The AI film studio for ambitious filmmakers.
A desktop studio for AI-native film.Step into your world, explore every angle, direct every shot, and bring the whole film together.
A desktop studio for AI-native film.Step into your world, explore every angle, direct every shot, and bring the whole film together.
“If you want to be a filmmaker, the best thing you can bring to the world is your own story.”
Filmmaking is not a browser tab.
Every other AI video tool is a website. Avo runs on your own machine and uses your own hardware to preview and render. Your project is a folder on your disk, files that open with or without us, and everything you make in it is yours to keep.
Mara
A world you build and live in.
The best thing you can bring to a film is your own story. In Avo it grows into a world. You don’t have to build all of it at once. Begin with one small thing, a person, a place, a moment, and add more whenever you want. The world grows as you go.
Every shot comes out of that world. The studio keeps everything you’ve built within reach, and you decide what the camera sees. That is the order things happen in here, and it never reverses.
Mara
One character, built in full.
Build a character the way you would cast one. A face first, then every angle around them, then the things they carry. It becomes one named asset that holds together, the same person up close or far across the valley.
Detailed from every angle.
You develop one character down to the face, the wardrobe, the way they move. It holds from every side, the same in every shot you make.
A world made of things you can hold.
Your characters, your places, the references you pinned along the way live as assets, each one named. They are yours to keep, and they stay themselves in every shot they step into.
Plan out the shot before you shoot it.
Set your characters and a camera on a simple 3D stage and move them until the framing looks right. That setup goes to the model as directions, so the shot comes back exactly the way you placed it. You show the shot, so the model never has to guess.
Build your first frame.
Point a character at a place, choose the lens, and generate the first frame. It comes back as a still you can change: reframe it, relight it, shoot it again until it is the one you meant. When it is, that frame becomes the first shot of your scene.
@rider mid-run through the @forest, shot on Alexa 35 with a C-Series at 35mm, f/1.4, low sun raking the dust.
Plan every shot of your scene.
Lay the scene out shot by shot. Each frame is one shot you plan on its own, while the whole scene stays in view.
Turn each frame into a shot.
Pull a frame forward and it plays. The still you planned becomes a real, moving shot, full size in the run of the scene.
Shape each shot until it is right.
Play it, scrub it, reshoot it, swap in a better one. No shot is ever locked.
Feel the whole scene at once.
Every shot in order, all in view. Move through them and each one comes alive as you reach it. You feel the rhythm of the cut, read the shape of the scene, and see which shot to make next.
Your shots become one scene.
The shots close into a single scene you can play end to end, in one place, ready to cut.
A real cutting room.
The editor here is our own, a full video engine built from the ground up. Hit space and the cut plays the moment you ask, trim a shot and it lands on the exact frame, a whole film stays fluid however long it runs.
It is also where everything comes together. A new model ships every week, each on its own website; here you open any of them in the built-in browser, generate a shot, and pull the result straight into your cut. The models keep changing and your film stays in one place. That is why the cut is where the work begins: rewrite a beat, regenerate one angle, drop it in. You treat generated material like footage, and when a shot changes the cut is ready for it.
@Mara rides @Drake above the @sea-of-clouds, banking east into the dawn.
@Mara@DrakeSea of CloudsThen it finds its sound.
Voiceover, music and sound effects, generated to picture. Describe the line, the mood or the moment, and hear it take shape.
Made for the big screen.
Nobody ever loved a film for its pixels. People give a film a dark room and two hours of their attention when they sense a person on the other side of it, someone who risked something and meant it. That is the part that has to come from you.
It’s also why this page ends in a cinema. The screen below is already playing your cut.
That’s the whole bet, in the end. The tools will keep getting better; the reason to make a film won’t change. We’re building the place where you get to. If that’s the way you want to work, leave your email. We’ll write when your seat opens.
The films that stay with us were made by someone who lived inside a world for months and cared about every frame. That care is the whole thing, and no machine has it.
So we hold one line. The model renders the frame. The story, the cut, the framing, the light, everything that makes it a film stays yours. We automate the production, never the direction.
Every tool before this was once called the death of film. Sound, television, digital, and each time the people making the films carried it across. Generative film is the same story, and we are building the home for the ones who carry it now.
The people building Avo
Your whole team, in one native studio.
Native software used to mean working alone. Avo runs on your own machine, not a browser tab, and still opens the door to everyone on the film. The same board, the same cut, the same version of the truth, live for all of you.
Cursors, notes and changes move in real time, so the scene you block gets picked up by the editor down the hall the moment you set it down. We do whatever it takes to let a team build a film together, right where the work already lives.
Rider — approach
Forest — wide
Chase — sc. 12
Grade v3
Claim your seat.
Working Title