Every named option in Previs Pro, explained simply, with the other names people use for it. For step-by-step detail, follow the links into the full wiki.
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Add Credits is where you buy more AI credits.
It shows three packs (Starter, Standard and Pro), each with how many credits it holds, its price and a rough idea of how many images or videos it buys; bigger packs save more. Tap Buy and pay through Apple. Purchase Successful! then shows your old and new balance, and Purchase history lists past buys. If you try to generate without enough credits, Add Credits opens for you. Credit packs are separate from a subscription.
Bulk & Education Pricing opens the Previs Pro page about volume and school pricing.
It's for teams, studios and classes that need many copies. Subscribers find it in the Your Subscription panel; on the plans screen the same page opens from Site License at the bottom. There are no student discount codes, but the free version is fully usable for storyboarding, with a small watermark on exports.
Choose Your Plan lists the ways to unlock the full app.
There are Monthly, Annual and Lifetime plans, each with its price in your own currency straight from the App Store. Monthly is good for a short production, Annual costs less per month, and Lifetime is paid once and never renews. A plan removes the free-mode limits like watermarks. AI features still use credits, which are bought separately. Terms, Privacy, Restore and Site License sit along the bottom. View Plans opens this list from the free-trial screen.
Credits are what AI features spend each time they make something.
That might be an image, a video, a voice line or a 3D model. Your balance shows as a number with a coin on the Timeline tab, beside the ? button, and in AI dialogs. Tap it for a menu with Add Credits, Earn Credits / Referral, AI Gen History and Sign Out. Buttons that cost credits show the price first, and if a generation fails, the credits come back. New accounts start with free welcome credits.
Earn Credits / Referral shows ways to get AI credits without paying.
Refer a friend: share Your Referral Code or Copy Referral Link, and when your friend types the code under Have a referral code? and taps Claim, you both get +50 credits. Share your work on social gives +25 once a week. Share a Reviewer Link the first time gives +25. Your stats show Total Referrals, This Month and Credits Earned, and a message pops up when a reward lands.
Free user means you're using Previs Pro without a subscription or Lifetime purchase.
In free mode the bottom of the ☰ menu reads Free user. You still sign in, and you can build sets, place characters, plan shots and export, but exports carry a small watermark, each project gets one animatic, each project holds up to 20 images, and team sharing for online review needs a subscription. AI features work in free mode and use credits. Going over a limit opens the plans.
Lifetime is a one-time purchase that unlocks the full app forever.
It never renews and Apple can't charge it again. If you're on Monthly or Annual, Upgrade to Lifetime in the Your Subscription panel first asks you to cancel your auto-renewing subscription in the App Store, because one Apple purchase can't cancel another. Once it no longer renews, you can buy Lifetime from Choose Your Plan. AI credits are still bought separately.
Log Out signs you out of your Previs Pro account on this device.
It's in the ☰ menu on the Projects screen. The sign-in screen then comes back, so you can sign in again, for example with a different Apple ID. On the Timeline tab, tapping your credit balance also offers Sign Out.
Manage in App Store is how you change or cancel a Monthly or Annual plan, because Apple handles all billing.
On iPhone and iPad it opens Apple's subscription sheet right inside the app; on a Mac it opens your App Store subscriptions page. After you cancel, you keep access until the end of the period you've paid for. Refunds are also handled by Apple, not by Previs Pro.
Purchase Options is where you see and manage your Previs Pro plan.
Open ☰ on the Projects screen and tap it (it isn't in the menu inside a project). If you don't subscribe, the purchase screen opens with your plan choices or the free trial. If you do, the Your Subscription panel shows your plan and lets you manage it, restore purchases or upgrade to Lifetime. Credit packs for AI are bought separately with Add Credits.
Restore Purchases asks Apple to check your Apple ID again for a subscription or Lifetime purchase you already paid for.
Use it when the app treats you as a free user even though you paid, for example on a new device, after reinstalling, or when exports still have a watermark. Make sure the device's App Store uses the Apple ID that paid. It needs an internet connection.
Sign In with Apple signs you in to Previs Pro with the Apple account already on your device.
Everyone signs in, free or paid. Your subscription follows the Apple ID that bought it, and your AI credits follow the account you sign in with. The first time, a welcome screen offers Sign In with Apple; once you're in, tap Let's get started. If you have a paid plan but sign-in can't reach the server, Continue without signing in lets you into the app for now.
Start my free trial begins a free trial of Previs Pro with everything unlocked.
It lasts 7 days, with no watermarks, animatics unlocked and all professional features. The How Your Free Trial Works screen shows a timeline and the date your subscription starts. The trial is the start of the Annual plan, so unless you cancel before the 7 days end, it renews as Annual. To cancel, go to ☰ → Purchase Options → Manage in App Store. Apple allows one trial per Apple ID.
View the Tour and Start Creating are the welcome cards that ask how you'd like to begin.
They appear after you sign in for the first time. View the Tour starts the Getting started tour, which walks you through planning and sketching a sample scene. Start Creating takes you to the Projects screen with the Start new project chooser already open, so you can import a screenplay, open a project or start blank. You can always take the tour later from the New user guides shelf.
Your Subscription is the panel subscribers see under Purchase Options.
It names your plan (Monthly Access, Yearly Access or Lifetime Access). Monthly and Annual subscribers also get Manage in App Store and Upgrade to Lifetime. Everyone gets Restore Purchases, Bulk & Education Pricing and Learn More About Pricing. Tap Done to close it.
AI Studio is the room where AI makes pictures and videos for your shots.
It opens over the Timeline and has four tabs: Create (make something new from words), Enhance (restyle a shot or turn it into video), Touch Up (fix one thing in an image) and Import (put your own picture on a shot). Open it with the sparkle AI button on the left of the Timeline, or from the Boards side panel's AI Studio row. Every button that spends credits shows the price first, and a failed generation gives the credits back.
Apply puts an AI result on your shot, and Discard throws it away.
When a generation finishes, AI Studio shows Before and After so you can decide, and Discard gives the credits back. For a batch, accept or reject each one, or use Accept All and Reject All, then tap Apply. Try Again makes a new version and costs that shot's price again. Every kept result also goes into Generation History.
The Create tab makes a brand-new image or video just from words you type.
It ignores whatever the shot looks like now. Tap a shot in the grid to pick where the result goes, choose Type (Image or Video) and a Model, then describe what you want, like "A wide angle panorama of the NY skyline", and tap Create. Tick Add as new shot to make a fresh shot instead of replacing the one you picked. You check the result and tap Apply or Discard.
The Enhance tab asks AI to redraw your shot's current picture as a finished storyboard frame, or animate it into a video.
It starts from the picture the shot already has, like your 3D blocking. Pick a Type (Image, Video or First/Last Shot Video), a Model, a Range of shots and a Style, then tap Enhance Shot (or Generate Video). It can do one shot or many at once. To change the lighting or mood, describe it in the Prompt, such as "golden hour, warm backlight". Enhancing an animatic shot turns it back into one still shot, after asking.
First/Last Shot Video makes an AI clip that starts on one shot's picture and ends on the next one's.
The two shots flow together, and the app joins them with a Continuous transition on the Timeline. Pick it from the Type menu on the Enhance tab, or choose Continuous in the transition menu between two shots. It's grayed out with "(needs next shot)" when there's no shot after this one. It's priced per second like any AI video.
Generate AI audio lets you describe the sound you want in an AI video clip.
MiniMax H3 video clips always come with matching sound, and ticking this box shows an Audio direction box where you can say what you want to hear, like "rain, distant thunder". Those words are added to the video's prompt and remembered for the scene. Leave it unticked if you don't want to steer the sound.
The Import tab puts your own picture on a shot.
It's free. Tap a shot in the grid, then drop an image on the box or tap it to browse (JPEG, PNG, WebP or GIF, one at a time). Check the before and after, then tap Apply or Discard. Use it when you already have a photo, sketch or concept art for a shot. On the Boards tab you can also just drag an image onto a shot.
The Model picker chooses which AI draws your images.
Fast is FLUX.2 Turbo (3 credits, quickest), Quality is Seedream 4.5 (6 credits) and Best is Nano Banana 2 (12 credits, the AI Studio default). Each card shows the price, a rough time and a speed bar. Your choice is shared by the Create and Enhance tabs. The Sketch with AI dialog on the Boards tab always uses FLUX.2 Turbo, whatever you pick here.
Overwrite existing static shots lets a batch redo shots that already show a still image instead of the live 3D view.
Those are shots with an earlier AI result or a picture you imported, and a batch leaves them alone unless you tick this box. Tick it when you want the whole range redone. The box only shows up when the project has shots like that and the Range covers scenes or all shots.
The Prompt is the instructions the AI reads for your shot.
AI Studio writes one for you from the shot's details, like interior or exterior, time of day, shot size and lens. Tap Prompt ✎ to read and change it. + Actor adds how many people are in the shot, + Scene adds a few of the scene's action lines, Reset puts it back, and Copy copies it. Describe mood, lighting or style here.
Range picks which shots the Enhance tab works on in one go.
Choose Shots lets you tap the shots you want in the grid. Choose Scenes lets you tick whole scenes. All Shots does every shot in the project. The button and price grow with the number of shots, like "Enhance 3 Shots". When you pick more than one shot, they all use the same Model, Style and Prompt.
Retime shots to match video changes a shot's length on the Timeline to fit its AI video when you apply it.
AI videos can only be 5 to 15 seconds long, so a clip may not match your shot's length. The box starts ticked. Untick it to keep your shot lengths as they are.
Skip approved shots leaves alone any shot you've already marked as approved when AI works on many shots at once.
That way a batch on a whole scene doesn't spend credits redoing frames you were happy with. It appears on the Enhance tab when the Range is Choose Scenes or All Shots.
Style picks the look the Enhance tab aims for.
Photo makes the shot look like a real film frame. Sketch makes it look like a hand-drawn storyboard panel. Tap one before you enhance; it fills in the start of the prompt for you. You can still add your own words in the Prompt, like "rainy night" or "1970s film look".
Touch Up fixes one thing in a shot's image without redrawing the whole picture.
Pick a shot that has an image, describe the change, like "Change the car from red to blue", and tap Touch Up. It uses the Nano Banana 2 model and costs 12 credits. You see the before and after and choose Apply or Discard. It only works on still images, not video shots.
Video turns your shot's picture into a short moving clip made by AI.
Set Type to Video to use it. There are two models: MiniMax H3 Max (768p, 10 credits per second, the default) and MiniMax H3 (2K) (sharper, 20 credits per second). The clip is as long as your shot, but always between 5 and 15 seconds, so the cheapest video is 50 credits. The exact price shows on the Generate Video button before you tap it. The clips come with sound.
Animatic Export saves an animatic as a video or as still frames.
In Animatics mode, tap the export button: it opens the Export Options panel for that shot and brings you back when you close it. Choose MP4 for a video of the move. For stills, the Animatics Frames layout saves a frame every 2 seconds. A normal project MP4 also plays every animatic shot in full. Animatic videos travel in review links, HTML and NLE exports too.
Animatics mode turns a still shot into a moving one.
In the Shot Editor, tap the Animatics button beside the shot list. Move the camera or characters, set a keyframe, slide the progress bar forward, move them again and set another; Previs Pro glides between the keyframes. Tap a duration box to time each move. Play previews it. There are two ways out: the tab right under CAM takes you back to the Shot Editor, and Done does too, except that Done goes back to the Board when you opened the animatic from there. Either way, if the move changed, the app renders a video of it that plays on the board and the Timeline.
Generating animatic shows while the app makes the video that plays for an animatic shot.
Each animatic has a rendered video, and that video is what plays for the shot on the board, on the Timeline and in exports. When you leave an animatic you changed, with Done or the tab under CAM, the app makes a fresh video under the Generating animatic panel; you can Cancel and it tries again next time. If you change an animatic shot's length on the Timeline, it asks Re-render animatic? first. Big look changes in Project info re-render animatics automatically.
Keyframes are how you make cameras and actors move in Animatics.
Each keyframe saves where things are. Set the start, move the camera or an actor, then set the next keyframe; Previs Pro glides them smoothly between the two. Add as many as you need. Tap the duration box between two keyframes to type how long the move takes, in seconds or seconds:frames, like 1.50 or 1:15. Poses don't blend: a new pose snaps in when the playhead reaches its keyframe.
In Animatics, Propagate copies one object's position and animated settings from this keyframe to every keyframe after it.
Use it when you've fixed something, like a light's place or a prop's spot, and want the change to carry through the rest of the move. Select the object and tap Propagate in its menu. The app asks you to confirm first, and it can't be undone.
In Animatics, Reset puts one object back the way it was in the keyframe before.
Select the camera, actor or light you moved by mistake and tap Reset in its menu. Its position and other animated settings go back to the previous continuing shot. The app asks you to confirm first, and Reset can't be undone.
Revert animatic turns an animatic back into a single still shot.
It deletes all its moving parts (the continuing shots in that sequence) and its video. Use it when you want to start the shot over without animation. In the Shot Editor, select the animatic shot outside Animatics mode, and the Animatics shot notice shows Edit animatic and Revert animatic. The app asks Revert Continuing Shots to confirm. This can't be undone.
Add Shot in AR turns what your device is looking at right now into a new shot.
