EXT. SANDY COASTLINE, OPEN WATER - MIDDAY
A windsurfer races the coast, eyes on a butterfly. Behind him, an alien ship hovers over the water.
WINDSURFER
Hello, little friend.
Scene 1 is filmed
Chat with AI Filmmaker: Change background, same actor. One sentence.
15:19.04 / 192:52.23
AI CHAT / AI filmmaker
Beach, Swim Trunks · New
Snowboarding · New
Hiking Outfit · New
For filmmaking, advertising, social media, marketing
Spend the hours on the idea.
Describe a character, a set or a look once and it carries through every shot. The time you get back is yours, whichever of these you make.
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Filmmaking
Your hours go to the story, not the setup.
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Advertising
Your hours go to the concept, not the rework.
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Social media
Your hours go to the idea, not the repeat work.
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Marketing
Your hours go to the message, not the production line.
One ACT 3 project
- One cast
- One set library
- One editor
- Your whole team
Chat with AI Filmmaker: Change background, same actor. One sentence.
Character Consistency: different scene, different outfit, same face.
Pick your digital actor once. ACT 3 carries Alex into every scene of a two-hour movie: a jet ski in scene 7, a blizzard in scene 88, a candle-lit library in scene 2. You never describe her again. You’re a creative, not a prompt engineer.
ALEXYour digital actor
Scene 7Open ocean
Scene 88Mountain pass
Scene 2Library
Scene 41Desert marketSet & Location Consistency: move the camera, the room stays the room.
Build the captain’s flight deck once. Put a camera behind the pilot or across the deck by the windows, and every shot sees the same consoles, the same light, the same crew standing where they belong.
FLIGHT DECKOne roofless 3D set
Scene 12 · Camera A
Scene 64 · Camera BOutfit Consistency: new adventure, same costume, stitch for stitch.
Design the pirate’s costume once: the red coat, the sash, the buckles, the hat. Ride the subway in scene 4, wade a jungle river in scene 61, cross a snowy village in scene 97. It’s the same outfit every time, and you never repeat yourself.
PIRATE COSTUMEThe reference look
Scene 4Subway car
Scene 61Jungle river
Scene 97Winter villageDirect your whole movie, not the software.
Bring the full screenplay, all two and a half hours of it. ACT 3 AI understands your full movie in building it, so minute 12 and minute 133 belong to one story. Working alone or with a team, you have the power to create 2- or 3-hour movies.
ACT 3 understandsyour full moviein building it
12 MIN
33 MIN
58 MINYour script briefs a whole AI crew. You direct.
Just type “Jack said...”, “Sally said...” and a few sentences of your visual idea. Your AI Storyboarder, AI Cinematographer and AI Head Designer each start from those pages and bring you a first pass. You’re a creative, not a prompt engineer.
AIStoryboarder
Then your AI Cinematographer steps forward, then your AI Head Designer. Each time, the movie is 13 minutes farther in.
24 MINSave months of setup. Spend them directing.
Outfits that change over the movie, a first pass of cinematography, sets you build once and reuse. Movie automation takes that labor, so you do what you love and upgrade the shots that matter. Capture it once, never repeat yourself, and get your hours back.
Outfitschanged scene by scene
By handAutoCamera coveragea first pass for every shot
By handAutoSetsbuilt once, ready for every angle
By handAuto
Automation takes the first pass. You keep directing.
Save monthsby movieautomation
- Changing Outfits over the movie: a new outfit wherever your story calls for one.
- Cinematography Automated: we automate the first pass. Then you’re just upgrading, and saving months of labor.
- Reusable Sets: the camera can move. We save weeks of work by automating everything else.
Direct the structure: acts, beats and scenes.
All two and a half hours on one timeline, as acts, beats and scenes. Select a beat and it stays highlighted through every zoom. Move it two beats later, right-click a scene to delete it, then right-click another and choose Create Storyboards.
Act 1
1Morning Tide2 scenes12
2The Letter3 scenes345
3Ferry2 scenes67
4Fish Market3 scenes8910
5The Offer3 scenes111213
Act 2
6Crossing3 scenes141516
7Storm Warning2 scenes1718
8Lighthouse4 scenes19202122
9Nets2 scenes2324
10Midpoint2 scenes2526
11Fog2 scenes2728
12Harbor3 scenes293031
13The Gate2 scenes3233
14Pier3 scenes343536Harbor moves here: 2 beats later
15Low Tide3 scenes373839
Act 3
16Night Boat3 scenes404142
17Sea Wall2 scenes4344
18Return3 scenes454647
19Home2 scenes4849
20First Light3 scenes505152
Beat 12 · Harbor is selectedNext it moves two beats later, after Pier.
