The timeline editor

Shots have no titles — each one is identified by its number, which is simply its position in the film, so reordering renumbers them all. Drag any shot card left or right to change its place; the rest of the strip slides to make room. To add a new shot, hover over the gap between two shots (or the "+" at the very start or end) — the strip gently parts to reveal an insert point. When you insert, you choose how the new shot relates to the one before it:

• New scene — a fresh, independent shot.
• Continue previous frame — same scene continuing; it inherits the previous shot's cast and look.
• Reverse angle — the same moment from the opposite side.
• Reaction shot — cut to one character reacting.
• Transition — a bridging establishing shot into the next beat.

You can also Duplicate a shot (this copies the setup — script, cast, camera — but not the generated images or video, so the copy renders fresh) or Delete one. Every action here — reorder, add, duplicate, delete — is fully undoable with Undo/Redo, and a small note tells you exactly what each step reverted.

Click any shot card to open it in the editor panel, which is organised as a pipeline of three tabs you move through left to right: Screenplay → Image → Video.

• Screenplay — pick the shot's location (required before you can generate an image) and characters, add any assets, and write the shot's action and dialogue.
• Image — set the visual language of the shot: shot technique (close-up, wide, etc.), camera angle, lighting and the image model, plus an editable image prompt. Generate the Start frame here. You can also Add an end frame so the clip animates from the start pose to the end pose. Each generation is kept as a variation you can switch between.
• Video — choose the camera movement, the shot's duration, the video model and a video prompt, then generate the clip. Once it exists you can also add a Curtain (a fade in/out) and set the canvas colour it fades from — both editable without re-rendering.

Each tab only unlocks once the previous step is ready (you need a screenplay and a location before imaging, and an image before video), so the shot is always built on a solid base. An "AI Reference" link lets you preview exactly which character and location views will be sent to the AI for this shot.

Every shot is a short clip with its own Duration, chosen from the Video tab (each clip runs up to 10 seconds — a deliberate limit that keeps motion clean and the film snappy). Because the whole timeline shares one time scale, changing a shot's length shifts everything after it, and the time ruler across the top always shows where you are.

Beneath the shots sit the audio lanes — Dialogue, Music and Effects — locked to the same time axis, so you can see and adjust exactly which sound plays over which shot. Drag the top edge of the timeline panel upward to make it taller when you want to see more audio lanes at once; the tracks area scrolls if there's more than fits. You can mute any track (silenced in both preview and the final film), and dialogue automatically re-flows to stay in sync as you edit shot lengths.

For shots where you want precise motion — not just "animate this still" — you can add an end frame. In the Image tab, next to the shot's start frame, press Add end frame: runime generates the last frame of the same shot (the same scene a beat later), and the video is then rendered so it animates from the start frame to the end frame instead of guessing the movement from a single image. It's the reliable way to land a specific final pose — a door fully open, a character having arrived, a hand having reached its object.

The end frame keeps the shot's scene, cast, lighting and framing identical to the start — only the pose and position move — so the motion stays on-model. Regenerate either frame independently until both look right; the clip plays start → end between them. For an ordinary shot you don't need it: a single start frame animates fine on its own.

At any point you can press Play to watch the whole timeline back — shots and audio together, in sync — so you see the film exactly as it's shaping up rather than piece by piece. You don't need to save: text edits are stored automatically a moment after you stop typing, and structural changes (adding, reordering, deleting) persist immediately. If two things change at once — say a render finishes while you're editing a caption — the timeline reconciles them without losing your edit. And because the full Undo / Redo history covers reorders, inserts, deletes, duration changes and text, you can experiment freely and always get back to where you were.