It is the + button at the bottom left. The new shot's camera takes the position and angle you're holding, so you can scout angles by walking around. If New shot background is on in Options, the real camera picture is saved as that shot's background too. If the project already holds too many images, you'll see Too Many Images; delete some images or turn New shot background off.
AR (augmented reality) puts your scene into the real room through your iPhone or iPad camera.
You can walk around your virtual actors holding the device like a camera. Tap AR beside the shot list, then Enter. Point the device at the floor and move slowly until it finds a flat surface, then tap to place your shot. The reset button scans again. AR needs an iPhone or iPad that supports ARKit; a LiDAR sensor isn't needed, and it isn't on Mac. It isn't offered for image, video or animatic shots.
The Options panel in AR holds switches for what you see over the real room.
Show walls and Show stage floor turn the scene's walls and floor on or off. Lights on/off switches the scene's lights. Show matte darkens the screen edges so you can see the shot's frame. Show equipment shows camera and light gear. New shot background saves the camera picture as the background of each shot you add. Tap the gear button at the top right to open it.
Record Video in AR films your screen while you move around the scene, like a handheld camera walking through the set.
Tap the red record button and a short countdown says Screen recording starting. Tap anywhere on the screen to stop. It's a quick way to make a walkthrough video of a location with your virtual actors in it.
Toy Size / 1:1 picks how big your scene appears in AR.
Toy size shrinks it to fit on a tabletop, so you can look over the whole set like a model. 1:1 makes it life-size, so actors stand as tall as real people and you can walk among them. The scene's size shows on screen in meters and feet. Tap the person button at the bottom right to switch; on a keyboard, Space does the same.
An Audio clip is one sound on the Timeline, shown as a colored bar with a waveform.
Drag it to move it (on a touch screen, press and hold first). Drag its left or right edge to trim the start or end. Hover over it to show a volume slider. The i button renames it and the × button deletes it; you can also press Delete. A clip stays attached to the shot it starts in.
The Audio workspace is where you add sound to your project.
That includes AI-made dialogue, music and sound effects, your own recordings, and imported audio files. On the Timeline, tap the speaker button labeled Audio at the left end of the shot row, or press Option+A. It takes the place of the viewer and opens the four audio lanes underneath. It has three tabs: Create, Record and Import. Close it with the ⓧ button, the Audio button again, or Esc.
Cast / Voice is where you give each speaking character an AI voice before generating dialogue.
Under CAST, every speaking character in the scope gets a voice menu; tap the play button to hear a sample first. Kokoro has voices like Heart, Bella, Adam and Michael; ElevenLabs has voices like Rachel, Aria, George and Brian. For Custom lines and Voiceover you pick a single voice. The app remembers which voice each character uses.
The Create tab in the Audio workspace makes sound with AI.
It uses credits. Pick a type: Dialogue reads your script's lines in character voices, Voiceover speaks text you type, Music makes background music, and SFX makes sound effects. For dialogue, choose a scope (All Scenes, Selected Scene, Selected Shot or Custom) and a voice for each character. For music and SFX, describe the sound and pick a length. Tap the red Generate button, and the result lands on its lane.
Dialog, Music, SFX and Voiceover are the lanes, or rows, that sort the sound on the Timeline.
There are four, each with its own color. Dialog (blue) is for characters talking, Music (pink) for score, SFX (green) for sound effects, and Voiceover (orange) for narration. With the Audio workspace closed, all clips share one combined row. Open the workspace to see all four; tap a lane's label to make it the lane new audio goes to. You can drag a clip up or down to another lane.
Generate Dialogue turns the dialogue lines in your script into spoken audio, using a voice for each character.
Pick a scope: All Scenes, Selected Scene, Selected Shot, or Custom to type any line yourself. A Custom line costs 2 credits on Fast (Kokoro) or 3 on Best (ElevenLabs); a shot or scene is sent as one batch, billed 10 (Fast) or 15 (Best) per batch. Clips land on the Dialog lane. Overwrite existing dialogue and Skip approved dialogue control what gets redone.
Generate Music writes a short piece of background music from your description, like "tense strings, slow build".
Pick Music as the Type, describe it, set the Duration (3 to 15 seconds) and tap Generate Music. It costs 40 credits, uses ElevenLabs Music, makes music without singing, and the clip goes on the Music lane.
Generate SFX makes a sound effect from your words, like "car door slams" or "footsteps on gravel".
Pick SFX as the Type, describe the sound, set the Duration (1 to 22 seconds) and tap Generate SFX. It costs 5 credits, uses ElevenLabs SFX, and the clip goes on the SFX lane.
The Import tab brings an audio file you already have into your project.
It could be a song, a temp score or recorded dialogue. Open the Audio workspace, tap Import, and drop a file on the box (or tap it to browse). It takes .wav, .mp3, .ogg, .m4a and .aac files. Play it, pick a lane and tap + Add Audio to place it at the playhead. You can also drag audio files straight onto the Timeline's audio row.
The Model picker chooses which AI voice speaks your dialogue.
Fast is Kokoro: quick and cheaper, with 8 voices. Best is ElevenLabs: more natural, with 21 voices. A single typed line costs 2 credits on Fast or 3 on Best; a whole shot or scene costs 10 or 15. Switching models switches the list of voices you can pick for each character. The same choice is used for Dialogue and Voiceover.
The Record tab lets you record your own voice or sounds with your device's microphone.
Open the Audio workspace, tap Record, then tap the big red circle (Click to record). After a 3-2-1 countdown, speak, then tap Stop recording. Play the take back, pick which lane it goes on, and tap + Add Audio to drop it at the playhead. Quiet bits at the start and end are trimmed for you.
Record audio lets you talk over a shot right from the Timeline, for example to give notes or read scratch lines.
Tap Edit Tools (the … at the bottom-right of the picture), then the microphone. Speak, then tap again (Stop recording) to finish. The take lands on the Voiceover lane where the playhead is. When a reviewer records in a review link, a short comment saying they added a voice over is posted to the shot too. For more control, use the Record tab in the Audio workspace.
Retime stretches your shots so the speech you generate fits inside them.
It's a checkbox at the bottom of the Audio workspace's Create tab. When it's on, it also leaves a little breathing room at each end and between lines. For a whole scene, the extra time is shared out across the scene's shots. Leave it off if you want your shot lengths to stay exactly as they are.
Voiceover makes AI narration from text you type, like a narrator or a director's scratch track.
Pick Voiceover as the Type, type the words in the box, choose a voice and tap Generate Voiceover. It uses the same Fast (Kokoro) and Best (ElevenLabs) models as dialogue, priced per line, and the clip goes on the Voiceover lane instead of the Dialog lane.
The 3D button opens a shot in the Shot Editor, where you place characters, props and the camera in a 3D scene.
It sits just under the ⋯ button on a shot tile. You can also double-tap the tile's picture (double-click with a mouse); a single tap only selects the shot. A Loading scene… screen covers the board while it opens. Animatic shots open straight into animatic mode. A shot that shows a still image or AI video has no 3D button and doesn't open on a double-tap: it has Revert to Live in its bottom-right corner instead. The side panel's Build in 3D or Edit in 3D row does the same thing.
Add existing set opens the Set Library so you can add a ready-made set to the scene.
The sets are grouped Built In and Custom (the ones you saved). Pick one to see a preview, then tap Done to add its objects to the scene right away. You can delete a custom set from here too. Sets can't be added to a scene that has animatic shots.
Add scene, at the bottom of the Boards tab, creates a new scene with one shot at the end of the project.
It selects that shot and opens the new scene's Scene info so you can set where and when it happens. To put a new scene between two others, use Insert Scene in a scene's ⋯ menu instead. You can also drop pictures on Add scene to make a scene with one shot per picture.
Add shot makes a new shot at the end of a scene.
Tap the dashed Add shot tile after a scene's last shot, or pick Add shot in the scene's ⋯ menu, and the Add new shot chooser opens with three ways: Build in 3D, Sketch with AI, or Import an image. Whichever you pick, the new shot starts as a copy of the scene's last shot and goes at the end, even if another shot is selected. Dropping a picture on the Add shot tile does the same. To put a new shot right after a particular shot, use Insert in that shot's ⋯ menu: it opens the Insert shot chooser with the same three rows.
Angle notes where the camera looks from.
Common angles are Eye level, Low angle, High angle, Hip level, Knee level, Ground level and Shoulder level. Special angles include Dutch angle (tilted), Bird's-eye, Overhead, Aerial, Helicopter and Drone. You can pick more than one. Picking an angle labels the shot for your crew and for AI; it doesn't move the 3D camera by itself.
The Boards tab is your project's storyboard.
Each scene is a row of shot pictures, called tiles, in script order. Here you add shots and scenes, move shots around, and open a shot to build it in 3D or sketch it with AI. It is the middle tab in the project's top bar, between Breakdown and Timeline, and it is where a project opens. On Mac and iPad a side panel on the right shows actions for whatever shot you picked.
Build in 3D ("Block your shot in 3D") is the 3D way to make a shot.
In the Add new shot chooser it adds a 3D shot and selects it, without opening the editor yet. In the Insert shot chooser (a shot's ⋯ → Insert) it adds a copy of that shot's 3D setup right after it. In the side panel, the same row opens the shot in the Shot Editor; it reads Build in 3D for a fresh scene and Edit in 3D for every other shot.
Copy puts shots on the copy board, and Paste adds full copies of them right after another shot.
The copy includes an animatic's keyframes and motion paths. On the Boards tab the ⋯ menu has no Copy row: open any shot's ⋯ → Select, tick the shots and tap Copy, or select a shot and press Cmd+C on a keyboard. Then open the ⋯ menu of the shot they should follow and tap Paste (or press Cmd+V). The Shot Editor's Shot List menu still has both Copy and Paste, and it shares the same copy board. In the Shot Editor, Paste can also paste copied objects, shown as Paste (N) for several.
Delete removes a shot for good.
It asks Delete Shot? first, warns if the shot's audio clips will go too, and can't be undone. A scene must keep at least one shot, so Delete is hidden when it is the scene's only shot. You'll find it at the bottom of a shot's ⋯ menu, as a trash icon in Shot info, and in the Shot Editor's Shot List menu. To delete many shots at once, use Select mode.
Drag and drop images lets you drag picture files onto the Boards tab to make or replace shots.
Drop one on a shot tile or the side panel to make it that shot's picture (Replace shot with image?). Drop one or more on the Add shot tile or a scene's header to make new shots, one per picture. Drop them on Add scene to make a new scene with those shots. Each picture sits on top of a 3D shot, so Revert to Live brings the 3D back. Drops don't work in Select mode.
Duplicate shot adds a copy of a shot right after the original, so you can try another camera angle.
The characters and props are already in place in the copy. It is the copy icon at the bottom of Shot info, and tapping it closes Shot info. If the script is locked, the copy gets a revision number. It does the same as the shot menu's Insert → Build in 3D, without the chooser. To copy several shots at once, use Select mode's Duplicate.
Duration is how long a shot lasts when the project plays.
In Shot info you type it as seconds and frames, in two boxes labeled sec and frames, at the project's frame rate. Longer shots stay on screen longer in the Timeline and in exported videos. Duration is locked for animatic shots, whose length comes from the animatic. You can also drag the right edge of a shot on the Timeline to change it.
Edit coverage opens a scene's Coverage overview, a list of the shots that cover the scene's script lines.
There, Suggest coverage can propose shots for you. The button sits under the header of the scene whose shot is selected, or under every scene when Force scenes open on Board tab is on. The side panel's Coverage row ("View/Edit Scene Coverage") opens the same place. If the project has no script yet, it offers to import one.
Edit shot details lets you give a shot a custom number and a name.
It is the pencil at the top of Shot info, and it opens a small drawer with a Shot: box and a name box; then tap Save or Cancel. Plain letters like A or B are kept for automatic numbering, so a custom label needs a digit or a separator in it. The name shows on the shot's label in the Shot List and helps you tell shots apart.
Equipment lists the gear a shot needs, so your crew knows what to bring.
Rigs include Sticks, Tripod, Slider, Dolly, Handheld, Steadycam, Gimbal, Crane, Jib, Drone and Wire. There are also lighting items (LED panel light, Three point lighting kit, Light stands, Reflector, Scrim, Green screen) and audio items (Shotgun, Lavalier and Handheld microphones, Boom pole, Shock mount), plus See notes and Standard set. You can pick several.
Export in a shot's ⋯ menu opens the export panel with just that one shot picked.
From there you can quickly save it as a picture, PDF or video. The scene menu has a matching Export Scene row for a whole scene. Both are hidden for shots and scenes that are omitted, because omitted scenes are left out of exports.
Floor picks what the ground looks like in a scene.
A preview shows the current floor, and the list below it is grouped as Chromatic, Interior, Exterior and Terrain, with choices like plain gray, green or blue, Transparent, wood, marble, carpet, grass, sand and snow. Switching the scene's Type between INT and EXT swaps a default floor for the other default, and asks Reset Floor? first if you chose your own floor.
The Focus field in Shot info is a note about the focus style you plan for the shot.
Choices are Rack focus, Shallow focus, Deep focus, Tilt shift, Soft focus or Split diopter. It tells your crew and AI what you want. It does not blur anything in the 3D view by itself; to actually blur the background, use the focus control in CAM.
Force scenes open on Board tab keeps every scene on the Boards tab fully open all the time.
