FLAM

Shipped

Every change to FLAM, newest first — what a creative director can now do, in the language of the studio rather than the release notes.

  1. NewSharperEvery plan

    One thumb

    FLAM now works on a phone the way a phone works. Four tabs at the bottom, the chat in the middle of them, the room you are in named at the top — and nothing scrolls sideways any more.

    • The two sideways strips are gone. Reaching a room used to mean scrolling two rows off the edge of the screen. Now four tabs sit at the bottom — Setup, Make, Yours, Explore — and the top bar names the room you are in. Tap that name and every room is there, with your own collections under it.
    • The chat is one thumb from anywhere, and it knows when to step aside. Ask for something and the sheet drops on its own so you can watch the work happen, keeping one line running that tells you what just landed. It rises again only when there is a price for you to answer. And the moment you move the sheet with your own hand, the house stops moving it.
    • A run you can actually watch. The desktop shows every frame in a grid; a phone cannot. So the phone draws the workflow's shape once — the steps, the split where one piece becomes four colourways, the rejoin — and the frames travel through it. A skipped frame says why it was skipped, and is never charged.
    • Pieces go to the house by tapping, because a thumb has no drag. Tap the pieces you want, the count appears on the house's button, and one more tap hands them over. Nothing is sent until you say what you want done with them.
    • The keyboard never covers what you are typing in, everything you can press is sized for a finger, and the screen's edges hold on every device. This is FLAM in your phone's browser — nothing to install.
  2. NewSharperEvery plan

    The direction language

    A model caught mid-stride across a warm grey studio sweep, with a strip of magenta tape marking the direction of travel.

    Choose a named posture with a real photographic reference, and the lookbook carries its physical direction into every frame instead of asking an image model to invent a pose from a mood word.

    • Every posture names checkable geometry: where the weight sits, what the hands do, whether the feet are planted or moving, and how the torso and head turn.
    • The card's photograph rides the develop as a reference, so the model sees the same direction the director chose.
    • The judge reads the resulting frame against those physical phrases, while refusing subjective carriage claims its readers could not measure reliably.
  3. NewEvery plan

    Your sizes

    Name the places you publish to once, in your own words, and every frame you take lands on their exact pixels as a light file. Twelve frames drop from 47 MB to about 4 MB, and it costs nothing because it happens in your browser.

    • One frame, several sizes, one develop. A house that needed the same look on its product page, in its grid and in a story ran three develops and paid three times for pixels it already owned. The second, third and fourth now come out of the first.
    • The house already had these exact pixels. It had eleven of them, filed under names like ecom-packshot and web-tile, and no house on earth calls its product page a web-tile. This did not add a catalogue — it let you rename the one that already existed.
    • The house says what a cut costs and refuses the ones that are too expensive. Under two percent it says nothing. Over twelve percent it will not cut at all, because a 16:9 banner taken out of a portrait frame loses more than half the long edge, and that is a decapitated model on your own front page. The refusal arrives as an offer with a price you tap, never a charge.
    • Originals is the first door. That is about provenance, not taste: every finished frame carries a signed record of how it was made, and a light copy made in your browser cannot carry it. So the light file is a door you choose, never a default that quietly removes something.
    • Resizing is free, and it cannot become anything else. It happens in your own browser and reaches no queue, no provider and no ledger. There is no price for it because there is nothing to price.
  4. NewEvery plan

    The send

    Choose frames, mint a link, and a brand's decision-maker opens it with no account — walks your frames at full quality, keeps or passes each one, and circles what is wrong with a thumb. Every word of it lands in your library instead of in an email nobody in your house can see.

    • You already zip a folder and paste a link. That part works. What does not work is the answer: it comes back as a sentence in a thread the house cannot see, and nothing you own is any wiser for it. Now the answer is a row on the frame.
    • The house tells you something first. If any of the frames you chose carry a mark from its own read, the sheet says so before it asks you anything else — because every one of them was read minutes before you opened the tab. A file transfer cannot know that three of your fourteen have a drawn hand in them.
    • They circle what is wrong with one drag, and leave a line beside it. The ink is numbered on the image itself, so the first mark and its note are one fact, not a paragraph you have to match up. A circle drawn with a thumb on a phone lands on the same collar on a 5K display.
    • Their marks are evidence. Your approval is the decision, and nothing sets it for you — not a unanimous keep, not a perfect score from the house. It works with no sends at all, because most approvals happen on a phone call. A collection then tells you the one number that matters: how many pieces still have no approved frame.
    • The link lives 30 days and closes in one tap. It cannot be guessed, and it never reaches a server log — the token lives after the hash in the URL, the part browsers never send anywhere. Revoking stops new reads; it cannot un-download what someone already took, and we would rather say that than let you find out.
    • The whole thing costs nothing. Not the link, not the frames, not the download, not the answers coming back.
  5. NewSharperEvery plan

