Get the shot across before the camera rolls.

Yes. Use your images with tools that accept visual references and keep them beside the generated frames. Reusing references helps you direct the sequence; review faces, wardrobe, props and lighting across shots because generated details can vary.

Yes. Use the script to describe the subject, action, framing and atmosphere of each shot, then develop the frames on the canvas. Add visual references where they matter. Working shot by shot gives you room to resolve a difficult moment before you commit to the wider sequence.

Yes. Connect an image to an image-to-video tool, then describe the movement you want. Some tools accept additional frame references. The available controls are visible on the selected node, so you can choose the approach that suits the shot.

Create separate studies from the scene’s references and vary the shot description: a wide establishing view, a close detail or an over-the-shoulder angle. Keep the alternatives visible together. You can discuss what each framing communicates before developing the selected frame into motion.

Yes. Arrange the selected frames in Compositor and add editable text for shot numbers, dialogue or direction notes. Control the spacing and hierarchy yourself. A wording change stays a text edit, and a replacement frame can take its place without regenerating the entire presentation.

Use Fuser to develop frames, generate clips and compose boards. Take selected outputs into your timeline editor for precise sequencing, sound and final finishing. You can keep returning to the Fuser project when a shot needs another version.

No. Return to that shot’s references and generation steps, develop a replacement, then update the selected frame or clip in your working presentation. Keep the surrounding shots nearby for comparison. You can refine the weak moment while retaining the direction already established for the sequence.