Normally each scene shows only its first row of shots until you tap its header. Turn it on in Preferences. With it on, there is no triangle to tap, every scene's dashed Add shot tile always shows, and every scene shows its Edit coverage button. It starts on in the Mac app and off on iPad and iPhone.
Frame Rate in Shot info notes the speed you plan to shoot this shot at, in frames per second.
Choices run from 23.98 and 24 fps up to high speeds like 120, 240 and 300 fps, which real cameras use for slow motion. It is a note for your crew, not a setting that changes playback in the app.
Framing notes how many people are in the shot and how they are arranged.
Choices are Single shot, Two-shot through Five-shot, Over-the-shoulder, Over-the-hip and Point-of-view. You can combine them, for example a two-shot over the shoulder. Short codes like SS, 2S, OTS and POV show on the shot's info. It labels the shot and helps AI describe it.
Generate Background has AI paint one photographic background picture of a scene's location, with no people in it.
It is a choice in the Set menu of the Coverage overview, used instead of a built-in or saved 3D set, and the picture goes behind the scene's shots when you apply. It's a paid run using the Nano Banana 2 image model. After Suggest coverage, the app may recommend it with "Suggested: Generate background".
Import an image ("Use an existing image") makes a shot from a picture you already have, like a photo, sketch or reference frame.
It opens your Photos library on iPhone and iPad, or a file window on Mac. The picture sits on top of a 3D shot as a Static image, so Revert to Live can bring the 3D shot back. From Add shot the new shot goes at the end of the scene; from the Insert shot chooser (a shot's ⋯ → Insert) it goes right after that shot.
Insert adds a new shot right after the shot you picked, so it is how you put a new shot in the middle of a scene.
On the Boards tab, Insert is always in a shot's ⋯ menu. It opens the Insert shot chooser with the same three rows as Add shot: Build in 3D copies this shot's 3D setup, Sketch with AI draws the new shot from words, and Import an image uses a picture you pick. Whichever you choose, the new shot lands right after this one. If the script is locked, it gets a revision number such as A-1, so no other numbers change. In the Shot Editor, tap the selected shot in the Shot List to open its menu, then Insert; there it adds the copy straight away. Add shot is different: it always puts the new shot at the end of the scene.
Location names where a scene takes place, like KITCHEN or CITY PARK, and it shows in the scene's header.
Pick None or one of the project's locations, or tap New to add one. If the location's name matches a set saved in your set library, Previs Pro offers to add that set's objects to the scene (Matching set found).
Movement notes how the camera moves during the shot.
Choices include Static, Pan left, Tilt up, Dolly in, Truck right, Pedestal up, Arc, Crane-style moves, Whip pan, Zoom, Dolly zoom, Tracking, Following or Roll. Some choices draw arrows over the shot's picture on the Boards tab so everyone can see the move. It labels the shot and feeds AI prompts. Movement is locked for animatic shots, where the camera's real path is the movement.
Notes is a free-text box for anything you want to remember about a shot or a scene.
Use it for things like props to find, an actor's direction, or a reminder for the crew. Shot info and Scene info each have their own Notes box. In Shot info the note saves once you pause typing; in Scene info it saves when you tap Apply.
Omit Scene sets a scene aside without deleting it.
The scene turns gray with a red line through its header, and it is left out of exports and the Timeline's All Scenes view, but it keeps its number and all its shots. Choose Restore Scene from the same menu to bring it back. It is handy when a scene is cut from the script but you might want it later.
Preview Size changes how big the shot pictures are on the Boards tab when the window is wide.
Fixed keeps the pictures the same size so more of them fit across the screen. Resizing lets the pictures grow to fill the space, so you see fewer but larger ones. In a narrow window both choices look the same. You find it in Preferences.
Project Actions are the project-wide actions the side panel shows when no shot is selected.
On Mac and iPad, the panel shows the project's title and these rows: Project info (title, aspect ratio and format), AI Studio, Export (PDF, MP4 and images), Import From Project (reuse scenes from another project), What's New, Preferences and Contact Us. At the bottom are the app version, your plan and your account. On iPhone the same rows, except AI Studio, are in the ☰ menu.
Project info holds the settings for the whole project.
These are its name, aspect ratio, camera sensor, the main Post-Processing look and Tone Mapping, extras like showing camera and lighting equipment and the animatic frame rate, Watermark & Logo for exports, and Numbering/Locking. A preview shows a sample frame. Nothing changes until you tap Apply. Changing the look or aspect ratio re-draws every shot.
Rendering progress shows Previs Pro drawing new shot pictures in the background.
That happens after things like opening a project or changing a scene's lighting, and waiting tiles shimmer. Smaller jobs show a pill at the bottom of the screen, such as Rendering shots 12 of 40, Preparing scenes, Casting characters… or Rendering animatics. Big jobs of 40 or more shots show a Preparing shots… card; if it stalls, Continue in background turns it into the pill.
Replace is hidden for now.
It was a row in a shot's ⋯ menu on the Boards tab that opened the Replace shot chooser, to rebuild that shot with Build in 3D, Sketch with AI or Import an image. Today it only shows on the Getting-started tour's render step on a phone. To redo an existing shot with AI, open AI Studio: the side panel's AI Studio row on iPad and Mac, or the AI button on the Timeline. To put your own picture on a shot, drag it onto the tile or use AI Studio's Import tab. To add a new shot made a different way, use Insert in the shot's ⋯ menu.
Revert to Live puts a shot's live 3D render back in place of a still picture or AI video.
It asks first: Replace this shot's image or video with the live 3D shot? A picture you made with AI is not lost; it stays in Generation History so you can apply it again later. On the tile, Revert to Live sits in the bottom-right corner, and that tile has no 3D button; a live 3D tile has 3D under the ⋯ instead, so you never see both. It is also a row in the side panel. It is never offered on animatic shots.
Save as Set saves the scene's set pieces into your set library so you can reuse them later.
You can drop the same set into other scenes or projects. It files the set under the scene's location name and doesn't ask for a name. It is grayed out until the scene has a location. If a set with that name already exists, it asks whether to Replace it.
Scene actions (⋯) is the menu of things you can do to a whole scene on the Boards tab.
Open it with the ⋯ button right after the scene's title and counts in its header. From the top it has Info (opens Scene info), Add shot (opens the Add new shot chooser; the new shot goes at the end of the scene), Insert Scene (a new scene right after this one), Duplicate Scene (copies the scene and all its shots) and Export Scene, then below a line Omit Scene (Restore Scene on an omitted scene) and Delete Scene in red, which asks first and can't be undone. It is grayed out while you are in Select mode.
The Scene header is the title line at the top of each scene on the Boards tab, written like a script slugline.
It shows the scene number, then where and when it happens, such as 2 - EXT. POND - DAY. Next to it are a clapper icon with the number of shots and a person icon with the number of characters. Tap the header to show or hide the rest of the scene's shots. Only one scene is open at a time, and picking a shot opens its scene. An omitted scene is grayed out with a red line through it.
Scene info is where you set up a whole scene.
It covers the scene's number, INT or EXT, time of day, floor, sky and lighting, location, sets, notes and color look. Unlike Shot info, nothing changes until you tap Apply; Cancel, Escape or tapping the dimmed board throws edits away. Open it from the scene menu's Info or the side panel's Scene info row. It also opens by itself after you add a scene. In the Shot Editor it opens from the scene title.
The Scene: box at the top of Scene info shows the scene's number and lets you type a custom one.
A custom number can be up to 12 characters. Plain numbers are kept for automatic numbering, so a custom label needs a letter or symbol, like 12A or 5*. The box is locked while the script's numbering is locked.
Select mode lets you work on several shots at once.
Start it from any shot's ⋯ menu → Select, or the Select icon in the top bar when there is room. Tap tiles to tick them. Then choose Copy (put them on the copy board), Duplicate (add a copy after each), or Delete (asks first, and also deletes a scene if you ticked all its shots). Cancel or Escape leaves. On Mac and iPad these are in the side panel; on iPhone, in a bar at the bottom.
Shot actions (⋯) is the menu of things you can do to one shot on the Boards tab.
Open it with the ⋯ button in a tile's top-right corner. From top to bottom it offers Info, Select, Insert, Paste, Export and, below a line, Delete. Insert opens the Insert shot chooser, and the new shot goes right after this one. Paste only shows once shots have been copied, and Delete is hidden for a scene's only shot. There is no Copy row: to copy shots, tap Select, tick them and tap Copy, or press Cmd+C on a keyboard. On a Mac you can also right-click a tile. The ⋯ shows on the selected tile, on hover, and on keyboard focus.
Shot info is the card that holds everything written down about one shot.
That means its number and name, how long it lasts, camera notes like size, angle and movement, free-text notes, the floor setting and the color look. Each change saves straight away, a quiet Saving… line shows while it saves, and Done just closes it. Open it from the shot menu's Info row or the side panel's Shot info row. In the Shot Editor, the Shot List menu's Info opens the same card.
The Shot number is the small label in the bottom-left corner of each shot tile.
It is made of the scene number, a separator, and the shot letter, like 3C, 3.C or 3-C depending on the project's separator setting. Numbers update by themselves as you add or move shots, unless the script is locked. A number shown in red is a custom or revision number. The Shot List in the Shot Editor shows the same numbers.
A shot tile is one shot's picture on the Boards tab.
It shows the rendered 3D frame, an AI image, or a picture you imported. A shimmer means it is still waiting to be drawn, and arrows on it show how the camera moves. Tap a tile to select it; tap it again or tap empty space to deselect. Double-tap a live 3D tile (double-click with a mouse) to open it in the Shot Editor, just like its 3D button. To reorder, hold a tile until it lifts and then drag it (with a mouse, just drag). Shots can only move inside their own scene.
The Shot-type badge is a small icon in a shot tile's top-left corner that tells you what kind of shot it is.
Animatic means the shot is a moving animatic. AI video means an AI-made video is on it. Static image means a still picture, from AI or imported, sits on top of the 3D shot. A plain 3D shot has no badge. If a shot is more than one kind, Animatic wins over AI video, and AI video wins over Static image.
The side panel on the right of the Boards tab shows actions for the selected shot.
It appears on Mac and iPad. At the top are the shot number, a large preview where its video plays (tap it for full screen), and the action rows: Sketch with AI (fresh scenes), Build in 3D or Edit in 3D, or Revert to Live, then AI Studio and Coverage. Below a line are Shot info, Scene info and Project info. iPhone has no side panel; use the ⋯ menus instead.
Size is a note about how much of a person or place the shot shows, using real film terms.
Choices are grouped from tight to wide: close-ups (Extreme close-up, Choker, Close-up, Medium close-up), medium shots (Medium, Cowboy), full shots (Medium full, Full) and long shots (Wide, Long, Extreme wide), plus Establishing and Aerial. You can pick more than one. It doesn't move the camera; it labels the shot, shows on the Info Bar, and helps AI describe it.
Sketch with AI lets you paint a shot from words right on the Boards tab, without opening AI Studio.
A small Create Shot window opens: describe the shot and tap Create. It always uses the fast FLUX.2 Turbo model, so each image costs 3 credits. Tap Apply to use it. From Add shot or Insert, the new shot is only made when you apply. Find it in the Add shot chooser, the Insert shot chooser (a shot's ⋯ → Insert, which puts the new shot right after that one), or the side panel in a fresh scene. To redo an existing shot with AI, use AI Studio instead.
Sky in Scene info shows a preview of the scene's sky.
Tap Edit under it to open Scene Lighting, where you drag to set the time of day and the sun's direction and choose the cloud cover, with a live preview. Tap Done there to save the lighting. Scene Lighting saves on its own, so Scene info's Cancel doesn't undo it. On iPhone it needs landscape.
Time picks when a scene happens, which sets the scene's default sky and lighting.
The choices are Day, Night or Twilight, and a Night scene gets a dark sky. If you already customized the scene's lighting, changing Time asks Reset Lighting?; Yes switches to the default for the new time, No keeps your custom lighting. Changes take effect when you tap Apply.
Transparent scene floor hides the ground for just this shot, so characters and props seem to float on an empty background.
It is a checkbox in Shot info, handy when you plan to put your own picture behind them. The picture at the top of Shot info previews the change. If the whole scene's floor is already set to Transparent, the box can't be changed.
Type says whether a scene happens inside (INT, interior), outside (EXT, exterior), or both (INT/EXT).
It sets the scene's default lighting and floor: interiors have no sun, and switching type swaps the default indoor and outdoor floors. If you customized the lighting, it asks Reset Lighting? first, and if you picked your own floor, it asks Reset Floor?. Changes apply when you tap Apply.
Adjust Focus turns on a blurry-background effect, called depth of field, so only part of the picture is sharp.
It works like a real movie camera. OFF keeps everything sharp. AF (auto focus) lets you tap any object to make it the sharp one. MF (manual focus) adds two sliders: Aperture, which sets how blurry everything else gets, and Focus distance, which sets how far away the sharp spot is.
Aperture handles let you change how wide a camera or a spotlight sees, right on the 3D canvas.
Select a camera or spotlight and turn on its lens toggle in the object controls at the bottom-left of the canvas. Handles appear on the object: drag them to widen or narrow the camera's view (its focal length shows on screen) or to open or close a spotlight's beam. This changes focal length, not the f-stop; the f-stop lives in CAM's manual focus. Lanterns and the Flood Light don't have a beam to adjust.
