# The six rooms in depth: Infinitum to Director | AIM Previz https://aimpreviz.com/product/rooms [Previz](https://aimpreviz.com/) / Product · The rooms # The rooms, in depth Room by room, in the order a production moves through them: what you bring in, what each room does with it, and what it hands the next — then the continuity, camera, look, cost and record controls that stay the same in all six. The toolkit overview is one page up; this is the manual. Infinitum Script Storyboard Keyframe CineForge Director 01 ## Infinitum 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. +Plain-language briefing that answers in frames, not in text +Cards grouped, arranged and locked on an infinite board +Imported references read before the room answers +Handoff to any room with the references still attached OutA board that holds the whole idea, and the conversation that produced it. A session, as it runs Describe the idea in plain language and it comes back as frames on an infinite board, arranged, grouped and labelled, with the references still attached when it hands off. Infinitum Spire · night · board 03 Free PD DV PA PJ Crew chat listening Build the arrival sequence for the launch. Vera stays locked, night, anamorphic. Character · Vera Location · Spire Look · Anamorphic Describe the idea, drop a reference, or ask for the next move Wide · the spire Wide · arrival Medium · hangar Close · Vera Over shoulder · gate Insert · the drive Wide · the assembly Close · the craft Pakko Diego Paloma Patrick One production Nothing is exported between rooms. A decision made in one is already true in the next. Continuity travels A face, a wardrobe, a prop and a set stay held wherever the work moves. The trail is kept Every approval, reject and regeneration is recorded against the shot it belongs to. 02 ## Script 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. +PDF, Fountain, plain text or a one-line premise +Scenes, characters, locations and props extracted as an editable list +Shot list generated at the density you set, not the density a model chose +Revisions tracked, so a rewrite does not orphan the board OutA production spine every other room reads from. 03 ## Storyboard 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. +Numbered shots with a frame against every line +Coverage in one pass: wide, medium, close and insert from the same blocking +Selects carry forward, rejects stay on the record +Board exports as a document a crew can shoot from OutA board with a decision trail attached to every panel. 04 ## Keyframe 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. +Cast, wardrobe, prop and set locks anchored to one reference +Drift graded automatically on every locked render +Two hundred look profiles, each with its own strength default +Progressive upscaling from delivery size to wall size OutThe signed-off still that everything downstream inherits. 05 ## CineForge 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. +Sets and props placed in three dimensions with real materials +Three-point lighting rig, then a path-traced render +Camera position, height, lens and target as numbers +The same set-ups, recalled exactly, on demand OutComposition decided by where things are, not by adjectives. 06 ## Director 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. +Five ways in: text, image, clip edit, cast reference, motion transfer +Camera move blocked on a spline in a real viewport +Duration, tier and cost estimated before the take is committed +Takes stay attached to the board they came from OutMotion that starts from a frame you already approved. ## What holds it together The rooms are the surface. Underneath, one production carries the same continuity, camera, look, cost and record across every stage of the work. Continuity 05 ### Continuity lock A face, a wardrobe, a prop and a set held across a production, not re-rolled per shot. ### Character sheets Locked talent promoted to a reference sheet, so every later shot resolves the same person. ### Drift detection The graph flags a shot that wandered off the established look, wardrobe or geography. ### Set and prop memory Locations and hero props persist as named entities, reusable across scenes and rooms. ### Creative memory graph Decisions, locks and references linked to the shots that depend on them. Camera and look 06 ### Camera profiles Bodies and glass emulated by optical behaviour: falloff, breathing, flare and depth. ### Look profiles Two hundred graded looks, each with its own instruction set and a strength dial. ### Art styles Illustrated and graphic treatments with an intensity dial that lands where the style intends. ### Named techniques Dutch angle, Rembrandt key, dolly zoom: craft moves that drive real controls, not pasted text. ### Virtual camera Deterministic placement, lens and height, so coverage of a scene actually matches. ### Relighting Change key, fill and time of day on an approved frame without regenerating the frame. Making 06 ### Aspect ratio control Any delivery ratio requested up front, and reframes that recompose rather than crop. ### Reference imports Drop stills, video, scripts and documents in, and they ground what comes out. ### Set building Props and environments placed in three dimensions, then shot from a chosen camera. ### Motion Boards animated with motion reference, timing and camera intent carried from the still. ### Score and sound Cues and effects generated against a cut, so a board can be presented with sound on. ### Canvas arrangement Selected cards, frames and clips ordered into grids, strips and scenes on the infinite canvas. Finishing 05 ### Resolution chain Progressive upscaling from delivery size to wall size without inventing detail. ### Layered output Separated passes so a board drops into a compositing timeline unchanged. ### Stitching and cuts Shots assembled into a sequence with consistent framing and frame rate. ### Delivery specs Frame rate, ratio and colour set once at the production, respected by every room. ### Export and handoff Boards, sequences and asset sets leave as files a production crew already knows. Production control 08 ### Decision record Every approval, reject and regeneration recorded against the shot it belongs to. ### Shared productions Invited collaborators work the same production with scoped access, not copies. ### Credit transparency A quote before the render and a charge that matches it, itemised per shot. ### Queue and recovery Long renders queue, poll and resume, and a failed job never silently bills. ### Isolation and privacy Per user storage isolation, zero retention on generation, nothing used for training. ### Jurisdiction policy Engine routing honours a per-client policy, resolved from the production and enforced before a job is billed — not promised after. ### Provenance Pack A per-asset record of which engine made it, operated by whom and where, graded by what the record supports — printable, with a checksummed manifest. ### Client rooms A production presented as its own room, with access control and a review trail. [Start making](https://aimpreviz.com/signup) [Deploy it across a team](https://aimpreviz.com/enterprise)