Video
Multi-Shot AI Video
Most AI video tools generate one shot. Real cuts have eight. Martini gives you a storyboard-driven canvas where you plan shots, lock characters and style across them, and chain frames into continuous video — so cut two looks like it belongs to cut one, and the spokesperson on shot five is the same person as on shot one.
What this feature solves
Single-shot generators are fine for a TikTok loop and useless for a real cut. The moment you need a wide, a close-up, and a reverse — three shots that have to feel like one scene — you hit the consistency wall. The character changes face shape, the wardrobe shifts, the lighting jumps from cool to warm, and the room layout reorganizes between cuts. The output stops looking like footage and starts looking like a slideshow of unrelated generations.
The workaround in tab-based tools is brutal manual work — re-uploading the same reference into each new tab, regenerating until the face approximately matches, and praying the editor can hide the seams. For a 30-second narrative spot or a one-minute short film, that loop is unmanageable. You spend more time fighting drift than you spend directing the scene.
Then there is the planning problem. Multi-shot work requires knowing what each cut needs to do — establishing, action, reaction, insert — and which model handles each best. Without a canvas where shots live next to their references and connect to their downstream chains, you cannot reason about the sequence. You generate clips, dump them in a folder, and hope they edit together.
Why Martini is different
Martini's canvas is built around the storyboard. Lay out your shots as a row of nodes — one per cut — and feed each one the references it needs: a character image for continuity, a style reference for grading, a prior frame for hand-off. The visual layout matches the way directors and editors actually think about scenes, and every shot's lineage is traceable back to its source.
Reference fanout is the consistency engine. The same character image plugs into every shot node, so Sora 2 sees the talent on shot one, Kling 3 sees the same talent on shot four, and the subject does not morph between cuts. Style references and prior-frame chains keep the look continuous — your scene reads as one location, one person, one moment, even when different models render different shots.
Frame chaining bridges the cuts. The last frame of one clip becomes the first frame of the next, so motion and composition hand off cleanly instead of cutting cold. Combine that with character and style references, and a multi-shot sequence stops looking like generated clips bolted together and starts looking like cinematography.
Common use cases
Narrative short film with continuous characters
Build a 1-3 minute short with eight to twenty shots, locking the same talent and location across every cut.
Episodic social series with recurring characters
Run a recurring AI character across a TikTok or Reels series so audiences recognize the same persona across every episode.
Narrative ad with hero, b-roll, and resolution
Sequence an opening establishing shot, hero product cuts, talent reactions, and a closing tag — all in one canvas.
Music video with scene continuity
Plan a multi-location music video where the artist, costume, and color grade hold across the cuts.
Branded explainer with spokesperson continuity
Keep your spokesperson identical from intro to outro across multiple takes, locations, and camera angles.
Pre-vis for live-action production
Block out a multi-shot scene with consistent character and location before committing crew and gear to a shoot day.
Recommended model stack
sora-2
videoLong-take coherence and multi-shot continuity in one generation.
kling-3
videoCinematic camera moves and strong character adherence shot to shot.
seedance-2
videoReference-locked motion for hero and product cuts inside the sequence.
vidu
videoReference-driven generation for character continuity across cuts.
nano-banana-2
imageStoryboard frames with locked character identity to feed the video chain.
How the workflow works in Martini
- 1
1. Lay out your storyboard nodes
Drop one image or video node per shot in the order they appear in the cut. Label each node with the shot intent — establishing, hero, reaction, insert — so the canvas reads like a board.
- 2
2. Pin character and style references
Add your character reference image and any style or location references as anchor nodes. Wire them into every shot node that needs them so the subject stays identical across cuts.
- 3
3. Pick a model per shot
Use Sora 2 for long establishing takes, Kling 3 for cinematic camera moves, Seedance 2 for hero product or talent shots, Vidu for tight character continuity. Mix per shot intent.
- 4
4. Chain prior frames into next shots
For continuous action, take the last frame of shot one and feed it as the reference for shot two. Frame chaining hands off motion and composition instead of jumping cold between cuts.
