Clearance reads a finished title's own record and names what is in it that belongs to someone else — the track audible in one shot, the poster on the wall, the phone screen with a film playing on it, the branded bottle on the table.
Nothing opens in this browser — this one takes a job and does the work on our own graphics cards in Oregon. The free allowance below is how you try it: 60 shots, no card and no payment, on the key you are issued.
Being incidental can soften a clear-it to an edit-it-out. It can never improve a blocking item.
The problem
Nobody forgets the performer paperwork. What ends a title is the forty seconds of a chart record playing in the background because the room had a radio on, or the film poster filling a wall behind the bed. Those come back as a claim, a demonetisation or a takedown months after publication, by which time the title is in distribution and the shoot cannot be repeated.
Not scored. Each item comes back named — what it is, which shot, and which kind of right is involved — because a risk score tells you to worry and a named item tells you what to do.
Clear it, edit it out, or blocked. Each with the reason, and with what would change it. One shot is one unit however many items come out of it.
Incidental use can soften a clear-it into an edit-it-out. It can never turn a blocking item into a passable one. That ratchet only runs one way and it is written into the code.
"It was only in the background" is a real argument and it is a weak one. Here it can move an item from clear-it-first down to edit-it-out, because an edit is cheap and certain. What it cannot do is move a blocking item up into the acceptable pile — and that is exactly the direction every producer under deadline wants it to run. The ratchet is one-way by design and has no setting.
How it works
Shot notes, set descriptions, the music log if you keep one, what was on the walls and the screens. Clearance reads your record; it does not watch the footage.
Each third-party thing in the title, which shot it is in, and which kind of right it touches — music, a work of art, a trade mark, another film. Named, so you can go and look.
Clear it, cut it, or hold the title. All three are cheap now and none of them is cheap after distribution, which is the entire argument for running this before you publish rather than after a claim arrives.
What it will never do
This is the product most likely to be leaned on by somebody with a release date, so the places it will not bend are the ones that matter.
Pricing
The unit is a shot examined, not an item found — however many third-party things come back out of one shot, it is one unit. That is deliberate: a program paid by the item has an obvious reason to find more items, and this is a program whose output you are going to act on. Sixty shots free on every key is a whole short title.
One short title screened in full before you publish it.
A year's slate screened before publication.
A back catalogue screened before a re-release.
Per shot examined, never per item found. A program paid by the item has an obvious reason to find more of them. Your licence key is emailed to you within two working days of payment.
Checkout is our own bitcoin server, not a card processor. The units you buy are added to your key: buy from the Buy more box inside the program and they arrive on their own once the payment confirms, or buy here and paste the invoice number from your receipt into that box.
Questions
It cannot hear anything. It reads your record — the music log, the shot notes, the set description — and names what is in there that belongs to somebody else.
Which means its completeness is your record's completeness. That is stated on the output rather than glossed over, and in practice the act of answering its questions is what surfaces the half of these items nobody had written down.
No. It is the list you walk into that conversation with.
The expensive part of clearance work is somebody competent reading your whole title to find the items. Arriving with them already named and sorted into three piles is where the money is saved.
Because the cost of being wrong is asymmetric and the pressure is always in one direction.
Nobody has ever asked a clearance tool to be stricter two days before a release. Building the ratchet one-way is how the tool stays useful at exactly the moment it is least convenient.
No. It runs on Tower 1's own graphics cards in Oregon and the rules run in Python beside it.
A key. One line of text, issued to you and shown exactly once — only its hash is kept here, so it cannot be looked up later and we could not tell you what yours is. Every key arrives with a free allowance already on it, which is the tier at the top of the pricing above, and the work starts the first time you send a job with that key on it.
Each job is metered in the unit named in the pricing, and a unit that fails — a file that will not read, a row the model held back — is not charged and is named in the job report rather than silently skipped. When an allowance runs out the next job is refused before any work starts, with the number it used printed on the refusal.
More units are bought in bitcoin. The checkout is a bitcoin server we run ourselves. Buy from the Buy more box inside the program and the units are added to your key on their own as soon as the payment confirms; buy from the plan buttons above and paste the invoice number from your receipt into that same box. Each payment adds its units once, to one key.
Not the back catalogue — the next one, inside the free sixty shots. Everything on its list is cheap to fix this week and expensive to fix after it ships.