AI Director

The AI Director works inside a Cinema Studio project: Show the AI Director opens its panel beside the project. It reads the project — its brief, elements, folders, items and canvases — plans with you, writes in the brief, makes elements, and makes pictures, clips and sound. No picture, clip or sound is started until you say yes, or until Auto mode allows it, and what it makes is paid for with your credits.

Whether your plan includes the AI Director is in the comparison on the pricing page. It is your own plan and your own credits wherever you use it, in your project or in one you were invited to.

#Talking to it

Write what you want in the box at the foot of the panel. Type / at the start for one of its Skills — Script, Storyboard, Shot list, Commercial or From a script — and @ to name an element. Attach pictures and clips from the project, or Upload to the project and attach the upload.

Attach a script reads a screenplay into the project — Fountain, Final Draft, text, Markdown, a PDF with its text or a Word file — and the Director reads it a part at a time: the reading has no charge of its own, and what it reads is charged as part of every round that carries it. Its words, scenes and who speaks in them stay with the project, and the file itself is not kept. From a script writes the script's main characters and places into the brief, asks before it draws a picture of each, and plans its first scene shot by shot.

The model at the top of the panel chooses who answers, in the Choose a model window. It lists the models that can work on a project, each with what a round of the Director costs on it and what it does well here — Plans long films, Writes Indonesian well — and a thinking level for a model that has one: a lower one answers sooner. The Director keeps the model you chose for it, and the model you chose for a shot: it asks you before it makes a shot on another one.

The models that write Indonesian well are, of ours, GLM-5.3 Flash, DeepSeek V4.1 Flash and Qwen3.8 2.4T, and, of the models other companies run, GPT-5.4 mini, GPT-5.4, GPT-5.5, Claude Opus 4.8, Claude Fable 5 and Grok 4.3. The window marks each model another company runs with Run by another company; on such a model, a round you stop, or one our time limits cut off, is charged in full — for its prompt and the longest answer the round allowed — as the chat settlement table says.

One reply can take several rounds. Under each turn the panel says what it came to — what the Director's own rounds cost and what the generations it started cost — and Stop ends a turn: what it did before that is kept, and Continue picks up from there.

Each step a reply takes is a line in it as it works. A step that could not be done says so, and when several steps in one go fail the same way, they are one line that says how many times. Once a reply is done, the words it wrote along the way fold under one Working notes line above its answer; open it to read each where it was written. A panel open in another window shows a card you answered, and what moves on it, at once.

When the Director needs your choice — a picture that looks like something well known, a shot's model, a take to make again — it asks under its answer, with the choices as numbered buttons. Press one, or choose an answer for each of several and send them together; typing the number of a choice answers it too. Auto mode waits for your answer, and what is made after it still counts against the same Cap for the run. The Director can ask you a question of its own the same way, when it is yours to decide.

#Cards: nothing is made until you say yes

Every generation it starts is a card with its price: Generate pictures, Generate a clip, Animate a picture, Upscale, Edit, Make a 3D asset and Make sound. The Director's own rounds and its looks are no card: they are charged on the turn's receipt, under the turn. A card says its exact price, or what it holds when a model charges what the result costs — the rest comes back — and when a pass, a bundle or a promotion covers it, that it takes no credits. Approve starts it, Decline starts nothing, and Edit declines it and asks the Director to price your version as a new card. What a card starts files into the project as it is ready, under the name of what it is for — Shot 6, Narration · Shot 1.

#What a card can make

A card makes what the model it names can do, and the Director asks each model only for what it takes:

• Generate a clip — from words; from a picture as its first frame, or from a first and a last frame; from several pictures as keyframes spaced evenly through it, where the model takes them; or with the project's pictures, clips and sounds as references, where the model takes them. On a model that makes several shots in one clip, a clip can hold several, each with its own length, and the lengths add up to the clip's.
• Edit — changes one area of a picture or a clip, which the Director draws first for nothing; removes an object; changes a clip by your words; makes a clip longer on its own model where that model does, or else makes the next clip from its last frame; and, only when you ask, makes a clip's lips follow a line, where a model does.
• Make sound — speech, a dialogue between speakers, a song or instrumental music, a sound effect, a cover of a song, or the sound for a clip, each where a model does.

Name a medium — clay, stop motion, cel anime, hand-drawn, watercolour or puppets — and the plan is made in it, every shot.