Your hour-long episode, created in three days.
Hand ACT 3 the episode script on Monday. Your finished hour is ready to watch on Wednesday. Do what you love, the story and the notes, while ACT 3 handles the first pass of everything else.
THE LONG WATCHEpisode 104 · “Paper Trail”
TEASER
FADE IN:
INT. POLICE STATION - BULLPEN - NIGHT
The squad room is nearly empty. One green desk lamp burns. STEVE stands alone at the evidence board, coffee going cold in his hand.
STEVE
(to himself)
Nobody keeps a receipt for nine years.
He pulls one photograph off the board and turns it over. A date, in pencil.
INT. STEVE’S APARTMENT - LIVING ROOM - MORNING
Sun through the big window. Steve pours coffee, the photograph propped against the mug.
STEVE
Call the captain. Tell her I need the old files.
EXT. COFFEE SHOP - SIDEWALK - DUSK
Rain. Umbrellas pass. Steve waits under the striped awning and watches a doorway across the street.
ACT ONE
INT. POLICE STATION - CAPTAIN’S OFFICE - DAY
The CAPTAIN does not look up from the file.
CAPTAIN
You have until Friday.
1 Hour3 Days
EP 04DAY 1
EP 05EP 05
EP 06EP 06
EP 07EP 07- Day 1Script to storyboards
- Day 2Shots and video
- Day 3Edit and deliver
Steve’s apartment never changes. The story in it does.
Build a standing set once and shoot it all season. Episode 2 at night, episode 5 in morning sun, episode 9 in the rain: the same room every time. You never describe it twice.
Build OnceEvery Episode
EP 02EP 05
EP 09Then the same thing for the police station (EP 01, EP 04, EP 07) and for the coffee shop, outside (EP 03, EP 06, EP 10).
The same Steve in the finale as in the pilot.
Your series regulars, their wardrobe, the look of your show and your standing sets carry over to every next episode.
EveryEpisode
Your whole season, delivered on time.
Ten episodes, ten air dates, none missed. Open any episode into teaser, acts and tag and keep shaping it. A late change rebuilds one scene, and the air date holds.
Season 110 episodes, 10 air datesAll ten delivered before air
- EP 01Delivered
- EP 02Delivered
- EP 03Delivered
- EP 04Delivered
- EP 05Delivered
- EP 06Delivered
- EP 07Delivered
- EP 08Delivered
- EP 09Delivered
- EP 10Delivered
EP 06One hour: teaser, four acts, tag
TEASER12
ACT 1345
ACT 26789
ACT 3101112
ACT 4131415
TAG16
Storyboards · Scene 12
- Every episode is deliveredbefore its air date.
- Drag a scenefrom ACT 2 to ACT 3.
- Right-click a sceneand choose Create Storyboards.
- A late changerebuilds that one scene. The air date holds.
BeatBEAT #: 4 - THE BEACH: Jack finally asks
Scene heading12. EXT. KAUAI BEACH - GOLDEN HOUR
Jack and Sally walk the waterline. He carries a striped surfboard.
31Shot headerSHOT 31: WIDE - JACK AND SALLY AT THE WATERLINE
JACK
Sally. Can I ask you something?
32SHOT 32: OVER JACK - SALLY, TRYING NOT TO SMILE
SALLY
You have been asking since the pier.
33SHOT 33: CLOSE - JACK, WORKING UP TO IT
JACK
Stay. Skip the Friday boat.
Sally plants the striped surfboard upright in the sand and takes her time.
SALLY
Ask me again at low tide.
13. EXT. KAUAI BEACH - DUSK
The tide is out. Two sets of footprints and one surfboard.
JACK
It’s low tide.
SALLY
Then ask.
SHOT 71: CLOSE - NORA AND THE LUNCH BOX
Nora closes the laptop and takes the lunch box from her mother’s hand.
NORA
I’ll walk Sam to school today.
CUT TO: BEAT #12 - NORA’S FIRST DAY BACK
29. EXT. MARLOWE HOUSE - FRONT PORCH - MORNING
SHOT 72: WIDE LOCKED-OFF - NORA ON THE FRONT STEP
Set: a painted wooden porch under an old maple; a mailbox at the curb; low east sun.
Your beat line runs the timeline.
- Move a beat and its scenes and shots go with it. Reorder beats without losing work.
- Beats in the same place reuse the same set and location assets.
TimelineLow Tide · Act One
Beat 4 The beach
Scene 12
Kauai beach
Beat 3 The pier
Scene 11
The pier
Beat 5 Low tide
Scene 13
Kauai beach reused
You moved beat 4 ahead of beat 3. Its scene and shots came with it.
