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Scene 1 of a film made in ACT 3: a windsurfer races the coast beside a butterfly while an alien ship hovers over the water behind him
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AI TV Series at the speed of storytelling.

  • Chat to AI Filmmaker
  • Your input, and AI Filmmaker does all of the work
  • AI Storyboarding
  • Same cast and sets all season
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Your script 1.

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

AI chatAI filmmaker
Ep. 1 cold open is cut: the windsurfer meets the butterfly. Notes?
Hook harder. Golden hour, so the water glows.
Locked for ep. 1: scene 1 at golden hour, the water glowing. Same ride, same butterfly.✓ Scene 1 re-shot. Your script is untouched.
Ask your AI filmmaker...
Post
Your AI crew member, the AI filmmaker in a beret
AI Cinematographer

02 · Video promptv1v2

Sunny coast, windsurfer sails past the dunes, a small blue butterfly at his face, an alien ship hovers low behind him, golden hour, warm low sun, glints on the water

03 · ImageNano Banana Pro
04 · VideoSeedance 2.5
05 · Status Scene 1 · Finished Finished Scene 1 of 7

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.

EP 04

1 Hour3 Days

Episode 4: Steve alone at the evidence board at nightEP 04DAY 1
Episode 5: Steve pouring coffee in his kitchen in the morningEP 05EP 05
Episode 6: Steve under the coffee shop awning in the rainEP 06EP 06
Episode 7: Steve and his captain at the glass officeEP 07EP 07
  1. Day 1Script to storyboards
  2. Day 2Shots and video
  3. 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.

The empty standing set, nobody in it: Steve’s apartmentThe empty standing set, nobody in it: the police station bullpenThe empty standing set, nobody in it: the sidewalk tables outside the coffee shop
STEVE’S APARTMENTBUILT ONCE

Build OnceEvery Episode

Episode 2 in Steve’s apartment: night, Steve on the couch with case files under one lampEpisode 1 in the police station bullpen: a busy day, Steve at his desk on the phoneEpisode 3 in the sidewalk tables outside the coffee shop: a sunny morning, Steve meets an informant at a tableEP 02
Episode 5 in Steve’s apartment: bright morning, Steve pouring coffee in the kitchenEpisode 4 in the police station bullpen: late night, Steve alone at the evidence boardEpisode 6 in the sidewalk tables outside the coffee shop: rainy dusk, umbrellas, Steve watching the streetEP 05
Episode 9 in Steve’s apartment: a rainy night, Steve arguing with a visitor at the doorEpisode 7 in the police station bullpen: Steve and his captain facing each other by the glass officeEpisode 10 in the sidewalk tables outside the coffee shop: golden hour, Steve and his partner laughing over coffeeEP 09

Then 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.

Steve, cast once as a series regular
STEVECAST ONCE

EveryEpisode

Steve, the detective lead of the show
Series RegularsCast Steve once. He is Steve in every episode.
Steve in an open blue shirtSteve in a dark shirtSteve in a grey sweater
Wardrobe by EpisodeA new outfit each episode. The same man wearing it.
A rainy dusk frame in the look of the show
The Look of Your ShowThe first pass of cinematography comes in your show’s style. You upgrade the shots that matter.
The police station set, built once
Standing SetsMove the camera anywhere in a set you already built.

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

  1. EP 01Delivered
  2. EP 02Delivered
  3. EP 03Delivered
  4. EP 04Delivered
  5. EP 05Delivered
  6. EP 06Delivered
  7. EP 07Delivered
  8. EP 08Delivered
  9. EP 09Delivered
  10. EP 10Delivered

EP 06One hour: teaser, four acts, tag

TEASER12
ACT 1345
ACT 26789
ACT 3101112
ACT 4131415
TAG16
Storyboards · Scene 12Storyboard panel: the bullpen, wideStoryboard panel: Steve at his deskStoryboard panel: Steve and the captain
  1. Every episode is deliveredbefore its air date.
  2. Drag a scenefrom ACT 2 to ACT 3.
  3. Right-click a sceneand choose Create Storyboards.
  4. A late changerebuilds that one scene. The air date holds.