CAM shows you exactly what the shot's camera sees, like looking through a real camera's viewfinder.
What you see here is what ends up in the shot's picture. You can drag to aim the camera, pinch to move it closer or farther, change the lens, and turn on focus effects. Tap the CAM tab to go in and Done to come back out.
The Camera Sensor is the size of the chip inside a real camera, and it changes how much a lens can see.
Every camera in a project uses the same sensor. Choose it under Sensor size when you start a project or import a script, or later in Project info under Camera Sensor. Full frame 35mm is the default and the only one where the lens slider clicks to real prime lenses. Others include Super 35mm, Micro 4/3, iPhone Native, Canon and Nikon APS-C, Super 16mm and several Alexa sizes. Changing it keeps each camera's focal length and redraws every shot to match.
Composition guides draw helper lines over the camera view so you can line up a nicely balanced picture.
Rule of Thirds splits the frame into a 3×3 grid; Quadrants, Diagonals, Reciprocal Diagonals and Golden Ratio are other classic layouts. The lines only help you aim; they don't show up in the finished shot. Tap the grid button at the top-left of CAM to pick one.
Edit Camera is the panel where you set up one camera.
Give it a Name and a Color so you can tell your cameras apart on the canvas, and type Notes for the crew. Pick a camera body from the list, like Arri, RED, Sony, GoPro, iPhone or Drone; this changes the camera model you see in the scene. Lens type switches between a normal lens and an anamorphic one. Select a camera and tap Edit in its menu to open it. A new camera opens this panel straight away, and tapping Cancel there removes the new camera.
Enable picks which camera films the shot when a shot holds more than one.
A shot can hold up to 10 cameras, but only one films at a time. Select the camera you want and tap Enable in its menu; the camera that was filming before turns off automatically. This is handy for keeping a wide shot and a close-up inside the same shot to compare. If you want both angles to play one after the other in the edit, duplicate the shot and enable a different camera in each copy.
Focal length is how zoomed in the camera's lens is, measured in millimeters.
Small numbers (like 15mm) are wide and fit lots of the room in the picture; big numbers (like 135mm) are zoomed in and make faraway things look close. In CAM, slide the bar along the bottom to change it. On full-frame projects it clicks to 17 real lens sizes from 10mm to 270mm.
Lens type picks the kind of lens on one camera.
1.0x Spherical is the normal lens and the default. The Anamorphic choices (2.0x, 1.85x, 1.8x, 1.6x, 1.55x, 1.5x, 1.33x and 1.3x) copy the special lenses used for wide cinema pictures, which squeeze a wider view onto the sensor. Pick one and that camera's focal-length numbers take the squeeze into account. Select the camera, tap Edit, then tap Lens type in Edit Camera.
PiP (picture-in-picture) opens a small floating window on the canvas that shows what the shot camera sees.
That way you can move actors and props and watch the framing change at the same time. Select the shot camera and tap PiP in its menu; the shot list closes to make room. The window has its own buttons to make it bigger, smaller or close it. Tap PiP again in the camera's menu to hide it.
The Previous / next shot arrows in CAM jump to the shot before or after without leaving the camera view.
They sit on the left and right edges, so you can frame a whole run of shots in one go. Your camera changes on the shot you leave are kept. On a Mac keyboard, Option + Command + left or right arrow does the same. The arrows hide while the manual focus sliders are showing, and while a camera is tracking.
Show Camera Equipment and Show Lighting Equipment decide whether gear shows up in your finished shot pictures.
Show Lighting Equipment draws the light fixtures, stands and all, in your shots; turn it off to see only the light they give. Show Camera Equipment does the same for the other camera bodies in a shot, which is handy when you want a behind-the-scenes look at your setup. The camera filming the shot never shows itself. Both are in Project info under Miscellaneous, and changing either redraws every shot thumbnail.
Tracking makes the shot camera follow something, like a camera operator keeping an actor in frame.
Select the shot camera and tap Tracking in its menu. CAM opens in tracking mode (a CAM TRACKING label flashes); tap the character or object you want to follow. Now when that object moves, the camera follows it. Tap Tracking type to choose how: Look at Point Without Zoom, Look at Point With Zoom, Fixed Distance Without Rotation or Fixed Distance With Rotation. Tap Stop tracking to turn it off. While a camera is tracking you can't duplicate, delete, lock or copy it.
3D Character lets you bring in a person you made in another program, such as Blender or Mixamo.
Tap the pencil → Import → 3D Character and pick a .glb file (convert .fbx to .glb first). To be posable it needs a humanoid skeleton with the right bone names, standing in a T-pose with arms straight out. If something's missing, Previs Pro still imports it but shows a warning such as posing or expressions being unavailable. You then check it in Final Inspection and give it a name.
Add Character is the menu you get when you want to put a person into your shot.
It gives you three choices. New Character opens the Character Creator so you can build a realistic person yourself. Create Custom makes a person from a short written description using AI, and needs the internet. Your Cast places someone who is already in your project's cast; it is grayed out while the cast is empty. In the Canvas Editor, tap the pencil and then Character to open it.
Add to Cast turns an Extra into a real cast member with a name, so you can reuse them.
Extras are unnamed people who belong only to one spot in a shot; once in the cast, they can appear in other shots and scenes, and you find them in Breakdown › Cast. Select the person, tap Edit, then Add to Cast and type a name. Choosing Edit next to Body on an Extra also asks for a name and adds them to the cast before the Character Creator opens.
Animals in Previs Pro are props, not characters, so you find them in the prop library instead of Add Character.
Tap the pencil → Prop and open the Animals category to place creatures such as a cat, dogs, a cow, a deer, a bear, an elephant or a giraffe. You can move, turn and resize them like any prop, but they can't be posed and have no expressions. An imported four-legged model with its own skeleton also lands as a static, unposable model.
The Cast button swaps the selected person for someone from your project's cast.
Select a character, tap Edit, then Cast, and pick a name. The picker has two tabs: On Set lists cast members already standing in some shot, and On Call lists cast members who haven't been placed anywhere yet. It's handy when an Extra should really be your lead, or when you blocked a shot with the wrong person. To place a new cast member instead, use the pencil → Character → Your Cast.
The Cast is your project's list of named characters, like the cast list of a movie.
Each cast member is one shared person: change how they look once and they change in every scene and shot. Importing a screenplay builds the cast for you and gives everyone a body that fits their description. Open Breakdown › Cast to see each person's headshot, lines and scenes, rename them, Duplicate them (for a second outfit), add a new one with Add character, or open Edit character.
The Character Creator is where you build a realistic 3D person, like dressing up a doll.
Drag the preview to spin them around. Tabs let you pick Clothing, Footwear, Hair and hair color, Eyes & Eyewear, and on the Body tab a starting body (men, women or children), a Body shape and a Skin tone slider. None removes an item and Default or Reset puts a color back. Tap Save character, give them a name, and they join your cast, ready to pose. It uses no AI credits.
Character height sets how tall a person is in your scene, so a kid looks small next to a grown-up.
For a character already in a shot, select them, tap Edit, and drag the height ruler up or down; it shows feet and inches and centimeters. When you import a 3D character or check an AI-made one, a Character Height box lets you type the height in meters, centimeters, feet or inches. The Character Creator doesn't set height; new people start at a standard height for their body.
Create Custom makes a brand-new 3D person from a few words, using AI.
Tap the pencil → Character → Create Custom, then in Describe Character type something like "tall woman in a red dress" and tap Create; the button shows its credit cost. The AI builds the body and adds a skeleton (Generating, Rigging, Downloading), which takes a couple of minutes. Check it in Final Inspection, name it, and it joins your cast ready to pose. These characters can't use Expressions or hand poses. It needs internet and a sign-in.
Delete character removes a cast member from your project.
In Breakdown › Cast, tap the trash icon on their card. Previs Pro asks first, because all of that character's dialogue becomes unassigned, and the character is taken out of the shots they were standing in. If they had an imported or AI-made body that nobody else uses, that body is deleted too. To get rid of only one person in one shot, select them on the canvas and tap Delete instead.
Edit Character is the panel for one person in your shot.
Select the character and tap Edit. Here you can change their name, drag the height ruler to make them taller or shorter, and tap Edit next to Body to change how they look (it opens the Character Creator, or Replace Character for imported and AI-made people). Older built-in people also show color swatches. Cast members are shared, so a note warns that changes apply to every scene using that character.
Expression changes a character's face so they look happy, angry, scared or sad.
Select a character and tap Expression, then pick a face from the General tab, such as Joy, Anger, Fear, Sadness, Laugh, Wink, Kiss, Confused or Sneer. Neutral resets the face. Faces you captured yourself with FaceCap are under Custom. Character Creator people and imported characters with face shapes support it, but AI-generated characters don't, so the button is hidden for them.
An Extra is a person in a shot who isn't in your cast, like a background actor in a real film.
Extras get automatic names such as Extra 1 and Extra 2. A new scene starts with two ready-made people like this. They only live in that spot, so editing one doesn't change anyone else. To give an Extra a name and reuse them elsewhere, select them, tap Edit, and use Add to Cast.
FaceCap copies your own facial expression onto a character using the front Face ID camera of an iPhone or iPad.
Select a character, tap Expression, then FaceCap. First relax your face with your mouth closed and tap Calibrate, then make the face you want and tap Capture. Use it, or tap Retake to try again. Your capture is saved under Custom expressions. It needs a device with a TrueDepth camera and a character that has face shapes.
Final Inspection is the last check before an imported or AI-made character joins your cast.
You see the character in 3D and can try sample poses like Standing, Walking, Running, Sitting or Dancing to make sure the skeleton bends correctly. Use the turn buttons if they face the wrong way. If the shoulders look odd, pick a different body frame (Small, Medium or Large), which re-rigs them. Any warnings about posing or faces show here. Tap Save to keep the character, or Cancel to stop.
Look at turns a character's head and neck toward a spot you choose, like another person, a door or the camera.
Select a character, tap Look at, then tap the place you want them to look (the screen says "Tap an area to have your character look at it"). Cancel leaves without changing anything. It's handy for eyelines in dialogue scenes. It's hidden for imported characters that can't be posed.
Mirror on a character flips their pose left to right, like looking in a mirror.
A person raising their right hand will raise their left hand instead. It's useful when a pose is right but faces the wrong way for your shot. Select the character, tap the arrow at the end of the menu to see more actions, and tap Mirror. Tap it again to flip back. You can undo it.
Pose changes how a character holds their body.
Choices cover standing, sitting, lying down, walking, fighting and more. Select a character and tap Pose to open a library of ready-made poses sorted into tabs like Standing, Sitting, Lying, Moving, Action, Gesture and Special. Poses you saved yourself are under Custom. Tap one to use it. From the same panel, Custom lets you bend body parts by hand, and PoseCap copies a real person's pose with the camera. Some imported characters can't be posed, so the button is hidden for them.
Pose Mode lets you pose a character by hand, like moving the joints of an action figure.
Select a character, tap Pose, then Custom. Tap a body part, such as the head, an arm or the spine, and drag to rotate it. Tap a hand to pick a hand preset like a fist or pointing. A button makes the body see-through so you can reach hidden joints. Apply keeps the pose on this character, Save adds it to your Custom poses for later, and Cancel throws it away. It works on custom characters only.
PoseCap copies a real person's body pose onto your character using the back camera of an iPhone or iPad.
Select a character, tap Pose, then PoseCap. Point the camera at someone standing in full view, or even at a photo, then tap capture or use the timer. The character copies the big body joints; heads and hands aren't captured. It needs a newer iPhone or iPad and doesn't work on Mac or with the front camera. You can rotate the body afterwards.
Replace Character gives a cast member a whole new body while keeping their name and their spots in your shots.
Use it for people who weren't made in the Character Creator, like imported or AI-made ones. In Breakdown › Cast their card shows Update model instead of Edit character. If the old body was imported or generated, Previs Pro first warns that it will be replaced and deleted for good. Then pick Character Creator, Create Custom, or Import from file. From Breakdown, only Character Creator works for now.
Use Legacy Characters lets you add the older, simpler built-in people from earlier versions of Previs Pro.
You pick them from a list of numbered bodies (Male 1, Female 1 and so on) with color swatches for skin, top, bottom, hair, eyes and shoes. They are being retired. In the Character Creator opened from the pencil → Character, the Body tab has a Use Legacy Characters button; it shows a notice that support will be removed, and Use Anyway lets you add one. Older projects keep theirs, and you edit them from the Edit Character panel.
Download HTML saves your whole timeline as one web-page file that plays in any web browser.
No app, internet or login is needed, so it's an easy way to email a playable cut. It carries shot pictures, audio, transitions, comments and approvals. Tick Include video shots to add videos and animatics, Include doodles to add drawings, and leave Compress thumbnails on to keep the file small. Find it under Export on the Timeline.
The Export button on the Timeline opens a window with tabs for getting your timeline out of Previs Pro.
Download HTML makes a single web-page file anyone can play. Export for NLE makes a package for Premiere Pro or DaVinci Resolve. In the browser version only, Publish to Web puts it online. Tap Export in the bar along the bottom of the Timeline, next to Share. For PDF storyboards, pictures and MP4 video, use Export in the ☰ menu instead.
Export for NLE hands your timeline to a video-editing program, so an editor can keep working on it.
