By MCN Editor editor@moviecitynews.com

scenechronize Now Fully Established in Hollywood

$5M financing raised; David Semel joins the board; New office in Burbank.

SAN FRANCISCO (March 22, 2011)–scenechronize, the only web-based production management system in Hollywood, has closed a $5.0M series B financing, led by 3 private investors — it was announced today by scenechronize CEO Hunter Hancock.  Hancock also announced that veteran Hollywood director David Semel will join its board of directors.  Last, Hancock announced it will be opening a new office in Burbank for its sales, marketing and customer support staff to complement its current office in San Francisco.

scenechronize automates production information workflows, streamlines communication amongst the crew and provides an online, virtual hub for the information factory that is the production office.  scenechronize automates the digital distribution of scripts, sides, call sheets, prep memos, location maps, welcome packets, etc.   Often this information is exchanged via a blizzard of phone calls, emails, memos and paper – a time-consuming, inefficient process susceptible to mistakes.  scenechronize expedites and streamlines communications for the entire production, saving  wasted time, significant amounts of money, and lots and lots of trees.

scenechronize is the future of production.  When all of a production’s information is digitized and available for review and collaboration no matter where you are, the creative process has been permanently altered, and vastly improved,” said David Semel, who is directing the new Bad Robot pilot, “Person of Interest”, for Warner Bros. and CBS.  Other directing credits include “No Ordinary Family”, “Heroes” and “House”.

Hancock commented, “We are thrilled with the vote of confidence that this financing and board appointments provide and we look forward to further establishing scenechronize as the production management tool of choice for all of Hollywood.”

The funding and board appointments come as scenechronize continues to add studios, networks and production companies to its already lengthy customer list, which includes: Warner Bros., Columbia Pictures, HBO, Universal Pictures, Paramount, AMC, ABC Studios, Playtone Productions, Apatow Productions and Film 44, among others.  The company’s current film and television credits include MI:4, NO STRINGS ATTACHED, BATTLE: LA, LARRY CROWNE, “The Walking Dead”, “Dexter”, “No Ordinary Family”, “United States of Tara”, “90210”, “Breaking Bad” and many others currently in production.

For more information about scenechronize, please visit www.scenechronize.com.

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2 Responses to “scenechronize Now Fully Established in Hollywood”

  1. Stephen says:

    Ray Pride must be on the board as well… Scenechronize is hardly the only web based production management system!

  2. Ray Pride says:

    A press release passed without comment… please share more!

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It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon