CineMe — Where Stories Are Built

01 / The Product

Seven stages, one service

CineMe runs as a single workflow from script ingest through to final-pixel delivery. Each stage produces an output that is contractable in itself, and each builds on the last. A producer can stop or start at any tier and walk away with a useful asset that will save time and money whilst maximising the creative potential of their project.

Stage 01 · Schedule

CineSchedule

Your shooting schedule and production calendar, generated from the script breakdown. Used before storyboarding to lock dates, locations, cast availability, and crew commitments.

Designed to give you maximum flexibility over your real-world and digital assets to enhance your creative capabilities and make your budget stretch further.

Stage 02 · Coverage

CineCoverage free

Long-form written coverage of your script: themes, structural notes, character beats, and a market read. A free companion to the analysis that runs alongside the script ingest.

Free. Generated automatically from the script and delivered alongside the visual analysis.

Stage 03 · First-look storyboard

CineBoard free

A first-look storyboard driven purely by our proprietary script intelligence. A fast, automated read of how your film could look, scene by scene — no creative-team input required.

Free. Approximately 300 to 400 images per feature script, generated automatically from the script ingest. Helps align the creative team as a project moves from development into pre-production.

Stage 04 · Full storyboard

CineBoard

The full storyboard. Our creative team finesses every image based on an in-depth consultation with you, and a second iteration pass is included so you can refine the board with us or directly.

Director-led. Brings every scene into a unified visual vocabulary, with prompt fine-tuning and a sandpit for testing characters, locations, and wardrobe choices.

Stage 05 · Shot breakdown

CineScript

A full shot-by-shot visual breakdown of the script. A shot list created for every scene, with as little or as much involvement from the key creative team as they choose. Rendered as an A/B reference image so the director, DP, and 1st AD can plan, debate, and lock the visual blocking before any prep day. Estimated delivery ranges from 2,000 to 4,000 unique images tracking the A and B frame of every designed shot.

The shooting script, visualised. What the entire production team works to.

Stage 06 · Motion previs

CineViz

Every CineScript shot converted to a 6-10 second video clip with audio, then delivered to the editorial team or assembled by the CineMe creative team into a continuous previs of the entire production, allowing a deep analysis of the structure and flow of the film before a single frame has been shot, and helping to plan complex scenes or test shots and looks ahead of shooting at a fraction of the cost.

Director, DP, editor, VFX. Shared on a single timeline, locked before the unit moves.

Stage 07 · Final pixel

CinePrint

Final-pixel 4K delivery on the shots that are hard to schedule or resource and which can drag down the pace of a production or create huge cost overruns: such as establishing shots, transitions, plates, environmentals, period-specific, or hard-to-reach locations. Our legal compliance trail begins from the moment the script is ingested, providing an unprecedented digital audit of tools used, licence agreements, and defendable chain-of-title at a greatly reduced cost over physical production in certain non-performance sequences.

Selectively replaces shoot days on shots where compute beats logistics. Performance-heavy material remains shot conventionally.

03 / Why CineMe

Creative and economic, in one move

The visual development phase has faced the same problem since the beginning. Every conversation begins with how an individual interprets words on a page, and a director trying to communicate their vision without the assets to do so. CineMe changes that forever, allowing the project to be built in a low-cost virtual world so as to lock in the creative vision of the director ahead of costly production spend, to create greater freedom in scheduling and more time for the filmmaking processes that matter.

Creative

See the film before you make it. Aesthetic, blocking, and tone are agreed before crew assemble.
Department alignment from day one. Director, DP, production designer, costume, VFX work from the same images.
Iterate without commitment. A creative pivot in CineMe costs hours, not weeks.
Hold the vision. The CineBoard is a fixed reference for everyone joining the project throughout its lifecycle.

Economic

Spend prep time where it matters. HODs align quickly and decisions can be made much earlier, so directors, DPs, and HoDs can get to work on building the real cinematic world quicker and more efficiently.
Lower visual development cost. Studio-level pre-viz at a fraction of the day rate.
Reduce on-set rework. Decisions agreed visually upfront mean fewer expensive corrections.
Replace selected shoot days. CinePrint takes slow, costly, and difficult-to-execute shots out of the schedule and achieves huge cost efficiencies whilst doing so.

04 / Team

Built by filmmakers, with a deep end-to-end understanding of the real-world needs of film production.

CineMe is led by people who have led productions, commissioned them, and run the technology businesses that distributed them, with a deep first-hand understanding of the needs of the key creative team.

Dan Hartley

Founder & CEO

Writer/director/producer with 20+ years in film and TV. BAFTA & Emmy-nominated The Boy Who Lived (HBO/Sky). Worked with Ridley Scott, Rian Johnson, Ron Howard, James Mangold, and many others; credits across the Harry Potter franchise. Co-founder of leading UK rental facility CineArk, and multi-award-winning production company Rogue Runner.

Chris Bird

Co-founder

Former Managing Director, Amazon Prime Video UK. Founder of HawksHead AI. Board advisor to the National Film and Television School. 15 years inside the world's leading streaming platform.

Further founding team, key advisors, and industry names from the film, technology, and investment sectors are joining and will be announced shortly.

05 / The CineMe Future Fund

Five per cent, ring-fenced for technicians and production teams to harness new technologies and help the British film industry thrive.

Five per cent of CineMe to be held in a charitable trust dedicated to the people the AI transition will affect most: working crew, emerging filmmakers, and the next generation of British creatives. The Fund supports skills, training, and educational pathways so the UK industry stays at the forefront of the global field. We believe the AI shift is something to be embraced, creating a once-in-a-generation opportunity to provide production-grade tools to anyone with a script and a vision, and we want the UK to continue to be a world-beating destination for film production and creativity.

Get in touch

Request access

We take on a limited number of new engagements this year. If you have a script that is on a pathway to production that we should know about, tell us about it. We read every note and respond to the ones we can take forward.

At Cannes · 15–17 May

Dan Hartley and Chris Bird will be at the Cannes Film Festival between 15 and 17 May. If you would like to meet and learn more about CineMe, send us a note and we will find a slot.

Request a meeting

Thank you. We read every note. If there is a fit, one of us will be in touch.

You used to have to make the film before you could see it.