It works with programs like Adobe Premiere Pro or DaVinci Resolve. It makes a zip file with a Final Cut Pro 7 XML file plus all your pictures, videos and audio. Pick a frame rate (the one that matches your project has a star) and tap Export. On the Timeline, open Export and choose Export for NLE, or press Cmd+E.
Export Options is the panel that makes PDF storyboards, picture files and MP4 videos.
Open it from Export in the ☰ menu, from Export Scene or a shot's Export on the board, or from Export in the Shot Editor's menu. Choose a Format (JPEG, PNG, PDF or MP4), a Quality (High or Good), a Layout, and which scenes and shots to include, then tap Export. Show markup adds your drawings to still pictures.
Layout picks how each exported page looks.
Choose it by tapping a little preview picture in the Export Options panel. Two-Up layouts put each shot next to its overhead view. Six-Up fits six shots on a page. Annotated adds notes and camera details. Full gives one big shot per page. Shot List is a table of ten shots per page. Animatics Frames shows a frame every 2 seconds of each animatic. MP4 has Simple and Annotated.
MP4 turns your storyboard into a video file you can play anywhere or post.
It carries the sound from your Timeline's audio lanes. Pick MP4 under Format in the Export Options panel, choose Simple or Annotated, and tap Export. Force 1s shots holds every shot for one second; in projects with animatics, Omit titles leaves out the title cards instead. Animatic shots play their full move. MP4 export is available to everyone, with or without a subscription.
PDF, JPEG and PNG are the formats that turn your shots into storyboard pages.
PDF makes one printable document with all the pages, good for handing to a crew or printing. JPEG and PNG save each page as a separate picture file instead; PNG is sharper, JPEG is smaller. Pick one under Format in the Export Options panel, choose a layout and range, and tap Export. Each page can include shot numbers, notes, lens and camera details, depending on the layout.
Publish to Web puts a permanent page of your timeline on the internet and gives you a link to it.
Unlike a review link, it doesn't expire and has no password. It's only in the browser version of the Timeline, not in the iPhone, iPad or Mac app, and you must be signed in. Open Export, pick Publish to Web, choose whether to include video shots, and tap Publish. Manage exports lists your pages so you can delete one.
Save or Share? asks whether to save your exported files or send them to another app.
On a Mac, it appears after you export a PDF, pictures or an MP4. Pick Save to disk to choose a folder and save the files on your computer. Pick Share with another app to send them straight to Mail, Messages, AirDrop or another app. On iPhone and iPad the share sheet opens instead. HTML and NLE exports from the Timeline skip this question and go straight to the save window.
Show markup is a switch that decides whether your Shot Editor drawings appear on exported storyboard pages and pictures.
It's in the Export Options panel and is on to start with. Turn it off for clean frames without the scribbles. It only applies to still formats (PDF, JPEG, PNG). Doodles reviewers made on the Timeline are separate: they go in review links, and in HTML exports when Include doodles is ticked.
Contact Us starts an email to the Previs Pro support team.
Use it to ask a question, report a problem or send feedback. It's in the ☰ menu on the Projects screen and inside a project. Mentioning the plan and version shown at the bottom of the menu helps support help you faster.
Previs Assist is the built-in helper that answers your questions about the app, asked in your own words.
Open it with the ? button on the Projects screen or in the top bar of every project. Type a question, like "how do I add a light?", and it answers with steps and links to the wiki. Opened from a panel, it suggests questions about that panel. Asking doesn't use credits. With no internet it offers to load the wiki that's built into the app. The Tutorials and Wiki buttons at the top open the video channel and the full wiki.
Rate Us is a short pop-up question asking how you'd rate Previs Pro.
It reads "Is Previs Pro a 5-Star App?" and can pop up after you finish an export or share a project. Tap Yes and Apple's own rating box opens so you can leave stars and a review; you won't be asked again. Tap No and it may ask again much later, unless you tick Don't show this again. It never blocks your work.
What's New opens the Previs Pro release notes in your web browser, so you can see what changed in recent updates.
The notes also show which new features arrived. It's in the ☰ menu on the Projects screen and inside a project. A dot on the row means something new has been posted since you last looked.
Color sets the tint of a light, such as warm orange for a lamp or cool blue for moonlight.
In Edit Light, tap the Color swatch to open the color picker and choose any color. A new light starts with a color that suits the scene's time of day, and the fixture icons in the row above show your chosen color.
Edit Light is the panel where you set up one light.
Scroll the row of fixtures at the top to choose the kind of light, then set its Intensity (brightness), Color and Shadows, and give it a Name. A brand-new light starts with colors and brightness that suit the scene's time of day; on a new light, switching fixtures also updates any setting you haven't changed yet. Select a light and tap Edit in its menu to open it; Done keeps your changes and Cancel throws them away.
A gobo is a cutout placed in front of a spotlight so the light comes out in a shape.
It can look like the shadow of window blinds, tree leaves or a fence falling across a wall. Previs Pro has more than 200 patterns. Select a spotlight, tap Gobo in its menu and pick a pattern; pick the first (empty) tile to take it off. Only spotlights take a gobo, so Lanterns and the Flood Light don't show the button.
Intensity is how bright a light is.
In Edit Light, drag the Intensity slider to the right to make the light stronger or to the left to dim it; the number beside it shows the value. The slider moves in small steps at the dim end and big steps at the bright end, so it's easy to fine-tune soft light. Turn it down to zero to switch the light off without deleting it.
Key Light, Fill Light and Back Light are the classic starting lights in every new scene, aimed at the cast.
Together they make a three-point lighting setup of three spotlights. The key is the main light, the fill softens the shadows, and the back light outlines actors from behind. Their colors and brightness follow the scene's time of day and whether it's inside or outside. They're ordinary lights, so you can move, edit, add a gobo to or delete any of them.
Light types are the families of light a fixture can belong to, each shining in its own way.
Previs Pro has three. A Lantern glows in every direction, like a bare bulb. A Spotlight shines a cone in one direction; new lights start as one, and many real film fixtures work this way, such as Fresnels, PAR, LED Panel, Ring Light, Cyc Light and Fluorescent Tubes. The Flood Light shines parallel light from one direction, like sunlight. Pick the kind in the fixture row at the top of Edit Light. Only spotlight-type lights can take a gobo or have their beam widened.
Post-Processing adds a color grade, like a movie filter, on top of your rendered shots.
Choose None, or a look such as Hitchcock (Noir), Fargo (Cold), Big Easy (Hot), Unifying (Sepia), Brooklyn (Retro) or Bong Joon-ho (Electric). Set it for the whole project in Project info, then pick a different one for a single scene in Scene info or a single shot in Shot info if you need to. The preview at the top shows the look before you apply it. It colors the 3D render; it isn't AI.
Scene Lighting sets the sky light for one scene.
It covers where the sun or moon is, what time of day it feels like, and how cloudy it is. Drag on the panel to move the sun and change the time, set the cloud cover, and watch the live preview update. Tap Done to save. Open it from Scene info by tapping Edit under Sky. It saves on its own, so Scene info's Cancel won't undo it. On iPhone, turn the phone sideways to use it. Indoor scenes have no sun.
Shadows sets how dark the shadows from one light are.
In Edit Light, drag the Shadows slider all the way up for strong, solid shadows, or down to make them fainter until the light casts none at all. This is handy for a soft fill light that shouldn't throw a second shadow behind your actors.
Tone Mapping sets how the bright and dark parts of the picture are shown, a bit like picking a film stock.
None is the default and shows the plain render. Neutral gently softens bright spots, ACES gives punchy movie contrast, AgX - three.js and AgX - Blender roll highlights off smoothly, and PBR Neutral keeps materials' colors true. It applies to the whole project: canvas, CAM, thumbnails and exports. Pick a mode in Project info, watch the preview, then tap Apply.
Advanced holds extra switches most people never need.
Show Errors pops up a message when something unexpected goes wrong, so you can email the details to support. Enable Touch Visualizer draws your touches on screen, handy for recording a demo. Enable Trackpad Gestures (Mac only) turns on trackpad pinch and swipe controls and switches Performance Level to High Power. Save Tripo Characters and Save Tripo Props keep a copy of each AI-generated 3D model file.
Interface Scaling is a slider that makes text and buttons bigger or smaller.
Slide it to find a size that's comfortable to read and tap. On iPad and iPhone there's also Use System Text Size, which follows the text size you set in iOS Settings; while it's on, the slider is turned off.
Language picks which language the app's menus and buttons use.
Choose one from the list, such as English, Spanish, French, German, Japanese or Korean, or let the app follow your device's language. Changing it reloads the app. You can't change it while Preferences is open from the 3D canvas, so leave the canvas first and try again.
Performance Level trades smoothness for battery life.
Low Power saves battery and keeps the device cooler, Balanced sits in the middle, and High Power gives the best quality and frame rate. The current frame rate shows underneath so you can see the effect. Pick Low Power on a laptop or tablet away from a charger, and High Power when you want the 3D view as smooth as possible.
Preferences holds the settings for the app itself on this device, not for one project.
Open it from ☰ on the Projects screen or inside a project. It has Theme (Light, Dark, System, True Black), Preview Size, Force scenes open on Board tab, Performance Level, Interface Scaling, Snapping, Language, and an Advanced section with extras like Show Errors and Save Tripo Characters. Tap Done to close it.
Show Projects Folder in Finder opens the folder on your Mac where your project files are stored.
From there you can see them, copy them or back them up yourself. It's at the bottom of Preferences, under Advanced. It isn't on iPad or iPhone; there, use Share or Back Up Projects to get a copy of your files.
Snapping makes things click neatly into place when you're close.
Snap to Edit Camera lines the overhead editing view up with straight north, south, east or west. Snap to Canvas Object makes a prop or character you're turning click to straight angles like facing forward, sideways or backward, and straightens it when it's nearly upright. Snap to Director View levels the shot's camera when it's only slightly tilted sideways. Turn a switch off for full free control.
Theme picks light or dark colors for the app's screens.
It covers the Projects screen, the Breakdown, Boards and Timeline tabs, and Previs Assist. Choose Light, Dark (the default) or System, which follows your device's own light or dark setting. True Black (OLED) makes dark mode use pure black backgrounds, which can save battery on OLED screens. Project cards, sign-in and purchase screens stay dark either way.
A .previs file holds one whole Previs Pro project in a single file.
It carries the project's scenes, shots, cameras, script, audio, comments and saved pictures. Projects save by themselves as you work, so there is no Save button. Your projects live on the device where you made them; to move one to another device or send it to someone, use Share on the project (or Back Up Projects for all of them), and add it on the other side with Import Project. Opening a project made in an older version upgrades it automatically.
Animatic Frame Rate sets how many pictures per second your exported animatic videos use.
You can choose 30, 25 or 24 fps: pick 24 for a film feel, 25 for European TV (PAL), or 30 for most web and US video. It's in the Miscellaneous section of Project info and applies to the whole project.
Aspect Ratio is the shape of every shot's picture: how wide it is compared with how tall.
1.77:1 is normal HD video (16x9) and the default, 2.39:1 is wide cinema, 4:3 is old-style TV, 1:1 is square, and 9x16 is a tall phone video. Pick it when you create a project, or change it any time in Project info. The camera preview at the top shows the new shape, and after you tap Apply the board re-renders to match.
Back Up Projects copies all of your projects into one archive file, as a safety copy of your work.
Open ☰ on the Projects screen and tap Back Up Projects. It copies the projects, then compresses them. On a Mac you then pick Save to disk or Share with another app; on iPad and iPhone the share sheet opens so you can save it to Files or send it. It's a good idea before a big app update or switching devices.
Casting is a guided tour about your project's characters.
It shows the Cast list on the Breakdown tab, what you see when a character is selected, and how to open the Character Creator to change how a character looks, save it and give it a name. On the last card you can tap Start a new project, which opens the Start new project chooser, or End tour. Like the other tours, it runs on its own copy, so nothing touches your projects.
Close Project shuts the project you're in and takes you back to the Projects screen.
It's the last row of the ☰ menu inside a project, and the Projects button at the far left of the top bar does the same thing. Your work is already saved, so nothing is lost when you close.
Example scene opens a finished sample project, so you can see what a complete Previs Pro project looks like.
Every shot in it is already blocked, rendered and cut together. A short guide points you to the Timeline tab and the Play button. The card works like one of your own projects: it has a ⋯ menu, and if you delete it, it disappears from the shelf.
Import From Project brings pieces of another of your projects into the one you have open, so you don't rebuild them.
You can bring over scenes, cast members, props and images. Pick the project to import from, then tick scenes and choose First shot, Poster shot or All shots of each; their characters, props, images, audio and videos come along. Or import just cast members, library props, imported props or images. If names clash, Duplicate Characters lets you Replace or Keep Both. A summary lists what was added.
Import Project adds a .previs project file, like one a teammate sent you, to your Projects screen.
It also works for one you saved from another device. Choose it in the Start new project chooser and pick the file. You can also drag the file onto the Projects screen, double-click it in Finder on a Mac, or use Open With from the Files app on iPad or iPhone; the app asks Import Project? first. If a project with the same name already exists, Duplicate Project? lets you Replace it, Keep Both (optionally renaming the old one), or cancel.
Lock script freezes every scene and shot number exactly as it is right now.
