Write the shots. Get the scene.
Most video models give you one good clip. A finished piece is six of them that agree with each other. Shotlist takes a written shot list — camera move, action, duration — and renders it as one continuous scene: same cast, same room, same grade, cut in order, with audio.
- 01[Pedestal up]
Rising over the slipway at first light, hulls in cradles, gulls settling.
- 02[Tracking shot]
The younger crew member carries a coil of rope the length of the dock.
- 03[Push in]
The older man runs a thumb along a repaired seam and nods once.
- 04[Pull out]
Wide from the water as the boat clears the slip, wake opening behind it.
Four shots, 24 seconds, $1.92. One file out, four takes kept.
- 5–15s
- Per shot, set individually
- 15
- Directed camera moves
- $0.08
- Per second of video
Eighteen shot lists, shot 01 of each
Every clip below is the opening shot of the shot list on its use-case page, rendered from that page's own continuity block at the aspect ratio and shot length that use case calls for. Nothing here was shot with a camera, cut by hand, or picked from a reel — one prompt each, one seed, the same endpoint the studio calls.
Sound is muted here. At 5 to 8 seconds each, these cost $0.40 to $0.64 apiece to render.
Shots drift. That is the whole problem.
Generate four clips of the same scene independently and you get four scenes. The jacket changes colour. The kitchen loses a window. The grade shifts a stop between cut one and cut two. Nobody can name what is wrong, and everybody can see it.
The usual workaround is to write the entire world into every prompt and hope. It half works, it is unreadable, and it breaks the moment you edit one shot.
Coastal boatyard in late autumn, grey light, salt-bleached timber. Two crew in oilskins, one older with a white beard, one in her twenties. Anamorphic feel, gentle halation on highlights, muted teal and rust grade. [Pedestal up]Rising over the slipway at first light, hulls in cradles, gulls settling.
The block above the blank line is written once and reused on every shot. The line below it is the only part you edit per shot.
Four steps, and none of them are yours to run.
Shotlist orchestrates the whole chain. You write the list.
- 01
Write the continuity block
Cast, wardrobe, location, light, grade — the things that must not move. You write them once, not once per shot. Every shot in the run is prefixed with this block before it reaches the model.
- 02
Direct shot one
Shot one goes to the Director endpoint with its camera move in brackets. The move is an instruction, not a hint: [Push in] pushes in. A seed is fixed here and held for the rest of the run.
- 03
Hand the frame forward
The last frame of each rendered shot is pulled and opened as the next shot's first frame. The cut lands on continuous motion, so the room, the cast and the grade carry instead of resetting.
- 04
Stitch in order
Shots are joined in shot-list order into a single file. You keep the individual takes too — re-render shot three without touching one, two or four.
Fifteen moves, in brackets, obeyed.
Camera direction is written into the prompt in square brackets, immediately before the action it governs. Up to three can be combined: [Truck left, Pan right, Zoom in]. This is the same vocabulary a crew would use, which is the point — it is language your director already has.
- [Static shot]Locked off. Let the subject carry it.
- [Push in]Close the distance. Raises pressure.
- [Pull out]Open the distance. Reveals context.
- [Pan left]Pivot left from a fixed position.
- [Pan right]Pivot right from a fixed position.
- [Tilt up]Pivot up. Scale, height, arrival.
- [Tilt down]Pivot down. Detail, consequence.
- [Truck left]Slide left. Parallax across a plane.
- [Truck right]Slide right. Parallax across a plane.
- [Pedestal up]Rise vertically. Survey.
- [Pedestal down]Drop vertically. Get under it.
- [Zoom in]Narrow the lens. Flatter than a push.
- [Zoom out]Widen the lens. Flatter than a pull.
- [Tracking shot]Follow the subject. Keeps them framed.
- [Shake]Handheld instability. Use once, not twice.
Anywhere a sequence has to hold together.
Each one ships with a continuity block and a worked shot list you can load straight into the studio and edit.
Production work
8 use casesSocial ad creative
Ship a hook, a demo and an end card that look like one shoot, then re-cut the hook twenty times without re-shooting the rest.
Product and e-commerce video
One product, one look, six angles — the PDP loop that used to need a table-top day and a rental lens kit.