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 every episode.

The whole set, seen from above with its roof off
The set
Camera 1, standing inside the same set
Camera 1
Camera 2, standing in another spot inside the same set
Camera 2
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Characters

Give every character the star treatment.

A look from every side, a voice of their own, and a face that holds from the pilot to the finale. You set each of these once. ACT 3 brings them to every shot.

The character sheet

Jack's character sheet: a headshot and four full-body views, front, back, left and right
Headshot, front, back, left, right. Made once for Jack, used by every shot he is in.

The voice

His own voice, on every line.

Lips in sync. A human voice actor whenever you want one.

The face that holds

  • Sally on her surfboard at dawnSc 9
  • Sally pouring coffee in a bright kitchenSc 30
  • Sally in heavy night rainSc 44

Sally. Three scenes, one face.

New light, new mood, new place. Still her.

The whole cast

  • Koa, the surf shop owner
  • Mele, the young surfer
  • Tutu Leilani, the grandmother
  • Nina, the cafe owner

Guest roles get the same care as your series regulars.

And the wardrobe

  • Sally in a denim jacket and chinos
  • Sally in a cable-knit sweater and jeans
  • Sally in a mustard rain slicker and boots
  • Sally in a sage-green dress

An outfit per scene, when the story asks.

Storyboards for your entire TV episode

Created by our AI Storyboard Expert and AI Cinematographer. Every shot gets its panel.

  • TV episode
  • Movie
  • Minidrama
  • Ad
  • Social video
  • Marketing video
The real ACT 3 storyboard screen: twelve timed storyboard panels for Beat 9, Scene 11 of the project Harbor Street, with the acts, beats, scenes and shots rails above and the AI filmmaker chat on the right
The real ACT 3 storyboard screen.

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.

Margie, the waitress in the diner film, in the middle of a line.

Without a session

Margie a voice cast from the directory

  • You pick her voice once. It is hers in every episode.
  • Nothing to book and no studio day on the budget.
  • Rewrite her line and it is spoken again, in the same voice.
One shot from the diner film: Walt in his booth in the foreground, Margie behind the counter under a pink neon coffee cup. 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.

One scene, two characters, two ways to speak. In the cut it is simply their scene.
A voice actor in headphones performs Walt's line at a microphone in his home booth, with Walt's shot on the monitor beside him.

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.
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Three people. Three time zones. One show 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

  1. Production designerMorning, his time · Member

    A production designer in tortoise-shell glasses works in his sunlit attic studio in the morning. His screen shows an empty spaceship bridge set: cream consoles, amber lights and two empty seats.

    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.

  2. DirectorLate night, her time · Owner

    A director with a short black bob works at a lamp-lit desk at night, city lights behind her. Her screen shows the film's last scene: an astronaut on a red planet at sunrise.

    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.

  3. Costume designerAfternoon, her time · Member

    A costume designer with long gray locs and a yellow scarf smiles in her sunny studio. Her screen shows the film's astronaut in three outfits: an orange flight suit, a cream dress uniform and an olive jacket.

    I'm working on multiple outfits for different days in the episode.

    Perfect for remote teams. Voice actors included: they record from home, inside the same project as everyone else.

Our secret to saving money

We get the shot right before you pay for the video.

  1. Pencil storyboard panel: a young woman with a coffee at a bus stop, a school bus coming down the street.
    StoryboardDecided in pencil. Change anything.
  2. The same shot as a finished first frame: Nora with her coffee at sunrise, the yellow school bus in the mist.
    First frameApproved by you, for the cost of a still.
  3. Video, take 1The expensive step. It starts from the frame you approved.

Fewer takes to top quality.

When you do generate video, it is already the shot you wanted. That saves you money and time.