Products · Whiteboard Design
Every other studio answers one brief and stops. A board is where the answer keeps going: drop a picture, wire it into the cards that work from it, and each run feeds the next. Same studios, same credits - laid out so you can change one card without re-running the rest.
The canvas
This is the board itself, not a rendering of it. Cards for image, try-on, campaign, video and audio sit side by side on one canvas, wired in the order the work actually happens - so changing the second card does not cost you the four after it.
How it works
The loop a general-purpose tool leaves you with is prompt, download, upload again, prompt again, and the thread is only in your head. Here the second card already holds the first card's picture, so the one thing left to author is what should be different about it.
Drag a file straight onto the canvas, pick a face off the model roster, or make the first frame there and then. However it arrives, every card after it treats it the same way, so an upload and a render are interchangeable from that point on.
The palette is grouped the way a job runs rather than alphabetically, so you pick a stage instead of hunting a name. Each card is one studio, and it arrives on the canvas already knowing what it needs before it can run.
Drag from one card to another to say where its picture comes from. Some want two: a style blend takes the piece it is re-executing and, separately, the reference it is taking the language from, and it labels both so a render cannot get them the wrong way round.
Run a single card, the section it sits in, or everything that has not run yet. A card still missing an input is skipped and named rather than stopping the rest, and a card whose inputs changed since it ran is picked up again. You are charged only for what is delivered.
Nothing runs until you press it, and nothing is charged that was not delivered.
Why a board
Everything a board does is on its face, so this is a real one rather than a diagram of one: a product shot brought in at the top left, one wire, and a campaign card that has run - the picture it was sent, the four it sent back, and a ring on the one the next card would work from.
Every generating card has an IN frame and an OUT frame. The IN shows exactly the picture the run will send; the OUT shows what came back. Nothing about a card is hidden behind a modal.
Drawing from one card to another is not decoration - it resolves to a real backend argument. An upload wired into a campaign card becomes that run's reference image, and the board says which picture that is.
A run that returns four pictures marks the one the next card works from, and tapping another promotes it. Continuing from the third look is a click, not four re-runs until it comes out first.
The control surface
Pick one to see what it asks for, what comes back, and everything you get to set. These are read straight off the studios themselves, so this is the panel you meet inside the product rather than a drawing of one.
Bring in
Direct
Design
Iterate
Cast
Prepare
Sell
Sound
Campaign · 4 · Auto · Auto · Feed 1:1
Start from one
Pick one and the cards land wired inside their own section, with every option already set and, where the sequence has one, an example picture in the source slot. Nothing runs until you press Run - so you look at the shape first, change what you want, and only then spend anything.
One product shot becomes the pack shot, two more angles, a close detail and a lifestyle set. The spread a storefront listing needs.
The garment on the left, the model on the right, and the look worn below — then a close crop of how it falls.
One product shot becomes five boxes: the feed set, a lifestyle set, the detail, the story crop and a clip cut from it.
A bag and a pair of shoes drop onto a model already dressed — her outfit kept, the pieces added — then the look goes out as a street set.
One photograph of a sample becomes the pack shot, the technical flat a factory reads, and the range in colour.
One garment photograph becomes the material, the cloth up close, how it is finished, how it is joined, the technical flat, and a written read of what it is made of.
A drawing becomes a product photograph, a clean pack shot and the material on its own.
A single hero image cut to feed, story and banner, with a story clip and the ad copy for each placement. The set a storefront asks for every drop.
Who works this way
A board earns its place when one picture has to become several things and somebody downstream is waiting for all of them.
A drop is never one photograph. It is the same photograph several times over: the pack shot, the angles a listing asks for, the crop that fits a story and the one that fits a banner. A board makes that a single run you repeat per style, rather than a morning spent moving files between tools.
The drawing on your desk has to become something a buyer can look at and something a factory can read. Wiring it into a render, then a technical flat, then a written spec keeps all three descriptions of one garment on the same surface, where they can still be compared.
One approved hero has to survive being a feed post, a story, a banner and a short clip without anybody going back to set. Those are four cards hanging off one picture, so approving a different hero later costs four re-runs instead of four reopened tools.
What leaves the studio has to be measurable. The cards that draw a garment as a flat and read it back as a written spec sit on the same canvas as the frame they came from, so the document you send on can always be traced to the picture it describes.
Get started
Bring a product shot and leave with the set - angles, campaign frames, the flat, the clip - laid out on one canvas.
Keep exploring
The card that turns one product shot into ad-ready images.
The card that puts a garment on a model, and keeps the outfit for an accessory.
The card that renders editorial stills from a written brief.
Where the technical flat a board draws goes next.
The same chaining, run for you from a single brief.
Why a storefront needs the same six frames of every drop.