Solo director
One director, one film at a time.
$89 / month
- 1 seat
- Unlimited projects
- 12 locked cast references
- 1 look bible per project
- 600 frame renders / month
- 90 motion clips / month
- 1080p delivery · MP4, MOV
- CSV and EDL export
MISE — NARRATIVE FILM PIPELINE
Two hundred shotsthat cut togetheras one film.
MISE takes a screenplay to a graded, cut sequence with sound. You lock the cast once and the look once; every shot generated after that inherits both. The unit of work is a scene, not a clip.
01 The problem THE LONG COUNT · R01
AI footage doesn’t fail at the frame. It fails at the cut.
Any model will give you one good-looking shot. The trouble starts at the second one. The face comes back a little different. The grade drifts a stop warm. The lens changes without anyone choosing it.
What you end up with is a folder of handsome images that will not cut together — and an edit no assistant can save. Continuity is not a finishing problem. It is the whole problem.
Five shots. Nominally the same character.
Generated the ordinary way: one prompt per shot, no locked reference, no shared grade.
CONTINUITY — FAIL
Face drift
01
Grade +2 flat
02
Warm cast
03
Cold cast
04
Wardrobe change
05
02 Pipeline 01 / 08
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STEP 01
Script
Paste a screenplay, a treatment, or one sentence.
MISE parses to scene and beat. Sluglines, characters, and action are read the way a first AD reads them — so the breakdown that follows is structured, not guessed.
14 EXT. TIDAL CAUSEWAY — DAWN
The tide is going out. A mile of wet stone, and nothing on it.
VERA walks the centre line, boots in two inches of water.
MARLOW (O.S.)
Nine days. They dragged it nine days.
She does not turn around.
Parsed
- SCENE14
- SETTINGEXT · DAWN
- BEATS3
- CASTVERA · MARLOW
- PAGES1 2/8
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STEP 02
Breakdown
A shot list per scene, in the format a line producer already reads.
Shot size, camera move, lens, lighting note and duration for every set-up. Editable as a table. Reorder, merge, split, or throw out the machine’s coverage and write your own.
# Size Move Lens Dur 14A WS Static 40 mm 7.5s 14B MWS Dolly in 32 mm 4.0s 14C CU Static 85 mm 2.0s 14D MCU Handheld 50 mm 3.5s 14E CU Static 135 mm 2.5s 14F MS Pan L→R 32 mm 3.0s -
STEP 03
Casting
Lock the reference once. Every shot downstream inherits the face.
This is the part that makes the rest possible. A locked character reference is not a prompt fragment — it is a binding constraint carried into frames, motion and every re-render for the length of the project.
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STEP 04
Look
One look bible. Two hundred shots that belong to the same negative.
Stock, grade, grain, halation and glass are declared once and applied to every frame at render, not bolted on afterwards. Change the bible and the whole film conforms.
- StockKodak Vision3 500T
- ProcessBleach bypass, 40%
- Black point12 IRE, lifted
- ShadowTeal −14 / desat 0.62
- HighlightSodium amber +9
- Grain35mm fine, 0.35
- HalationOn, 0.22
- GlassCooke S4/i · T2.2
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STEP 05
Frames
Stills first. Review a contact sheet before you spend a second of video.
Every set-up renders as a still and lands on a contact sheet. Approve, kill or re-render at the frame stage, where iteration costs pennies instead of minutes.
✓ 01 ✓ 02 
✓ 03 
✓ 04 ✓ 05 
· 06 
· 07 
· 08 -
STEP 06
Motion
Approved frames become clips. The model is chosen per shot, not per project.
Dialogue coverage, a macro insert, a crane move and a physics beat do not want the same model. MISE routes each shot to the engine that handles it, and holds the locked reference across all of them.
- 14A Camera move · WS MOTION-A RENDERED
- 14C Macro insert MOTION-C RENDERED
- 14D Handheld · figure MOTION-A RENDERED
- 14E Dialogue · CU MOTION-D RENDERED
- 14F Water physics MOTION-B QUEUED
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STEP 07
Cut
Assembled against the rhythm the script was written to.
Clips land on a timeline in scene order with transitions and speed ramps where the beats ask for them. Trim it here, or take the XML and finish in Resolve.
