Neyra Studio · Commercial proposition
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The Neyra Studio
Not a generator. A studio you enter: a physical 3D stage with real lenses and camera moves, 36 department agents who read your script, your own image and voice models, and a network where directors, writers and clients create together in the same scene. Development, shoot, edit and delivery live in one place — because a picture is made by a crew, not by a prompt.
A full department crew
You direct, it writes them
Idea to graded footage
Identity-checked, rights-tracked
Made for
Feature films · animation · series · VFX · commercials
Used by
TV networks · production houses · animation studios · agencies
Delivered as
Seats · compute tokens · private deployment on your infrastructure
Every studio has run the experiment. The result is always the same: beautiful fragments, no film. The bottleneck was never imagination — it is the assembly line built around it.
Ten prompt engineers
Craft becomes typing. Directors describe shots to people who describe them to models.
Nine disconnected tools
Script here, look there, motion elsewhere. Every handover loses the intent.
Continuity collapses
The face changes, the room changes, the light changes. Nothing cuts together.
Nobody owns the frame
No record of what made it, no proof it is yours, no rights trail for a broadcaster.
Physics is guessed
Lenses, weight, light and motion arrive as adjectives, so nothing feels shot.
Months, not days
By the time the pitch is visual, the window has closed.
The Neyra position
Give the creator back the only job worth having — deciding — and let the network carry everything else.
One director inside Neyra covers the ground that a coordination team of ten covers today, and does it with continuity, physics and rights intact. This is not a faster tool. It is a new form of production: small crews, private intelligences, collective authorship — new cinema.
The value is not any single model — it is that all six systems share one scene, one clock and one continuity record. Nothing is exported between departments, because there are no departments to export between.
A real 3D set: blocking paths, camera rails, cranes, marks and beats.
Full lens and camera grammar applied as physics, not as a prompt word.
36 agents holding one craft each, arguing from it, overruled by a human.
Direct by speaking: camera, script, cast, render and cut, live on a call.
Our own image model plus frontier engines, routed per shot automatically.
Editing, grade, log conform, master and delivery inside the same body.
The through-line
A character locked in development stays the same face on the stage, in the render, in the grade and in the trailer. Identity, location plates and camera grammar travel with the project — the exact continuity problem that keeps AI out of broadcast today.
The network layer
Every scene is a room others can enter. Writers, directors, clients and licensed talent work the same frame at the same time, each bringing their own trained intelligences — collectives form around a picture instead of around a file server.
Directors of photography do not ask for “cinematic”. They ask for a 40mm at T1.4, a slow push, a 3/4 back key. The stage speaks that language natively and hands the engines a camera payload instead of an adjective — which is why the footage reads as shot, not as generated.
The physical layer
Between your decision and the model sits a machine that knows the world: real distances in metres, real focal length and depth of field, real crane height, real light temperature, real weight and travel over a real clock. It writes the prompt so you never have to. The creator brings taste; the physics brings truth. That is the whole basis of our photoreal and ultra-real output.
Optics
Grammar & motion
Motion & look library
Ready-made camera scenes
Per scene board, one pass
Identity anchors per shot
Lighting is a rig, not a mood word. Key, fill and practical placement, colour temperature and time of day are set on the stage and carried into every angle of the same scene — which is what makes coverage cut together.
Nothing here is slow because filmmaking is hard. It is slow because the plan lives in one tool, the look in another, the shoot in a third, and every handover costs a week. One network removes the handovers — the numbers below are the whole argument.
Models
Reliability
No stage, no crew call
Between departments
Paid renders never lost
Broadcast deliverable
The studio ships with a department structure, not a chatbot. Each agent holds one craft, argues from it in the writers room, and is overruled by a human. Your people stay directors and producers — they simply stop waiting.
The agent network
Story
Screenwriter · Script doctor · Story architect · Showrunner · Dialogue writer · Critic · Researcher
Direction
Film director · Creative director · Ads director · Cut director · Casting director
Camera
Cinematographer · Camera operator · Lens agent · Continuity supervisor · Coverage QA
Design
Art director · Production designer · Wardrobe · Location manager · World builder · Character psychologist
Image
Image prompt master · Photographer · VFX artist · Animator · Colorist · Upscale strategist
Sound & post
Audio designer · Composer · Voice director · Editor · Sound mixer
Production
Producer · Line producer · Scheduler · Budget analyst
The human network
Live rooms
Directors, clients and crew inside the same scene, in real time.
Voice calls on the film
Direct the studio while the client watches the frame change.
Shared vision links
PIN-protected cuts and boards for networks and financiers.
Collectives
Independent creators form crews around one picture and split the upside.
Private intelligences
Every creator trains their own crew on their own library — their voice, their taste, their characters. Those intelligences stay private, travel with them into any collaboration, and are hired the way a cinematographer is hired.
A studio brings its house style; a freelancer brings their signature. Both plug into the same scene without either losing ownership.
A broadcaster cannot air footage nobody can vouch for. Neyra is built the other way round from the rest of this market: every face is checked, every likeness is licensed, every frame carries a record of how it was made — and the material is original by construction, not by promise.
Originality by construction
Work begins from your material — your script, your cast, your locations, your library — staged in 3D and shot with your camera choices. The output is a photograph of a scene you built, not a remix of someone else's frame. Every shot keeps a passport recording the stage, the references, the engine and the operator, so provenance can be produced on request, years later.
Likenesses reviewed before use
Paid to the rights holder
Provenance on every frame
Private models stay in-house
Feature films
Development, full coverage, dailies and a cut — one continuous production.
Animation
Stylised or photoreal, with characters that hold across a whole season.
VFX & special visuals
Environments, creatures, destruction and impossible cameras, staged in 3D first.
Series & episodics
A showrunner agent keeps tone, arcs and continuity across episodes.
Commercials & brand
Board to client-ready film in a day, revisions live on the call.
Music, fashion, trailers
Performance-driven pieces with motion capture and beat-locked edits.
Against the market
The wedge
Continuity. Anyone can make one beautiful shot; nobody can make the 400 that cut together.
The moat
The stage, the crew and the rights layer. A prompt is copyable in a week; this is not.
The timing
Output demand is rising on flat budgets, and no tool was built for the crews being asked to deliver it.
Two lines on the invoice, like any working facility: seats decide who can create, compute decides how much you shoot. Seats are annual and unlimited in use; compute is a token balance you top up, and we scale capacity with you.
Marketing & content teams
From 3 seats · billed annually
Production houses & agencies
From 5 seats · billed annually
TV networks & animation studios
From 10 seats · billed annually
One balance for everything the studio burns — renders, masters, agent reasoning, voice. No per-model contracts, no surprise vendor bills, and every token spent is attributed to a shot in its passport, so a producer can cost a scene before shooting it.
All models & engines
Every token tied to a frame
Rate scales with commitment
Next step
A 90-minute working session on your script: we stage a scene, shoot the coverage and deliver a graded cut before the call ends.
Neyra Labs
neyra.ai