It reads the brief, then reads the room — competitors, prior campaigns, the audience, the moment.
Don't render a clip.
Direct a film.
A brief in. A film out — with a plan behind every cut.
Before the first frame,
five things happen.
A draft built around the line that has to land — beats, voiceover, on-screen text, in your tone.
Scene by scene, the agent shows the cut — composition, motion, length — before a frame is rendered.
Color, type, motifs, and pacing locked to your brand — every scene carries the same hand.
Each shot is sent to the model that fits it — assembled, scored, captioned, and ready for the cut.
A few rooms it walks into.
Dawn over the peak.
A 60-second launch film — hook, value, proof, ask — in the time it used to take to align on the script.
Light, broken into parts.
A 30-second explainer — three feature beats, captioned and paced — for a landing page, a sales deck, a launch thread.
A glass, slowly filling.
9:16 native — the first second pours, brand locked, built for the feed, not retrofitted from a 16:9.
Morning fog, slow burn.
Observational pacing for a 90-second piece — the kind that earns a second watch.
A library, on a schedule.
Weekly recap, monthly digest, quarterly review — same brand, fresh data, projected on the schedule you set.
Wrapped for one recipient at a time.
Programmatic personalization — name, scene, language, offer — composed per viewer at delivery.
One brief,
the engine that fits.
The agent picks the rendering engine per shot — long-form cinematic, physics-true motion, narrative continuity, stylized animation. You write the brief; routing is its job.
Long-form, painterly.
For commercial and documentary work — color depth, motion grace, longer cuts.
Real-world motion.
For product, sport, and demo footage where weight and gravity have to be honest.
Continuity across cuts.
For story-driven pieces — characters and rooms that hold across a sequence.
Animation and motion design.
For explainers, typography, and brand systems where draw beats render.
Direct in plain language.
First frame, last frame — you set.
Sketch the open and the close in words or images. The agent fills the middle with continuity intact.
Notes, not re-renders.
Tighten the opener, swap shot three, slow the third act — only what you name changes; the rest holds.
Your color, your type, your room.
Drop in a brand kit and every scene carries the palette, type, pacing, and motifs of your work.
Horizontal, vertical, square — one pass.
Cut once. Greatars re-frames the same intent into 16:9, 9:16, and 1:1 deliverables.
Three things verify.
Paid outputs, cleared for use.
Clips rendered on a paid plan are licensed for commercial use. Likeness, music, and trademark remain your responsibility.
One kit, every cut consistent.
Upload color, type, and a few references — palette, pacing, and motifs carry through across scenes.
Edit-ready on delivery.
Up to 4K, MP4 / MOV / ProRes, with separate audio stems and timed captions — ready for the cut, the campaign, and the channel.
Frequently asked questions.
Greatars routes per shot — long-form cinematic, physics-true motion, narrative continuity, and stylized animation. You write the brief; the engine list is ours to keep current.
Up to three minutes for cinematic and narrative pieces, longer for assembled campaigns. Vertical social cuts default to 15–60 seconds.
Yes. Continue the conversation to tighten the opener, swap a scene, or change the pacing — only what you name changes.
Yes. Clips rendered on a paid plan are cleared for commercial use. Likeness, music, and trademark remain your responsibility.
Up to 4K in MP4, MOV, or ProRes, with separate audio stems and timed captions (SRT / VTT) on request.
Yes. Brief once, set the cadence — weekly recap, monthly digest, quarterly review — and the agent renders each cut with the latest data.
Uploads, briefs, and reference clips are never used for model training. Enterprise supports private deployment and on-prem storage.