Normally, if you add a shot in the middle of a scene, the shots after it get new letters so everything stays in order. Once the script is locked, nothing gets renumbered: a shot you insert gets a revision number (like A-1) instead, so the numbers your crew already wrote down never change. Turn it on once other departments start referring to shot numbers.
Menu (☰) is the app's main menu, behind the ☰ button in the top corner.
On the Projects screen it holds Back Up Projects, Purchase Options, Log Out, What's New, Contact Us and Preferences. Inside a project it holds Project info, Share, Export, Import From Project, What's New, Contact Us, Preferences and Close Project. The bottom of the menu shows the app version, your plan (for example Yearly subscriber or Free user) and the account you're logged in as, which is handy when you contact support.
New Empty Project makes a blank project with no scenes yet.
It's for when you don't have a script or want to sketch ideas freely. The New Project box asks for a Title, an Aspect ratio (the shape of the picture, like widescreen or vertical) and a Sensor size (the camera's sensor, which changes how much each lens sees). Tap Create and the project opens, ready for you to add scenes and shots on the Boards tab. You can change all three later in Project info.
New project starts a fresh project from the first card on the Projects screen.
It's the card with the dotted outline and the red +. Tap it and the Start new project chooser opens with three ways to begin: New Project from Script builds scenes and cast from a screenplay file, New Empty Project gives you a blank project to fill yourself, and Import Project adds a .previs file you already have, like one someone sent you.
New user guides is a shelf of guided tours and examples under your projects on the Projects screen.
Getting started walks you through the whole loop on a short sample scene, Casting shows how the cast and Character Creator work, and Example scene opens a finished project you can play. The AR viewer and Animatics cards open video walkthroughs in your browser. Each tour runs on its own fresh copy, so you can replay it any time, and tours use prepared results, so they don't spend your credits.
Project actions (⋯) is the menu on each project card for copying, sharing or deleting that project.
Tap the card's ⋯ button for its three choices. Duplicate makes a full copy of the project. Share packages a copy of the project file so you can save or send it. Delete removes the project after asking you to confirm; on a Mac it goes to the Trash, but on iPad and iPhone it is gone for good. On a Mac you can also right-click a card. To rename a project, open it and change the name in Project info.
Project Numbering is the settings page that decides how scenes and shots get their numbers.
Scenes count 1, 2, 3 (or start from any number you choose), and shots inside a scene count A, B, C or 1, 2, 3. You can also pick what goes between them (1A, 1.A or 1-A), let shot letters use I, O and S (skipped by default because they look like 1, 0 and 5), and lock the numbers. A worked example at the top shows the result as you change things.
Projects is the first screen you see, and the place you come back to when you close a project.
It is a grid of poster cards, one per project, with the most recently opened first. Tap a card to open that project on the Boards tab. The first card, with the red +, starts a new project. Below your projects is the New user guides shelf. In the corner, ? opens Previs Assist and ☰ opens the menu. You can also drop a .previs file anywhere on this screen to add it.
Renumber throws away the current scene and shot numbers and counts everything again from the top, in script order.
Use it when the numbers have gotten messy and nobody is relying on them yet. It asks first (Reset Numbering?) and can't be undone.
Scene revisions and Shot revisions set the style of number a new scene or shot gets once the script is locked.
A locked number can't be reused, so anything new gets a revision number instead. A scene added after scene 1 becomes 1A (or A1), and a shot added after shot A becomes A-1 (or 1-A); these two settings pick which of those styles you get. You can only change them while numbering is locked.
Share packages a full copy of a project as a .previs file to keep safe or send to someone.
After "Preparing project…", a Mac asks Save or Share?: pick Save to disk to choose a folder, or Share with another app to send it by Mail, AirDrop and so on. On iPad and iPhone the share sheet opens. The person you send it to adds it with Import Project. This shares the project file itself, not an online review link.
Watermark & Logo lets you put your own branding on exports.
Add a Watermark Image (with a Transparency slider so it sits lightly over the picture) and a Logo Image by tapping Import Image; tap an image to replace it, or Delete it. Each has a Show in exports switch. Custom export text adds your own line of text; with the switch on and the box empty, exports read "Made with Previs Pro". Images and switches change right away; Transparency and the text wait for Apply.
Add character puts a new person in your cast, even one who isn't in the script yet.
It works in a project with no script at all, too. On the Breakdown tab, open Cast and tap Add character at the top right. The Character Creator opens so you can build how they look; once the body is made it asks for a name. Names have to be different from everyone already in the cast. The new character then appears in the Cast list, ready to place in your shots.
Breakdown is the tab where you check and fix everything that came in from your script.
In film, breaking down a script means sorting it into scenes, cast and locations, and that is exactly what the three small tabs inside it do: Script, Cast and Locations. At the top you can search, narrow the list to one scene, see which version of the script you imported, tap View changes, or bring in a newer draft. It is the left tab of the three at the top of every open project.
The Cast view on the Breakdown tab lists every character from your script.
Each card has a headshot, the number of lines they speak and the number of scenes they are in. Tap a card to see all their dialogue, scene by scene. Use the pencil to rename a character, Duplicate to copy one, or the trash to delete one (their lines then become UNASSIGNED). Edit character or Update model changes how they look in 3D. When you import a script, every speaking character is given a 3D body automatically, on your device, with no credits spent.
Coverage lines show which shot covers which part of the scene, like a script supervisor's lined script.
Each shot draws a colored line down the script with its shot number at the top. A straight line means the speaker is on camera; a wavy line means you hear the line but the speaker is off camera. Select a shot, then tap lines in the script to cycle none, straight, wavy. Pick a color with the swatch and tap Done. Suggested shots arrive already lined.
The Coverage overview is a table of all the shots in one scene, next to the scene's script.
Each row is a shot with its size, angle, camera move, lens, length, who is in frame and a description, and you can edit any of them, add a shot or remove one. The script beside it shows which lines each shot covers. Open it from Edit coverage on a scene's header on the Boards tab, or the Coverage row in the side panel. Nothing changes in your scene until you press Apply; Cancel throws your edits away.
Create turns a suggested shot list into real shots in your scene.
Each row becomes one shot with its size, angle, move, lens, length, description and script lining. A row marked 3D gets a simple 3D setup with the speaking characters standing in a row facing the camera, ready for you to stage. A row marked Image is painted as a still picture from its Image Prompt, which costs credits. The Set menu can add a set or an AI background. If the scene already has shots you worked on, it asks Replace existing shots? first.
Dialogue, action and transition lines are the pieces every scene in your script is made of.
Dialogue is what a character says, with any parenthetical like (quietly) or V.O.; action is what we see happen; transitions are things like CUT TO. Previs Pro keeps these as separate pieces so it can count them, match them to shots and feed dialogue to the voice tools. On the Breakdown tab, open a scene and use each line's Copy, Edit and Delete icons. When editing dialogue you can also pick which character says it. Lines with no speaker show up as UNASSIGNED.
Draw on script lets you mark up the script page like you would with a pencil on paper.
Circle a line, underline a word or highlight a moment. In the Timeline's script panel, tap the pencil at the bottom (on iPad you can just start writing with Apple Pencil). Pick a color, then Pen, Highlighter or Eraser, and tap the check mark to save or the X to throw the drawing away. Saved drawings stay on that page and show again when you come back. The trash clears all drawings for the scene.
Getting started is a short guided tour that shows the whole script-to-shots loop on a tiny sample scene.
The scene has two characters in a police interrogation room. It starts on the Breakdown tab with the script, then on the Boards tab uses Suggest coverage to plan the shots and Create to make them, and turns one shot into a stylized sketch. A card at the bottom left tells you what to tap next. It runs on its own copy of the sample project and doesn't spend your credits. Skip tour leaves at any time.
Import failed is the banner you see when a script can't be brought in.
It says why. The file type may not be a screenplay format, the file may have moved, or the script couldn't be read (re-save it from your writing app and try again). PDFs only import on a Mac, and a scanned PDF with no selectable text can't be read at all. Files dropped on the Breakdown tab must be under 15 MB. If Apply itself fails, Couldn't apply this import shows instead, and your review choices stay on screen. Tap Dismiss to close the banner.
Import Review is the screen where you decide what from a new script goes in before anything changes.
It opens after you pick a script on the Breakdown tab. Your project (Current) is on the left and the new draft (Incoming) on the right. Use the Filter menu or Show only changes to find what moved. Added and removed scenes have an Approved box: untick it to skip a new scene or keep one the draft cut. You can drag Incoming scenes into a different order. Tap Apply to bring it in, or Cancel to throw the import away without changing your project.
Import revision brings in a newer draft of the same script without starting over.
Open the Breakdown tab, tap Import revision (or drag the new file onto the tab), and pick the revised script. Previs Pro compares it with your project and opens a review showing what was added, cut and rewritten. Scenes that still match keep their shots and blocking, and new characters are cast automatically. When the review looks right, tap Apply. Afterward the version chip counts up, for example from v1 to v2, and View changes compares against the new draft.
Import script adds a screenplay to a project you already have.
Open the Breakdown tab and tap Import script, or just drag the script file onto the Breakdown tab (dropped files must be under 15 MB). Previs Pro reads it and opens a review so you can check what will change before you tap Apply. On the Boards tab, a project with no script shows Suggest coverage from your script when you tap Edit coverage; its Import script button opens the same file picker. Once a script is in, this button turns into Import revision.
Keep mine, Accept new and Merge manually settle a conflict, where you and the new script draft both changed the same line.
Previs Pro can't guess which one you want, so in Import Review a row under that scene shows both versions. Keep mine keeps your edit, Accept new takes the writer's new text, and Merge manually opens a text box where you write the final line yourself and tap its Apply. The main Apply button stays unavailable until every conflict has an answer.
The Locations view lists every place named in your scene headings, like DINER or JOHN'S APARTMENT.
Each one shows how many scenes happen there. Open one to write a description, add notes for each scene, rename it, duplicate it or delete it. For a single scene you can edit the extra words after the place name, like (FLASHBACK), or remove the location from that scene. Add location makes a new place, and dragging one location onto another and confirming Merge Locations moves all its scenes to the other.
Merge Characters turns two cast members into one.
Scripts often spell a name two ways, like JOHN and JOHNNY, or use a nickname, and the importer treats them as different people. On the Breakdown tab's Cast view, drag one character card onto another (press and hold first on iPad or iPhone) and confirm Merge Characters. All of the dragged character's dialogue moves to the one you dropped it on, and the dragged character is removed from the cast and from every shot.
Merge Scenes joins two scenes into one.
Sometimes a script splits what is really one scene into two, or the importer reads an extra heading. On the Breakdown tab's Script view, drag one scene card and drop it right on top of another (on iPad or iPhone, press and hold first). Confirm Merge Scenes and every line from the scene you dragged moves into the one you dropped it on. If the dragged scene already has shots, the confirm warns you that those shots will be removed.
New Project from Script builds a whole project out of your screenplay file.
On the Projects home, tap the New project tile, pick New Project from Script, and choose your file. Previs Pro reads it and shows a short summary of the scenes and characters it found (Show details lists them). Tap Continue, check the title, aspect ratio and sensor, then tap Create Project. Every scene, character, location and line of dialogue lands in the project, and each speaking character gets a 3D body automatically. Final Draft, Fountain, Fade In, Celtx, OSF and plain text work everywhere; PDF works on a Mac.
Punch Up gives you an editable copy of the scene's script, so you can try quick rewrites while you watch the cut.
It lives in the Timeline's script panel, and you can rewrite dialogue or action. Your real script isn't changed: the bar at the top says Revisions for Quick Share. Unsaved. Revert to original script puts the original words back (it asks Revert Punch Up? first). Switch back with the Script button at the bottom of the panel.
The Script view on the Breakdown tab shows your screenplay as one card per scene, in script order.
Each card has the scene heading and counts of cast, dialogue and action lines. Tap a card to open it and read the scene line by line. You can copy, edit or delete any line, change who speaks a line, open Scene info with the pencil, or delete the whole scene with the trash. Drag a card between two others to move the scene. Search finds scene names, characters, dialogue and action, and All Scenes narrows the list to one scene.
The Script panel in the Shot Editor shows the scene's shots and script while you work in 3D.
It's the Coverage overview for the scene you're building, and it slides in from the left when you tap the Script button (page icon in the top bar). Here you can change each existing shot's size, angle, lens and other fields, and line the script, but you can't add or delete shots or run Suggest coverage. Every change saves right away, with no Apply button. Close it with the × in its corner.
The Script Import Checklist is a small card that helps you check a script you imported came in right.
It pops up after the import. It has rows for Verify script, Verify cast and Verify locations, and after a new draft also Review changes from prior revision. Tap a row to jump to that part of the Breakdown tab; it gets crossed off. The red row is the suggested next step. When every row is done, All set! takes you to the Boards tab. Review later closes it, and the arrow in the corner shrinks it out of the way.
Suggest coverage asks AI to read one scene of your script and plan a full set of shots for it.
It plans the way a director plans coverage: wides, singles, over-the-shoulders, inserts. It sits under the shot table in the Coverage overview, and shows its price in credits and about how long it takes. The suggestion fills the table; nothing is saved until you press Create, so you can tweak or remove rows first. Why these shots? explains each choice. A scene with no script lines can't be suggested.
Toggle script panel shows or hides the script for the scene you're watching, beside the viewer on the Timeline tab.
