported back in USD without anyone rebuilding the sheet.
The problems these tools were built against.
Written by people who ran the productions first. Each one starts with something that goes wrong on a real shoot, and works out what the paperwork should have done about it.
Cash goes out on Monday and comes back as a bag of receipts.
Why the float, not the budget, is where production accounting actually breaks — and what changes when the receipt is photographed at the counter instead of reconstructed at wrap.
Read → TransportThe movement order is the last document nobody automated.
Day, vehicle, movement, passenger — four levels of nesting rebuilt by hand every shoot day, and one wrong pickup time that reaches an entire unit before anyone notices.
Read → CrewA person should be entered once, not sixteen times.
Every sheet on a production carries the same phone number. What changes when the department list stops being the master record and starts being a view of one.
Read → LogisticsFlights move. Your grid should move with them.
One flight, one row, seven statuses, and a board that updates while the coordinator is asleep — plus the quiet failure case of a flight nothing is actually tracking.
Read → LodgingA rooming list is a billing document wearing a hotel's clothes.
Who pays for which nights is the only question that matters at the end — and split stays are where every spreadsheet quietly gives up.
Read → ClientsYour client judges the formatting before they judge the craft.
Before a frame is shot, everything a client has seen of your company is PDFs. What it costs when those are formatted by whoever happened to build the file.
Read →Your next project,
made clear.
A 30-minute walkthrough with your own crew list and dates — and a movement order assembled from them, under your own logo. If it doesn't fit how your office already works, we'll tell you.