Fifteen things PREVIZ can do now.

Hi, Pakko here.

I tried to find a calm way to write this note. I cannot. In the month since Issue 02, PREVIZ stopped feeling like a collection of powerful rooms and started behaving like a production system with a pulse. The work can keep moving after you close the browser. A client can step onto the real board without creating an account. A drawing can become a finished frame without losing the drawing. Motion can be taken apart. A camera move can be designed in space. Fifteen of these changes deserve more than a line in a release log.

These are not future concepts. They are things you can do now. Some are huge on screen. Others are the invisible laws that make the huge things dependable. Together they point at the product we set out to build: one place where a creative idea can become a production, stay coherent, and leave as real work.

01 / Infinitum

A production canvas that can think in complete moves.

Infinitum is no longer a blank board waiting for isolated prompts. Give it an intent and it can plan the work, choose the production move, make the assets, inspect what came back, remember the world, and arrange the result where it belongs. It can read a selected image, build references, fan out options, animate a frame, separate layers, add sound, or prepare a sequence. Every move lands as a visible card with lineage, status, cost, and a way forward. It feels less like operating software and more like directing a very fast room that remembers what you meant.

See it →

02 / Background missions

Close the browser. The production keeps moving.

Long image missions can now continue without the tab. PREVIZ leases the work safely, records its progress, avoids paying twice when an answer is uncertain, and brings completed results back to a tray when you return. A stopped job stops. A failed job says why. A finished job notifies you. This sounds like infrastructure because it is, but the creative consequence is enormous: you can brief a body of work, leave the machine, and come back to choices instead of progress bars.

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03 / Public boards

Send the real canvas, not a flattened imitation of it.

An Infinitum board can become a private public link with an optional password, no account and no onboarding. The client sees the actual spatial board with its glow, grid, groups, notes, playback, minimap and full-screen artwork. They can download what you permit and leave typed or spoken notes. They cannot move, render, edit or spend. The link always lives at aimpreviz.com, expires when you decide, and disappears when revoked. It is the fastest path we have built from a working room to a client decision.

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04 / Script

One brief becomes one production spine.

The Script room now holds one length, one genre and one story clock instead of asking the same question in several panels. Build the premise, shape the beats, write or import the screenplay, break it down, run a table read, lock continuity and pass it directly into coverage. The script is not a text box before the visual work. It is the production source every later room can understand, revise and return to without quietly inventing another version of the film.

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05 / Storyboard Dress

Paint the entire board in one locked visual world.

Storyboard keeps coverage where it belongs, then adds a real finishing pass. Draw the shots, lock a look, and Dress the board. Every sketch goes through the same paint lane with its composition held and the selected visual language at full strength. The finished image lands beside the drawing, never over it. Flip between Sketch and Dressed, re-dress one frame, send a failure to Keyframe, and keep moving. A rough board can become a coherent cinematic presentation without being rebuilt shot by shot.

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06 / Keyframe Sketch

Draw on the frame, finish the idea, keep the source.

Open Sketch with one still selected and that frame sits beneath the paper. Draw over it with the same high-performance ink and wet media used in the drawing room, then press Finish. The frame guides composition, the visible paint reaches the finishing pass, and hidden underlays do not. Approve writes a new still with its own sketch-room recipe instead of mutating the source or pretending it came from Storyboard. It is a direct bridge from hand movement to a production frame.

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07 / Layer Lab

Take a finished image apart and keep working inside it.

A frame can split into named production layers. Move a subject and repair what was behind it. Replace a sky without disturbing the cast. Grade one element, separate a coarse layer again, or rebuild the background while the approved foreground remains untouched. The result is not a flattened trick. Layer Lab can return a structured layered master that enters the retouching workflow at useful resolution. The approved frame stops being fragile and starts becoming material.

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08 / Motion Layers Lab

Take moving footage apart, not just stills.

Motion Layers Lab extends the same idea through time. Separate the performer, moving fabric, practical light and environment. Remove or replace a subject. Recover the clean plate behind the motion. Work on the layer that needs attention without surrendering the whole take. The deeper idea is that generated motion should not arrive as a sealed rectangle. It should arrive as editable production material, with enough structure to be directed after the first result.

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09 / Audio Labs

Sound now lives around the picture it belongs to.

Audio Labs puts dialogue, voice, music, sound design, repair, stems and timing around one visible cut. The playhead moves across the same picture the mix serves. Record a line, generate a voice, place a cue, repair a problem, shape levels and keep the assets attached to the production instead of sending them through five disconnected tools. PREVIZ began as a visual platform. It is becoming an audiovisual one because a beautiful silent performance is not a finished performance.

