Load the full script into a creative producer agent inside invideo so it holds series context; assign a storyboard agent per episode to output a shot list; let the DOP agent route each shot to the right video model; assemble the episode and use extend for beats that need more runtime.
To turn a script into shippable episodes with an ai movie maker from script, load the full script into a creative producer agent inside invideo so it holds series-wide context, assign a storyboard agent per episode to output a shot list, let a DOP agent route each shot to the right video model — Veo, Kling, or Seedance 2.0 — then assemble the cut and use extend on beats that need more runtime. A documented 3-person crew shipped a 10-episode micro-drama series in 3 days this way, at roughly $1,000 per episode.
This page covers the production workflow itself, step by step. For positioning, formats, and the full landscape of the genre, read the AI micro-drama complete guide.
The script-to-episode workflow at a glance
An ai movie maker from script works in one ordered pass: context in, shots out, episodes assembled. The same sequence applies whether you're adapting a webnovel, a spec script, or an original series bible — and it's also the fastest answer to how to make an AI short film, since a single episode and a short film are the same production unit.
- Load the full script into a creative producer agent — it becomes the series' single source of truth.
- Break each episode into scenes and shots with a storyboard agent — one sub-agent per episode, each with its own notebook.
- Generate shots via a DOP agent — it routes each shot to Veo, Kling, or Seedance 2.0 depending on what the shot needs.
- Assemble the episode and extend beats that need runtime — cut in your NLE or in invideo, end on a hook.
- Rinse for the next episode with locked context — style and character locks carry forward automatically.
Each step below is the full version.
Step 1 — Load the full script into a creative producer agent
Start by initializing a creative producer agent inside the invideo AI video generator and loading it with everything series-wide: the complete script for every episode you have, the show bible, tone notes, character descriptions, and world detail. Load the full script first — not scene-by-scene prompts. The creative producer agent functions like the executive producer of the series: it holds the big picture so every downstream sub-agent inherits it instead of re-learning it per shot. As one production note puts it: "Show Bible = single source of truth. Locked scripts = execution mode."
Store this context in the notebook attached to the creative producer agent, so it persists across sessions and sub-agents rather than living in a chat thread.
Before any video generation begins, run your pre-production pass from this same agent: generate character sheets for every character — front, side, and three-quarter angles plus facial close-ups — and reference sheets for every location, all in parallel in a single pass. Lock the finals and store them as shared context assets. Lock character reference sheets before generating frames, not after; every later iteration (costume change, lighting shift, new angle) starts from these locked base images, never from scratch.
Step 2 — Break each episode into scenes and shots with a storyboard agent
With series context locked, spin up one storyboard agent per episode. Each episode sub-agent gets its own notebook page — skipping the notebook assignment is the most common setup error, because without it the episode agent has nowhere to hold its own execution context. The structure mirrors a traditional studio: the creative producer agent is the showrunner, and each episode's sub-agent is the AD assigned to that episode.
The storyboard agent reads the episode script, understands pacing and beats, and auto-generates a shot-by-shot breakdown — that breakdown is your shooting schedule. For a typical micro-drama episode running 1.5 to 2 minutes, this is a compact list you can review in minutes. Two adjustments to make at this stage:
- Split dialogue-heavy beats. Cramming too much dialogue into a single 15-second generation breaks pacing and reduces editor control — break long exchanges into multiple shots in the breakdown.
- Storyboard high-stakes scenes first. For your most complex or expensive scenes, have the storyboard agent lay out the key frames as a single vertical composite image (GPT-Image-2 handles these frames well), which then gets attached to Seedance 2.0 as an animation reference. Lower credit spend, higher directorial control — and your creative director can approve every storyboard frame before a single credit is spent on video. The trade-off is real: a storyboard-first pass sacrifices the unexpected shots the model would generate freely, so reserve it for scenes where control matters more than surprise.
Compartmentalizing episodes into separate sub-agents also pays off in post: your edit team isn't digging through hundreds of generations to find one shot from episode 4.