Brand films and trailers
Sixty to ninety seconds with a through-line: a place, a look and a cast that survive from the cold open to the logo.
Music videos
Cut to the track, not around it. Shot durations set per bar, camera moves scored to the arrangement.
Short drama and character performance
Scene coverage where the same person is the same person in the wide, the single and the reverse.
Animated shorts
Hold a style and a character design across a whole short instead of across a single lucky clip.
Fashion campaigns
Garment-accurate motion across a look book — the same cut, the same fabric weight, the same model, every frame.
Explainers
Step one through step five in one visual world, so viewers learn the process instead of re-learning the room.
Beyond the edit bay
10 use casesThe pitch for video models is almost always advertising, music and film. These ten are the work nobody demos: the video that gets watched on a plant floor, a wall panel, a clinic screen or a menu board — where continuity is not a style preference but the thing that makes the video usable at all.
Property tours
A walkthrough where the hallway you leave is the hallway you arrive in — listing video for homes that are empty, unbuilt or still under offer.
Field service walkthroughs
Procedure video for the technician on site: the same machine, the same panel, the same hand position, step after step.
Safety and compliance training
Scenario footage for the situations you cannot stage — near misses, spills, evacuations — held consistent across a whole module.
Patient education
Calm, consistent explainers for a procedure or a device — no stock-footage strangers, no clinic that changes between steps.
Exhibit and gallery loops
Interpretive video for a wall panel: a place or a process reconstructed, looping cleanly, built for a gallery's light and its noise floor.
Market localization
One spot, many markets. Change the cast, the street and the spoken audio; keep the product, the beats and the cut.
Storefront and signage loops
Menu boards, window screens and shelf-edge displays that change with the daypart and still look like one brand.
Game previz and cutscene blocking
Block a cutscene before anyone rigs it — camera language, staging and pacing agreed while it is still cheap to change.
Recruiting and employer brand
A day-in-the-life that is honest about the work without needing a camera crew inside a secure building.
Conference openers and stage visuals
Openers, transitions and IMAG backgrounds cut to a run-of-show that is still changing the night before.
Spec
Shotlist runs on MiniMax H3 Max Director for directed shots and H3 Max image-to-video for the shots that carry a frame forward. Both are available on their own if you would rather drive them yourself.
- Shot length
- 5 to 15 seconds, set per shot
- Resolution
- 480P or 768P native
- Aspect ratios
- 21:9, 16:9, 4:3, 1:1, 3:4, 9:16
- Audio
- Synchronized, generated with the picture
- Camera
- 15 directed moves, up to 3 combined per shot
- Sequence length
- Unbounded — shots chain, frame to frame
- Price
- $0.08 per second of video
- Output
- Per-shot files plus one stitched cut
Questions people actually ask
- What actually holds continuity together?
- Three things, applied on every shot: the continuity block is prepended to the prompt, one seed is held across the run, and each shot opens on the previous shot's final frame. None of them are magic on their own. Together they are the difference between coverage and a slideshow.
- Can I re-render one shot without losing the rest?
- Yes. Shots are rendered and stored individually. Change shot three, re-run shot three, stitch again. Shots downstream of a change will drift if you leave them, so the studio marks them stale.
- How long can a sequence be?
- There is no fixed ceiling. Each shot is 5 to 15 seconds and shots chain, so a sequence is as long as your shot list. Quality of the carry-over degrades the further you get from the establishing shot — in practice, re-establish every eight to ten shots.
- Does it generate audio?
- Yes, synchronized with the picture, per shot. If the piece plays silently — signage, feeds with sound off — write for motion first and treat the audio as a bonus.
- What does a run cost?
- Video seconds, at $0.08 each. A six-shot sequence at six seconds a shot is 36 seconds, so $2.88. Re-rendering one shot costs one shot, not one sequence.
- Can I start from my own image?
- Yes. Supply an opening frame and the sequence is anchored to it — a real product photo, a location plate, a character design. The output aspect ratio then follows that image.
Load a shot list and run it.
Eighteen worked examples are already in the studio. Pick the closest one, rewrite the lines, keep the structure.