TheProducer

MuviPe is an OTT platform that refuses to behave like one — no monthly plan, no all-you-can-watch library. A user walks up, buys a ticket for one title, and that ticket is theirs. The producer is who made that walk-up possible.

• A title is worth what its producer commits it atper title No platform-wide tier. Two titles of identical length can carry entirely different prices, because the price is a producer's decision, not a catalogue rule.
• The commitment is fixed once the ticket sellsstable A holder's price is locked at purchase. Everything downstream — the ticket's own referral tree, its watch-time allowance — is sized against that one number and doesn't move once bought.

The playbook is explicit about the producer's role: “each title carries its own price commitment from the producer.” What follows is how a ticket's price is assembled around that one number.

One purchase starts two things that never touch each other again. A ticket opens a 363-position tree, and it grants a watch-time allowance — and from that moment on, the two run completely independently. Filling the tree has nothing to do with how much has been watched; running out of watch time has nothing to do with the tree.

• One purchase, two grantssimultaneous A successful purchase switches on the tree and the watch-time pool in the same instant. Neither is contingent on the other ever being touched.
• Filling the tree is not watching the titleindependent The 363 positions fill from referrals joining, which has nothing to do with whether the ticket holder has watched a single minute. A tree can close at 363 with the holder's watch-time allowance almost untouched.
• Running out of watch time is not closing the treeindependent Exhausting the pool only stops playback and offers a top-up — it has no effect on referral positions still open. The tree keeps filling, or doesn't, entirely on its own schedule.

A producer's catalogue is shaped by what's actually ticketable — not a raw content library, but a set of priced, purchasable units.

• Moviesone title A single priced unit, start to finish.
• Web series, by seasonnot the series The ticketable unit for a web series is one complete season — not the series as a whole, and not a single episode. Season 1 at five episodes is one title with its own price; season 2 at seven episodes is a separate title, separately priced.
• Complete seasons onlylisting rule A season goes on sale finished, never mid-release. Its runtime — the sum of its episodes — is fixed at listing and never changes under a ticket already sold. That fixed runtime is exactly why a season, not the still-growing series, is the priced unit.

A producer's price commitment covers the ticket itself. What happens after — a holder running out of watch time and buying more — sits just outside it.

• A top-up is not a second ticketno new sale It buys more watching time on something already owned. No new referral tree position opens, and nothing is paid into the distributor bonus — there is no sale event to split.
• Its split is a private mattercontractual How top-up income divides between the producer and the company is settled in their own agreement, title by title. It is not a platform-wide rule the way the ticket's five components are — it's a term the two parties set between themselves.

A producer's identity on the platform is a single, exclusive thing — not one identity wearing different hats across the product.

• One account, one roleby design A producer account is a producer account, full stop — not simultaneously a viewer account or a sponsor account. Each role gets its own dedicated portal, kept fully separate from the others so an action in one never bleeds into another.
• Provisioning is deliberatenot self-serve for everyone Unlike a viewer signing up freely, a producer account is granted — the platform decides who gets to commit a price on a title, not an open registration form.

A producer's catalogue isn't free to host — every title a producer uploads gets encoded into several playable renditions and stored on the platform's CDN. That storage has a real cost behind it, and this module is where a producer's catalogue meets that cost.

The allowance

• 500GB, freeper producer Every producer's catalogue — every title, every encoded rendition, summed — carries this much storage at no cost. It's a property of the producer, the same way the price commitment is a property of the title.
• Past it, storage is billedoverage Once a producer's catalogue crosses 500GB, the bytes past that line stop being free. Nothing about the upload itself changes — only whether that space now carries a cost.

How it's enforced

• Never a blockby design Crossing the line doesn't stop a producer from uploading. A producer mid-release of a season isn't interrupted by a storage ceiling — the platform keeps accepting titles regardless of how far over the free tier they've gone.
• A warning, acknowledgedconsent, not a gate Instead, the producer sees a warning the moment they're into paid territory: their catalogue has exceeded the free allowance, and further storage carries a charge. They accept that before continuing — informed, not obstructed.

A title's price commitment and its very existence aren't things a producer can change on a whim once tickets are running against it — every filled position in that title's tree, and every commission already computed, was priced against the number as it stood at purchase. Changing it out from under a live ticket disturbs all of that.

Why running titles are locked

• A ticket's tree is priced at purchasefixed Every position filled, every level's commission, every Fastest Five chain was computed against the producer's price the moment the ticket sold. There's no version of "change the price" that doesn't retroactively touch money already promised to people in that tree.
• Deleting is the same problem, sharperworse case Pulling a title with active tickets doesn't just freeze a number — it removes the thing the tree and the watch-time pool were both built on. Every open position and every unspent hour on that title needs to be settled somehow.

The ordinary path

• Requested, not immediatequeued A producer can ask to change a title's price or take it down at any time — but the change doesn't land until the season closes. The request sits queued against the season boundary, the same edge that already clears cooldowns and resets the platform's other clocks.
• The season close is the natural seamwhy there It's the one point where the platform is already drawing a line under everything in flight. Landing price and deletion changes there means nothing needs a special-case settlement process — it happens alongside every other end-of-season reset.
• "Deletion" here means archivednot removed A producer's takedown request doesn't touch the file on the CDN. The title moves into a held, bin-like state — off the catalogue, no longer sellable — and waits there for admin to actually approve it. Nothing is unrecoverable at this stage; it's a listing decision, not a storage one.

The emergency path

• Legal obligation overrides the waitexception A producer who has to pull a title immediately — a legal notice, a rights dispute, something that can't wait for a season boundary — can force it early.
• Forcing it costs a penaltynot free An early stop makes the company settle every open position and unspent hour on that title ahead of schedule, out of sequence with everything else. The producer pays a penalty sized to cover that disruption — it's what makes the emergency exit a real exception instead of a way to dodge the ordinary wait.
• This is the one path that's truly permanentreal deletion A legal takedown is the one case where the file is actually purged from the CDN, not just archived — because this is the path that has to hold up as proof. If it ever needs to be shown to a court that the company genuinely cleared the content, "archived and waiting for admin" isn't good enough; only an irreversible removal is.