    How it's worn

    A flatlay never says whether the shirt is meant to hang off the shoulder or sit on it, and it never says who it is cut for. The house now reads both off the photograph as the piece lands — free, in the same look that already names it — writes them on the piece instead of the job, and marks only the ones it had to guess at.

    • How a piece is worn is now a fact of the PIECE, not of one submission. Try-on used to ask on every single job and forget the answer the moment the frame landed; the lookbook, which is where a garment actually meets a model across a whole collection, never asked at all. Say it once and it rides every frame that piece is ever in.
    • You do not fill anything in. The read that already names your uploads now returns how the garment is cut in the same breath, for the same zero tokens — open a piece and the card says “worn oversized · cut for women” before it asks you anything. There is no button and nothing new is charged.
    • The magenta is only on what the house guessed. A fitted blazer and an oversized tee have unmistakable silhouettes and are stated plainly. The middle of the axis is honestly harder — a shirt with two extra inches of ease is true to size to one buyer and loose to another, and on a flatlay it is one photograph — so every middle read carries the mark, and so does anything read off a piece already on a body.
    • The house never guesses unisex. Button side, shoulder proportion, neckline and darts are visible facts. Unisex is a decision your merchandising team made, and no photograph contains it. That word is yours to say, and the read will not put it in your mouth.
    • The cut goes into the sentence the model reads: “the cropped white tee shown in reference image 1, a men's cut worn oversized”. A piece nobody has read adds no words at all, so a look of unread pieces compiles exactly the prompt it compiled yesterday. And because the instruction is now in the brief, the judge grades against it for free — a frame briefed oversized and rendered skin-tight ignored what it was told.
    • Packshots arrive pre-answered. The ghost form is built for the body the garment is cut for, without you setting anything, and it stays guidance rather than a refusal. A men's jacket on a female model is a real styling choice and it develops.
    • You can also just say it. “The linen shirt is meant to be worn loose” in the chat writes it onto the piece; the house does not send you to find a screen.
  6. NewSharperEvery plan

    The hero piece

    A lookbook is shot to sell something, and until now nothing in a look said what. Star one piece on the cast and the set comes back with a close-up of that piece on the model, named as the subject of its frame and graded against its own photograph.

    • The close-up frame's own instructions used to read the garment. On a look carrying a coat, a knit and a skirt, that named none of them — so the image model picked, and picked differently on every frame of the same lookbook. Now the frame says which piece it is for, by name, with its reference image.
    • You pick the piece, the house picks the crop. You are never asked which framing you want: a coat or a dress gets fabric detail, shoes get shoes and hem, and a bag or a necklace gets carried and brought forward, because the two tighter crops cannot show a bag at all. Furniture is never offered the star.
    • The house was grading the close-up against the wrong picture. Four references ride a reading, and the arithmetic dropped the hero garment — so the tightest frame in the lookbook was held to a full-body frame of the same look rather than to the piece it sells. On a hero frame the piece now outranks everything but the model.
    • One star, one frame, thirteen tokens more at the standard size, and you see the total move before you confirm. The frame joins the proposal you confirm and is never appended to a develop request behind you. Nothing new is priced, and the reading stays free.
    • A look with no star compiles exactly what it compiled yesterday, byte for byte.
  7. NewEvery plan

    The house's set

    Your own furniture is castable, and the house counts what you shoot on. Open a new lookbook and it may offer the piece your last three were shot on, before you have chosen anything — one tap, nothing billed.