Step 3 — Generate shots via a DOP agent that routes to the right model
Now assign a DOP agent to execute the shot list. Its job is model routing: every roster model — Veo, Kling, Seedance 2.0 — is available inside invideo, so the DOP agent picks per shot instead of you committing to one model for the whole episode. Broadly: Veo for dialogue and performance beats, Kling for shots that benefit from native multi-shot sequencing, and Seedance 2.0 reference-to-video wherever a shot must match an existing frame or a previous shot. The full breakdown of which model fits which shot type is covered in model routing by shot type.
The sequencing technique that holds a scene together: start every sequence with a wide establishing shot, then have each subsequent shot reference the previous video as a spatial layout reference using Seedance 2.0 reference-to-video. Same space, same lighting, same character position, shot after shot — the scene reads as one continuous location rather than a set of unrelated generations.
Two efficiency rules for the generation pass:
- Generate 3–4 options per shot. That coverage gives your editor real choices without runaway credit spend.
- Skip location references for inserts. For insert shots and passing montage beats, prompting the model directly from the script description is sufficient — no location image generation needed.
Avoid iterating on fine creative details inside the generation loop; fixing details mid-run expands production time. Approve at the storyboard stage, generate in batches, select in the edit. After a few episodes the loop stops feeling like prompting and starts feeling like directing — you're approving and selecting, not engineering prompts.
Step 4 — Assemble the episode and extend beats that need runtime
Assembly starts from the shot breakdown, so the cut order is already decided — you're selecting the best take from your 3–4 options per shot and placing them in sequence. If you edit in Premiere Pro, the invideo plugin imports generated assets directly into a bin — in one demonstrated workflow, 8 assets landed locally in a single click, no manual downloading.
Where a beat lands short — a reaction that needs to breathe, a walk that cuts too early, a held look before the turn — use extend on that clip rather than regenerating it. Extend adds runtime while preserving the shot's space and continuity, which regeneration would gamble away.
Structure the ending deliberately: micro-drama episodes live or die on the final ten seconds, and the cliffhanger structure guide covers how to engineer the out-beat that pulls viewers into the next episode. In the finishing pass, add a film grain layer in your NLE (Premiere or DaVinci Resolve) — it softens digital edges and makes AI footage read as cinematic rather than generated. If you upscale, Topaz Starlight 2.5 tested best on faces and fabrics.
Step 5 — Rinse for the next episode with locked context
Episode two starts faster than episode one, because everything you locked persists. The creative producer agent still holds the show bible, the character sheets, and the location references — you spin up the next episode's storyboard agent, point it at the next script, and the pipeline runs again with zero context rebuilding. Mid-series change like a scar or a haircut? Update the central context once and every subsequent episode inherits it automatically. The full system for maintaining faces, wardrobe, and identity across a season is in lock characters across episodes.
This structure is also what makes the workflow parallel: multiple producer sub-agents can run at once, each pulling from the same centrally uploaded show bible, scripts, and character sheets, so no one works off a different version. Team members can monitor and continue agent runs from the invideo mobile or iPad app while batches generate. Scaling formula, verbatim from a documented production: one project per series, one showrunner-level agent per project, episode sub-agents inside each — a structure that also scales for agencies running multiple series for different clients. The measured result of running it this way: "We made the microdrama production pipeline five times faster."
The strategic reason to run this loop tightly is volume. "For a Microdrama studio, the game isn't only a great script. It's shipping enough of them, fast enough, to find your winner as soon as possible." The workflow above is how a 3-person team gets there.
FAQ
Can I turn a webnovel into an AI micro-drama?
Yes — the workflow is identical, with one added step: adapt the webnovel into episodic scripts first, then load the full adapted script set into the creative producer agent along with character and world notes pulled from the source material. From that point on it runs exactly like an original script: storyboard agent per episode, DOP agent for generation, assembly with extend.
How long does one episode take to produce?
A documented 3-person crew shipped a 10-episode series — episodes running 1.5 to 2 minutes each — in 3 days total, from scripting to final episode. That averages under a day per episode, largely because episode sub-agents run in parallel rather than sequentially.
Do I write scene-by-scene prompts or paste the script?
Paste the full script. The creative producer agent holds it as series-wide context, and the per-episode storyboard agent derives the shot-by-shot breakdown from it automatically — writing scene-by-scene prompts by hand throws away the pacing and continuity context the sub-agents need. Your manual input shifts to approving storyboards and selecting takes, not authoring prompts.