A picture or a clip you uploaded is made to speak a recording or a script, to move to a sound track, to have its lips follow a recording or to copy the movement in another clip, and a recording you uploaded is used as a voice, once you have accepted, once for your account, that you have the right to the faces and voices you use — on every surface, the Director's cards included; a picture or a clip a model made here needs nothing, and one you uploaded can still open a clip or guide one as a reference. The Director can't accept for you: when a card would need it, nothing is started or charged, and the panel shows you the line to tick, once. While one of these is paused, the Director says so before the card is raised, and nothing is charged.

An element keeps where each of its pictures came from. One whose pictures were all made here is sent in a clip that speaks like any picture made here; one with a picture you uploaded, or whose making cannot be traced, is not, and the Director plans that shot with its lines laid on the film's dialogue lane instead — no one speaking in the clip — or asks you.

#Auto mode

With Auto mode on, the Director starts by itself every card that fits what is left of your Cap for the run — your Auto limit, the run being your message and every turn Auto mode carries on from it. A card that would go past it, or that has no price yet, waits for your yes. Auto mode waits for the generations a turn started and carries on by itself if one fails; where the Director looks at what it makes (below), it also carries on when they land, looking at them first — and anywhere, when a shot planned to open on a clip that landed can now be made — as long as what is left of the cap covers a usual message on your model. It carries on by itself a set number of times in a row, then waits for Continue. It waits for an export a turn began as it waits for a generation.

The stops you write — "stop after each phase for my approval", in your first message or later, or in the project's brief — are kept in Auto mode, even with your window closed: the Director asks there and waits for your answer. Go on carries the work on to the next stop and Not yet — I'll write waits for your words; a number you type is read as your own words, not as a button. Write "no need to stop again" and Auto mode carries on without stopping; write a new stop and it stops again.

In Auto mode, a plan says beside its price what is left for what Auto mode starts by itself, and the Director tells you how many of its shots start by themselves. When the shots not made yet don't all fit, Auto mode makes the ones that fit and puts the rest on one card, The rest of the shots: it says how many shots it starts and for up to how many credits — your own yes, beside your Auto limit — and what Auto mode then has left to review them. Shots past what your plan starts at once wait for a later card.

Where carrying on with the window closed is open for your account, Auto mode also carries on after you close its window — within the same cap and the same number of carry-ons, and for a limited time while it waits for what it started. Each of those steps shows in the panel as Auto mode carried on by itself (or why it carried on), and a panel left open follows them as they happen, with no reload. Stop waiting, switching Auto mode off in any window, or signing out stops it.

Re-make takes with clear faults, off unless you turn it on, lets Auto mode make a take again when the Director saw a clear fault in it — at most once a shot for each message you send, from your Auto limit. Otherwise the Director tells you what it saw and asks before it makes a take again.

#The shot plan

A Shot plan is the film shot by shot: what each shot shows, how long it runs, the model it is made with, and its sound. Each model plans a number of shots at a time — up to 30 — and a longer film is planned in parts. Make this shot and Make them all ask the Director for the cards; a shot that cannot be made as written says what to fix, and Ask the Director to fix it sends it back.

Once something of a plan is made, each shot says where it stands — made, with its takes; its card waiting for your approval; on its way; its last try didn't come out; or not made yet — and offers the press that fits it: Make this shot, Make it again after a try that didn't come out, Make this version for a made shot changed since its take, and Make another take for a made shot, which is always a card you approve at its full price, in Auto mode too. At the plan's foot, Make the 3 not made yet makes the shots that are not made, and says what they hold. A plan revised since is folded under its newest version with nothing to press: Show this version opens it to read, and its shots are made from the newest.

Each shot carries its sound:

• Narration — the narrator's line over the shot. It goes on the film's narration lane in one voice, never into the clip, and a shot under narration is made with No speech, in the model's own terms.
• Dialogue — the lines spoken in the shot, each by its speaker: in the clip, or — on a shot with narration or no speech — made in the speaker's voice and laid on the film's dialogue lane.
• Sound — the sound of the scene.

A shot can open where the one before it ended: Opens on shot 2's last frame says it is made from the last frame of the take the film uses for that shot, so it is made only once that clip is: in Auto mode the Director makes it by itself when the clip arrives, and otherwise in a message after it. A shot can also open or end on a picture of the project.

Edit shot changes one shot of the plan — what happens, its length, its narration — and is free: nothing is made until you ask for it. The Director changes shots the same way, only the ones that change, so the rest of the plan keeps its words.

