The render sheet

the council writes · text only the render sheet

• referencesone image prompt per character and environment in the bible
• shotsone video prompt each, carrying that shot’s native-sound line and the standing negative verbatim
• music · voice · SFXone prompt each for a text-to-music or voice tool

→

you render · in your own tools copy · paste · generate then report, per take, with a note

accept reject → rewrite skip

→

a rejection is an event the owner rewrites that one prompt “change what the note names; keep the same subject description, the same native sound line, the same negatives.” Every stale critic re-reads, cheaply.

the gate closes when every item on the sheet has a take accepted or skipped, no revise-or-block flag is open, and every critic has read the current sheet. The budget is the number of times you clicked accept.

The council writes text. Nothing renders inside it. This is the line the first design drew: iteration in text is free and automatic, anything that costs money is explicit and human-triggered, and the council keeps it.

What is on the sheet

At production, Sound and Unit + Edit write the render sheet in parts:

• References. One image prompt per character and per environment in the bible: the canonical description verbatim, costume, neutral pose, front view; an empty plate for environments. Rendered first, so the images can be attached to the shots.
• Shots. One video prompt per shot, one paragraph, in a fixed order: the subject’s canonical description, the action in present tense, the environment, camera, light, style and palette, then a Sound: sentence that copies the audio timeline’s native-sound line for that shot exactly, then the standing negative exactly as Sound wrote it, then the standard tail. Settings per shot: aspect, duration, resolution, which reference ids to attach, a model hint. Two accept criteria you check before accepting a take.
• Music, voice, layered SFX. One prompt each for a text-to-music or voice tool, with durations.

Every item has a copy button, and the whole sheet copies at once.

What you do

Render each item in whatever tools you use and report back, per take, with a note: accept, reject, or skip. All three are events. A rejection with a note wakes the owner of that one prompt with an instruction to change what the note names and keep everything else: the same subject description, the same native-sound line, the same negatives. Every critic that is now stale re-reads, cheaply. The Producer’s plan says how many rejected takes you should re-roll before the council rewrites instead.

The critics at production

Camera reads every video prompt against its shot list: framing, lens, movement, light, seconds. Look & Cast reads every prompt against the bibles: is the canonical description present and unchanged, does any prompt admit a second person, does any prompt cite an id the bible does not define. Story checks that the action is the action the script wrote and that the turn still lands in the shot that carries it. The Director watches dailies, which at production are your accept and reject notes.

The gate

Production closes when every item on the sheet has a take accepted or skipped, no revise-or-block flag is open, and every critic has read the current sheet. The film’s budget is not a number in a prompt. It is the number of times you clicked accept.

Post

Unit + Edit writes the edit sheet from the takes you accepted, using your notes to pick takes: the timeline in order, in and out seconds trimmed so the whole sums to the film’s duration, the transition into the next, a cut note on where and why. Sound writes the mix sheet: tracks, levels relative to the music bed, fades, ducking, a native-sound policy per shot, a loudness target. The Producer adds delivery: platform, aspect, resolution, filename, caption, credits, a checklist. You follow all three in your editor.