One production, six rooms, no exports between them. Each room owns a stage of the work and hands the next one a decision rather than a file.
The way in
An infinite board where the whole idea lives: references, frames, clips and the conversation that shaped them. Think out loud, get pictures back, then hand the sequence to the room that owns the craft.
OutA board that holds the whole idea, and the conversation that produced it.
How this room works→Frames made in Previz.
A screenplay read as structured data
Import a PDF, Fountain or plain text, or start from a premise. Scenes separate, characters, locations and props extract into an editable list, and the shot list builds at the density you set.
OutA production spine every other room reads from.
How this room works→Frames made in Previz.
A frame against every line
Shots are numbered, framed and graded together. Selects carry forward, rejects stay on the record, and the board leaves as something a crew can shoot from.
OutA board with a decision trail attached to every panel.
How this room works→Frames made in Previz.
The frame you sign off
The still that everything downstream inherits. Cast, wardrobe, set and grade are locked here, at the resolution the production needs, and the lock travels with the shot.
OutThe signed-off still that everything downstream inherits.
How this room works→Frames made in Previz.
Stage the scene, then light it
Build the set in three dimensions with real materials and a lighting rig. Camera position, height and lens describe a space instead of an adjective, so a note about the left-hand lamp is a change you can make.
OutComposition decided by where things are, not by adjectives.
How this room works→Frames made in Previz.
Motion from an approved frame
Text to video, image to video, editing a clip, cast reference and motion transfer, under one set of cinematography controls. Duration and cost are estimated before the take is committed.
OutMotion that starts from a frame you already approved.
How this room works→Frames made in Previz.
The rooms are the surface. Underneath, one production carries the same continuity, camera, look, cost and record across every stage of the work.
A face, a wardrobe, a prop and a set held across a production rather than re-rolled per shot, with drift graded on every locked render and flagged when a shot wanders off.
Bodies and glass emulated by optical behaviour, graded look profiles with their own strength defaults, art styles with an intensity dial, and named craft moves that drive real controls instead of pasting text.
Delivery ratio set up front, references read before anything is made, sets staged in three dimensions, boards animated from the still, and cues written against the cut.
Progressive upscaling from delivery size to wall size, separated passes for the compositing timeline, sequences stitched at one frame rate, and exports a crew already knows how to open.
Every approval, reject and regeneration recorded against its shot; a quote before the render and a charge that matches it; engine routing that honours a per-client policy, resolved from the production and enforced before a job is billed.
Every capability written out one by one, grouped exactly as they are above, on the long form of this page.
What shipped most recently is on the changelog.
