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What Soldum does for you

Advertising & branded content

Bids, usage rights, deliverable versions and the production book: Soldum switches to the commissioned-film business.

Advertising & branded content

A commercial isn't financed, it is commissioned. Pick the Advertising or Branded content production type, and the tool switches to that business — you configure nothing else.

What changes, on its own

  • The vocabulary: shots, not scenes.
  • The breakdown: the trade's own sheet — product (packshot), silhouettes, stand-ins, weapons, set dressing, security, location support.
  • The quote: an advertising nomenclature, without the French CNC vocabulary.
  • The navigation: no more financing plan or grants — a commercial is paid for by its advertiser. In their place, the Usage rights screen.

The job card

Every project carries its job: agency, advertiser, brand, bid deadline. A status follows it — bid, awarded, PPM, shoot, wrap, or lost — and your dashboard becomes a pipeline. A lost bid doesn't disappear: it's what you re-read before the next one.

Usage rights (buyouts)

A performer is paid twice: the fee for the shoot, the buyout for the use of the film. The buyout often exceeds the fee, and forgetting it is the costliest mistake in a bid.

  • Cost the buyout by media (TV, digital, social, OOH, cinema, print, radio), territory and duration — the amount goes into the quote.
  • Place your talent options and track them: open, exercised, expired, dropped.
  • Never re-run out of rights: every buyout carries an end date, and a dashboard across all your jobs warns you about deadlines.

The deliverables matrix

A 30s, a 15s, a 6s, in 16:9 and 9:16, by language and by claim: those versions cost money, and it's the line bids underestimate most. You declare them in a matrix, and every addition updates the quote with no re-keying. The master doesn't count: its post-production is already in the quote.

The shoot and the pitch

  • The rate card covers recurring lines, and can be overridden project by project when the deal departs from it.
  • The advertising call sheet carries the three principals — production, agency, advertiser — each with their own address and contacts.
  • The production book assembles itself from the project: treatment, locations, casting, shots, schedule, quote total. You freeze a version when you send it, which the recipient opens through a secure, revocable link.

The agency and the advertiser in the tool

Invite them as guests, to replace the parallel email chains.

GuestWhat they see
AgencyBreakdown, schedule, casting, call sheets, post-production, and the total of the quote they're negotiating — never its line items. They can comment.
AdvertiserSchedule, casting, call sheets, post-production. No breakdown, no figures: they go through their agency.

Your margin never leaves

Neither the book nor the agency's access shows the quote's line items. Overheads, producer fee, contingency — anything that would let someone infer your margin is not sent.

Branded content is prepared like a commercial: same commission, same client, same usage rights. It therefore uses the same configuration.

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