Ahab
Ishmael
Moby Dick STEP 01 · Script
One idea opens into a structured story
Three acts, character arcs and a scene list, all at once. The plot never gets cut down — only tightened.
SCRIPT PANELFrom one line to a finished film — and an audience to watch it
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PixverseA professional AI film studio. Hollywood-grade delivery.
An entire studio pipeline, compressed into one system that runs itself
Contact Us- Eight engines, one pipeline
- Writing, boards, art, camera, voice, edit, score and finishing - all on one data flow
- Feed in the story. Every unit fires on its own and hands off in real time.
- No gaps. No manual hand-offs.
- Your assets remember. Your style carries.
- Cast, sets, lighting, palette and musical themes are archived as you work
- The next film calls them back and adapts them for you
- The look holds. Nothing gets rebuilt.
- A closed loop, tuned for hits
- Idea in, finished film out. The pipeline runs itself.
- Every frame and every second of audio clears a theatrical QC pass
- Not just on spec. Built to land with an audience.
Your first film starts here
AHIGHLIGHTS
Start with these
01This is the page itself: write one line of story and hand it over.
BTHE PIPELINE
A real crew, every department
This is not a diagram: script to final cut, every step below comes from one real film.
Moby Dick's VengeanceThe Third Day1′56″30 shots6 linesLines are from the film's own script, timed against the audio; shots detected from the picture. Measured, not written.
STEP 02 · Cast
Cast once, and the same face carries through
Once look, age, bearing and accent are set, one image turns into every angle and saves to the library.
CHARACTER SHEET
The Pequod · deck
The whaleboat
The cliffs STEP 03 · Sets
Lock the space and shots stop contradicting each other
Sets, props, palette and references live on one board, and every later shot starts from it.
MOODBOARD
0200:02:73
0600:18:17
1000:33:37
1600:48:57
2801:41:03 STEP 04 · Storyboard
Shot size, camera move, duration and dialogue
Redo the one shot that's wrong — not the whole film, and not the whole bill.
SHOT LIST
23
24 STEP 05 · Shooting
Several takes on one shot, pick the best
Each shot goes to the model you picked, and you choose between takes like you would on set.
TAKE SELECTIONMoby Dick's VengeanceThe film's own mix. Click a line to hear it.
0:00 / 1:56Ahab · Starbuck · Ishmael (V.O.)
STEP 06 · Sound
Dialogue, narration, effects and score together
Clone a reference voice so one character sounds like one person throughout.
AUDIO TRACKS STEP 07 · Final cut
Upscale to 4K, with subtitles and multi-language dubs
Assemble and export in the browser. Nothing to install.
TIMELINE EXPORTCTHE TOOLSET
A tool for every department
Every stage has a tool of its own — and each one also works on its own.
DEMO · PENDING
WHERE IDEAS LAND
Moodboard
Throw anything on the canvas and images or video generate right there. References, stray lines and keyframes share one board, and the story grows out of them.
- Text cards, images, video and links on one infinite canvas
- Select any few cards and generate a new frame — or a new passage — from them
- Turn the board into a moodboard and walk it into the film pipeline
DEMO · PENDING
THE MAIN EDITOR
Film Creation
Script to final cut, step by step, with every shot open to another pass. The other entry points both lead here.
- Script, cast, sets and storyboard side by side, updating together
- Rerun one shot without touching the others — or paying for them again
- Swap model, aspect ratio or duration on any single shot
DEMO · PENDING
SHOT BY SHOT
Video Generation
One prompt, or one reference image, and out comes a clip. It works outside the pipeline too — the fastest way to see a frame.
- Pin the first and last frame; the model fills the motion between
- Switch between video models and compare one prompt across them
- Aspect ratio, duration, frame rate and audio are each set on their own
DEMO · PENDING
FRAMES
Image Generation
Describe the shot you want, in any style you can name. Storyboard frames, costume tests and concept art all start here.
- Styles to switch between, or upload an image as the reference
- Run one prompt into several frames, then keep working the one you like
- Send any frame straight into video generation as its opening frame
And these
Mind Stage: describe a scene, block it out, then shoot it
Write the scene in the 3D Studio and the AI casts it, blocks the actors, picks the action and sets the cameras, then renders a rough blocking pass. Shoot the final only once you like that pass. Blocking and camera moves are locked by the preview, so the finished shots don't drift.
Blocking and camera moves laid out from one sentence — edit any shot, then shoot.
The finished shot follows the preview's cameras and paths; the acting is all the model has to nail.
Sets, props and costumes are assembled in code and cached, ready for the next scene.
DMADE ON FILMACTION
Every one of these was made here
Hand-picked from films made on FilmAction.
← DRAG TO SEE MORE →
EFOR STUDIOS
What took a crew two weeks now takes an afternoon
Studios were never short of ways to make video. What they're short of is schedule, budget and hands — and those three only ever loosen together.
Who spent what, on which film — nobody has to ask around at month end.
The cast, voices and sets you built last time carry into the next film. Nothing gets rebuilt.
Director on the storyboard, art on the sets, post on the sound — same film, same time, no files passed around.
Films that never leave your network, dedicated model channels, metered billing — all of it is on the table.
12Model vendors
5Interface languages
Based on Moby Dick's Vengeance1′56″ · 30 shots
A small crewHere
Script
Cast
Sets
Storyboard
Shooting
Sound
Final cut
Total≈ 14 days≈ 1.7 hours
Left column: a small crew's usual schedule for an episode this size. Right column: our estimate per stage for this episode (three characters, three locations, a few dozen shots). Neither is a stopwatch reading.
FPRICING
Metered billing. Pay for what you generate.
Nothing sits behind an upgrade wall. Every tool is open to everyone, and cost tracks the shots you actually generate and the models you pick. Expensive models look better; cheap ones are fine for drafts; you can mix them inside one film.
Per shotMetered by what you generate, not a subscription that locks tools away
Free credits on signupEnough to try image and video generation before you spend anything
Shared team creditsOne ledger, spend visible per member
GQUESTIONS
What you're probably wondering
I'm not technical and I've never edited. Can I use this?
Yes. The whole pipeline was built for people from film and art backgrounds, not for engineers. The one skill it asks for is describing what you want to see. Every step has a sensible default — go straight through to a finished film, then come back and change whatever you want.
How is this different from the prompt-to-video tools out there?
Those tools make a shot. This makes a film: script, character consistency, storyboard, takes, sound, final export — every department is here, and every one can be stopped and reworked. Those departments are exactly what separates a shot from a film.
How long does a film take, and what does it cost?
A two-minute short, from the first line of text to the exported cut, usually lands inside half an hour once you know your way around. Cost tracks the shots you generate and the models you pick, and you can mix price tiers inside one film — cheap models for drafts, the expensive one for the take that ships.
Will a character's face change between shots?
This is one of the things we've put the most work into. Once a character is set, we generate multi-angle references and every shot starts from that same sheet. Sets and props run through the moodboard the same way, so locked spatial relationships keep shots from contradicting each other.
Who owns what I make? Can I use it commercially?
You do. Commercial use, recuts and paid advertising are all yours to decide, with no extra royalty — the details are in the Service Agreement. Generated music follows the same terms.
Can I bring in footage I already have?
Yes. Live footage, references, character photos and audio samples all upload, and they sit alongside generated material in the same film — replace any shot with your own footage, or use a photo as a character reference.
What languages does it support? Does it work outside China?
The interface comes in Simplified Chinese, English, Traditional Chinese, Japanese and Korean. Finished films can carry dialogue and subtitles in multiple languages, exporting the same cut with different dubs. Accessible worldwide.
Is my work private?
Yes. Your projects are private by default — visible only to you and anyone you invite into your team. Publishing to the showcase is something you have to actively choose.
Do I get charged when a generation fails?
No. Failed jobs return their credits automatically, and the refund shows up in your billing record. If something is charged and not returned, support will check it by hand.
Do exports carry a watermark?
There is no FilmAction watermark. Some regions turn on a small “AI-generated” label by default, and you can switch it off in your account settings. Finished films can be upscaled to 4K.
How does team billing work — one seat each?
A team shares one pool of credits, with spend visible per member. Team tiers set how many people can join; there is no separate per-seat fee on top. Every credit is traceable to the film it went into.
Can we deploy this on our own servers?
Yes. Studios and regional culture projects already run private deployments, with dedicated model channels and films that never leave the network. Terms are worked out per project.
—END OF REEL
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