00:0000:0400:0800:1200:1600:2000:2414A14B14C14D14E14F14G14H8 CLIPS · 24 FPS · 2.39:1 · 00:00:24:00
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STEP 08
Sound
Voice, score and design locked to the cut — not laid over it.
VO takes, a score that hits the cut points, sound design per action beat, and a mix that respects the dialogue. Stems out, so a supervising sound editor can take it from there.
VO — MARLOW −6 dBSCORE — 14M2 −12 dBFX — TIDE −15 dBATMOS — HARB −18 dBMIX −14 LUFS · STEMS OUT · CONFORMED TO PICTURE
Scroll to advance the pipeline
03 Continuity test THE LONG COUNT · R01
One reference. Eight impossible set-ups. The same performer.
Every frame below was generated from the single casting reference on the left — different location, different source, different focal length, from a 21 mm warehouse wide to a 135 mm long lens on the causeway. Nothing was retouched and no frame was cherry-picked. Change the reference and watch all eight re-render.
Casting reference
CH-01 Pick another reference — all eight shots re-render.
01 
02 
03 
04 
05 
06 
07 
08 04 Breakdown THE LONG COUNT · R01
The document the money reads.
A generated shot list is worthless if a first AD can’t work from it. This is scene 14 of THE LONG COUNT as MISE broke it down — editable in place, costed by duration, exportable to the formats a production office already runs on.
SCENE 14 EXT. TIDAL CAUSEWAY — DAWN
8 SET-UPS EST. 33.0S SAVED
| Shot | Size | Move | Lens | Description | Cast | Dur | Status |
|---|---|---|---|---|---|---|---|
| 14A | WS | Static | 40 mm | Causeway at low tide. Vera enters frame left, walks to centre. | VERA | 7.5 | Approved |
| 14B | MWS | Dolly in | 32 mm | Push to Vera as she stops at the marker post. | VERA | 4.0 | Approved |
| 14C | CU | Static | 85 mm | Her hands on the wet rope. Insert. | — | 2.0 | Approved |
| 14D | MCU | Handheld | 50 mm | Marlow at the far end of the causeway, watching. | MARLOW | 3.5 | In motion |
| 14E | CU | Static | 135 mm | Vera clocks him. No dialogue. | VERA | 2.5 | In motion |
| 14F | MS | Pan L→R | 32 mm | The tide turning behind them. Water crosses the stones. | — | 3.0 | Frames |
| 14G | OTS | Static | 75 mm | Over Marlow. Vera closes the distance. | BOTH | 4.5 | Frames |
| 14H | WS | Crane up | 21 mm | Both figures small, causeway going under. Scene out. | BOTH | 6.0 | Queued |
05 The cut THE LONG COUNT · R01
Assembly, transitions and sound against picture.
Scene 14 as it stands: eight shots, three audio tracks, real stems. Drag the playhead — the waveforms are the actual score, atmos and voice-over conformed to this cut.
V1 — PICTURE
VO — MARLOW−6 dB
SCORE — 14M2−12 dB
ATMOS — HARB−18 dB
06 The look THE LONG COUNT · R01
A grade the whole film shares.
Left is the camera original as the model returns it. Right is the same frame under look bible LC-BLEACH-04 — the same bible carried by all 214 shots. Drag to compare.
07 Pricing THE LONG COUNT · R01
Priced per production, not per prompt.
Production company
A slate, a crew, and people who need the same answer.
$640 / month
- 6 seats, roles and approvals
- Shared casting library across projects
- 5 look bibles, versioned
- 4,000 frame renders / month
- 700 motion clips / month
- 4K delivery · ProRes, DNxHR
- FCPXML, AAF and EDL round-trip
- Shot-list export to StudioBinder
- Named production support
Studio
Rights, legal and a security review.
On application
- Unlimited seats · SSO and SCIM
- VPC or on-premise deployment
- Private model routing
- Contractual likeness and rights records
- Full audit log and retention policy
- Dedicated look supervisor
- Custom LUT and camera profiles
- Delivery to studio spec
All tiers include the look-bible engine, locked casting references and shot-list export. Render volumes roll over for 30 days. Annual billing takes 15 per cent off the monthly rate.