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Pre-production is the part of filmmaking nobody fixed. Schedule, budget, crew, locations, storyboards, props — all in different tools, none of them talking. Murphy holds them in one place, with the kind of working-set knowledge most software pretends doesn't exist. Change one thing, everything else updates. Currently running on productions you'll see in 2027.
Six years ago I tried to make a short film. I had the script, the cast, three weekends of free locations, and a budget I'd saved up over a year of side projects.
We didn't shoot it.
Not because the script was bad. Not because anyone dropped out. We didn't shoot it because by week three of pre-production I had eleven open spreadsheets, a shot list in a Google Doc, a schedule in a different Google Doc, a budget my line producer kept "updating offline," and no idea whether any of them agreed with each other. The crane I wanted was booked. The location had a flight path I didn't know about. The actor I'd locked turned out to be unavailable on the only day the warehouse was free. By the time I figured all this out, the weekends were gone.
I gave up.
That experience never left me. So a few years later I started asking working filmmakers — 1st ADs, line producers, UPMs, indie directors, studio production execs — whether this was just me being inexperienced, or whether pre-production was actually as broken as it felt.
I did about 80 of these interviews over six months and now We're running paid pilots with leading production houses globally, including an Oscar-winning producer's team. Today we're opening it up.
Every single person told me the same thing: yes, it's broken, and no, the tools don't help. The schedule is in one place, the budget in another, the shot list in someone's head, continuity on index cards. Every department holds a piece. Nobody holds the whole. The good ones — the ADs and producers and UPMs who carry productions — hold the whole picture in their head and refuse to drop it. The films that don't get made are the ones where that person ran out of room to hold it.
That's the gap Murphy fills. Not the experience. The picture.
Upload a screenplay. Murphy reads it and gives you the working production — schedule that respects cast availability and magic hour, budget a completion bond officer would sign, crew tiered the way ADs tier crew, locations scouted with flight paths and HVAC noise flagged, props with continuity multipliers, storyboards with face consistency. Change one thing, everything else updates.
It's not a replacement for the people who know what they're doing. It's the place they finally have to put it all.
The feedback we want most: are we missing anything a working set actually needs? If you've ever 1st AD'd, line produced, or UPM'd — please tell us where this falls short. Thanks for taking a look. I'll be in the comments all day.
Very well thought out product for film production, love the nuance and depth!
Congrats on the launch. This looks amazing!
Two questions:
how does the script breakdown compare to something like Filmustage in accuracy?
Is the storyboarding using a generative model or is it more of a structured layout tool? Trying to understand where the AI actually lives in the stack.
Feels like a complete package, all the best team Murphy and @aalap_sanghvi on the launch
Excited to see another player in this space. Coming from a Movie Magic + Shot Lister + a million Google Sheets workflow, what's the real switching cost? Curious how teams onboard without losing the data they've already built up in other tools.
this doesn’t read like a launch post, it reads like someone finally solved their own chaos
this feels insanely thoughtful 🙌
About Murphy on Product Hunt
“AI OS for Film Production”
Murphy was submitted on Product Hunt and earned 32 upvotes and 10 comments, placing #52 on the daily leaderboard. Pre-production is the part of filmmaking nobody fixed. Schedule, budget, crew, locations, storyboards, props — all in different tools, none of them talking. Murphy holds them in one place, with the kind of working-set knowledge most software pretends doesn't exist. Change one thing, everything else updates. Currently running on productions you'll see in 2027.
Murphy was featured in Artificial Intelligence (468.5k followers) and YC Application (46 followers) on Product Hunt. Together, these topics include over 93.6k products, making this a competitive space to launch in.
Who hunted Murphy?
Murphy was hunted by Aalap Sanghvi. A “hunter” on Product Hunt is the community member who submits a product to the platform — uploading the images, the link, and tagging the makers behind it. Hunters typically write the first comment explaining why a product is worth attention, and their followers are notified the moment they post. Around 79% of featured launches on Product Hunt are self-hunted by their makers, but a well-known hunter still acts as a signal of quality to the rest of the community. See the full all-time top hunters leaderboard to discover who is shaping the Product Hunt ecosystem.
Want to see how Murphy stacked up against nearby launches in real time? Check out the live launch dashboard for upvote speed charts, proximity comparisons, and more analytics.
Aalap Sanghvi
Hi PH Community👋
Six years ago I tried to make a short film. I had the script, the cast, three weekends of free locations, and a budget I'd saved up over a year of side projects.
We didn't shoot it.
Not because the script was bad. Not because anyone dropped out. We didn't shoot it because by week three of pre-production I had eleven open spreadsheets, a shot list in a Google Doc, a schedule in a different Google Doc, a budget my line producer kept "updating offline," and no idea whether any of them agreed with each other. The crane I wanted was booked. The location had a flight path I didn't know about. The actor I'd locked turned out to be unavailable on the only day the warehouse was free. By the time I figured all this out, the weekends were gone.
I gave up.
That experience never left me. So a few years later I started asking working filmmakers — 1st ADs, line producers, UPMs, indie directors, studio production execs — whether this was just me being inexperienced, or whether pre-production was actually as broken as it felt.
I did about 80 of these interviews over six months and now We're running paid pilots with leading production houses globally, including an Oscar-winning producer's team. Today we're opening it up.
Every single person told me the same thing: yes, it's broken, and no, the tools don't help. The schedule is in one place, the budget in another, the shot list in someone's head, continuity on index cards. Every department holds a piece. Nobody holds the whole. The good ones — the ADs and producers and UPMs who carry productions — hold the whole picture in their head and refuse to drop it. The films that don't get made are the ones where that person ran out of room to hold it.
That's the gap Murphy fills. Not the experience. The picture.
Upload a screenplay. Murphy reads it and gives you the working production — schedule that respects cast availability and magic hour, budget a completion bond officer would sign, crew tiered the way ADs tier crew, locations scouted with flight paths and HVAC noise flagged, props with continuity multipliers, storyboards with face consistency. Change one thing, everything else updates.
It's not a replacement for the people who know what they're doing. It's the place they finally have to put it all.
The feedback we want most: are we missing anything a working set actually needs? If you've ever 1st AD'd, line produced, or UPM'd — please tell us where this falls short.
Thanks for taking a look. I'll be in the comments all day.
— Aalap