    • A set piece is a kind of its own, beside clothes, models, grounds and marks. Cast the velvet sofa like a bag and it rides every frame held to its own photograph: same form, same proportions, same materials. Not a plausible sofa. That sofa.
    • The house opens your next lookbook with the piece already suggested. Nothing in the house persisted across lookbooks except the model, so a house that shot on its own sofa four times running had told us four times and we had learned nothing — while the answer sat in a column the index already reads.
    • It is offered only while the piece appears in two of your last three lookbooks. The window is counted in lookbooks rather than days, because a house that shoots twice a year would never clear a day window. There is no settings screen and no stored preference: declining adds no cast, so two declines push the piece below its own threshold and it stops being offered.
    • A seated pose and a seat are a pair: either both reach the frame or neither does. With your sofa cast, the frame's own header names it instead of the studio floor. With none cast, the pose yields and she sits on the floor rather than on furniture nobody owns — and the frame records that it happened.
    • Nothing new is billed. Uploading a sofa is an ordinary upload, casting it is a decision, and it rides a frame you are already paying for.
  8. NewEvery plan

    The library at scale

    A thousand pieces stopped being a wall to scroll and became a surface to operate: a list view that sorts and takes whole runs in one gesture, a bar that says what the house already knows about your selection, and one summed price before a token moves.

    • Two views of one library, and the toggle is yours. The wall stays for looking; the list is for working — it sorts by any column, holds a thousand rows without strain, and ⇧-click chooses every row between your anchor and the click.
    • The bar's first line is the count and the two facts you would otherwise count yourself: how many of the chosen pieces nobody has read yet, and how many are a front with no back anywhere in their group. Both were already held — the judge's verdicts, the house's groups — and rendered nowhere. The no-back count carries the one magenta, because a piece with no back cannot ship.
    • Paid batch work is quoted once, before anything runs. The house sums the price book over the selection on the server and answers with one sentence — 3 pieces · background removal · 6 tokens — and nothing is spent until you answer it. Background removal is 2 tokens a piece, the price book's own row.
    • The quote is live today; the paid batch run it prices lands with the capture path, next. The sentence is exact and the order of events is the promise: the price first, always.
  9. NewSharperEvery plan

    The look's props

    A necklace and a pair of drops in one look used to compile the same sentence twice, pointing at two different photographs. Every piece now travels under the name your library already knows it by — and so does your own furniture, which is castable for the first time and held to its own photograph.

    • Your pieces ride the frame by NAME, not by category. “The gold chain shown in reference image 2” and “the pearl drops shown in reference image 3” instead of “the jewelry” twice. You never type it: every upload is already read and named when it lands, and a piece that never got a usable name falls back to its role rather than putting a filename in front of the model.
    • The house shows how it filed each piece you chose, and marks only the ones it GUESSED at. A scarf, a belt and a hat all arrive as clothes and get filed as the outfit — that is the one worth correcting, and it is the only place colour appears. A look read confidently shows none.
    • Your own furniture is castable. A sofa, a stool, the one chair: it rides as an object standing in the room rather than something worn, it is held to its own photograph, and it costs one of your six like any other piece — it never quietly yields to make room for something else.
    • And when you cast no furniture, none appears. A look with nothing cast now carries an explicit instruction against inventing a chair, which is why the same shoot used to come back with four different stools across four frames: a seated pose implies a seat, and nobody had told the model it could not imagine one.
    • The judge stopped being asked about what it cannot see. “Is this your model?” is the heaviest thing we grade, and it was still being asked on the rare frame whose model photograph was dropped for size before the reading began — a question with nothing to compare against returns silence, and silence scores a clean 100. Withdrawn now when its subject is absent, the same way the mark's and the pose's already were.
    • A swapped piece is described as a piece. The verdict always read “not the piece you sent”, but the fix sent back to the model said “same neckline, sleeves, length” — about a necklace. It now says the same object, the same shape, the same materials, which is true of a dress, a chain, a bag and a sofa alike.
  10. NewEvery plan

    The brand's mark

    Photograph your logo as it really appears — embossed on calf, woven into a label, foil on a swing tag — and one or two renditions ride every lookbook frame as reference images. Not to place the mark anywhere: so the mark your piece already carries comes back exactly as it is, and a redrawn logo is a mark on the frame instead of a clean score.

