pre·vi·sto — (it., pt.) foreseen; anticipated
Your script. Your references. Your world. Previsto holds them together across boards, the 3D stage and the take. You direct. Previsto handles the prompts.
PRIVATE BETA · ACCESS BY INVITATION
FADE IN:
EXT. MAPLE STREET — LATE DAY
Sprinklers tick over trimmed lawns. A quiet grid of a neighborhood, gold at the edges.
DANNY, 12, pedals a BMX down the center line, one glove on the bars. MAX, a scruffy terrier, trots ahead with a tennis ball in his mouth.
The street hums. Somewhere far off, a FREIGHT HORN.
Max stops. Ears up. The ball drops and rolls.
DANNY
Max. Don't.
Max bolts — through the hedge line, toward the sound.
EXT. RAIL CROSSING — CONTINUOUS
A crossbuck leans over the gravel grade. No gates. Long sightlines down the rails.
Max stands between the rails, barking at the horizon.
The train swings into view — sun-flared, horn tearing the air.
EXT. HILL ABOVE THE CROSSING — CONTINUOUS
Danny crests the rise and reads all of it at once: the dog, the train, the distance.
He stands on the pedals and sprints downhill, chain screaming.
At the ditch he throws the bike to the weeds and launches —
— grabs Max off the rails and rolls —
The WALL OF STEEL slams past. Car after car. Dust and pressure and noise.
Then: quiet. The last car clears.
In the settling dust — Danny on his back in the gravel, Max on his chest. Danny laughs. Max barks, licks his face.
CUT TO:
Maple Street · CRANE-DOWNQuiet street, sprinklers; Danny and Max enter the frame line.
Maple Street · SIDECAR TRACKDanny pedals home; Max trots ahead with the tennis ball.
Maple Street · PUSH-INMax freezes, ears up. The ball drops.
Maple Street · PAN-FOLLOW"Max. Don't." — Max exits frame.
The Crossing · CROSSBUCK WIPEMax between the rails, barking at the approach.
The Crossing · TELE PUSHSun-flared freight nose and horn force.
The Rescue · OTS CREEP-INDanny crests the hill and reads the danger.
The Rescue · PURSUIT TRACKStanding on the pedals, sprinting downhill.
The Rescue · ONE FLOWING MOVESkid, ditch, dive — bike to the weeds, Danny launches.
The Aftermath · OCCLUSION WIPEThe wall of steel slams past, car after car.
The Aftermath · REVEAL DRIFTOut of the dust: Danny and Max, clear of the rails.
The Aftermath · PUSH-INDanny laughs; Max barks and licks his face.From sketch to screen
Intake is more than pages — it's your screenplay, your references, your intent. A custom production engine holds all of it as one world and writes the documents a real crew would carry to set.
Review panels with their continuity checks and revision history. Approve, leave a note, or send them back. Your decision moves the board forward.
Do you approve these panels as the accepted storyboard, or do you want targeted changes?
Four of the twelve — every panel earns its check before the board advances. THE CROSSING, unit 01.
Open the scene in the Room. Explore the blocking, frame the shot and record a camera move. Use 3D when it helps your direction; you can also work from boards.
Record the move in the Room. Previsto carries it into the video request alongside your frames and direction. Review the quote before you roll.
The recorded move — silent clay, zero spend.
A generated take guided by the recorded move.
What the model was given — assembled by the engine, not typed by you.
Every revision a shot has ever worn — rejects struck in grease, the approved take checked. Credits quoted before they're spent. The paper trail a studio actually wants.
REV 01
REV 02
REV 03
REV 04REV 05 ✓ APPROVEDFive passes at one shot — the rejects struck out, the keeper checked. Every version stays on the record.
Three custom engines, built for production — the creative engine, the 3D engine, and the Production Office.
The engine composes every image and video prompt from your script, your references, your world. It speaks the models' language so you never have to.
Your script, references and approved creative decisions stay with the production as its shots develop.
Shot references, captures and revisions stay linked to the work they inform.
Review the plan, refine the shot and approve the work before it moves forward.
Stage, frame, choreograph, record. Nothing renders until a gate quotes the cost and the director says roll.
PRODUCTION OFFICE
Develop the breakdown, shooting schedule and day papers from the production context. Work in Office independently or alongside Creative Studio.
Explore Production Office
THE PRODUCTION BIBLE
The gate is yours
Stage it, see it, approve it — the film exists before the budget does.
PRIVATE BETA · ACCESS BY INVITATION
THE PRODUCTION OFFICE
Work from your screenplay, scene requirements and production decisions. Bring approved Creative Studio coverage into the schedule, then review the details needed for the day’s papers.
Explore Production OfficeNORTH OF MERIDIAN · EPISODES 03–04
Every scene carries production requirements.
CAST · LOCATIONS · ELEMENTS · SETUPSCast availability, location access and script revisions affect the plan. Previsto carries the production context into each decision.
Cast availability, location access, scene requirements and setup time inform the proposed schedule. Review the changes before confirming them.
Cast #5 is unavailable on Tuesday.
Identify changes to scenes, cast and time of day. Review the impact on the breakdown and schedule before accepting the revision.
The scene changes. Its requirements follow.
The scheduled scenes, cast, locations and requirements are already connected. Previsto asks for the outstanding details needed to prepare the day’s papers.
What time should Tessa
report for Scene 24?
Schedules, day out of days, breakdowns, call sheets and sides.
A production bible built from the script and the decisions you make.
