The world behind the scene.

A script becomes one consistent world: a world that can be found, made and put on camera. Scenergia builds the tools for its three layers.

The scriptThe key plate. It holds the other three in register.
DiscoverThe physical world. Skenic finds it.
CreateThe printed world. Chronotype makes it.
ControlThe digital world. Mombie plays it on cue.

42 INT. ORROWBY & VANCE CARTAGE, OFFICE. NIGHT

Ines folds the letter back along its crease. Through the window the firm's van idles in the yard, lights off.

Her phone lights up: DISPATCH. She lets it ring.

INES

You sent it on Friday. You said so in writing.

foundmadeon screen

Five lines on the page. On the day: a liveried van, a furnished office, a wall of paperwork and three live screens.

Skenic. The physical world

Discover

Find what the scene needs.

Props, set dressing, vehicles and locations. Skenic breaks the script down, finds the suppliers who have what it asks for, and keeps the production hub in one place.

Open Skenic

Skenic prop list, sc. 42
1	Box van, liveried	hero vehicle, yard
1	Dispatcher's desk, two pedestals	office
1	Filing cabinet, three-drawer	office
5	Box files	shelf
1	Wall clock	practical
1	Desk lamp	practical

Chronotype. The printed world

Create

Make what the scene invents.

Documents, newspapers, packaging, signage, labels, menus, maps, photographs and signatures. Seventeen studios, period-correct and fictional.

Open Chronotype

Chronotype sheets, sc. 42
3	Letter on the firm's letterhead	hero, with repeats
1	Fascia sign	above the window
1	Wall calendar, March 2011	period-correct
1	Operator's licence, framed	fictional authority
4	Route map and delivery notes	pinboard
8	Spine and drawer labels	files, cabinet

Mombie. The digital world

Control

Put the world on screen.

The phones and screens in shot: messages, calls, notifications and interactive on-camera UI, cued from the director's tablet.

Open Mombie

Mombie cue list, sc. 42
Q1	Phone: incoming call, DISPATCH	on action
Q2	Phone: rings out, missed call	after the line
Q3	Monitor: dispatch board, van 4 goes dark	on the cut
Q4	CCTV: the yard, looping	runs through the take

From script to screen, in one line.

ScriptWhat the page asks for.
DiscoverSkenic finds it.
CreateChronotype makes it.
ControlMombie plays it on cue.
ScreenWhat the lens sees.

One invented firm, the same in every layer.

"title": "Low Tide at Marrowmere",
"year": 2011,
"town": "Marrowmere",
"firm": {
  "name":  "Orrowby & Vance Cartage",
  "brand": "BR-OV-2217"
},
"strictness": "period-correct"

The production file is written once and read by all three products. So the firm on the letterhead is the firm on the van is the firm in the phone.

The film, the town and the firm are invented for this page.

On the vanSkenic lists the vehicle and the livery it has to carry, so the supplier quotes for the right van.

On the letterheadChronotype sets the name, the reference and the dispatcher's signature on the sheet Ines is holding.

In the phoneMombie puts the same name on the incoming call, and rings it when the director gives the cue.

Made inside a working art department.