Your scene heading picks the set.
- Every scene heading is mapped to a reusable set.
- When Jack and Sally come back to the beach, its assets are reused.
- You typed a few words in the scene heading. That was all it took.
Set binLow Tide
Kauai beach3 scenes
The pier1 scene
Built once
- 12. EXT. KAUAI BEACH - GOLDEN HOURThis page
- 13. EXT. KAUAI BEACH - DUSKSame set
- 21. EXT. KAUAI BEACH - DAWNSame set
Your shot header calls the shot.
- Your shot header guides the AI cinematographer.
- You were clear in the script. The cinematographer carries it out.
Shot inspectorShot 31
- Framing
- Wide
- Who
- Jack and Sally
- Where
- At the waterline
- Set
- Kauai beach
- Source
- Your shot header
It reads between your lines.
You wrote one scene heading and one sentence of action. ACT 3 picks out the set, the time of day, who is in the scene and what they carry, then keeps all of it the same in every shot that follows. Capture it once and you never describe it again.
You wroteEXT. KAUAI BEACH - GOLDEN HOUR. Jack and Sally walk the waterline. He carries a striped surfboard.
- ACT 3 found
- Set Kauai beach
- Light Golden hour
- Cast Jack
- Cast Sally
- Prop Striped surfboard
Change a line right in the editor.
- A full screenplay editor, in the Final Draft format you know, is built into the right column of the ACT 3 editor.
- It is never read-only. Click a line and type, right beside your shots.
The real ACT 3 editorOne window
Your script, live
- Script columnYou type here
- FormatScreenplay
- Beside itYour shots and video
Every version of your script, kept.
- Backing up your script is saving your critical intellectual property.
- Script versions are kept as you write. Nothing is lost.
Version historyLow Tide · script
NowThe page you are on
KeptTodayYou added beat 4
KeptYesterdayYou rewrote the pier scene
KeptLast weekYour Final Draft import
Kept
Now · as you wrote it
BEAT #: 4 - THE BEACH: Jack finally asks
12. EXT. KAUAI BEACH - GOLDEN HOUR
Jack and Sally walk the waterline. He carries a striped surfboard.
SHOT 31: WIDE - JACK AND SALLY AT THE WATERLINE
JACK
Sally. Can I ask you something?
Final Draft in, Final Draft out. Your call.
- Import your Final Draft file and keep working from it.
- Export to Final Draft whenever you want. It stays your file.
Final DraftLow Tide.fdx
ImportExport
From Final Draft into your script in ACT 3.From your script in ACT 3 out to Final Draft.
You already wrote the outline.
- Act, beat, scene, shot. ACT 3 keeps the whole outline for you.
- You wrote it once. It is already organized.
OutlineLow Tide · read from this page
- ActOne
- Beat 4The beach: Jack finally asks
- Scene 12Ext. Kauai Beach - Golden Hour
- Shot 31Wide - Jack and Sally at the waterline
- Shot 32Over Jack - Sally, trying not to smile
- Shot 33Close - Jack, working up to it
Type a line. Your movie grows.
- Want a new scene or a new shot? Just type it in the script.
- Add beats, scenes and shots as you write, and your movie grows.
TimelineScene 12 · Kauai beach
- Shot 31
- Shot 32
- Shot 33
-
Shot 34New
Shot 34 came from the line you just typed.
Characters
Give every character the star treatment.
A look from every side, a voice of their own, and a face that holds from the first scene to the last. You set each of these once. ACT 3 brings them to every shot.
The character sheet
The voice
His own voice, on every line.
Lips in sync. A human voice actor whenever you want one.
The face that holds
Sc 9
Sc 30
Sc 44
Sally. Three scenes, one face.
New light, new mood, new place. Still her.
The whole cast
Supporting players get the same care as the leads.
And the wardrobe
An outfit per scene, when the story asks.
Storyboards for your entire movie or video
Created by our AI Storyboard Expert and AI Cinematographer. Whatever you are making, every shot gets its panel.
- Movie
- TV episode
- Minidrama
- Ad
- Social video
- Marketing video
A set is a place you keep. Not a picture you got once.
Each of these was described one time. The wide picture is the set. Under it, two cameras standing inside it. Pick a set, move the camera, come back to it whenever the story does.
Our secret to saving money
We get the shot right before you pay for the video.
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StoryboardDecided in pencil. Change anything. -
First frameApproved by you, for the cost of a still. -
Video, take 1The expensive step. It starts from the frame you approved.
Fewer takes to top quality.
The video is the expensive step, so ACT 3 has you settle the shot where a change costs little: as a storyboard, then as a first frame. When you do generate video, it is already the shot you wanted. That saves you money and time.
