Cinematic AI films
Short narrative films with a world of their own, directed shot by shot. For producers, artists and brands with a story to tell.
DIRECTION · WORLD · FILM
We direct films, and build the system each one is made with.
Direction comes first: the story, the world, the look. The system keeps it consistent — the same face, the same light, from the first shot to the last revision.
CASE 01 · BOW AND ARROW — PART I · 2.39 : 1
MUTED · 00:27–00:33, THE TURN INTO THE DARK WORLDTHE FILM 00:33 · SOUND 00:50
- Base
- Spain
- Focus
- Films · brand & music videos · campaigns
- Practice
- Direction and systems, one practice
- Latest
- Bow and Arrow — Part I
- Jump to
- the latest work · the approach
What we focus on
We take work that needs a director: a story to tell, a world to build, a visual identity that stays consistent from shot to shot. You work with a director; the system is how the film gets made.
WHAT COMES IN
A brief, a song, a script — or an idea and a few references.
WHAT LEAVES
The film, cut and mixed, in every format it needs, with its reels.
Brand & music videos
Videos cut to the sound, with a look signed off before anything is made. For music artists, brands and the agencies behind them.
CUT TO THE SOUND
Narrative campaigns
One world carried across many films and formats, so that every piece belongs to the same story. For brands and agencies.
ONE WORLD, MANY FILMS
WHERE WE ARE STRONGONE PRACTICE
Systems
Automation, AI architecture, analysis at every step.
One practice
Direction
Creative direction and art direction.
NOCKFLETCHING END
NEW-05 → FILM-16 · SHOT 1.21 · LINES MEASURED ON BOTH FRAMES
Creative direction
Your idea, shaped into a story and a film with a clear point of view.
Art direction
A world with its own palette, lighting and materials, signed off before anything is made.
Automation
Pipelines in which every step is analysed before the next one starts.
AI architecture
Multi-agent systems, assembled for each project: agents that analyse, generate and check each other, and a person who decides.
Systems that scale
The same parts run one shot or a whole campaign with no loss of visual consistency.
One world, art-directed: every still, every try and every frame it took, on one wall.
The visual bible comes first; then the stills and the harmonising passes, the moodboard, the assets, and seventeen frames with every try they took.
Soul · light
#f5f6f6#b51212#0b0b0c
Format and optics
Aspect ratio
Film emulation / sensor
Lens character
Sensor format
Lens generation
Focal length35–50 mm
Depth of field (T-stop)T1.4 – T2.0
Light and colour
Colour space
Halation
Black point / shadow densityLifted / milky
Highlight roll-off
Lighting logic
Volumetric density
Colour paletteThe light souls
Lighting schemeNatural practical, high key
Light breaking throughEverywhere
Production design
Level of realism
Materials and textureBare white plaster, white-painted wood
Patina and wear
Fabric behaviour
Framing and geometryStrong asymmetry with a level horizon
Post-processing and texture
Micro-contrast / clarity
Movement and camera
Camera persona
Camera height
Motion blur (shutter)
Camera movementLocked off, or a slow push in
Made of our own harmonised stills, uploaded to Midjourney as its moodboard.
HOW WE WORKNINE STEPS · THREE ACTS
A controlled craft, not a prompt. Nine steps in three acts: agents work between the steps, and on the line marked “you” the decision is yours — where your idea meets the director’s.
ACT I · THE WORLD
ACT II · THE PREVIS
ACT III · THE FILM
AGENTS
World analyst · Colour reader
Characters · Assets
Structure validator · Hallucination checker
Director agent
STUDIO
YOU
sign off the visual bible
choose the look
approve the animatic
approve the frames
review the cut
choose the formats
SHORT CARDS · OPEN ANY STEP FOR ITS FULL SLIDE
Visual identity
ACT I · THE WORLDHypotheses in Midjourney
ACT I · THE WORLDChoose & harmonise
ACT I · THE WORLDRegister the assets
ACT I · THE WORLDBlock the film in 3D
ACT II · THE PREVISKeyframes from the blocking
ACT II · THE PREVISDrive the video models
ACT III · THE FILMCut & mix
ACT III · THE FILMDeliver & test
ACT III · THE FILMVisual identity
HARM-03 · DARK WORLD PALETTE · NEW-06 · THE TWO WORLDS' MATERIAL
What we do
We write the world’s visual bible: palette, film stock, light and finish.
Why
Every later decision is checked against it, by agents and by us.
What you get
One visual bible to sign off before production.
Hypotheses in Midjourney
MIDJOURNEY · MOODBOARDS × PROFILES × STYLE REFERENCES
What we do
Look development: moodboards, Midjourney profiles and style references, combined.
Why
Pictures are where your idea and the director’s interpretation align.
What you get
The look, signed off as style frames, not words.
Choose & harmonise
MidjourneyTry 1Try 2
HIS STUDIO · THE WHITE ROOM · THE VERIFIER FAILED TRY 1
What we do
The chosen stills are numbered, reviewed together and graded in rounds to the visual bible.
Why
Separate generations never match on their own; they have to be harmonised.
What you get
A world in one consistent visual language.
Register the assets
CHAR-01 → CHAR-03 · THE MAP OUR PIPELINE MADE
What we do
We register the assets: character maps from the chosen faces, props, locations.
Why
Every shot is built from the same assets: shot-to-shot continuity.
What you get
A cast and a set that stay on-model from shot to shot.
Block the film in 3D
NEW-12 · ASSET-01, THE LOCATION → ITS BLENDER BLOCKING
What we do
Camera, lens, timing and motion, blocked in Blender.
Why
The animatic is the blueprint. The film follows it.
What you get
The full animatic, timed, before a shot is generated.
