A production operating system, not a prompt box.
VFX.plus models filmmaking the way filmmaking actually works: scripts break into scenes, scenes into shots, shots into takes. Every asset, decision and approval stays connected in one production graph — so a film can be built shot by shot instead of gambled on in a single generation.
From script to master, in one continuous flow
Each stage hands structured state to the next. Nothing is re-typed, and nothing is lost between departments.
- 1Create the project
Set production target, format, aspect ratio, language, style bible and budget.
- 2Import the script
Bring in a story, treatment or screenplay. Every revision is preserved and versioned.
- 3Break it down
Acts, scenes, beats, cast, locations, props, wardrobe and continuity events are extracted automatically.
- 4Build the bibles
Approve character, world and style references so every shot draws on the same canon.
- 5Storyboard & coverage
Generate frames and coverage proposals for each scene, then reorder and annotate them.
- 6Design the shots
Turn approved frames into structured shot specs: lens, framing, camera move, action, lighting.
- 7Generate drafts
Produce low-cost takes first and score them automatically against the shot specification.
- 8Promote to hero
Escalate selected shots to production or hero models, keeping full provenance and cost records.
- 9Edit and deliver
Assemble approved takes on a timeline, then export interchange formats and delivery masters.
Every module in the suite
Sixteen connected modules covering development, production, post and delivery.
Organizations, projects, episode hierarchy, collaborators, RBAC, budgets and audit history.
Concept development, treatments, screenplay import, scene numbering, revisions and locked versions.
Automated extraction of beats, cast, locations, props, costume, VFX needs and screen time.
Palette, contrast, lenses, film stock emulation, lighting, production design and prohibited motifs.
Canonical identity packs, wardrobe sets, voices, expressions, age variants and rights metadata.
Persistent locations, set layouts, vehicles, props, extras and environmental state changes.
Frame generation, manual rearrangement, annotations, shot duration and director approval.
Lens, focal length, framing, camera movement, blocking, lighting, references and negative constraints.
Model choice, quality tier, seed, duration, aspect ratio, take count, retry policy and cost estimate.
Grid comparison, synchronized playback, quality scores, A/B compare, comments and approvals.
Scene-state snapshots, conflict detection, identity similarity and continuity reporting.
Dialogue, voice casting, multilingual dubbing, music, ambience, Foley, stems and mix notes.
Rough-cut timeline, trims, transitions, retiming, captions, shot replacement and proxies.
1080p/4K masters, subtitles, dubbed versions, promotional cuts and checksum manifests.
Cost per project, scene, shot, model and user; generation waste and forecast-to-completion.
Provider keys, allowed models, content policy, regional restrictions, retention and audit.
Shots are specified, not described
A shot is structured production data. That is what makes results repeatable, reviewable and consistent across a whole film.
| Shot field | What it controls |
|---|---|
| Framing | Medium close-up, wide, over-the-shoulder — described in cinematography language. |
| Lens | Focal length in millimetres, so coverage stays consistent across a sequence. |
| Camera | Movement and distance — for example a slow push-in over the length of the shot. |
| Action | What happens in frame, written as direction rather than as a prompt. |
| Performance | The emotional throughline the take has to land. |
| Lighting | Key, rim and practical sources, plus time of day and weather. |
| Continuity | Costume state, injuries, and which prop is in which hand. |
| References | The approved hero frames, costume passes and location plates for this shot. |
| Forbidden | Explicit negative constraints — objects and details that must not appear. |
| Audio | Dialogue lines, ambience and effects that belong to the shot. |
Four quality tiers, four budgets
Spend is matched to what a shot actually needs. Draft widely, escalate selectively.
Fast, inexpensive generations for blocking and composition. Fidelity is not the point yet.
Cheap candidate takes, scored automatically so only the promising ones consume attention.
The quality tier most finished shots ship at, with full review and approval.
Reserved for the shots that carry the film. Highest-capability models, tightest review.
See the production graph in action
Request early access and walk through a real sequence, end to end.