    • A rendition is the mark ON a material, not flat on white — a model given only the flat version renders a sticker. It is the ground truth for a logo your piece already carries, never an instruction to add one: a piece that shows the mark is held to the photograph, a plain piece stays plain.
    • At most two renditions travel with a frame, lowest first, and the panel says which. Past two, the reference budget is spent telling the model one thing twice while its attention thins.
    • A collection can carry its own set — foil where the main line embosses — and it answers whole, never merged. Two finishes in one request is a contradiction a model resolves by inventing a third that exists on neither piece.
    • Until now the judge's mark question was unanswerable by construction: it was asked to compare against a reference that never arrived, and a comparison with nothing to compare against is a guaranteed pass. Now the mark rides between the pieces and the model, and the question is only asked on frames where it did.
  11. NewEvery plan

    Her range and her build

    A digitals sheet locks a face and nothing below the shoulders, so the house now says so and offers the two sheets that close the gap: her expressions, and her full length in the words a call sheet actually carries.

    • The offer arrives once, after the sheet hangs, and never before it. Her range, her build, both, or not now - and not now costs nothing and is not asked again in the same session. It is also on the model's own call sheet under Her range and her build, for a model you cast last week or one you said no to at the time. Only on models you brought.
    • Her range is a second 2x2 of the same person wearing four expressions - a calm neutral, a closed-mouth smile, an open smile with teeth, and a serious editorial look. Ask a brief for a smile and the house now has one of hers instead of inventing a stranger's. It is marked through its own glasses: a panel not wearing the mood its position was briefed for is a mark, and a panel that is smiling is not - that is the whole point of the sheet.
    • Her build is two full-length panels, a straight-on front and a full side profile, head to feet. It needs one photograph of the whole person, and it checks the ones you already gave before it asks for one - that look is free and it happens before any card appears. Then it reads the body for 1 token and hands you the card in casting words: height, build, presence, posture, hands. Every field is yours to correct in a sentence, and a field it could not see comes back empty and stays empty.
    • Both sheets are quoted before anything moves, at the same price as the first: 13 tokens at full size, 9 at the smaller. They join the same row in order - the collage still first, because it is what every develop locks the face to - and the casting words merge onto the model rather than replacing what is there, so a build read can never erase the face read.
  12. NewEvery plan

    Bring your own model

    Drop two to four photographs of a person into the chat and the house casts them: it looks at what you brought for nothing, reads the face for one token, quotes the sheet before anything moves, and hangs a four-view digitals sheet on your rail that every later frame can cast.

    • The house looks before it charges. Your photographs are inspected free through the casting lens, and what comes back is about your frames, not about our checks: “the model will not look like one person”, “the collage will invent a face instead of hers”. A finding that blocks holds everything behind it — no read, no quote, nothing billed — until you swap the frame or drop a different set.
    • Then it reads the person and hands you the card filled in: gender, age, hair, eyes, skin. Yours to change, and what you change is what goes into the sheet, word for word. Gender is always a real question on the card and never something the read answers. That read is 1 token, said out loud before you drop anything.
    • The quote itemises both lines — the token already spent, and 13 for the sheet at full size or 9 at the smaller. Full size is the default because a 2×2 at the smaller one gives each panel about 512 pixels of face. Nothing moves until you confirm, and the price is the ordinary develop price: a sheet is one image generation, and there is no casting fee.
    • The sheet is marked before you open it, by the judge wearing different glasses — is it a 2×2, do the four panels agree on the person, is the hair over an ear, is she smiling on a sheet that is meant to be neutral. Say what you saw and it develops again with your sentence ranked above everything else in the brief, at the ordinary price. Approve it and it walks to your casting rail, castable everywhere a model goes.
  13. NewEvery plan

    Another take: say it to the room

    Twelve frames land and four are not what you had in mind: point at those four, say why in one sentence — “warmer light, and let her look off camera” — and take them again at one stated price, with the same line waiting on the shoot before it develops.

    • One line on packshots and lookbooks, before and after the develop: Say it to the room. Say it the way you would across a set, and when you stop, the house answers with what it will hold unchanged — “Held: the cast, the garments, quiet luxury, the bone ground, full length.” Every noun is read from the choices you already made, never from your sentence.
    • Point at frames and the count rewrites in place: 4 frames · 52 tokens. The verb asks twice — Another take · 52 tokens, then Confirm · 52 tokens — and a second take is paid at the normal price, stated before you press it. Each retaken frame develops over its own earlier pass, the strip beneath it reads Take 2 of 3, and the frames you kept never move.
    • Call for the same thing on four shoots and the house offers to keep it standing — quoting all four of your sentences with their shoots and dates, scoped to the kind of shot you asked it on. Four lookbook shoots make a note that stands on lookbooks, never on everything you develop. On its own the house writes nothing; a sentence stands only because you said keep it.
    • The call sheet lists everything the house does without being asked: each note with its scope in your words, the shoots it was learned from, and the date it began. Switch one off in one gesture — no dialog, the row greys in place and stays listed. Under any frame, What shaped this names exactly what applied.
  14. NewEvery plan

