Fog, coastal cliffs, a lone road — the mystical atmosphere of the project

The Other Room · director-editor brief

Open role · director-editor

Fade in · Opening Scene

The Other Room.

We built the world. We're looking for a director-editor to turn it into a series.

A vertical psychological microdrama told in one-minute episodes. We're a small team, and the core material is already there: scripts, trained characters, 3D locations, shot tests, and a live storyboard workflow.

7 episodes writtenEnough to judge tone, pacing, and story direction.
Lead cast trainedNot just lucky frames. Consistent characters we can keep working with.
Locations built in 3DCamera, composition, and shot movement can be planned with control.
Episode 01 live in storyboardA working shot timeline already exists.

View Episode 01 timeline Read the role

Shot test Generated character placed into a stable location.

Cast Alicia is already trained and consistent.

Location Main spaces already exist in 3D.

Bedroom animation A horizontal location pass we can direct shots from.

Ch. 01 Work in progress Shot timeline

Episode 01 Shot Timeline.

This is where a director-editor would step in first. Episode 01 already has a working shot timeline in our editor. What is still open is the part that matters: pacing, emphasis, transitions, and which shots deserve another pass.

Shot timeline · Episode 01 · Welcome to the House Synced from our storyboard editor

Loading storyboard

The board is not starting from zero: scripts, trained cast, 3D locations, and shot tests are already there.

01 / Narrative

Scripts & series bible

Seven episodes are written, and the larger series arc already exists. There is enough material here for a director to judge tone, pacing, character movement, and where the season wants to go.

Episodes 01–07 ready · bible in place · open any tile to read

02 / Characters

The core cast

The lead cast is already stable through LoRA training. These are usable characters, not one-off images that only work from a single angle.

Wardrobe, facial identity, and overall look hold from scene to scene, which gives the director something real to stage with.

Lead cast trained · consistent across scenes

Current trained set

Alicia, Mark, and Ella are the characters we already trust in production. More roles can be added as the season expands.

03 / World

Locations in 3D

The main locations already exist in 3D (Unity), so framing does not start from guesswork each time we need a shot.

We can place the camera anywhere in the scene, test movement, and treat the space like a controlled set.

3D locations ready · camera control in place

04 / Integration

Characters inside the shot

We already know how to place generated characters into specific locations and keep the shot coherent from frame to frame.

These tests matter because they show the character really sits inside the scene. It does not look like a pasted layer.

Motion control comes from the 3D setup, so camera language can stay intentional instead of being improvised after generation.

Shot tests working · motion control ready

05 / Production

The storyboard platform

This is the tool we already use to run production. Episodes, scenes, boards, shots, and generation tasks all live in one place.

The point is simple: the director does not need to work through scattered chats and folders. Decisions, feedback, and shot planning stay visible.

Already in daily use by the team

Open role · director-editor

What the
director-editor would own.

Not a vendor and not a finishing pair of hands.
We need someone who can shape the shot, the rhythm, and the final cut with us.

— What the role is

Direct and edit the episodesYou would shape the storyboard, decide how scenes play, and then cut the final episode yourself.
Work with us inside the processThis is collaborative day-to-day work with the writer and the AI visual lead, not a handoff at the end.
Own framing and rhythmCamera position, shot size, transitions, timing, and when a scene needs to breathe or tighten.
Push for better materialIf a generated shot is weak, we want someone who can say why and help define what needs to be regenerated.
Think in story, not only toolsThe job is to make episodes land emotionally, not to admire the pipeline.

— What you step into

Real material to work withScripts, characters, locations, shot tests, and a production workflow already exist.
A small, focused teamClear ownership, no agency layer, and no pretending we're bigger than we are.
Room to shape the language earlyThe visual grammar of the show is not locked yet. The right person would help define it.
More than one projectThis starts with The Other Room, but we're building a studio practice around vertical AI-native storytelling.

Ch. 02 How production runs Current workflow

How the material
becomes an episode.

Scripts, characters, locations, and post already feed one shared board. The director-editor's job is to turn that material into shot choices, pacing, and a final cut.

Track A

Story

Episode scripts
Season arc and references
Scene breakdown
Hooks and cliffhangers

Track B

Cast

Look and wardrobe choices
Model training
Consistency checks
Production-ready characters

Track C

Locations

3D sets in Unity
Camera path tests
Scene integration
Shot-ready spaces

Track D

Finish

Edit
Sound and foley
Music and tension
Color and final mix

Assembly point

Storyboard → Final episode

All of this meets inside the storyboard. That is where shots are approved, keyframes are chosen, and the episode starts to become a real cut instead of a test.

Storyboard and camera choices
Keyframe decisions
Video generation
Edit, sound, color, master

Pipeline map · production flow from prep to final episode

Story, cast, locations, and post all feed the board and become the episode there.

Ch. 03 The team Team today

Small team.
Clear ownership.

We're not presenting ourselves as a big studio. This is a small working team with a real pipeline, and we're looking for the right director-editor to join it early.

Writer

Ars

Owns the scripts, story turns, and character arcs. Keeps the emotional logic of the series intact while we adapt material to what production can actually deliver.

AI visual lead

Ksu

Owns character looks, model training, generation quality, and feasibility decisions. Knows what the current toolchain can do well and where it still breaks.

Founder / technical lead

Igor

Built the production workflow, runs the infrastructure, and ties the models, 3D scenes, and platform together so the creative side has something solid to direct inside.

Business & Partnerships

Viktor

Helps bring the right people into the room, from collaborators to strategic partners. Leads outreach, partnerships, financing, and the external side of building the studio.