Today we shipped the feature Yeşilçam Studios was always meant to have: you paste a story and a film comes out. Not a slideshow with a voice-over, a film: characters designed once and kept consistent, scenes staged from the text, lines spoken by the characters, a narrator between them, music under it all. It took a rebuild of the scene pipeline to get here, and this post is about what changed, what the parts do, and what we would like you to try first.

What changed

Until now Film Studio asked you to write a screenplay in scenes and direct each one. That is a good workflow for professionals and it stays. But most people arrive with a story, not a shot list. Story to film adds a director in front of the studio: it reads the text, casts it, writes the scenes, and hands the rest to the existing production line. The whole thing lives on one screen, with four choices; everything else is decided for you and can be changed afterwards on the scene cards.

The four choices, briefly

  • Story. Paste the text as it is. Headings, notes and chat lines are stripped automatically; dialogue and events are kept.
  • Visual style. Eight styles, from Anime and 3D animation to Cinematic realism and 1960s Yeşilçam. The style is written once as a style guide and repeated in every prompt.
  • Length. Auto suggests a length from the text, about nine characters of narration per second. One minute and three minutes are fixed targets; Full story follows the text.
  • Quality and director. Draft and Standard use the fast video tier; Cinema and Cinema Pro use the slower, richer one. The Professional and Premium directors read the story with different language models; Premium keeps more nuance in long texts.

The parts that matter

  • Cast sheets. Every character gets a reference image in your chosen style before a single scene is rendered. A firefly is a firefly, not a person in a costume. Up to five cast members; unused slots are refunded.
  • Keyframe first. Scenes with characters are rendered as a still from the sheets, then animated with image-to-video. Identity survives, and a failed still fails cheaply before the expensive clip is spent.
  • Two voice layers. The narrator narrates, characters speak their own lines, each with a voice matched to their gender and age profile. The narrator never repeats a line a character already said.
  • Honest pricing. Screenplay and cast are charged up front; the full production price is shown on the Ready screen before you confirm, with your plan multiplier already applied.

What happens after you press the button

  1. The director produces a title, a logline, a style guide, the cast with looks and voice profiles, and the scene list.
  2. Each cast member gets a character sheet in your style. This is the moment we suggest you look at: if a character is wrong, fix it here, not after thirty clips.
  3. The film waits in the Ready state with the exact production price. If you ticked "produce without waiting for approval", it carries on by itself the moment the cast is done.
  4. Scenes get keyframes, then clips. Narration and lines are recorded per scene. The editor mixes everything into one 1080p MP4.

What we learned building it

Two things surprised us. First, the cheap stages carry most of the quality: almost every complaint we could make about an early test film was fixable in the screenplay or the cast sheets. Second, obedience is not judgement. Our first director would fit a four-minute story into ninety seconds by shortening sentences until they lost their meaning. The current one chooses fewer events instead, and the length control warns you when the target is too short for the text.

Pitfalls to avoid on your first film

  • Do not start with Cinema. Produce a one-minute Standard version, check the cast, voices and pacing, then commit to the full length from the same text.
  • Do not write instructions to the studio inside the story. "Make it ninety seconds" is ignored; use the length control. Art direction notes such as "everyone wears blue" are folded into the style guide.
  • Keep dialogue in quotation marks with the speaker nearby, so the director can assign every line to the right character.

Try it with something you already have

A bedtime story you wrote, a product story, an old script. Pick Anime or Cinematic realism, leave the length on Auto, and watch the cast appear before the film does. If you do not like what you see, stop there and you have spent very little.

Frequently asked

Can I edit the scenes before production? Yes. Every scene card stays editable: prompt, duration, characters, spoken line. You can also reorder, add or delete scenes, and regenerate a single scene later without touching the others.

Which languages work? Any language the story is written in. Narration and lines are produced in the story's language; visual prompts are always English internally.

What if I already wrote a screenplay? Paste it. The director keeps events, people, order and dialogue, and only adds what a producible screenplay needs: prompts, durations, who is on screen, and narration for the beats without lines.