0.29.0 — 2026-08-07

The storyboard

Describe the film once. Lucy plans it shot by shot, and you see every shot as a still — cast, sets and voices settled — before anything is generated.

The motion box says what it is for. It describes how the camera and the subject move; a script pasted into it gets treated as directions and comes out as neither dialogue nor motion.
Pro mode clipped the storyboard and gave you no way to scroll to the rest of it.

Tell Lucy what the film is and she drafts the whole of it: the shots, what happens in each one, who is in it and what they say. You start by arguing with a plan instead of staring at an empty timeline.
Every shot appears as a still before it is a video. This is the point of the whole thing — a shot you do not like costs you a sentence to fix at this stage and a regeneration after it.
Cast and sets. A character or a location gets its reference image once, and every shot they appear in uses it, so the same person still looks like the same person by shot nine.
Nothing is shot until you have approved the cast. Changing a reference after you have approved it asks you again rather than quietly going ahead with the face you already rejected.
The dialogue gets spoken out loud. Lines written in the plan become real speech in the language the script is written in, and land on the timeline against the shot they belong to.
A voice for each character, chosen from the full catalogue — not one narrator reading every part.
The storyboard is in pro mode as well as easy mode. Same storyboard and the same wiring underneath, so a film started in one loses nothing when you open it in the other.
The tour covers the storyboard now, in whichever mode you are working in and whichever language you read.