#What a plan costs

Under a plan's price is what it comes to on its model: what it holds, and — where enough clips were made on that model to say — what it usually comes to, how often its clips are refused and refunded, and how long a clip usually takes to arrive. Ask the Director to price the plan on other models, and it answers each one's.

What the Director used, at the head of the conversation, adds up what your AI Director used in this project: the credits used and returned — refused and refunded, failed or stopped and refunded, and returned where a result cost less than was held — what the Director's own messages and looks cost, each model's share, and what is still held for generations being made. What you make yourself, and what other members' Directors make, is not in it.

#Takes

A shot made again is a new take; the earlier ones stay. Above the project's grid, Shots with more than one take lists them, and Compare takes opens a shot's takes side by side — Play together, with what the Director saw in each where it looked. Use this take chooses the one the film uses; until you choose, the film is laid out with the newest. A cut already laid out keeps its clips until it is laid out again.

#Sound

The Director never changes a voice you chose for an element without asking you. A handle already used by another element names that element and the project it is in.

Make sound is a card for:

• narration and dialogue lines — each line is its own generation, at its own price, read in the voice the shot's narrator or speaker keeps (a voice is an element; see Cinema Studio);
• music for the film, instrumental or with lyrics;
• a sound effect.

The card names the model it uses, and you can ask for another; each line plays on the card once it is made. A card some of whose lines could not be sent says how many started and why the rest did not, and a line that got no answer is checked before it is made again, so it is not made twice.

#3D assets

Make a 3D asset is a card for a 3D asset of one object, made only when you ask for one: from your words, or from a picture of the project — one picture of the object on a plain background, or several views of it where the model takes them. When there is no such picture yet, the Director makes it first, on its own card. The card names the model it uses — the default for 3D unless you chose another — and the 3D asset files into the project when it is ready. A 3D asset already waiting, on its way or made is not made again until you ask for another.

#The film

The Director lays out the cut in the film editor: the clips of the plan in order, each shot's take, the narration under its shots, dialogue lines, the music lowered under the voices, sound effects, and each clip's own sound. A new clip found speaking on a shot planned with no speech has that voice lowered where it speaks, and keeps the rest of its sound — or is muted, where the voice covers most of the clip; one the cut already held keeps your choice, and the Director asks before muting it. A shot muted that way gets one sound of its scene of its own — in Auto mode the Director makes it by itself, within your cap — and a sound made for a shot plays under its whole clip, repeated to fill it. In the editor, a clip's Lower the stray voice and a sound's Repeat to fill turn either off.

The cut can carry titles — a big title, a lower third or a few lines of text, over the picture, over it dimmed, or on black — set into the film when it is exported; the Director places them, a title at a shot moving with its shot, and in the editor they are on the Titles lane. Words on screen are the film's titles: the Director never asks a model to draw them, and never sends you to another editor for them.

Laid out again, the cut keeps what you changed in the editor — levels, mutes, trims, fades and moved sounds — and what was decided, such as a voice lowered. It exports the film into the project's Film folder — exporting is free — and, where it looks at what it makes, looks through the finished film before it says the film is done.

A film longer than one cut — a cut holds up to 10 minutes at 1080p and 24 fps, less at a larger size or a higher rate — is made in acts, each its own cut, and the acts are joined into one file in the project's Film folder, for nothing: up to 6 acts and 50 minutes in one file. A longer film arrives as more than one file, and the Director says how many when it plans the film, before any clip is made.

Before it exports the film — or joins its acts — the Director checks the cut against its plan: a line of narration or dialogue nobody made yet, or music that stops before the film does, is made first — in Auto mode by itself, within your cap — and laid on the cut; or the Director tells you what the film would lack, and exports it as it is only once you have been told. Music made for the film that is not on the cut is named too.

Ask for the film in another language and the Director copies the cut for it, for nothing, translates its narration and dialogue, and makes each line again in that language on a Make sound card; it lays them into the copy, and changes the lips on screen only on an Edit card you approve.

#Looking at what it makes

Once your account has accepted the Terms and Privacy Policy that describe it, the Director looks at the project's pictures and clips, at the pictures of its elements, and through the finished film. It looks before it judges: at what you attached, at the takes once they land, and at the export. Under the turn, the panel shows each thing it looked at, and the receipt says how many it looked at and what that cost; a picture or clip it already looked at the same way is not charged again. A model that reads pictures itself is shown them directly. A picture or clip it could not read is tried once more by itself; what it still could not look at is shown dimmed, Not reviewed, and a take no look has read says Not reviewed yet in Compare takes.

