A show, not a clip
The unit of work here is the show. You give it a title and a premise, attach the characters who will recur, and pick a home set that episodes default to. Everything you make afterwards hangs off that show: episodes are numbered, takes are filed under their episode, and the finished cuts line up on a public page with the show's title at the top. Thirty episodes fit in one show, which is enough for a whole season of a mini series with room for a second.
Because the cast is saved as reference sheets, a character introduced in episode two still looks like herself in episode twenty. That is what makes the series feel like a series instead of a folder of unrelated videos.
Making the first episode
Open the show and press draft. Give the draft a one-line idea for the episode if you have one, or let it work from the show's premise and whatever happened in earlier episodes. It comes back with a title, a short synopsis and two to four beats. Each beat names the characters in it, suggests a set, and includes one line of dialogue. If a beat reads as action, the studio adds speed-line and impact-frame staging; if it reads as a quiet moment, it adds a slow push-in and a held expression.
Render the beats as takes, in any order. Each take shows its price before you confirm, and you can re-render a beat with a different set or outfit without touching the others. When at least two takes are finished, stitch the episode. The title card is drawn on the spot with the episode number and name, and eyecatch cards can be switched off if you want the takes to flow straight into each other.
Keeping a series going
The draft reads the synopses of earlier episodes, so each new draft picks up where the last one left off and ends on a hook. You can reorder episodes, rename them, or replace a stitched cut by stitching again after swapping a take. Deleting an episode never deletes its takes; they stay in your library in case you want them for a different episode.
The show page is public only when you say so. Flip the switch, share the address, and anyone can watch the finished episodes in order. Unfinished episodes and private cuts never appear there.
The look
Every image and take carries the same hand-drawn cel scaffold: clean line art, two-tone shading, painted backgrounds, expressive lighting. It is applied to the character sheets when they are drawn and again to every take, so you never have to describe the style yourself. Your words go to what matters: who is in the scene, where they are, what they say.