Import comic or webtoon pages, split each page on a grid you set, then let a vision pass read every panel's characters, dialogue and action — correcting anything it misreads. The annotated panels convert into an ordered shot list, and each shot renders against its own panel with the lettering repainted out, so the motion carries your artwork and never warps your type.
Capability snapshot
multi
panels per page
1 flow
pages to episode
consistent
original art style
A 27-second walkthrough of the workflow, the key benefits, and the results.
Practical value mapped to real production workflows.
Benefit
01
The art is the anchor
Every shot renders against its own panel — not a text description of it, and not the whole page — so the motion carries the original line, palette and composition instead of a model's idea of them.
Benefit
02
AI reads the page, you correct it
A vision pass fills in each panel's characters, dialogue and action, in reading order and against the cast you bound to the chapter. Your corrections are protected in the database: a later re-run overwrites AI text and refuses to touch anything you edited by hand.
Benefit
03
Same platform, same assets
Characters, art direction, project budget and generation queue are the shared platform ones — the comic workflow adds sequencing on top rather than a private silo.
A simple three-step path from source material to a reusable result.
Step 1
Import pages and split panels
Create a chapter, import its pages, and split each one into panels on a grid you set — re-split any page until the frames line up.
Step 2
Annotate and convert to a shot list
Run the annotation pass, fix anything it misread, then convert the annotated panels into an ordered storyboard of shots with motion intent and timing.
Step 3
Render and export the episode
Render shots against the panel itself as the style anchor, select the take you want for each, and export the assembled chapter as a finished video.
Yes — that is the point of anchoring on your own artwork. Each shot is rendered against its own panel rather than restyled to a cinematic preset, and the speech balloons are repainted clean first, so generated motion cannot warp your lettering.
You set the grid — rows by columns — for each page, and can re-split until the frames line up. Re-splitting replaces that page's panels, so it tells you what it is about to discard first, including annotations you have already paid for.
Yes. The chapter's cast is bound to the same global character library the drama studio and the other tools use, including the relationship graph.
Next step
Open the tool with a real image, compare the results, and keep the version that works.