A one-minute painted tour of what this planner's controls mean on a real film set: the wide anamorphic frame, a low-light film stock, a couture palette, and a three-act timeline.
This planner imagines a short film where an indie studio meets a couture house. It's a storyboard tool: pick a look, dress a cast, and lay scenes on a timeline. First, the frame. It's set to two point three nine to one, the wide anamorphic shape of cinema screens, much wider than a TV. Next, the film stock. Kodak Vision three, five hundred T, is a fast stock balanced for tungsten light, made for dim interiors like a twilight atelier. The palette borrows from Dior's Bar suit, the nineteen forty-seven jacket that launched the New Look: charcoal, pearl, and a sharply nipped waist. Three act beats move from the atelier, to a rainy boulevard, to a coastal archive at dawn. Preview Frame repaints the mood for each one. The scores are simple rules, not reviews. Each beat adds four points of narrative tension, so three beats make ninety. Try another grain or palette, then export the brief.
Anamorphic lenses squeeze a wide image onto the film or sensor and unsqueeze it on projection, giving the 2.39:1 'scope' frame used for many cinema releases. A 16:9 TV is about 1.78:1, so scope films show with bars above and below.
Kodak Vision3 500T is rated ISO 500 and balanced for 3200 K tungsten light, so it suits night and interior scenes; its grain is part of the look the 'Indie Noir Grain' control refers to.
Christian Dior's first collection in February 1947 introduced the Bar jacket: a fitted, padded-hip jacket worn with a full skirt. The press called the collection the New Look, and it still anchors Dior's archive.
The three percentages are not analysis. Grain is 90% for Kodak 500T, 92% for Panavision and 96% for 16mm; Couture is 98%, 96% or 94% by palette; Narrative Tension is 78% plus 4 points per beat, capped at 99%. The page's static placeholders (94% and 89%) are replaced by these live values on load.
How anamorphic lenses produce the 2.39:1 widescreen frame.
The designer, his 1947 debut collection and the New Look.
The creative director the planner's brief is built around.
The setup–confrontation–resolution shape behind the planner's act beats.
This planner is a creative mood-board tool: its project, cast pairings and scores are illustrative, not a confirmed production or a measure of quality.