Illustration of one shot at its three stages.
Three people. Three time zones. One movie that keeps moving.
Your production designer, your director and your costume designer all work inside the same ACT 3 project, in the same hours or one after another. Nobody waits for a file. Nobody works on an old copy.
Full access controls
- Owner everything, including billing
- Admin people and permissions
- Member edit, run AI, use credits, as you allow
- Reviewer watches, never changes
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Production designerMorning, his time · Member
I'm working on Act 1 and a reusable set.
Organized by shot, set or character. Whoever logs on next knows exactly where everything is, and picks up right where the last person left off.
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DirectorLate night, her time · Owner
I'm working on Act 3.
Far faster, together. While one time zone sleeps, another is at work. Movies and series get done far faster when the whole team works together.
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Costume designerAfternoon, her time · Member
I'm working on multiple outfits for different days in the movie.
Perfect for remote teams. Voice actors included: they record from home, inside the same project as everyone else.
With voice actors. Without. Or both in the same scene.
Every character keeps one voice from the first scene to the last. Cast it from the voice directory and there is no session to book. Hand the part to a voice actor and their takes land right in the shot. Decide role by role.
Without a session
Margie a voice cast from the directory
- You pick her voice once. It is hers in every scene.
- Nothing to book and no studio day on the budget.
- Rewrite her line and it is spoken again, in the same voice.
Margie cast voice
Walt voice actor
MargieKitchen closed an hour ago. I can still do pie.
WaltThen I’ll have the pie. And the hour back.
With a voice actor
Walt performed by your voice actor
- He records from home, on his own page in your project.
- Your direction travels with every line.
- Each take lands in its shot, with the lips matched.
MCP AI
Power to update Act 2A from your Final Draft file, with only Act 2A touched.
Power to bring every first frame of Act 2A down to your disk in one request, named and ready to use.
Power to cast a whole movie in one request: every photo in your folder, mapped to the right character in ACT 3.
Power to give every scene its set in one pass, from the location photos already on your disk.
Power to dress every story day from one CSV, and get the new first frames back as files on your disk.
You ask in Claude CodeCodexClaude Desktop
~/Documents/harbor_street
⏺ act3 · preview_script_import ✓ Act 2A: 11 scenes differ
⏺ act3 · import_screenplay ✓ Act 2A updated
⏺ act3 · register_upload ✓ 3 photos up
⏺ act3 · update_scene ✓ scenes 4, 12 and 18
Upload my final draft script into Act 2A Give every scene its set from ./locations
⏺ act3 · list_shots ✓ Act 2A: 24 shots
⏺ act3 · get_download_urls ↓ 24 first frames saved
Download my first frames for Act 2A
⏺ act3 · list_characters ✓ 6 characters
⏺ act3 · add_character_reference_images ✓ 6 of 6 mapped
⏺ act3 · create_outfit ✓ 4 outfits
⏺ act3 · generate_firstframes ✓ 14 first frames
Map every photo in ./cast to its character Dress every story day from Outfit_Changes.csv
Harbor Street · timeline zoomed to Act 2A After one request
Acts
Act 1Act 2A · draft v7Act 2BAct 3
Scenes
1516171819202122232425
Harbor Street · Act 2A · 24 first frames After one request
↓ saved
↓ saved
↓ saved
↓ saved
↓ saved
Harbor Street · Characters After one request
Nora
Sam
Ellen
Walt
Ms. Okafor
Theo
Harbor Street · Sets After one request
Scene 4
Scene 12
Scene 18
Harbor Street · outfits by story day After one request
- Nora Day 3 · rain slicker
- Sam Day 3 · school uniform
- Ellen Day 5 · work suit
- Walt Day 5 · oilskin coat
script
harbor_v7.fdxFinal Draft .fdx
EXT. HILL - MORNING
Nora and Sam run.
SAM
Race you!
first_frames
act_2a/ · 24 .jpg
cast
characters.csv
Outfit_Changes.csv
locations
3 set photos
Your local files~/Documents/harbor_street/ ↑ harbor_v7.fdx goes up ↓ 24 first frames come down ↑ 6 photos go up ↑ 3 location photos go up ↑ Outfit_Changes.csv goes up
Drive ACT 3 From Claude Code.
Our MCP server lets Claude Code and other AI agents import scripts, storyboard scenes, and render shots in ACT 3. Prefer the shell? The same actions run from our CLI.
- Works with Claude Code and other MCP clients
- Import, storyboard, estimate, and render by instruction
- A CLI for scripted, repeatable runs
Scripts, first frames, videos, outfits and costumes go up to ACT 3 or come down to your disk. If you love automation, this is where it starts.
Read the MCP docs