A look is part of the Director's answer, not a card. Outside Auto mode the looks of one message have an allowance of their own, and a look past it is not made — the receipt says Looked enough for this message; in Auto mode, looks come out of your Auto limit. Where looking is not available — paused for a while, not allowed for the project, or before your account has accepted the updated terms — the receipt says so, nothing is charged, and the Director works from what it was told.

The Director looks with our own models first, and where none of ours can, with the model you chose for it when that model can see. For what neither can look at or hear — your sounds, or the finished film with its sound — it asks you once in a project whether it may use a model another company runs, with Allow and Don't allow under its answer; that company hears and sees what it is given, and a look made that way is marked Run by another company. Without your Allow, it does not — typing a number does not answer this question — and asking the Director not to use the other company's model takes the yes back. In a project shared with others, another member's Director may look at what you added, with the model that member chose and on that member's own yes.

#Before a clip is made: lookalikes

If you ask for original characters only — in a message to the Director, or in your project's brief — the Director checks, before a clip on any model, whether a picture looks like one particular character, work, brand or logo that already exists — and asks you: redraw it as your own, or make it as it is. Choose "as it is" once and it won't ask again in this run about a picture it finds looks like the same one, by the same name. Wherever the check runs, a card you approve may be checked for any picture it was raised without checking; if one is held, it doesn't start and no clip is charged — you're asked first.

Some models' makers refuse a clip after it is made when it looks like a well-known character, brand or logo, or is made from a picture that shows a realistic human face — a photograph, or a photorealistic picture made here too — as ByteDance's Seedance models do. Before it plans, the Director holds what you asked for against what your model's maker refuses: where it needs a realistic face in the pictures a clip is made from, or a lookalike, it asks you first, and makes nothing your answer would change. Where looking is available for your account, before a card on such a model is priced, the Director checks the pictures it is made from, and its words:

• a strong likeness raises no card: the Director asks you first, with Redraw it as my own, Make it without the picture and Try it as it is as its buttons — and Try it as it is, pressed, starts the clip, in Auto mode within your cap;
• a picture with a realistic face is redrawn as an illustrated character, or left out — never tried as it is; one made here is said to show a realistic face, never called a photograph of a real person;
• a weaker likeness is a note on the card, and a clean check says how many pictures it looked at.

The check is charged as a look is, each card's checks within a bound of their own, and counted with the Director's other looks in the same message — in Auto mode, in your Auto limit — and its line in the turn says how many pictures were checked and what that cost — one line for a run of clips; a picture checked once is not checked again, in any of your projects.

A check that cannot run never holds a clip back: the card says it was not checked, and why. A clip the maker refuses after it is made is refunded. One it refuses for what it made, after a check that found nothing, may be made once more without asking — charged once if it is made, and refunded in full if it is refused again. When a refusal comes back, the Director is told what the maker refused — what it made, its sound, or what it was sent — and which picture or words most likely caused it; a shot refused twice is held until you answer.

#When it stops

If your plan does not include the AI Director, or there are not enough credits for a turn, nothing is charged and the panel says so. A turn that ends partway says under it why it stopped and what became of your credits:

• A model that can't be reached right now: the round the Director was about to run doesn't start, and nothing more is charged. Pick another model — the Director's own models still answer — or try again later; asking again at once would meet the same answer, so no Try again is offered. A model that is only too busy says so, and offers Try again in a moment.
• A turn lost on our side before it could be saved: when nothing it wrote reached you, its credits are given back and the panel says so; otherwise the panel says what its rounds were charged and whether what it wrote was kept, and trying it again is safe. With its window open, Auto mode tries a step of its own once more by itself.
• When we couldn't check just now whether a model may run, and no check in the last minute said it may, the Director stops before its next round rather than go on unchecked: it keeps what it did, carrying on is safe, and Auto mode carries on by itself, once, after a short wait.
• A dropped connection, or a model that stopped answering partway, keeps what the turn wrote, and Continue or asking again carries on from there.
• When the looks of a message run out with takes still to look at, the turn ends there: Auto mode carries it on by itself, and otherwise Continue looks at the rest — unless the Director asked you something, which it waits for you to answer.