Built for six seconds or six reels.
The same data model runs a social spot and a feature film. What changes is throughput, budget and how much human review each shot earns — not the underlying production architecture.
Production classes
Pick the target and the platform adapts the default workflow, quality tier and review depth.
| Class | Duration, workflow and quality target |
|---|---|
| Ad / social cinematic | 6–90 seconds. Fast generation with template-driven edit, delivered at 1080p or 4K. |
| Trailer / teaser | 30 seconds to 3 minutes. Hero-shot heavy, built for maximum visual polish per second. |
| Short film | 3–30 minutes. Full continuity tracking and edit, at a standard suitable for festival or OTT. |
| Episode | 20–60 minutes. Persistent cast and world state carried across episodes for series continuity. |
| Feature film | 80–140 minutes. Shot-factory generation plus an editorial pipeline to a theatrical or OTT master. |
| Previsualization | Any length. Cheap, high-speed models where composition and blocking matter more than fidelity. |
A workspace for every role
Traditional filmmaking roles map to real permissions, not generic seats — so professionals can work without learning a new vocabulary.
Scaling from a sequence to a feature
Designed from day one for feature-film scale, even when the first output is only a few minutes long.
The first milestone worth targeting is a controlled 3–5 minute sequence with recurring cast, multiple locations, dialogue and one complex action beat. It exercises nearly every production risk without the operational weight of a feature.
The same character, world and continuity state carries forward, so a second episode starts with a cast and world that already exist rather than being rebuilt.
A 100–120 minute film contains roughly 1,200–2,500 final shots. The unit of production stays the shot, so scale is a throughput problem rather than a rewrite.
Which format are you producing?
Tell us what you're making and we'll walk you through the workflow for it.