    Come back, and the house tells you what it thinks

    A develop finishes while you are out and the house now tells you what it thinks of your frames before you have opened them — where it would look on the days it isn't sure, and when to stop paying for another pass.

    • One line in the chat, only after you were away: “Nocturne came up. The third one is the one — it's the only one that came back clean.” It waits thirty seconds, says nothing if you watched the frames land, holds while your caret is in a field, and speaks at most twice a session. The moment it speaks, the board's hairline goes dark and the corner plate lights — never both at once.
    • On the day it isn't sure it changes what it says, not how firmly: “I'd look at the second one before any of these leave the building.” No maybe, no button, no price. Below even that, silence — the board's count line is the whole message.
    • It will talk you out of spending: two passes of one frame inside noise gets “I'd stop here — a third pass moves this by nothing”, with nothing to press. And a develop that broke tells you your tokens are back — the one line that still arrives after you have told the house to be quiet.
    • Being spoken to is free, always. Anything a line offers carries its exact price on the button and charges only when you confirm. “Not now” drops that subject for the session; typing “quiet” stops the unprompted lines. Either way the row is still on the board, dated, with its destination.
  15. NewSharperEvery plan

    Four taps to ask for an invitation, and the house never asks twice

    Asking for an invitation is four taps and your name. The required paragraph about your collection is gone, and whatever you answer at the door is what we set the account up from — so once you are inside, nothing asks you the same thing again.

    • The card asks what a jeweller, a studio and a creator for hire can each answer without guessing what we wanted: which of these is you, how many pieces go out in a month, what brought you here, what you already make with AI. A fifth opens only if you are already making some of it, and “Say it your way →” is the only answer anywhere that you type. Your name and where we write back come last, under a hairline, after the questions rather than before them.
    • If you hold a code, the house uses the wait you were already having. Redeem it, choose a passphrase, and while the confirmation mail is in flight it asks two things, one at a time, on the screen you were sitting on anyway. “show me instead →” is beside the first answer at the same size and the same weight, and taking it is never mentioned again.
    • Then the studio asks nothing at all. It says your answer back to you first: “You said 20 – 100 at the door.” Then the offer. Answer at one door and every other door is quiet; answer twice and the first answer is the one we keep.
    • The answers change the work, not the wording. Your monthly volume decides how many frames the first offer holds, at what size and for what price. What brought you here decides what the frame is: a lookbook frame on a model, or a packshot cut clean on white. And a studio or a creator for hire is never told a client's coat is theirs.
  16. NewEditorial & up

    The cinema: press Develop and watch the line split

    Press Develop on a workflow and you stay exactly where you are: the line you built becomes the run itself — every frame it will make already on screen — and you watch each piece split into its variations, each new frame drawn out of the one it came from.

    • The whole run is on screen before the first frame develops. The house decides every frame at the start and says the shape in one line — 24 frames from 6 shirts — then holds each one as a hollow slot until its turn. Nothing pops in: a new frame is drawn out of the one it came from, thread first, then the picture.
    • No percentage, no bar. A developing frame has nothing honest to report until it resolves, so the house films arrival: a frame is hollow, then breathing, then there. One quiet line above the reel says what is moving — 5 developing · the oldest for 4 min.
    • A piece the house declines to touch says so in your own word. A shirt that is already ruby reads already ruby on the line, the thread runs straight through, and that lane still ends in a picture — nothing needed doing.
    • One failed frame ends its own lane and nothing else: its hold is released, and what already developed stays yours. Stop is one press, no dialog, and it answers exactly — what stopped, what was already developing and will finish and still cost, and what was released in tokens.
  17. NewFixedEvery plan

    Your first frame, before you have uploaded anything

    Sign in for the first time and there are already sixteen pieces hanging in a collection you name in one keystroke — read for free before you press anything — and exactly one thing worth doing next, with its price on the button.

