PREVISTO™

pre·vi·sto — (it., pt.) foreseen; anticipated

See the film
before it exists.

Previsto is an AI director's studio — a purpose-built production engine, not a chat window with a model behind it. It turns a script into storyboards, a previz stage you can fly, and camera-obedient takes — while every creative decision stays exactly where it belongs: with the director.

Enter the Studio Walk the workflow ↓

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PREVISTO · PRODUCTION PIPELINE REC
1.

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.

2.

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.

3.

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:

# Shot List Working (Approved v1) — The Crossing
Status: approved shot list and pilot plan
Board: 16:9 · director locked · 4 ranges planned
Scope: prompt packets approved. Generation on director hold.
01A Maple Street establish EWS · 28-35MM · CRANE-DOWN GLIDE · @loc_maple_street_ref
01B Danny pedals home, Max ahead MLS · 35MM · SIDECAR TRACK · @char_danny_identity_ref
01C Freight horn; Max freezes CU · 75-85MM · PUSH-IN, RACK HANDOFF · @char_max_identity_ref
01D "Max. Don't." MCU · 50MM · PUSH-IN, PAN-FOLLOW · @char_danny_identity_ref
02A Crossing reveal, danger geography WS · 35MM · CROSSBUCK WIPE · @loc_rail_crossing_ref
02B Train swings into view CU/INSERT · 100MM · TELEPHOTO PUSH · @prop_freight_train_ref
02C Danny crests hill, reads danger MS · 50MM · OTS CREEP-IN · @char_danny_identity_ref
02D Downhill sprint to the crossing WS/MLS · 28-35MM · PURSUIT TRACK · @char_danny_identity_ref
02E Skid, ditch, dive INSERT/MS · 35-50MM · ONE FLOWING MOVE · @char_danny_identity_ref
02F Wall of steel occludes WS · 35MM · LATERAL OCCLUSION WIPE · @prop_freight_train_ref
02G Aftermath reveal in dust WS · 50MM · SLOW REVEAL DRIFT · @char_danny_identity_ref
02H Danny laughs, Max licks MCU 2-SHOT · 50-65MM · EMOTIONAL PUSH-IN · @char_max_identity_ref
Gate · Approved
The Crossing
12 rendered shots · pencil pass · Maple Street → The Crossing → The Aftermath
01 01A · EWS 28-35MMMaple Street · CRANE-DOWNQuiet street, sprinklers; Danny and Max enter the frame line.
02 01B · MLS 35MMMaple Street · SIDECAR TRACKDanny pedals home; Max trots ahead with the tennis ball.
03 01C · CU 75-85MMMaple Street · PUSH-INMax freezes, ears up. The ball drops.
04 01D · MCU 50MMMaple Street · PAN-FOLLOW"Max. Don't." — Max exits frame.
05 02A · WS 35MMThe Crossing · CROSSBUCK WIPEMax between the rails, barking at the approach.
06 02B · CU 100MMThe Crossing · TELE PUSHSun-flared freight nose and horn force.
07 02C · MS 50MMThe Rescue · OTS CREEP-INDanny crests the hill and reads the danger.
08 02D · WS 28-35MMThe Rescue · PURSUIT TRACKStanding on the pedals, sprinting downhill.
09 02E · MS 35-50MMThe Rescue · ONE FLOWING MOVESkid, ditch, dive — bike to the weeds, Danny launches.
10 02F · WS 35MMThe Aftermath · OCCLUSION WIPEThe wall of steel slams past, car after car.
11 02G · WS 50MMThe Aftermath · REVEAL DRIFTOut of the dust: Danny and Max, clear of the rails.
12 02H · MCU 50-65MMThe Aftermath · PUSH-INDanny laughs; Max barks and licks his face.
01 · SCREENPLAY — the intake reads your pages
SCRIPT → SHOT LIST → BOARD ▼ SCROLL — WATCH IT DEVELOP

From sketch to screen

Final look, shot 02F: the freight train slamming past the crossing
Gate · Approved
01 The Board shot 02F, drawn to the gate
02 The Look Pass style & light, locked at r7
03 The Take in motion, before a single set day
01 · INTAKE

From script to shot list

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.

