3D previz software
Light the shot before you're on set.
Build the set in 3D, put talent on their marks, and look through the real camera and lens: the frame, the depth of field, the light and the move, worked out at the desk. Then frame it again on location with your phone.
No credit card needed. Set up in minutes.
Scene builder
Bright Water · Kitchen setup
1A · Wide24mm
1B · Medium50mm
1C · Close-up85mm
Camera
Key light
The problem
Prep happens in words: a diagram on a napkin, a lens guessed from a reference frame, a lighting plan that lives in the gaffer's head. Then the shoot day is spent finding out that the 35 is too wide for the room and the key has nowhere to go.
Look through the camera you will actually shoot.
Pick the body and the lens, and the frame is worked out from the size of the sensor and the focal length, the same way the real camera makes it. Open the stop and the background falls off the way that lens would. You find out the 35 is too wide for the room at your desk, not on the day.
Nearly thirty bodies
ARRI, Sony, RED, Canon, Blackmagic, Nikon, Panasonic, Fujifilm and DJI, from Super 35 to large format, grouped as cinema and compact.
A full set of primes
From 12mm to 200mm, including the 24, 35, 65 and 100 that every cine set carries.
Field of view per format
The same 85 sees wider on a full frame body than on Super 35, and the frame shows it.
Depth of field from the lens
The stop, the focus distance and the sensor decide how soft the background goes. Focus can follow a person as they move.
The shot list's vocabulary
Each camera names its own shot size (wide, medium, close-up) and its angle, in the words the shot list uses.
The storyboard over the lens
Lay the board frame over the camera's view, see-through, and move until the two agree. Save frame downloads exactly what the lens sees.
Camera 1A
Real bodies, real primes, real depth of field
Primes
Deep focus: the kitchen stays sharp.
Body
What the lens sees
Light it with the fixtures you will rent.
Lights are named fixtures at their real output, with real modifiers and real diffusion, and the camera reads them in stops. Move the key and the meter changes. Put a frame of grid cloth in front and the shadow softens and the stop drops, by about what it would on set.
Fixtures by name
Aputure COBs from the 600 to the 1200, SkyPanels, an M18, a tungsten Fresnel, Titan tubes, a China ball, and RGB units like the Nova and the 600c.
Modifiers and diffusion
Dome, softbox, strip, lantern, grid and Fresnel spot to flood, plus diffusion frames from 4x4 to 20x20 in six grades.
A meter in stops
The camera's ISO, shutter and ND decide what correct is, and the key reads as over, under or on the stop.
Each light on its own
Every light reports what it does alone and how it sits against the key, so the ratio is a number, not a feeling.
Bounce, flags and windows
White and silver bounce boards, solid flags that really cut light, and windows with overcast, bright or direct sun.
A lighting diagram, drawn for you
The top-down map is the plan the gaffer needs, made by the scene rather than by hand.
Lighting · Kitchen setup
Named fixtures, modifiers and diffusion, metered in stops
Key · Aputure LS 600d
Exposure
Start from a room. Make it the room.
Pick a starting room, then build on it. Every piece is a real size, every person is a real height, and the room itself can be set to the measurements of the location. Nothing arrives you would have to delete first.
Five starting rooms
An empty room, talent on seamless, a kitchen, a bathroom and a bedroom, each with one person, one camera and one key light.
A room to measure
Width, depth and ceiling height, which walls exist, and windows and doors placed where they really are.
Over fifty set pieces
Seamless at the real roll widths, flats, furniture, practicals and props, each resizable and stackable onto what it can stand on.
People with poses
Standing, seated, kneeling, pointing, holding the product and more, at any height. A seated person sits on whatever is under them, a bed, a sofa or an apple box.
The product from a photo
A front-on photo of the label wrapped onto a bottle, a can, a jar or a carton.
Your own models
Bring in GLB, OBJ or STL. A LiDAR scan of the location arrives at its true size.
New setup
Start from a room, then build on it
Presets
Each starts with one person, one camera and one key.
Rooms to size
Width, depth, ceiling, windows and doors.
Over fifty pieces
Backdrops, furniture, practicals, props.