    • The pieces are the house's, and the rows are yours. They arrive under FROM THE HOUSE, and you develop, rename and delete them like your own. The house reads them without being asked and says what it sees: “Most are phone photos off a stockroom rail: hung on a pole, tags still on, a bag in the corner. Not studio work.” No button, no tokens, and it never holds up the first frame.
    • One question, one tap, asked once ever: how many pieces go out in a month? Tap 100+ and the offer becomes four frames on one locked setup, 36 tokens. Tap under 20 and it becomes one frame at full size, 13 tokens. “show me instead →” sits beside them at the same weight and costs you nothing. What you answered is on your Settings page afterwards, in your words, with a change beside it.
    • Your frame comes up in the conversation, not only in the Darkroom — and the house asks before it moves you anywhere, because a move is free and never goes through the price card. When it puts a mark on the frame it asks what you see, and the sentence you write is carried into the next pass. Keep it and it hangs in the collection you named.
    • And three things that were broken on the way in: the packshots card on the studio home led to a 404, a second press of Develop could fan out a second charge, and the token count in the header stayed stale until you reloaded.
  18. NewEvery plan

    Walk away, and the house tells you what happened

    A develop takes minutes, so leave — when the frames land, a hairline in the studio header turns magenta and holds one line for you: what finished, and how many frames need you.

    • The line is the work, not a job number: “Nocturne, FW25 — 12 frames. 3 need you.” Press it and you land in the Darkroom in front of exactly those three, already marked and already scrolled to.
    • It never speaks the moment a develop closes. It waits thirty seconds — and if you were sitting there watching those frames land, it never speaks at all. The board only lights for something you actually missed.
    • Those same thirty seconds are the ones the house spends looking at your frames, which is why the line can say “3 need you” instead of “your job is done”.
    • “Mark all read” deletes nothing. The rows stay, dated, under Today / Yesterday / Earlier — and reading is per person, so nobody else in your house can clear your board for you.
  19. NewEvery plan

    We ask before you spend, and after we mark your frame

    Drop your references into a workflow and the house reads them before a token moves, naming what will show up in the result — and when it puts a mark on a frame, it asks you in one click whether it called that right.

    • Pre-flight reads up to six references the moment you drop them and says what will fight the develop — “There is no room to compose the shot,” on frames 1 and 2. No tokens, and it never blocks: develop whenever you like.
    • Three of the eight things it can find are evened out in your browser, on your machine, in one press — uneven light, a colour cast, a baked-in shadow. Then the same inspection looks again and tells you what is still there. We do not report our own success.
    • Under a mark on your frame: “Did we call this right?” Yes or No. One click, no dialog and no rating. Say No and the magenta withdraws from the mark, the line goes quiet, and the house says it got that one wrong. A sentence is offered only if you reach for it.
    • Your answer changes nothing about your frame, its score or its price. It is how we find out whether our own flag is worth trusting — “the judge flags a third of packshots” and “the judge is wrong about a third of what it flags” are different sentences, and only you can say which is true.
  20. NewEvery plan

    Every frame is looked at before you open it

    A frame that lands in the Darkroom now reads checking, then either checked or the marks on it — so you can point at the one frame that needs you instead of proof-reading twenty tiles.

    • Free. Looking at the frame costs no tokens, runs after the frame is already yours, and cannot delay or fail a develop.
    • Twelve marks, each one a place on your frame and a plain predicate: “Left hand — drawn wrong.” Never a defect code, never the model's own prose.
    • It compares against what you gave us — your model, your garments, your logo, and the brief compiled from your choices. Two of the twelve marks are the house admitting its own miss.
    • Draw it again is priced on the verb before you press it, at the normal price, with the correction already carried and the earlier passes still walkable. When the miss was ours, no redraw is offered at all.
  21. NewEditorial & up

    The API: the same develop, started from your own system

    A develop you start from your own service is the develop a director starts in the studio: same routes, same ledger, same frames. Submit the job, take the id, and listen.

