The Research Desk
Build Slates fast.Run several films at once.
You share the Slate. The director edits with screeners, the producer orders what stays.
The Slate
You open a Slate (the selection file for one film) and write The Brief (what the film is looking for). You search the Catalogue, add the sequences you have in mind, and share the Slate with the director by one link.
The Screening Room
The director opens it without an account, marks each sequence favourite, maybe or no, writes notes in The Log, downloads screeners for the edit, and can Request more.
The Greenlight
When you and the director agree, you send the Slate to the producer. They read The Brief and the notes, keep or set aside, choose the rights level, order and pay.
The Wire
You follow all of it in The Wire: who opened the Slate, what was marked, what was ordered. You close the Slate when the film is Wrapped.
Sharing
Faster yes. Faster no.
No account, no email thread. The director marks, the producer decides.

What our indexing operators loved
Hover to playTap to play
Rights and prices
One licence. Never renegotiated.
Every licence covers one declared film.
Web
Online only: websites, social networks, free video platforms (YouTube, Vimeo).
- < 1 min
- €130
- 1–2 min
- €210
- > 2 min
- €290
Full Distrib
Broadcast, cinema, festivals, DVD and Blu-ray, streaming platforms (SVOD, AVOD, TVOD), and online.
- < 1 min
- €180
- 1–2 min
- €300
- > 2 min
- €420
Prices per sequence, excl. VAT. Advertising and corporate communication: on quote.
Every licence can be checked
Each certificate carries a licence number and a QR code. Anyone can enter the number and see whether the licence exists and is still valid. Scan the QR code to see the rights granted and the declared film.
Who is behind Arkana

Arkana was founded by Arnaud Le Canu, who ran a film digitisation company for fifteen years. He organised a collection of Pathé 9.5 mm films; thirty-eight families took part, each granting non-exclusive rights.
Arkana was designed around the Archive Producer: easier searches, projects kept in order, and a direct line to the directors and producers they work with. The licence follows the same idea: one licence for the whole film, so a documentary can be budgeted and made without a second negotiation.
From forty hours of film, twenty were kept and cut into 910 sequences. AI helped describe them; a person watched and selected every one. The search was built to land on the scene inside a sequence, not on the sequence as a whole.
Request access
We read every request and reply ourselves.









