REV
Find the other side of the conversation.
Choose the conversation pair, then use REV to find the reverse angle without changing the lens.
GIRAFFRAME
SHOT OF THE DEAD
v0.9FREE PUBLIC BETA
Find your shotbefore you generate.
Free 3D previs in your browser. No install. For filmmakers and AI video creators.
Place your characters. Choose your lens. Give your AI video a shot you designed.
No account needed to explore.
Saving, recording, and export require free email registration.
PREVIS INPUT
ANIME
AI PHOTOREAL
3D STAGE / SHOOT
Place your characters. Move them. Shoot.
No keyframes to set. Place your characters in 3D, direct their movement, and move the camera to record the shot you have in mind.
- 01
Set the scene
Place characters in your 3D location and find the composition through the camera.
- 02
Direct the movement
Set where your characters move and see how their paths work within the frame.
- 03
Move the camera and record
Enter the shooting view, move the camera, and review the recorded take. Then bring your shots together in the Cut List.
CUT LIST / PLAYER
Every shot answers the last. And sets up the next.
Lay out your scene like a wall of storyboards. Move shots around, watch the sequence, and decide whether the story works.
- 01
See the whole scene
Spread your shots across the board. Change their order and see how each cut changes the next.
- 02
Watch the connections
Play the sequence and compare neighboring shots. Judge the framing, rhythm, and flow together.
- 03
Go back and reshoot
Something feels wrong? Double-click the shot to return to the shooting view and revise its composition.
BOARD → SHOOT → BOARD
Your storyboard can go back to camera.
A frame is a starting point. Return to the 3D scene, change the camera, or record movement. Bring the revised shot back into the sequence.
- 01Review the cut
- 02Return to camera
- 03Revise and reconnect
Do I need 3D experience?
No. The built-in guide walks you through placing figures, moving the camera, and saving your first shot.
Is the public beta free?
Yes. You can explore without an account. Saving, recording, and export require free email registration.
Does SHOT OF THE DEAD generate the final AI video?
No. It is a previs tool: you design the shot in 3D, then generate the final anime or photoreal video with an AI video model such as Seedance 2.5, MiniMax H3, Kling, or Veo.
Which AI video models can I use it with?
Any image-to-video or reference-to-video model. The AI handoff export is written for Seedance 2.5, MiniMax H3 / H3 Max, Kling, and Veo, and includes a first frame, a last frame, a grey clay motion-reference clip, a camera path, and a prompt draft.
What does it export?
A first frame and last frame (PNG), a clay motion-reference clip (WebM), camera-path.json, and a prompt draft for the video model, packaged as one AI handoff ZIP. Cut List sequences can also be exported as one MP4.
Which browsers and computers does it run on?
Google Chrome on macOS and Windows (other Chromium browsers are untested; Safari and Firefox are not supported). Nothing to install: open the URL and start. Location assets are stored in a folder on your own computer, not uploaded.
How is it different from Blockout, CozyClay, or Blender?
Blockout is a desktop app, CozyClay needs Node.js for its full studio, and Blender is a full 3D suite. SHOT OF THE DEAD runs entirely in the browser with no install, and is built around one loop: place figures, choose the lens, move the camera, record the take, arrange the Cut List, and hand the shot to an AI video model.
Your next generation can start with a shot you chose.
Open the studio, place a figure, and find the frame.
ROADMAP
Now & next
From features available now to hands-on tests and ideas further out, here is where SHOT OF THE DEAD stands and where it is going.
Blender worlds and AI-made places, ready for your shots.
A set made with your usual AI, a world built in Blender, or a 3D space from Marble. Choose how you create the location, then place characters and cameras and find your shots.
Marble available now / Blender and AI workflows in testing
Compare cut sequences as A/B options.
Switch between alternatives such as a three-cut version and a five-cut version, connect each option to the surrounding cuts, and play the full sequence.
Bring any object into view
Frame a selected character or prop with the on-screen control or the . key. Double-click a floor or object surface to fly the camera there.
Work View + Camera PiP
Edit from a free work view while monitoring the shot camera in PiP. See the frame change as you adjust the scene.
Storyboard PDF & Excel Export
Export the Cut List with frames, shot numbers, lenses, timing, and notes.
Reusable My Objects
Save block-built sets and props, then reuse them across scenes.
See, choose, and connect camera moves.
Push in, pull out, orbit, or follow. Preview each move, arrange the sequence, adjust its timing, and turn it into an editable Camera Take.
DEVELOPMENT LOG
Find the shot faster, with more freedom.
We improve the friction we find in real production work, one piece at a time. Here are the latest updates.
Two time references for every video cut.
Video cuts now show sequence and clip timecodes. MP4 export can burn in Sequence TC, Clip TC, or both for precise AI video instructions.
Find recordings from their storage root.
Missing recordings now show their filename and saved location. Choose a root folder to search its subfolders and reconnect matching cuts together.
Read notes while arranging cuts.
Marker notes appear below thumbnails, while shared comments identify groups of cuts with subtle colors. Ungrouping keeps the comment on the first cut.
Safer deletion for commented cuts.
Deleting cuts that carry individual notes or shared comments now confirms its targets. Cut deletion and review-comment changes can be undone and redone.
Clearer Cut List timing and settings.
Switch the total between all and active cuts, enter used durations in tenths of a second, and find Export and Display settings in their streamlined positions.
Find the reverse angle with REV.
Outside the conversation pair, REV moves the camera to the counterpart angle; inside, it pans in place. The 180° line and reverse calculation follow posed head positions, including leaning figures. REV also works with the line hidden.