▊ INITIALISING STAGE
SWIMMER PARTY — SYNTHETIC TALENT HOUSE
Every one of them carries a serial number, a revision, an expression set and a licensable performance range. Manufactured, not lucky.
Everyone here has a number and a revision. The revision is not decoration — it counts how many times this character was torn up and rebuilt. Where there is no delivered plate, we say so.
Broke, tired, and still the most reasonable man in the room.
CG ACTOR / NOT A REAL PERSON
Night shift. Sees everything. Says almost nothing.
CG ACTOR / NOT A REAL PERSON
Russian face. Chongqing mouth. Will not lie to you.
CG ACTOR / NOT A REAL PERSON
Came back fluent in everything except how it works here.
CG ACTOR / NOT A REAL PERSON
Runs forty riders. Every one of them is younger and faster than he is.
CG ACTOR / NOT A REAL PERSON
Does everyone's last makeup. Has no patience left for small talk.
CG ACTOR / NOT A REAL PERSON
Nineteen years in the passenger seat. His brake foot works better than yours.
CG ACTOR / NOT A REAL PERSON
Someone else is on camera. Every button behind it is hers.
CG ACTOR / NOT A REAL PERSON
Eight hundred weddings blessed. He hosted his own.
CG ACTOR / NOT A REAL PERSON
Opens every door in the city. Won't change his own lock.
CG ACTOR / NOT A REAL PERSON
Three hundred viewings shown. She sleeps in a partition inside the smallest one.
CG ACTOR / NOT A REAL PERSON
Remembers every licence plate. And everyone who won't say hello back.
CG ACTOR / NOT A REAL PERSON
THE STANCE
Every actor here is animated. CG, drawn, obviously not a person — you can tell in a second, and you are supposed to. Not because photoreal is out of reach. Because we are not going there, and we are not letting anyone take our characters there either.
This is not 'generate a picture with AI'. It is a production line with rework, reversals and a cull.
Decide how this person thinks before deciding what they look like. Build it the other way round and the character dies by the third film.
Build, proportion and range of motion are locked on the white model first. Get this layer wrong and every later revision is rework.
Face, hair, wardrobe, expression set. Multi-reference locks one person down — across ten films he has to be the same face.
Put them in a scene. The ones who hold stay on the roster; the ones who do not go back in. The revision number is how many times that happened.
An actor becomes worth something by being used. So we hand you the same character seed we use ourselves — paste it into any model and you get this person, not a lookalike. Free, no permission needed.
K-01
CHARACTER SEED
TXT / PROMPT
The paragraph we ourselves paste into an image model to get this exact person. Face, build, wardrobe, lighting and the invariants that keep them the same person across ten films.
K-02
VOICE & REGISTER
TXT
How this actor talks: speed, accent under pressure, what they never say, and the beat they hold instead. Feed it to a writing model and the dialogue stops sounding generic.
K-03
NEGATIVE LIST
TXT
The things that break the character on sight — wrong age band, wrong glamour level, a lamp painted into the rim light. It opens with the line that matters most: do not render as a real human. Half of holding a face steady is knowing what to forbid.
K-04
REFERENCE PLATES
WEBP / 2K
Front, three-quarter and side on seamless black. Multi-reference is the only thing that actually holds a face across generations; one image is a coin flip. Delivered per actor — the roster below says exactly who has which angles.
Five things we are willing to say in public about who gets paid. Written down so you can hold us to them.
The first films are still being made. No invented numbers, no invented clients, no invented view counts — one goes live, one goes up.
W-01
▊ SHOOTING
A man who takes 'I do not lie' seriously tells his first lie — to save the last scrap of dignity of a man who wanted to hit him ten minutes ago, in front of that man's mother. The lie then forces two disasters to actually learn English.
Absurdist street comedy · 3–5 min per episode
W-02
▊ WRITING
Three in the morning at a convenience store is the best observation post in the city. She never comments — she just holds your eye half a second too long when she pushes the change back.
Deadpan short series · 2–3 min per episode
WE DO NOT CAST ACTORS. WE BUILD THEM.
License a roster actor, commission your own, or co-produce. Three doors, all open. Bring a film, a brand, or just an idea.
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