Your own models
GLB, OBJ or STL, at true size.
Plan the move, then watch it.
Say what the camera is on, frame the start, frame the end, and play it. The support decides what the move can do, so a dolly cannot drift sideways and sticks cannot travel, and the timeline says how far and how fast in the words a grip would use.
Sticks, Dana Dolly, Fisher dolly, motion arm
Each with the lens heights it can reach, and its track or base drawn on the map.
A start and an end you set on purpose
Moving the camera makes an unsaved framing. Nothing changes until you press Set as start or Set as end.
Distance and speed
Travel, average and peak speed, and the track the move needs, with a warning when a dolly move is too fast.
Talent on marks
A person can walk to a mark during the move, facing the way they walk, at a pace you can read.
Record a clip
The move is recorded as a video file with a burn-in, to drop into a deck or send to the director.
Shot 1A · Push in
Supports, A and B frames, a clip of the move
Frame the start, then the end.
Camera on
Track
Frame the location for the lens you will shoot.
On a scout, open the viewfinder on your phone, pick the camera and the lens, and the screen shows that exact frame, cropped to the aspect you deliver in. Every still lands on the job with the lens it was framed for, and one press turns it into a scene with the same camera.
Any body, any lens, any aspect
The same catalogue as the scene builder, cropped live from the phone's camera, with the outside of the frame dimmed like a monitor.
Calibrated, not guessed
Measure two marks on a wall once and the phone knows its own lens. Several readings are averaged and an odd one out is flagged.
Tilt and a level line
The tilt is read off the phone and saved with the still, and the level line turns green when the frame is straight.
Turn the phone and it follows
Hold it sideways and the frame goes wide, even with rotation lock on.
Stills on the job
They land on the project's Location stills page with their body, lens, aspect, tilt and a note, not in the asset library.
A scene from a still
Build a scene and camera 1A arrives on the same body, lens and tilt, with the still laid over the lens to match.
Location stills
Framed on the phone, built on the computer
Alexa Mini · 24mm · 2.39:1
Tilt 9° down · 3.2° off level
50mm · Venice 2 · 16:9
Tilt 2° up · level
The difference
Real optics, not a mood picture.
A storyboard says what the shot should feel like. The scene builder tells you whether it will work: the frame comes from the sensor width and the focal length, the background falls off from the stop, and the light reads in stops at the subject. When the phone frames a location for the same body and lens, the still lands back on the job with those numbers on it.
- Field of view from real recording areas, for nearly thirty cinema and compact bodies
- Depth of field drawn from the lens's own circle of confusion
- Each light metered on its own, and the key to fill ratio stated
35mm
Alexa Mini
f/4
ISO 800 · ND .3
4:1
Key to fill
More the scene builder does
Several setups per job
One tab each: the kitchen, the hero table, the bedroom, each with its own cameras.
Cameras that remember their shot
Every camera keeps its body, lens, stop and position, and shows its own view on its card.
Save frame
Download exactly what the lens sees as an image for the deck or the board.
Overhead rigging
A studio grid, wall spreaders and polecats, with lights hung from them.
RGB fixtures
Colour by hue and saturation, with the output a saturated colour really costs.
Clay view
One key strips the colour so you can read the light alone.
Zebras
See what clips at the stop and ISO you have set.
Your own models
Import GLB, OBJ or STL, including a LiDAR scan of a real room at true size.
View-only for reviewers
Anyone with review access to the job can look through every camera and change nothing.
Also here
Lives alongside it.
Each of these is a page inside the project, on the same spine, so nothing is retyped between them.
Location stills
Frame a location on your phone for the camera and lens you will shoot.
- Pick the body, the lens and the aspect, and the phone shows that exact frame
- Calibrated once per phone, with tilt and a level line
- Every still lands on the job with its lens, and builds a 3D scene in one press
Works with
Storyboards
Frames that keep their shape
See how it worksWorks with
Shot lists
Build, import, present
See how it worksThe whole toolkit
You just read about one of seventeen.
The rest is already in the box: every plan carries the whole toolkit, and the tiers buy room, never permission. This is the part a point solution cannot say.
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