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.
നിങ്ങളുടെ കഥ ഷോട്ട് ഷോട്ടായി കാണുക.
പദ്ധതികൾ ആത്മവിശ്വാസത്തോടെ ആസൂത്രണം ചെയ്ത് നിയന്ത്രിച്ച് എത്തിക്കുക.
നിർമ്മാണ പൈപ്പ്ലൈനുകൾ വിപുലീകരിച്ച് തിരിച്ചെത്തൽ സമയം കുറയ്ക്കുക.
മനോഹരമായ ഷോട്ടുകളും ലൈറ്റിംഗ് സജ്ജീകരണങ്ങളും രൂപകൽപ്പന ചെയ്യുക.
ഒഴുക്കിനായി നിർമ്മിച്ച ബുദ്ധിപരമായ ഉപകരണങ്ങളാൽ വേഗത്തിൽ എഡിറ്റ് ചെയ്യുക.
അതിശയകരമായ ദൃശ്യങ്ങളും പരിസരങ്ങളും സൃഷ്ടിക്കുക.
ആഴത്തിലുള്ള ശബ്ദപരിസരങ്ങളും അന്തിമ മിശ്രിതങ്ങളും ഒരുക്കുക.
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.