Six formats
A format is not a template. A template is a pile of preset values you still have to understand before you can touch it. A format is a product concept: pick one and the whole line changes behaviour — writing prompts, shot lengths and counts, the first-pass timeline, aspect and episode count all move with it.
Serialised, vertical, one hook per episode.
The most dialogue-dense of the six. Every episode has to earn the next one.
Widescreen, three acts, image over talk.
Longer shots, fewer lines. It moves on blocking and composition, not on talk.
Cut to the track. The picture serves the song.
Shortest shots, fastest cuts. Length comes from the music, not the script.
One complete small story, three to five minutes.
The longest of the six. Long enough for somebody to actually change.
Fifteen to thirty seconds. Say one thing properly.
The fastest cut of the six. The first three seconds decide it.
Narration-led. Make one thing clear.
Diagram-like framing, soft light. It is not trying to be beautiful. It is trying to be clear.
These numbers come from the format definitions in the product code, not from marketing rounding. Real running times drift with the script and the speaking pace, because voice re-times the shots to whatever the delivery actually is.
One entry in the format table, one set of writing instructions, and a fallback set of beat text so it still runs with nothing configured. That is the whole job. Not a line moves in the eleven stages, the timeline or the renderer, which is why “do you support X?” has never been a question about rewriting the production line for us.
Sign up and go; drafts are unlimited. A full pass down the line takes a few minutes, and at the end of it you are holding a film you can send to someone.
