0.34.0 — 2026-08-11

Films that speak your audience's language

Write in English, film in Indonesian — with mouths that match, lines that fit their shots, and products the size they really are.

A shot is bought long enough for the language it is actually spoken in. The spoken track was being generated from the English you typed and read out in an Indonesian voice, and the clip was sized from that English recording — but Indonesian takes about half again as long to say. Lines ran past the end of their own shot by up to nearly four seconds, which the edit cannot repair afterwards: the frames were never bought.
A product is filmed at its real size. In one ten-second cut a palm-sized speaker came back as large as the presenter's head, then correctly palm-sized in the next shot, then not a speaker at all but a strap over her shoulder. A product photographed against a plain background contains no clue about how big it is, and nothing in the shot was telling the model either. What you write on a product card now reaches the film, where before it was read only when making reference images.
Generating a video with several reference images could fail outright with a request-size error. Photos are now scaled and counted against a budget before they are sent.

Write your brief and your dialogue in English, give a character an Indonesian voice, and their shots are filmed in Indonesian. The line is translated before anything is generated and the translated line is what the model is given — so the mouth matches, because a single generation makes the picture and the speech together instead of laying one over the other.
You can read what your actor says. The spoken line sits under the English one on each shot card, so a language you do not speak is still something you can check. A translation nobody can read is a translation nobody can correct.
The whole film is translated in one pass rather than shot by shot, so a product named in shot two is named the same way in shot five. Translated separately they drift, and it is the kind of drift an audience notices without being able to say why. A line already translated is then reused rather than translated again — the same English can come back polite one run and street slang the next.

If the dialogue cannot be translated, nothing is filmed and nothing is charged. It used to carry on and film the English under a prompt asking for Indonesian, without saying so. A film in the wrong language that looks finished is worse than one that was refused.
Mouth-matching is switched off, and an earlier release was wrong to announce it. The tool retimes a performance that is already talking, and our takes are deliberately closed-mouth, so there was nothing for it to retime — it returned each take unchanged and charged for the attempt. Measured, not assumed: 46 dB from the source, which is the noise floor of re-encoding. Filming the speech and the picture together is the answer, and it is the feature above.