THE DIRECTOR'S CHAT · PREVISTO
YOUHere's my screenplay and my references — the boy, the dog, the crossing. I've got a lot of ideas about how this should feel: the tone, the pacing, the way the frames should look. Let's make it.
📄the_crossing_short.pdf
Danny reference
danny
Max reference
max
Rail crossing reference
the crossing
PV · PREVISTOOn it — reading the screenplay and locking your references so every frame stays true to them. I'll break the scene, draft the shot list, and stage it for your approval. The workflow carries itself; the decisions stay yours.
# Shot List Working — The Crossing12 shots · one unit · board 16:9, director locked
01A Maple Street establish EWS · 28-35MM · CRANE-DOWN GLIDE
01D "Max. Don't." MCU · 50MM · PUSH-IN, PAN-FOLLOW
02A Crossing reveal, danger geography WS · 35MM · CROSSBUCK WIPE
02C Danny crests hill, reads danger MS · 50MM · OTS CREEP-IN
02E Skid, ditch, dive — one flowing move INSERT/MS · 35-50MM
02F Wall of steel occludes WS · 35MM · LATERAL OCCLUSION WIPE
02H Danny laughs, Max licks MCU 2-SHOT · 50-65MM · PUSH-IN
GATE · SHOT LIST APPROVED
01 · THE ASK — DROP THE WORLD IN
SCRIPT + REFERENCES + INTENT → SHOT LISTIT WALKS ITSELF — THE GATE IS YOURS
02 · THE BOARDS

Storyboard, governed

Panels render to your gates — approve, note, or send back. And before anything reaches you, the engine QAs its own work: continuity scanned, misfires caught and re-shot automatically. Your check is the one that counts.

Storyboard panel 02C
Storyboard panel 02E
Storyboard panel 02F
Storyboard panel 02H
GATE · PANEL

Do you approve these panels as the accepted storyboard, or do you want targeted changes?

APPROVE PANELSAPPROVE WITH NOTEREQUEST CHANGES▦ BLOCK IN 3D

Four of the twelve — every panel earns its check before the board advances. THE CROSSING, unit 01.

03 · PREVIZ

The Room — the set that builds itself

The engine has already built this world from everything you've told it — cast placed, the train on its rails, the camera on the shot's lens. Fly it, stage it, record the move. The Room is an option, not homework: skip it and the engine still rolls from your boards. Nothing here costs a render.

04 · ROLL

Clay in. Camera-obedient video out.

The move you record in the Room rides the take as trajectory authority — your path, your timing, your beats. Nothing rolls until a gate quotes the cost and you say so.

THE DIRECTOR'S CLAY PASS · 8s · RECORDED IN THE ROOM

The recorded move — silent clay, zero spend.

THE RENDER · SAME PATH, SAME CLOCK · 8s

The same move, rendered — beat for beat.

Blocking clip
BLOCKING CLIP
+
Start frame — approved 02F look
START FRAME
+
End frame — 02G aftermath look
END FRAME
→ THE TAKE, ABOVE

What the model was given — assembled by the engine, not typed by you.

05 · THE RECORD

Every frame accountable

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.

Rejected revision 1REV 01
Rejected revision 2REV 02
Rejected revision 3REV 03
Rejected revision 4REV 04
Approved revisionREV 05 ✓ APPROVED

Five passes at one shot — the rejects struck out, the keeper checked. Every version stays on the record.

THE ENGINE

Why it holds together

One engine, built for production — it runs every stage from script to screen.

You never write a prompt

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.

One world model

Boards, looks, previz, and takes all derive from the same continuity registry. Fix the world once — every shot inherits it.

Nothing is an orphan

Every capture, note, and clip is born attached to a shot or range, with its lineage kept. No loose files, no lost intent.

The director outranks everything

Documents inform; the director's word wins — enforced in the tools, not promised in the pitch.

Zero-spend staging

Stage, frame, choreograph, record. Nothing renders until a gate quotes the cost and the director says roll.

ON THE SLATE · IN DEVELOPMENT

From previz to the production office.

Everything you board here is already tagged — cast, props, locations, setups. Next, it becomes your paperwork: breakdown sheets, day-out-of-days, exports built for the scheduling tools your office already runs.

See what’s coming →
BREAKDOWN · SC 14INT. BOXCAR — NIGHT CASTDANNY · MAX2 SETUPSWIDE · POV · INSERT · LOW4 EXPORTTAGGED SCRIPT · SHEETS · DOOD→

The gate is yours

Direct it before you spend on it.

Stage it, see it, approve it — the film exists before the budget does.

Enter the Studio

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