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10 / CineForge

Lift the frame into space and block the physical world.

CineForge turns a frame into a set you can reason about. Build the scene at real scale, place props and performers, set light, position the camera and make a plain clay take that proves the movement before you spend on finish. The clay pass is deliberately honest. It carries geometry, timing and blocking into Motion while the chosen stills carry cast, wardrobe and look. We are separating the question of where everything is from the question of how beautiful it should be.

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11 / Orbit

Direct the camera path as geometry, not adjectives.

Orbit lets you draw a camera move around the subject, place key moments on the spline, preview the path, control framing and send the actual spatial instruction downstream. An arc is an arc. A rise has a measured direction. The shot is no longer dependent on whether a model interprets the sentence orbit left with the same mental picture you had. Camera direction becomes a thing you can see, adjust and approve before the expensive take begins.

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12 / Director LIVE

Speak while the scene runs. Cut with the take intact.

Director LIVE turns direction into a live session. Speak or type while the scene runs, capture the moments that matter, bring sound into the performance, and leave the session with a complete take at Cut. The ambition is not a chatbot beside a video player. It is a director's interface where timing, spoken intent, selected moments and the evolving scene occupy the same clock. Direction becomes part of the take rather than a note written after it.

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13 / Continuity Lock

The world remembers its cast, products and rules.

Continuity Lock carries the things that must survive: faces, wardrobe, products, locations, ratios, looks and creative rules. Those facts move across Script, Storyboard, Keyframe, CineForge, Director and Infinitum instead of being retyped into each room and slowly drifting. The system knows when a reference limit would drop somebody, when an edit would change the ratio, and when a later result no longer belongs to the same world. Continuity is not a prompt. It is production memory.

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14 / Delivery

The result leaves as an asset, not a demo.

A production can now climb from drafts to large masters, keep layered files, package motion, preserve audio, export contact sheets, and download an entire board in stable board order with useful names. Shared-board downloads save to the device instead of opening another tab. Every card keeps enough lineage to explain where it came from. The standard is simple: if a producer, editor, retoucher or client cannot receive it and continue the job, it is not finished merely because it looks impressive in a browser.

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15 / Orchestration

One creative language across replaceable engines.

Under every room is an orchestration layer that translates creative intent into the right capability, policy, quote, queue and recovery path. Engines can change without changing the way the production is directed. Prices are quoted before work begins. Failed charges are refunded. Rate limits stop honestly. A selected project carries its contract into every call. Provenance records what happened without advertising vendors to the client. It is the least visible feature in this note and possibly the most important, because it lets every visible one keep evolving without breaking the language above it.

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Fashion & Jewelry is our third funded vertical module. It is in active build, not live yet, with Beta and testing coming soon. The drawing room already speaks garment construction, wet media, fabric, silhouette and collection logic. The larger Atelier connects that hand to on-model work, consistent collections, lookbooks, campaign frames and runway direction. The goal is not to paste clothes onto people. It is to preserve the designer's line, the garment's behavior and the collection's identity as the work moves from paper to model to campaign.

Soon in Beta: draw the garment, build the collection, direct the model, and keep the design language intact all the way out.

Here is the part I can barely say without sounding unhinged. The fifteen systems above are beginning to connect into something larger: a production brain. You give it the intent, the world, the audience and the constraints. It builds the campaign, critiques its own coverage, directs versions, protects continuity, prepares sound and motion, remembers why decisions were made, and brings the work to human approval at the moments that matter. Not one giant Generate button. Not an autonomous machine replacing the director. A complete creative force multiplier that can hold the whole production in its head while the humans make the calls only humans should make.

Imagine opening one production and asking for the launch film, the vertical cutdowns, the still campaign, the product detail world, the alternate market versions and the client review room. The system knows they are one campaign. It knows the same person, product, promise and visual grammar must survive all of them. It knows what is approved, what is weak, what is missing and what is too expensive. Then it offers the next best move instead of another empty prompt box. That is the God mode I mean. More command, more memory, more reach, and a human hand on every consequential decision.

We are not announcing that as shipped. We are saying the pieces are now real enough that the shape is visible. Infinitum can plan and act. Missions can persist. Rooms share recipes. Continuity travels. Engines sit behind one language. Clients can enter without entering the machinery. The future is no longer a slide. It is a set of working systems beginning to lock together.

This is the most alive the platform has ever felt. And we are just getting to the part where the rooms stop feeling separate.

Pakko De La Torre

Founder & Chief Innovations Officer · AIM