The script scrolls along as the shots play. Tap the document icon at the far left of the Timeline's header to open or close it. At the bottom you can switch between Script and Punch Up, or tap the pencil to draw on the page. On larger screens it opens by itself for scenes with script text until you choose otherwise; on a phone it fills the screen.
View changes shows what is different between your project now and the script as it was when you last imported it.
The left column is the import (labeled with its version, like v2 Import) and the right column is Current Project. Colored badges mark each card: CHANGED, MOVED, ADDED or REMOVED. Tap a changed card to see the exact words that changed. Show only changes hides everything that stayed the same, and the arrow buttons jump from one change to the next. The back arrow returns to the Breakdown tab.
Comments let you and your reviewers leave notes on a shot.
Tap the speech-bubble icon at the top-right of the Timeline (or press C) to open the panel; it lists every comment in the current scene, each tagged with its shot. Type in Add a comment... and tap Send. Tap Reply to answer one, or Delete to remove your own. The project's creator can delete any comment. Comments from a review link show up live.
Draw lets you scribble on a shot's picture, like circling something with a marker, to show what you mean.
On the Timeline, tap Edit Tools (…) and then the pencil, or press D. Draw with your finger, mouse or Apple Pencil; Cmd+Z removes the last line. When you finish, add a short note and tap Post, or Discard to throw it away. Everyone's doodles show together in their own colors.
Link expiration sets how long a review link keeps working.
Choose 7 days, 30 days or 90 days; 7 days is picked to start. You choose it in the Share for Review window before tapping Create Review Link. After that time, people who open the link see Session Expired instead of your project. To keep reviewing after that, create a new link.
Live, Connecting... and Offline show whether comments on your review link are syncing.
When your project has a review link, a small dot with one of these words appears in the Timeline's bottom bar. Live means new comments and approvals from reviewers arrive right away. Connecting... means it's trying to reach the server. Offline means it can't connect right now, so new comments won't show until it reconnects. Check your internet connection if it stays Offline.
Pending, Approved and Notes are a shot's approval status, which says whether it's good to go.
It shows as a colored pill at the top-right of the Timeline for the shot under the playhead. Pending (gray) means nobody has decided yet. Approved (green) means the shot is good to go. Notes (amber) means it needs changes. Tap the pill to change it; anyone in a review can. Posting a comment or doodle on a Pending or Approved shot switches it to Notes on its own.
Review Mode is what people see when they open your review link.
They type the password and tap Join Review, and your project opens on the Timeline, read-only, with a Review Mode badge at the bottom. They can play it, read and post comments, doodle on shots and set approvals, but they can't edit shots, and the Export and Share buttons are hidden. If they're signed in, their account name goes on their comments.
Share for Review makes a private web link so other people can watch your project in a browser and leave feedback.
Tap Share at the right end of the Timeline's bottom bar, choose how long the link should last, and tap Create Review Link. You get a link and a password; reviewers need both. They can play the timeline, comment, doodle and set approvals, but can't change your project. In the app, sharing needs a subscription and a signed-in account.
Share your work on social is a way to earn free credits by posting your storyboard.
It's in the iPhone, iPad and Mac app, in the Earn Credits window. Tap Share next to it: Previs Pro opens the export panel for the scene you're in (or all scenes), adds Previs Pro branding and your logo watermark, then opens the share sheet. When the share finishes you'll see Shared! Credits will appear shortly. It pays 25 credits, once a week.
Update Project sends the newest version of your project to your existing review link.
Use it after you change your project. Open Share again on a project that already has a link, and it shows the same link and password with the version number. Tap Update Project. When it says Project updated!, reviewers see your changes when they refresh, using the same link and password. If someone else updated it in between, close and reopen Share first.
The ··· menu is the canvas's menu for scene and shot settings, exports and app options.
It's the three dots at the far right of the canvas's top bar, and it opens over the canvas. From it you can open Scene info and Shot info to change the scene's and the shot's settings, Export your work as PDF, MP4 or images, use Export 3D to pick which objects to send out as 3D, and reach What's New, Contact Us and Preferences. Tapping the shot title in the top bar also opens Scene info.
2D / 3D is the switch that flips the canvas between a flat map and a full 3D view of your set.
2D is seen from straight above, like a floor plan, which is great for placing people and planning where they walk. 3D is a view you can fly around, so you can see heights, walls and how the room really looks. The switch sits at the foot of the shot list. With a keyboard, Space flips it too.
3D Prop or Set brings in a 3D model you made or downloaded as a prop in your shot.
It could be a building scan or a special prop. Tap the pencil, then Import, then 3D Prop or Set, and pick a .glb or .gltf file. The app may simplify a big model, then lets you set its scale and rotation and check it in a Final Inspection before saving. Imported props are listed under Imported in the Props picker.
The Add object menu is how you put new things into your shot.
Tap the pencil at the foot of the Shot List, beside the 2D / 3D switch, and a column of rows opens: from the top, Import, Wall, Camera, Character, Light and Prop. Pick one and that object's picker or editor opens, and the new object lands in the middle of your view. If you cancel the editor that opens for a new camera, wall or light, the new object goes away again. The pencil sits right of the 2D / 3D switch when the window is tall enough, and left of it in a short window, like a phone held sideways. On the right, the menu stays open after you pick a row or tap the canvas, so you can add several things; tap the chevron to close it, or pick another shot or leave the Shot Editor. On the left, the menu closes as soon as you pick a row or tap anything else, like an object on the canvas or one of the tabs.
Add Opening cuts a hole in a wall for a door or a window.
Characters can then walk through it and light can come in. Select a wall and tap Add Opening in its menu, or find it in Edit Wall. You can then place a door or window there. The Props picker also has Doors and Windows categories if you want a real door or window frame to fill the gap.
Add Prop is the window where you choose how to get a prop for your shot.
It opens when you tap the pencil and then Prop, and it gives you three ways. New Prop picks one from the built-in Prop Library of furniture, cars, plants and much more. Create Custom makes a brand-new 3D prop with AI from a short description. Your Prop Library reuses a prop you already saved in this project. The prop then lands in the middle of your view.
Add shot in the Shot Editor's Shot List makes a new shot at the end of the scene.
Tap the dashed Add shot tile after the last shot in the list, or the + button at the bottom of the list, which only shows while the tile is out of view. The tile takes up the same space as a shot, picture and label together, with a small red + in the middle, so it looks the same in every project shape. The new shot is a copy of the scene's last shot: the camera, characters and props come along, so you can just move the camera for the next angle and keep continuity. It is a clean copy: AI pictures, animatic keyframes and motion paths, and video are left behind. To add a copy right after a particular shot instead, use Insert in that shot's menu.
The Adjust Height handle is a red triangle on a selected object that lifts it up or lowers it.
It points up and shows in the 3D view. Drag it up or down, for example to put a lamp on a table or hang a picture on a wall. You can also pick the Height toggle at the lower left and use the arrow keys. The height shows next to the object while you drag.
Background turns an image prop into a backdrop for your shot.
Select the image prop and tap Background in its menu. The app moves and turns the image so it sits behind the scene and faces the shot's camera, filling the view like a painted backdrop or a photo of a location. Then your characters and props stand in front of it. The button only shows on image props.
Canvas drawings are hand-drawn marks on the Shot Editor canvas, like arrows showing where a character walks.
Some circle a problem. Only older projects have them: they were made with Freehand in Draw Mode, which has been retired, so you can't draw new ones. The pencil at the foot of the Shot List now opens the Add object menu. The old drawings still show up, and you can select one like any object to Lock, Hide or Delete it. To mark up a shot now, draw on it in the Timeline's viewer instead.
The Canvas Editor is the room where you build one shot.
You place characters, props, walls, lights and cameras, then look through the camera to frame the picture. The canvas fills the middle, the scene's shot list runs down the right edge, and tabs beside it switch to CAM, Viewer, AR and Animatics. Open it from the Boards tab by tapping the 3D button on a shot tile. The back arrow at the top left takes you back to the board.
Canvas keyboard shortcuts are keys that do common canvas jobs quickly.
They work on a Mac, or an iPad with a keyboard. Space flips 2D and 3D. Delete removes the selected object and Cmd+D duplicates it. W, A, S and D nudge the selected object, Q and E turn it, and holding Shift makes bigger steps. Cmd+C and Cmd+V copy and paste, O plays the orbit, and Escape backs out of a mode or returns to the board.
The Compass shows which way you are looking on the canvas.
It sits at the top left of the canvas, with N, E, S and W marked. Tap it to turn the view back to face north. Double-tap it to put the view back in the center. You can also drag it to turn the view around. It is handy when you get lost after spinning the canvas and want to get back to a known direction.
Copy puts the selected object on a clipboard so you can paste it into another shot or scene.
Copy replaces whatever you copied before. Once something is copied, other objects show Copy+ instead, which adds them to the same clipboard so you can carry several things at once. Objects in a group are copied with their group. Then go to another shot and use Paste. With a keyboard, Cmd+C copies.
Create Custom makes a brand-new 3D prop with AI when the library doesn't have what you need.
Tap the pencil, then Prop, then Create Custom, and the Describe Prop window opens. Type a short description of at least 3 characters, such as "1950s toaster", and tap Create. The button shows the credit cost. It needs an internet connection and a signed-in account, and the new prop arrives after about a minute.
Delete removes the selected object from this shot.
Other shots keep their own copies, so deleting a prop here doesn't remove it anywhere else. Find Delete in the object menu, or press the Delete key with a keyboard. If you remove something by mistake, Undo brings it back. The shot's main camera can't be deleted, but other cameras in the shot can.
Duplicate makes a copy of the selected object in the same shot.
The copy is its own thing: moving, turning or resizing it never changes the original. It's the easy way to set chairs around a table or line up a row of walls. Find Duplicate in the object menu, or press Cmd+D with a keyboard. To copy objects into a different shot, use Copy and Paste instead.
Edit opens the settings panel for the object you selected.
For a prop that's Edit Prop, where you change its name, color and type. For a wall it's Edit Wall, with texture, color and height. Lights open Edit Light and cameras open Edit Camera. Edit is the first button in the object menu. Changes show on the canvas as you make them, and Cancel throws them away.
Edit Prop is the settings panel for a prop.
Open it by selecting a prop and tapping Edit. You can rename it, change its color (or its hue, saturation and brightness for some props), swap it for a different prop type, and pick a picture for an image prop. Some props also have a height slider or a Default size button. Add to library saves it to Your Prop Library. Done keeps the changes and Cancel drops them.
Edit Wall is the settings panel for a wall.
Select a wall and tap Edit. Texture and Wall Color change what it looks like, using a solid color, a built-in texture like brick, or an image you import. Wall Height sets how tall it is. Set Dimensions lets you type an exact length and height, and Preset Sizes offers 4 x 8, 4 x 10, 4 x 12 and 4 x 14. Add Opening cuts a door or window.
Face camera turns a flat image prop so it points straight at the shot's camera.
Image props are flat like a poster, so from the side they look thin or disappear. Select the image prop and tap Face camera in its menu, behind the ▶ arrow, and it swings around to face the lens. The button only shows on image props.
Find Camera jumps the canvas view to your shot's camera, so you can find it fast in a big set.
Tap it once to center on the shot camera. If the shot has more cameras, tap again within a few seconds to step through them. Double-tap it to look from right behind the camera, close to what the shot sees. It sits at the end of the row of controls at the top left of the canvas.
First-visit tips are a short tour that points an arrow at each main control of the canvas.
They show the first time you open the canvas in one of your own projects, covering CAM, Viewer, AR, Animatics, the 2D/3D switch, the add-object button, the add-shot button, Script and Back. Each card shows its place, like 1 / 9. Tap Next, or anywhere outside the card, to move on. The last card says Got it!, and Escape skips the rest. The tips only show once.
Group ties several objects together so they move as one, like a table with its chairs.
Select one object, tap Group in its menu, then tap the other objects you want (the screen says Select objects to group together). Use Add to group for each extra object, Group to join them, and Ungroup all to split them apart again. Done saves and Cancel backs out. Locked or hidden objects can't be grouped.
Hide makes an object disappear from the shot without deleting it.
A small marker stays on the canvas where it was, so you can tap it and choose Unhide to bring it back. It's useful when a wall blocks your view or you want to try a shot without a prop. Props, walls, characters and freehand drawings can be hidden. Hide isn't offered for an object that's in a group.
The Image picker is where you choose a picture for your shot, like a flat cutout prop or a backdrop.
Pick one you already imported under Recently Imported, or add a new one from Albums, Camera or Files. A search button can open a web image search for see-through pictures, Prop (Transparent), or full pictures, Background (Opaque). Open it with the pencil, then Import, then 2D Image or Background.
Import brings your own files into the shot.
Tap the pencil and then Import, and choose what kind of thing it is: 3D Prop or Set for a 3D model of an object or a whole room, 3D Character for a rigged person you built in another tool, or 2D Image or Background for a picture. Each choice then lets you pick the file from your device.
Limit Exceeded is the message you see when a shot already holds as many objects of one kind as it can.
Each shot has these limits so the app stays fast. A shot can hold up to 100 props, 50 characters, 100 walls, 10 lights, 10 cameras and 100 markup drawings. The limits count per shot, not per scene. Imported 3D models count as props and use more memory than built-in ones.
