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.
Visualize your story shot by shot.
Plan, manage and deliver projects with confidence.
Scale production pipelines and reduce turnaround.
Design stunning shots and lighting setups.
Edit faster with intelligent tools built for flow.
Create breathtaking visuals and environments.
Craft immersive soundscapes and final mixes.
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.