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20Director’s Cut.
The full production cockpit on your own metal.
gen lab · cutout lane · font lab
Director’sCut.
A full production cockpit on your own metal. Direct scenes in plain language, mint the art in the GEN LAB, keyframe the motion, export the film — film, social and marketing pipelines from one canvas. No cloud. No subscription. No one watching.
lanes
lines
formats
calls
The director above was
minted inside the app.
No stock art, no agency. The plate came out of the GEN LAB image lane, the cutout out of the background-removal lane, the type out of the font lab. This page is the product demoing itself.
Not screenshots.
The suite, running.
A live screen recording of the cockpit playing THE DESCENT — scene board on the left, the layered canvas mid-frame, the multi-track timeline running underneath. Full speed, no cuts, no cloud.
One screen.
The whole production.
Photographed mid-production on THE DESCENT — the film that plays on our landing page. One screen owns the whole cut.
Every scene a card — duration, transition, direction notes. Drag to reorder.
Text, cutouts and video with real selection frames and per-layer grade.
Layers, keyframes, camera and audio on one scrubber — frame-accurate.
Full-speed preview with transitions and score — fullscreen when you need the wall.
Every scene a card — duration, transition, direction notes. Drag to reorder, click to jump. The film reads top to bottom like a script.
Text, images, cutouts and video stacked with real selection frames — eight resize handles, rotation, free stretch, per-layer colour grade.
Layers, keyframes, camera moves and the audio lane on one scrubber. What you scrub is what exports — to the frame.
Keyframe the virtual camera through the scene — position, zoom, timing curves — and export with real motion blur.
Full-speed in-app preview with animations, transitions and soundtrack — plus a fullscreen mode that fills the wall.
Full history on every edit, a media trash with restore, and autosave to a project store you own — files on your disk, not our servers.
Pick the lane.
The cockpit re-rigs itself.
A film is not a reel is not a campaign. Each pipeline boots the project with its own formats, pacing and presets — same cockpit, different start point.
The long cut
Widescreen scenes, eight-second defaults, camera dollies and transition grammar tuned for cinematic pacing. THE DESCENT was cut here — this frame is from it.
Every platform
One project, every feed — YouTube, TikTok, Instagram, X, LinkedIn, Facebook. Boots vertical-first with the 9:16 master on the canvas.
The campaign
Product frames, poster ratios, punchy five-second scenes. Built on the same pipeline that mints our poster and packshot artwork.
Eight lanes of generation,
zero cloud invoices.
The lab sits one keystroke from the canvas. Describe an image and FLUX paints it. Hand it a frame and WAN sets it in motion. Every render lands in the arrivals dock — drag it straight onto a scene.
flux-dev · house gpuFLUX-dev on the house GPUs. Cinema plates, characters, product frames.
kontext · edit passPoint at any image and say what changes. Same scene, new weather.
img2img · fidelity passImage-to-image polish pass — keep the bones, raise the fidelity.
birefnet · clean alphaBiRefNet background removal. Clean alpha, ready to layer.
font lab · glitch passDisplay type as artwork — glitch passes, chrome, jade neon.
esrgan · 4× detailESRGAN 2× and 4× for stills; frame-split upscale for video.
wan 2.2 · live frameWAN 2.2 first-frame → last-frame video. Stills learn to move.
Score the cut in-house. The soundtrack never leaves the building.
Direct it
in plain language.
The AI bar reads the whole project and answers with operations, not opinions — it re-times scenes, adds layers, moves the camera. It runs on the models in the rack downstairs, so your unreleased campaign stays unreleased.
> make scene one punchier — tighten it and slam the title in from the left ■ setScene scene 1 · dur 8s → 5s ■ setLayer HELLSTORM · anim-in: slide-left · 0.3s ■ addKF camera · x 30→70 · zoom 1.5→2.2 ■ setScene transition → whip-pan reply tightened to 5s, title slams at 0.3s, camera whips into the reveal. play it.
Everything on that canvas
knows how to move.
These six stages aren’t videos — they’re the presets themselves, running live in your browser the way they run on the canvas.
Position, scale, opacity on curves — every layer animatable along the scene clock.
Slides, pops, glows and drifts — one click per layer, tuned timing baked in.
Cuts, wipes, whip-pans and dissolves between scenes — the grammar of the edit.
Styled layer stacks — title cards, lower thirds, end plates — dropped in animated.
Score under the cut with volume, fade-in and fade-out riding the master timeline.
Select any layer and grade it alone — exposure, saturation, glow, blur.
Cut it once.
Ship it everywhere.
The social pipeline treats 9:16 as the master and the rest as projections. Layers carry anchors, the reframe engine recomposes them per ratio — the campaign stays one project, not four forks drifting apart.
9:161:14:5What the suite replaces,
and what it costs to run.
An editor, an image studio, a video lab, a type foundry and a sound stage — the seats you rent monthly from five different clouds, running as one application on hardware you own. It ships with every S◉LOCK machine.