Call sheet

Your crew

Every Rasu AI studio comes with a crew, on call from day one, each with one job they do well.

They work alongside the people on your team, never instead of them. Your teammates make the calls; the crew offer what they know.

Production: Rasu AI
Crew: 9
Working now: 4
Joining soon: 5

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Ask the crew about a shot

This is the crew's own code, the same the studio runs, working in this page. It was asked about one shot of First World, and below is what it answered.

The question

What do you need from shot 3 of The drawing wakes?

The drawing wakes · shot 3

“Mei wakes Nara: the drawing becomes a person, and the harbour notices.”

1 · 3sMei kneels on the frozen quay and presses her palm to Nara's grey coat.
2 · 2sFrost lifts off the coat where her hand rests; the ink lines warm to colour.
3 · 3sNara opens her eyes and looks down at the small hand on her coat.

The answer

Director

Holds the shot to · 13

The product is a filled record
Shot count is a coverage question
Every body is placed
A beat says what happens
State relations, not rosters
Bans support the intended action
A prop the story changes has a look per state
Frame extent, lens and distance describe one choice
Camera motion follows an intended visual relationship
Background belongs to this cast, place and time
Timing and coverage preserve consequential changes
Every asset a shot names exists (location, characters, props, variants, versions, voices), every beat is {seconds > 0, text}, keys are camelCase.
The Director supplies standards for placement, speech, camera, coverage and realism.

Filled in · 10

Intent
Location
Characters
Camera setups
Lighting
Beat text
Beat timing
Positions
Looks at
End state

Still empty · 5

Props
Misreads
Speakers
Background life
Bans

Cinematographer

Holds the shot to · 5

One look, then exceptions
Light comes from somewhere
Light the scene once, on its sequence
The shot's light agrees with the place's look
The light in effect on a shot, its own, else its sequence's, else the project's default, says the opposite of the look in effect, the project's own or its world's, only when the story changes it, and then the shot says so.

Filled in · 1

Lighting

Still empty · 3

Look
Motion
Aspect

Script Supervisor

Holds the shot to · 3

State carries forward
Across a cut in one sequence and one place, each pinned asset's look stays the same unless the story changes it.
A cut hands over: the shot before it says where it leaves things, every body carried across it opens somewhere, and every state a shot writes is written about something in its frame.

Still empty · 1