    • One URL describes the whole surface as OpenAPI 3.1, and every route ships with a runnable request that CI checks. A route nobody can call is a promise nobody can keep.
    • Long work does not block. Submit, take the job id, and listen. The socket is addressed to your organization, not to a seat, so a run one person started is watchable from another.
    • Tokens are held before anything is queued, settled when the frame lands and released when it fails. An interrupted develop costs nothing.
    • A purchase becomes yours when the payment webhook lands, never when the browser comes back.
    • An organization key opens every route your session opens, and POST /api/mcp gives an agent six tools that commission a develop from asset ids. A key cannot spend money or invite a seat — that stays with a person. Outbound webhooks are still designed and not built, and the docs say which is which.
  22. SharperEvery plan

    Pick the quality and the exact pixels

    Quality is what costs tokens and size is where the frame is going, so you now choose both: develop at 1K, 2K or 4K, then fit to the exact dimensions your site or your marketplace listing asks for.

    • 9, 13 or 19 tokens for 1K, 2K, 4K, stated before you commit and identical to what settles afterwards.
    • The house develops at the nearest tier above your size and fits down, so a 1440×1800 product frame never costs 4K money.
    • Tokens meter developing and nothing else. A model, a ground or a preset is bought once, at a price you see first.
  23. NewEditorial & up

    Workflows: a line of steps that runs itself

    Drag a folder in, set the steps on a line, and the house works through every piece in the order you put them: fit, recolour, upscale, compress.

    • The line is literal. Steps sit left to right in the order they run, and you drag to reorder them.
    • The red variation is skipped on the shirt that is already red, and the step tells you so rather than quietly doing nothing.
    • The whole line is costed before it starts, broken down by step.
  24. NewEvery plan

    Casting: a board of models, or bring your own

    Cast the way you would cast a shoot: browse the board, see a face at full size, and take the one the collection wants.

    • A model is a collage of several views of one person, which is what holds a face steady across a whole lookbook.
    • Bring your own: upload a handful of photographs and the house composes the collage. Never a single headshot.
    • Some faces are free, some are exclusive. You buy one once, at a stated price, and it stays yours under your purchases.
  25. NewEvery plan

    Grounds: a shortlist of sets, not a colour picker

    Backgrounds are real sets now: 5 studio sweeps in white, warm grey, bone, slate and concrete, then 6 scenes for when a collection wants a place rather than a plane.

    • Every ground is a photographed set, floor and wall meeting on a line you cannot see.
    • The ground is chosen once for a lookbook and holds across every frame, which is most of what makes a set read as one shoot.
    • A shortlist on purpose. Infinite choice is not a feature when the 11 that work are already here.
  26. NewEvery plan

    Collections: drag the whole season in, and the house sorts it

    Make a folder and drop in whatever you have — flat lays, phone photographs, packshots, hung garments, whole sub-folders — and the house reads each frame, tags it, and proposes which pieces are the same garment seen from another angle.

    • Drag in single files, whole folders, or a selection of both.
    • Front and back of the same shirt come back as one piece, matched on SKU where you have one.
    • The review sheet shows every proposal before anything is filed. The house suggests, you decide.
  27. NewEvery plan

    Packshots: the whole rail, at catalogue standard

    Drag in what you shot and take back clean catalogue frames: hanger, flat lay or ghost mannequin, on the ground you choose, at the angles you need, for one piece or for 400.

    • Merge several angles of one garment into a single piece, so a set of frames stays a set instead of 4 unrelated files.
    • Steamed or as-is, contact shadow on or off. Those two judgements decide whether a packshot looks bought or borrowed.
    • The house recognises what has already been packshotted and leaves it alone.
  28. NewEvery plan

    The Darkroom: develop many things at once, and come back to any of them

    Developing is no longer one lane you sit and watch: start a lookbook, start another, duplicate a run mid-flight, stop one, edit it and send it again, with everything in progress hanging in the Darkroom.

    • An idle screen makes no requests and still shows each frame the moment it lands.
    • Close the tab and come back tomorrow. The run is exactly where you left it.
    • Duplicate a finished run to try another ground or another model without building the setup again.
  29. NewEvery plan

    The Lookbook: lock what works, develop the rest

    Six steps and no prompt box: choose the models, choose the pieces, choose the ground, lock one reference frame, choose the variations, and develop.

    • The lock is the whole idea. One frame carries your approval, and every frame after it answers to that one.
    • Variations are chosen, not described: pose, full or medium, and a note when you want one.
    • Every stage stays clickable in the breadcrumb, so a decision is never trapped behind a step.
    • A medium shot does not ask you about the shoes. The house knows what will be in the frame.