Lock freezes an object so it can't be moved, turned or resized by accident.
It's handy for walls and big set pieces you've already placed. A locked object can still be selected, so you can open its menu and tap Unlock later, and you can still drag the canvas past it. If you don't even want to be able to tap it, use Hide instead. Lock isn't offered for an object that's in a group.
Mirror flips a prop left to right, like seeing it in a mirror.
That's useful for props that aren't the same on both sides, such as an L-shaped couch, a car with the driver on one side, or a door that should open the other way. Select the prop and tap Mirror in its menu, behind the ▶ arrow. The props picker also lets you choose Normal or Mirror before placing a prop.
Movement, Height, Rotation and Scale are toggles that pick what dragging a selected object does in the 3D view.
They appear in a row at the lower left of the canvas when you select an object. Movement slides the object across the floor, Height raises or lowers it, Rotation turns it, and Scale makes it bigger or smaller when that's allowed. Cameras and spotlights add their own toggles. With a keyboard, Tab and Shift+Tab step through the toggles.
The Object menu is the row of action buttons that appears near an object when you select it.
What's in it depends on what you picked: a prop, a wall, a light, a camera or a character each get their own actions, such as Edit, Duplicate, Delete, Lock or Hide. Tap the ▶ arrow at the end to see more actions. On a Mac, click the object; on iPhone and iPad, tap it. Tap somewhere else to close it.
Orbit plays a smooth camera flight all the way around your scene, so you can see the whole set from every side.
It only works in the 3D view; the button sits under the compass. When it finishes you can tap Replay to watch it again, Record to save it as a screen recording, or Done to go back to editing. With a keyboard, press O to start it.
Paste drops the objects you copied into the shot you're looking at, and Clear empties the clipboard.
After you copy objects, a small clipboard control appears on the canvas showing how many items are waiting. You can switch shots or scenes before you paste, so this is how you carry props, walls or characters from one shot to another. With a keyboard, Cmd+V pastes.
PiP opens a small floating window that shows what the shot's camera sees while you work on the canvas.
PiP is short for picture-in-picture. Move a character or prop and you can watch the framing change right away. Turn it on with PiP in the shot camera's object menu; the shot list closes to make room. The window has its own buttons to make it bigger, smaller, or close it.
Prop size is set for each prop on its own, so making one chair bigger never changes the other chairs.
Change size by dragging the prop's scale or stretch handles on the canvas. Some props also have a height slider in Edit Prop. If you've stretched a prop out of shape, the Default size button in Edit Prop puts it back to its normal size. Props with a fixed shape only grow and shrink evenly.
The Props picker is the built-in catalog of 3D props you can place in a shot.
It holds hundreds of them. Pick a category, such as Furniture, Vehicles, Interior, Exterior, Nature, Animals, Weapons, Doors or Windows, or type in the search box, then tap a prop to place it. The Imported category holds 3D models you brought in yourself. You can also choose Normal or Mirror to flip a prop before placing it. Tap Done to use it.
Remove from Set turns an old set piece back into a normal object that lives only in the shot you're editing.
It only shows up on objects in older projects that were marked as set pieces, objects that appear in every shot of a scene. New objects can no longer be made into set pieces. To reuse a room today, use Save as Set and Add existing set in Scene info instead.
Replace swaps a prop for a different one but keeps it in the same spot.
Select the prop, tap Replace in its menu, and pick the new prop from the Props picker. It's quick when you placed a placeholder box and now want a real sofa, or want to try a different car. Image props don't have Replace; change their picture in Edit Prop instead.
Replace Shot lets you swap a shot's live 3D picture for a still image.
In CAM, tap the replace button to choose Replace with Image, which uses a picture from your device, such as a photo or a drawing. If the shot already has an image, you can also apply an AI look to it with Apply Light Grade or Apply Style Grade, or use Revert to Live to go back to the 3D render. The image then covers the canvas for that shot.
The Rotate & Move handle is a red circle with a red dot that moves and spins a selected object.
It appears at the object's base when you select it. Drag the dot to slide the object anywhere on the floor. Drag along the circle to spin the object around, like turning a chair to face a different way. In the 2D view you can drag the object itself to move it and use its handles to turn it. It is the quickest way to place things where you want them.
Scale and stretch handles change an object's size right on the canvas.
Only some objects have them. A scale box makes the whole object bigger or smaller evenly. Stretch handles pull one side at a time, which is how you make a wall longer or a box wider. Props with a fixed shape only scale evenly, and some can't be resized at all. Each copy of a prop keeps its own size, so resizing one never changes the others.
The Shot List is the column of shot pictures along the edge of the Shot Editor, one for each shot in the scene.
They run in order. Each label shows the shot number, its name or a summary like its size and movement, and the lens. Tap a shot to jump to it; tap the selected shot again, or its label, to open its menu: Info, Insert, Copy, Paste, Delete and Combine. Long-press and drag to reorder. Use its tab to show or hide it.
Static image in use means a shot shows a still picture or video instead of the live 3D set.
That happens, for example, after you replaced it with an image or made an AI video. The canvas is then covered with a note saying Static image in use or Static video in use, and you can't move things. Tap Revert to Live to make changes to throw the image or video away and get the live 3D shot back. CAM still works on these shots.
Undo takes back the last thing you did in the canvas, and Redo puts it back again if you change your mind.
Undo works on things like moving, adding or deleting an object. The two curved arrow buttons sit in the top bar, left of the shot title. With a keyboard, Cmd+Z undoes and Shift+Cmd+Z redoes. They don't work while you are inside a special mode, such as Pose Mode or grouping.
The Viewer tab shows every shot in the scene as a grid of pictures, without leaving the canvas.
It lets you check how the shots look together. Use + and − to make the grid bigger or smaller, play the shots one after another like a slideshow, or tap a shot to see it full screen with its notes. Double-tap the notes in the full-screen view to open Shot info. The Viewer tab sits under CAM, beside the shot list.
Walls are how you build rooms and sets.
Tap the pencil and then Wall to add one. The Edit Wall panel opens right away so you can set its size, and Cancel takes the new wall away again. Then drag the wall's handles on the canvas to stretch it and move it into place. Add more walls to close in a room, and cut doors and windows into them with Add Opening.
Your Prop Library is this project's own shelf of saved props.
When you tap Add to library in Edit Prop, you give the prop a name and it's saved there with its type, color and image. Later, the pencil, then Prop, then Your Prop Library places it again. Props placed from the library share their name, type, color and image, so changing one updates them all, but each keeps its own size and position.
Zoom (− / +) moves the canvas view in and out, and the tilt slider tips the 3D view up or down.
On a Mac, the − and + buttons sit at the top left of the canvas, and in the 3D view the tilt slider sits beside the compass. You can also scroll to zoom. On iPhone and iPad these buttons don't appear: pinch to zoom, twist two fingers to turn the view, and drag two fingers up or down to tilt it in 3D. The + and − keys zoom too.
All Scenes is the scene picker on the Timeline that chooses how much of the project you see.
It sits at the top-left, and with All Scenes picked every scene plays end to end. Tap it and pick one scene to show only that scene, so playback, the time and the ruler cover just it. Scenes you omitted on the Boards tab are left out. The pill turns green when every shot shown is approved. It's hidden if the project has only one scene.
Edit Tools is a button on the Timeline's shot picture that opens quick ways to draw, record or add speech.
It's the round … button at the bottom-right of the picture. Tap it to show the actions: Draw to doodle on the shot, Record audio to talk straight onto the Voiceover lane, and Add Speech to make spoken lines with AI. When only one action is available, it shows on its own without the … button. Draw is off while the timeline is playing.
Generation History keeps every AI result you've made in this project, so you can bring back an older version.
That includes pictures, videos, transitions, speech, music and sound effects. Press H on the Timeline, or tap your credit balance and choose AI Gen History. Filter by All, Images, Videos or Audio. Tap Apply to put a result on the selected shot, Add to audio lane for sound, or Save to disk. The trash icon deletes one; Delete Unused clears everything not on a shot.
Keyboard Shortcuts is a list of the keys you can press on the Timeline to work faster.
Press ? to open it. Some favorites: Space plays and pauses, J/K/L shuttle, F goes fullscreen, C opens comments, H opens Generation History, D draws, R turns on Step, + and − zoom, Cmd+E opens the export hub on Export for NLE, and Option+A opens the Audio workspace. Single-key shortcuts don't fire while you're typing in a text box.
Play/Pause starts and stops your story playing on the Timeline.
It's the big middle button in the bar along the bottom of the Timeline (or press Space). Previous shot jumps back to the start of this shot or the one before, and Next shot jumps ahead. The numbers beside them show where you are and how long everything is. You can also drag the red line (the playhead) to scrub, click the time ruler to jump, press the left or right arrow to move one second, and Home or End to go to the start or end.
Replace shot with image? is the question you see when you drop a picture file onto a shot on the Timeline.
Drag a picture (PNG, JPEG, WebP or GIF) from your computer onto a shot bar, or onto the viewer to use it for the shot under the playhead, then tap Replace. The picture then stands in for that shot, for example a sketch or a location photo. Video files are ignored. Revert brings back the 3D render at any time.
The Retime handle changes how long a shot lasts when you drag the right edge of its bar on the Timeline.
Drag right to make the shot last longer, left to make it shorter. The number in the corner of the bar (like 1A 5.3s) updates as you drag. Shots can be from 0.2 to 60 seconds, in tenth-of-a-second steps. You can't retime during playback or in a review link. Press Cmd+Z to undo. For an animatic shot, the app asks Re-render animatic? first.
Revert throws away a shot's replacement picture or video and brings back the live render made from your 3D scene.
It removes an AI picture, an imported still or a video. Use it when an AI result or a dropped-in image isn't what you want and you'd rather work from the 3D shot again. It's in the shot's quick-action menu on the Timeline, in AI Studio's Enhance tab, and on the shot tile on the Boards tab. On the Timeline it works right away with no question, and only shows when there is something to undo.
Shot order on the Timeline always follows the order of shots on the Boards tab.
You can't drag shots into a new order on the Timeline itself. To move a shot, go to the Boards tab, hold the shot's tile until it lifts (or just drag it with a mouse) and drop it in its new place. When you come back, the Timeline follows the new order. New shots and copies are also made on the Boards tab or in the Shot Editor.
The Shot quick-action menu is a small menu of quick actions for one shot on the Timeline.
Tap a shot's picture in the row of shot bars and it pops up above it. Revert takes away an AI picture, imported still or video and goes back to the 3D render. Poster uses the video's current frame as the shot's thumbnail. Comment opens comments for that shot. Enhance opens AI Studio for it. Speech opens the Audio workspace to make spoken lines. Tap the shot again to close the menu. It isn't there during playback or in a review link.
Shuttle reverse, stop and forward let you rewind or fast-forward the Timeline from the keyboard, the way film editors do.
Press L to play forward and J to play backward. Press the same key again to go faster, doubling each time up to 8 times normal speed. K stops. While you shuttle, a small label next to the timecode shows the speed and direction, like 2x ▶. This needs a keyboard (Mac, or iPad with a keyboard).
Step makes playback stop at the end of every shot, so you can look at shots one at a time.
It's handy for going through a review shot by shot instead of watching straight through. Tap Step in the bar along the bottom of the Timeline to turn it on or off, or press R. Then press Play to go on to the next shot.
Swiping between shots flips through your shots when you swipe across the big picture on the Timeline.
On a trackpad, swipe two fingers left for the next shot or right for the one before. On a touch screen, swipe one finger. Each swipe picks that shot and moves the playhead to its start. Swipes are ignored while you're drawing, recording or an AI generation is running. With a keyboard, Cmd+Option+Right and Left do the same.
The Timeline lays all your shots end to end, like a strip of film, so you can watch the whole story play.
You see and hear its timing, transitions and sound. It has a big viewer at the top, a row of shot bars, audio rows underneath and play controls along the bottom. Open a project and tap Timeline in the bar at the top (the third tab, after Breakdown and Boards). The shot you picked on the Boards tab comes with you.
Toggle fullscreen makes the shot picture fill the whole window, so you can watch your story like a screening.
The buttons and lanes around it go away. Press F or tap the expand icon at the top-right of the picture. Swipe left or right to move between shots. A small bar with Play/Pause, the time and Exit appears at the bottom and hides after a few seconds; move the pointer to bring it back. Press F again or tap Exit to leave.
A transition is how one shot changes into the next.
Cut switches instantly and is the default. Dissolve blends the two shots together over 1 second. Fade goes to black and then fades the next shot up, taking half a second. Click the little diamond where two shots meet on the timeline to choose one. The lengths are fixed. A Continuous (⟷) join appears when two shots are linked by an AI video made in AI Studio.
Undo takes back your last change on the Timeline, and Redo puts it back.
Press Cmd+Z to undo and Cmd+Shift+Z to redo. This covers things like changing a shot's length, changing a transition, and moving or trimming audio clips. One drag counts as one step. There are no on-screen undo buttons on the Timeline, so use the keyboard. Generation History isn't affected by undo, and the undo list starts empty each time you open the project.
Zoom makes the shot bars on the Timeline wider or narrower, like stretching or squeezing a ruler.
Zoom in to see and grab short shots more easily; zoom out to see more of the project at once. Drag the Zoom slider in the bar along the bottom, or press + and − on a keyboard. It only changes the view, not the length of any shot.