Keyframes from the blocking
THE BLOCKING, RENDERED → THE KEYFRAME
What we do
Each keyframe composed to the previs, posed against the character map, QC’d by agents, edited.
Why
A frame is approved before any video is made from it.
What you get
The film’s keyframes, for your sign-off.
Drive the video models
THE ANIMATIC OVER THE FILM, IN SYNC
What we do
The animatic and the keyframes drive the video model, chosen shot by shot.
Why
The model follows the previs instead of inventing its own.
What you get
Shots that move the way they were blocked.
Cut & mix
THE CUTS SHORTENING TO THE FLICKER
What we do
The edit built from a written cut list, the sound mixed, finishing applied by filters.
Why
A revision changes the cut list, not the whole film.
What you get
The cut, with an audit trail of changes.
Deliver & test
COVERS OF THE TRIAL REELS · A / B
What we do
The master, its delivery formats and reels; trial reels and A/B tests.
Why
The audience chooses between versions. Nobody guesses.
What you get
Every deliverable, and what the tests showed.
YOU THINK IT IS SIMPLEONE FRAME OF THE FILM · SHOT 1.11 · TWELVE REAL IMAGES
You think a frame like ours is one prompt and one model, and that “fix it” is one more prompt. Here is one frame of the film, from A to B.
BETWEEN A AND B · THE SAME FRAME'S KEYFRAME, AGENT BY AGENT
PLACEMENTGPT IMAGE
STRUCTURE VALIDATORGEMINI
HALLUCINATION CHECKERGEMINI
POSE TRANSFORMERGPT IMAGE
NORMALISATION ANALYSTGEMINI
COLOUR READERGEMINI
NORMALISATION EDITORGPT IMAGE
THE DIRECTORA PERSON
- PLACED
- TRY 1 · PICKED
- TRY 2
- TRY 3
- PASS 1
- PASS 2 · IN THE FILM
NAMES ONLY · WHAT EACH AGENT LOOKS FOR, ITS PROMPTS AND ITS THRESHOLDS STAY THE STUDIO'S
The datum line to the frame in the film; the tries that went nowhere are grey. The world's pass made the sleeve white — the film keeps it black, the director's call (◆).
The whole process, step by stepNO GLASS CEILINGTHE PRINCIPLE
We do not sell one product, or one pipeline for every project. A single pipeline decides in advance what a film can be: a glass ceiling. Our system is a set of parts — agents, models, tools and people. For each project we assemble the pipeline it needs, and build the parts it is missing.
Analyse
- picture
- sound · beats, onsets
- structure
- what a model invents
- the takes
Check
- against the visual bible
- against the map
- each other
- a person's mark
Plan
- the world's visual bible
- 3D blocking
- the cut list
- templates
Make
- Midjourney
- image models
- video models
- filters
- the mix
- captions
Footage
- rushes made light
- sync by sound
- trial reels · A/B
Built for it
- a new part
The lines
One pipeline for every project
- every part, in the same order
A cinematic AI film
- the world's visual bible
- Midjourney
- against the visual bible
- against the map
- 3D blocking
- image models
- what a model invents
- video models
- the cut list
- filters
- the mix
A music video
- sound · beats, onsets
- structure
- the world's visual bible
- Midjourney
- 3D blocking
- video models
- each other
- the cut list
- filters
A campaign from real footage
- rushes made light
- sync by sound
- picture
- the takes
- a person's mark
- the cut list
- templates
- captions
- trial reels · A/B
Your project
- the world's visual bible
- a new part
- each other
Selected work
Each project, the pipeline it needed.
The work is the proof: the same parts, assembled differently every time.
Case 02
[CASE 02 // IN PRODUCTION] · REAL FOOTAGE
Yours
A pipeline assembled for it, and the parts it is missing built new.
CASE 01
Bow and Arrow — Part I
As a boy he wanted to be a musician. As a man he sits in a grey office. Between the two stands the guardian he never expected: not an angel of light, but a dark archer who had to become radical, even cruel, to save him.
- Picture
- 00:33
- Sound
- 00:50
- Aspect
- 2.39 : 1
- Worlds
- white · dark
- Base
- Spain
Who I am
Creative direction on an enterprise AI foundation.
I spent years building multi-agent AI systems for banking, fintech and healthcare. I am also a composer and a professional pianist, with a fine-art education. Now I bring both to film, with an engineering depth few creative directors have.
- Building
- Multi-agent AI: banking, fintech, healthcare
- Piano · drawing
- Composer, pianist; fine-art education
- The studio today
- Film direction on enterprise AI architecture
WAYS TO WORK WITH USEACH ◆ A DECISION YOU TAKE · NO PRICES
Anywhere between made to order and led by the hand. You choose how much of the direction you hold.
| 01 | 02 | 03 | 04 | |
|---|---|---|---|---|
| 00 shape your vision | studio | studio | studio | you |
| IN sign off the brief | you | you | you | you |
| 01 sign off the visual bible | studio | you | you | you |
| 02 choose the look | studio | studio | you | you |
| 05 approve the animatic | studio | studio | you | you |
| 06 approve the frames | studio | studio | you | you |
| 08 review the cut | you | you | you | you |
| 09 choose the formats | studio | you | you | you |
| you decide | 2 | 4 | 7 | 8 |
START A PROJECT
A brief
What it is for and who will watch it, the length, the formats and the date.
A script
The script, its running time, and any references for the look.
An idea
Even one sentence is enough.
WHAT HAPPENS NEXT
01 The director reads it and answers within two working days.
02 A call, to talk through the idea and how far you want us to lead.
03 The visual bible, for you to sign off before anything is made.
truemanity studio · Spain · CETThe system · The work · Who I am · Contactpaolo@truemanity.com