Meet the content curve without adding headcount.
The versioning grind is either briefed out to an agency or done by hand, and both cost you the quarter. Author the template once and the people you already have run it.
Set it up once. Run it as often as the brief lands.
One author sets up the workflow, the whole team runs it
One person builds the workflow — once, and without writing code. After that, producing work doesn't need them. You're not hiring a programmer per project, and whoever built it stops being the queue everything else waits in.
Brand consistency by construction, not by review
Type, colour, grid, lockup and clear space are operators in the graph rather than rules in a PDF. Off-brand output isn't something you catch at approval — it's not one of the outputs the template can produce.
Next quarter starts where this one finished
Ratios, placements, durations and crops come out of the same source. Markets live as data — locale, copy, currency, launch time — and layout responds to the string it's actually given, so a long translation doesn't break a composition someone signed off in English.
The people running it never see the machine
The author exposes a handful of controls — pick a product, pick a market, change a headline, generate — and locks everything else. A coordinator doesn't need to understand the system to produce correct work from it.
Save each campaign structure as a Recipe
Save the launch structure as a Recipe and the next one inherits it — the same rules, the same guardrails, a different product.
The guideline becomes the thing that makes the work
Not a document describing what the work should look like — the operators that produce it. Type, colour, grid, logo, spacing and treatment are wired together, and everything downstream is built by running them. There's no gap between the rule and the artwork, because they're the same object. That includes the type: the brand face installed on your machine, with kerning held per pair, rather than the nearest web-safe substitute.
Every product, shot without a studio.
Colourway, angle, lighting and material are parameters — so the whole matrix of variants comes out of one setup, and comes out again next season.
Real geometry and real materials
This isn't an image model guessing at your product. It's your actual model, lit and rendered — so the logo sits where it sits, the proportions are the proportions, and the stitching doesn't move between shots.
Run every colourway and every angle from one setup
Colourway drives the material. Angle drives the camera. Build the shot once and the matrix falls out of it — six finishes across nine views is one run, not fifty-four jobs.
See it before the sample exists
Render straight from CAD or from a sketch while the product is still in prototyping. Merchandising, packaging and marketing can start on the real thing months before a physical sample lands on a table.
Motion falls out of the same graph
A turntable, a slow spin, a material reveal — the camera and the animation are operators next to everything else. You don't rebuild the shot in a second tool to get movement out of it.
Finish to spec without leaving
Crops, safe areas, background swaps, export sizes and file naming are part of the graph. The set comes out in the shapes your marketplace, your site and your retail partners actually ask for. The finishing is real compositing, not a filter stack — 27 blend modes, levels read off the actual pixels, and tone curves per channel.
Answers for legal, IT and procurement.
The two questions that stop a creative tool at the door are where the work runs and who directed it. Both have a plain answer here.
Work runs where you choose
In the cloud on a key you paste, so nobody needs a GPU to start, and on your own hardware when the work can't leave the building. When a client contract or an internal policy requires it, open models run on hardware you control instead — so material that can't leave your environment doesn't.
Documented human creative direction
The workflow is an explicit graph a person authored: the decisions are written down, reviewable and attributable. In the US, purely machine-generated output has no copyright protection — the D.C. Circuit settled that in 2025 and the Supreme Court declined to hear the appeal in 2026. Work made this way carries the strongest authorship position AI-assisted work can hold.
The assets, and the launch page they point at.
Today
Either route costs you — the agency's fee and turnaround, or your own team's evenings — and it's money you'd rather have spent on the idea. And because every version is made separately, the set drifts — a stale price here, last season's lockup there, a market nobody updated.
With nooodles
Coordinators produce what you currently brief out. The set is generated from one source, so it can't drift — and when the hero product or the offer changes, one parameter changes and the whole set is right again.
Your launch page comes out of the campaign graph.
A campaign is a workflow — one run, and every channel has what it needs. The launch page at the end of it is a scene, and it comes out of the same graph.
So the ads and the destination cannot drift apart. Change the hero colourway once and every asset and every live page is already correct.
The campaign set
A campaign's worth in one run — every ratio, cut and locale, on brand because it couldn't have come out any other way.
- Mode
- Workflow
- Who opens it
- You and your team
The destination
A live localised page or configurator — the customer turns the product and buys the one they picked.
- Mode
- Scene
- Who opens it
- Your audience
When something works, save it and run it again.
These ship with the beta. Start from the Brand Asset Generator and pour your own tokens in.
Aspect Ratio Versioner
WorkflowOne master, resized for every placement your teams book.
Locale Swap
WorkflowPoint a layout at your market table and let it fill itself in.
Brand Asset Generator
WorkflowHold type, colour, grid and logo as live operators.
Type Lockup Kit
WorkflowSet lockups across sizes, ratios and clear-space rules.
Mockup Placer
WorkflowPlace artwork onto products and environments, in a batch.
Launch Page
SceneShip a live localised product page with a countdown.
Procurement's questions, mostly.
Does my whole team need to learn the node graph?
No. One person sets the template up, usually by adapting a Recipe. Everyone else gets the surface the author chose — a few fields and a generate button. They never open the graph, and they can't break it.
We don't have anyone technical in-house. Can we still use this?
Yes, in two ways. Often someone already on your team can, starting from a Recipe and changing what varies. Failing that, your agency or a freelancer can build the template and hand you the operator surface — the authoring is a one-off, the running is yours. Or we can build the first template with you. Either way the ongoing work stops being a brief.
Who owns the setup if the person who built it leaves?
You do. The setup is a file in your project, not a configuration held somewhere on our side, and anyone on the team with access can open it, read it and change it. It's a node graph rather than code, so whoever inherits it can see how it works by following the wires. The honest caveat is that inheriting any system still takes a handover — this makes that handover possible, not unnecessary.
Do we throw away the guidelines document?
No. The document is where the reasoning lives — the story, the tone, the why. What it's bad at is being what makes the work, because it can only describe. Keep the rationale as a document and move the executable half into the system.
What happens when the brand evolves?
The brand system is operators, not copies. Change the type scale or the palette in one place and everything built on it comes out updated on the next run — instead of re-issuing a guideline and hoping every file catches up.
Can it run on our own infrastructure?
A pasted key needs no setup and no GPU. Running open models on hardware you control is the option for work that contractually can't leave your environment. Tell us your constraint and we'll tell you plainly whether we meet it.
Do we need CAD files to start?
They help, and they're the fastest route to an accurate render. But a product doesn't have to arrive as CAD — you can build geometry in the graph, bring in a scan or an existing 3D asset, or start from a sketch while the real model is still being made. What matters is that the product is geometry, because that's what makes it hold still across a hundred variants.
How does it keep the product accurate?
Because nothing about the product is being guessed. The shape is your model; the finish is a material with real values; the label is real type or real artwork placed where you placed it. Generation is a node you point at the parts that should vary — a backdrop, an environment, a surface treatment — and it never gets a vote on the silhouette.
Your next launch, from the setup you already have.
Tell us about the formats, the markets and who runs them today. We'll walk you through the hand-off using your own work — not a demo file.
Your next launch, as the brief for what we build
Tell us the formats, the markets and who runs them today. We'll walk it through with your own work — and where the engine doesn't fit how your team is organised, that's the part we want to hear about rather than design around.
No spam. A real reply from a human.