- 5
5. Review the sequence end-to-end
Connect all shots into a sequence builder and watch the cut. Identify where character drifts, where lighting jumps, or where the cut feels disconnected — re-run only the offending shots, not the whole sequence.
- 6
6. Export the multi-shot cut
NLE export drops the sequence into Premiere Pro, DaVinci Resolve, or Final Cut Pro as one timeline at clean frame rates — ready for grading and final mix.
Example workflow
A creative team is producing a 45-second narrative ad with eight shots — a wide establishing of a kitchen, three spokesperson close-ups, two product hero cuts, a reaction insert, and a closing tag. They drop a character reference of the spokesperson and a style reference of the brand kitchen onto the canvas. Eight shot nodes line up left to right. Sora 2 handles the wide for its long-take coherence, Kling 3 handles the spokesperson close-ups for camera language, Seedance 2 handles the product cuts, and Vidu locks the reaction insert to the same talent. The last frame of each spokesperson shot feeds the next so the action threads. Sequence builder assembles the cut, NLE export drops it into Premiere as one timeline. The spokesperson is the same person in every frame.
Tips and common mistakes
Tips
- Plan the shot list before opening the canvas. The order of nodes should mirror the order of the cut — don't generate first and re-arrange after.
- Use one strong character reference and feed it into every shot. Multiple references confuse the model and worsen drift.
- Mix models per shot intent. The model that nails a wide is rarely the model that nails a close-up.
- Chain prior frames for continuous action; use only character/style references for cuts that jump in space or time.
- Re-run only the shots that fail review. Treat the canvas like a real edit suite — surgical fixes, not full re-renders.
Common mistakes
- Trying to generate the whole scene as one long take. Past 8-10 seconds, drift compounds — chain shorter shots instead.
- Using different character references across shots and hoping the model figures it out. It will not. One reference, fed everywhere.
- Picking one model and forcing every shot through it. Model strengths vary — match the model to the shot, not the other way around.
- Skipping the sequence builder review. The cut tells you which shots are broken; individual clip review hides continuity gaps.
- Treating multi-shot work as eight separate generations. The canvas is the sequence — work it like a board, not like a folder of clips.
Related how-to guides
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Luma
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Related docs
Related reading
Comparisons
Frequently asked questions
How many shots can I sequence on one canvas?
There is no hard cap from the canvas itself. Practical limits come from generation budget and review time. Most production teams sequence 8-30 shots per canvas for a 30-second to 2-minute deliverable, and break longer pieces into per-scene canvases that export and combine in the NLE.
Which model has the best shot-to-shot character consistency?
Sora 2 leads for multi-shot coherence within a single generation. For chained shots across separate generations, Kling 3 with a strong character reference and Vidu both hold the subject well. For maximum control, lock the character upstream with Nano Banana 2 image generations and feed those into the video nodes.
Can I keep the same location across shots?
Yes. Add a style or location reference as an anchor node and wire it into every shot node that lives in that environment. Combined with a character reference, the canvas treats the entire sequence as one continuous scene rather than a stack of unrelated generations.
What if one shot doesn't match the others?
Re-run only that shot. The canvas remembers all upstream connections, so swapping the model or prompt on a single shot node leaves the rest of the sequence untouched. This is much faster than the full-pipeline re-runs that single-clip tools force.
Will the multi-shot cut export as one timeline?
Yes. NLE export bundles all sequenced shots into a single Premiere, DaVinci, or Final Cut timeline at consistent frame rate and codec. Your editor opens the cut as one piece of footage, not as eight orphan MP4s to re-link by hand.
How is this different from Runway scenes?
Runway's scene tools are model-locked to its own engines. Martini lets you mix Sora 2, Kling 3, Seedance 2, Vidu, and others within the same multi-shot sequence — so each cut runs on the model that handles it best, not the model your tool happens to ship.
Build it on the canvas
Open Martini and wire this workflow up in minutes. Free to start — no card required.