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A Studio project moves through five sections, in the order a film crew actually works. You can revisit any section once it’s populated, but the first time through a new project the recommended path is straight down the list. The dotted arrows are the loop you’ll actually live in once a project is underway: a shot reveals something about the world or an asset, you fix it once at the source, and only the shots that referenced that source re-render. This surgical re-render is the practical payoff of Studio’s asset-first design.

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1. Story

Paste or type a script. Studio reads it and proposes a structure:
  • Stages — the high-level beats of the story (opening, turn, resolution).
  • Beats inside each stage — the smaller narrative units, the size of “she walks across the room and picks up the photo”.
You review the proposed structure, edit anything that’s off, and approve it. From this point on, every other section knows what the story is and which beat each shot belongs to. You are not committing to a final structure here. The structure is editable for the life of the project; what you’re doing in this section is giving the rest of Studio a starting frame.

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2. World

A story has a world. The World section is where you describe it:
  • Characters — name, appearance, attire, voice, and any continuity notes (“always wears the locket”, “left arm in a sling from stage 3 onward”).
  • Locations — the places the story happens in, with reference images and notes on what’s distinctive about them.
  • Props — objects that matter to the story.
  • Factions and relationships — who’s allied with whom, who knows whom, who hates whom.
The World section is the source of truth for every shot. Editing a character’s appearance here updates the locked reference that every later shot will use.

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3. Assets

Where World captures who and what, Assets captures the look. For each character, location, or major prop, you lock a reference:
  • One or more reference images that define the visual identity.
  • Notes on what must stay the same between shots and what is free to vary.
Once an asset is locked, you can ask Studio for a variant of it — the same character in a different outfit, the same location at a different time of day, the same prop seen from a different angle. You name the dimension you want to vary (angle, time of day, weather, location, costume); Studio generates the variant from the locked reference, so the identity is preserved while only that one dimension changes. This is the part where most AI video pipelines lose continuity. In Studio, every variant traces back to one locked reference, so the character on shot 2 and the character on shot 27 are the same character.

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4. Shots

Shots is the workshop. Here you:
  • Build the shot board. Each beat becomes a row; each shot becomes a card on the row.
  • Compose each shot. Pick which assets appear in the shot, describe the camera intent (framing, lens, movement), and generate the opening frame.
  • Direct the take. A take is one generated version of the shot. Generate one or more takes from the composed opening frame. If a take captures what you wanted, accept it. If not, refine the composition and generate another take.
  • Chain shots into clips. A shot can be a single short clip or a sequence chained together for longer continuous motion.
  • Assemble the rough cut. A rough cut is a first assembly of shots in order, before audio polish. Drag the accepted takes into the order you want them to play.
The shot board can also flag continuity issues on a take — for example, if a character’s wardrobe in the generated take has drifted from the locked asset, the take is marked for review before it goes into the cut.

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5. Dubbing

Sound is the last layer:
  • Music. Describe the cue you want — style, mood, tempo, key, duration, and optional lyrics — and Studio composes it. Different cues can be assigned to different ranges of the cut.
  • Voice. Provide a reference voice sample and Studio can speak any line in that voice. Multiple languages are supported for voice cloning so you can localise without recasting.
  • Sound effects. Studio listens to the video and proposes effects that match what’s on screen — the door creaks when the door opens. You approve, refine, or replace each effect.
When the audio layers are in place, the rough cut becomes the finished cut.

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Export

Export is in development. Today the primary artifact is a handoff package: a downloadable JSON manifest of the selected takes, with each shot carried as a unit — its story trace, selected take, clip summary, camera intent, sound plan, and readiness. The manifest records, per package, whether an assembled video is available. A single assembled MP4 of the rough cut is available as an early alpha path, produced locally from the selected takes and the temporary audio. When local assembly isn’t available, the package keeps a watchable web preview as the truthful fallback, so you can still review the cut in order. More finished render output is on the roadmap.

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Concepts

Two ideas come up across every section.

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Asset-first

Single-prompt video tools take a sentence and try to generate something that matches it; if the next clip doesn’t line up with the last one, the only fix is to roll again. Studio inverts that. You lock the visual identity of each recurring element — character, location, prop — before you start generating shots. Every shot then resolves that identity through the lock, not through a sentence of text. The practical consequence: editing a character changes one reference, not twenty shots. Re-renders are surgical, not whole- project.

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Story structure vocabulary

Studio uses a deliberate vocabulary for the layers of a project, so the same word means the same thing everywhere in the product: When something in the product mentions a “beat” or a “shot”, it means this exactly — there’s no overlap or aliasing between layers.

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