Make it in 3 days by running a crew of parallel AI agents on a fixed daily checkpoint: Day 1 lock pre-production (script, world, cast, references) with a creative producer agent feeding specialist sub-agents; Day 2 batch-generate every shot in parallel across DOP agents; Day 3 assemble, run an AI maker-checker pass, and finish.
Start by opening the invideo agent and initializing a creative producer agent as your central vision-holder — upload the full script, shot breakdown, and character descriptions once, then spin off named sub-agents (storyboard, casting, costume, production designer, DOP) on separate project pages so each one gets targeted feedback without cross-contamination. The invideo agent is an agentic video creation tool with every current generation model and upscaler available, so the same setup carries you through pre-pro, generation, and finishing without leaving the platform.
Day 1 — Lock everything before you generate a frame. Answer the four foundational questions the agent will surface: who the character is, what the antagonist/entity is, the key prop, and the deliverable format. Then run sub-agents in parallel: a casting agent that fires the same character prompt at two image models simultaneously (Nano Banana Pro and GPT-Image-2 work well for character sheets at 4K with four angles plus close-ups), a costume designer agent given mood/feel where exact specs are missing, and a production designer agent building world reference grids in batches of three per round rather than single images. Generate four options per asset, pick one, and lock it. A documented 2-minute brand promo set up exactly this way had 8 specialist agents running simultaneously across separate project pages by end of Day 1.
Day 2 — Generate every shot in parallel, not sequentially. Assign a DOP agent per scene (different scenes want different eyes — don't share one DOP across the whole film), and for any complex or long scene put two DOP agents on it simultaneously. Direct each one conversationally the way you'd brief a crew on set ("hold on him till he lunges, no back and forth") — the invideo agent routes the prompt with locked character sheets and world references attached to the right video model: Seedance 2.0 for reference-to-video continuity across clips, Kling or Veo where the shot calls for them. Run in always-ask mode so you approve shot-by-shot before credits burn. Plan for ~3 generations per usable shot and ~25% selection rate from raw clips — overgeneration is a budget line, not waste. If a model jams on a specific shot type, the agent will self-redirect to an alternative model rather than wait for you to engineer the pivot.
Day 3 — Assemble, AI maker-checker, finish. Pull approved clips into your editor (Premiere or Resolve), cut the rough, then send the rough cut back to the invideo agent with an open "what's working, what's not" prompt — it will catch pacing issues, register mismatches, and shots running at the wrong emotional beat that a human eye misses on a tight deadline. Patch with targeted regenerations (surgical edits to the source character sheet or reference, not slot-machine re-rolls of the whole shot), then run upscaling and a light grade/grain pass for finish.
Budget and yield to plan against. Across documented 2-3 day productions: a 70-second short ran $750 / 3,000 credits in 2 days, a 90-second horror short ran $870 / 4,100 credits in 2 days (~400 video gens, 30 image gens), a 3-minute animated episode ran $950 in 2 days with a 2-person team (164 clips generated, 41 in the final cut), and a 2-minute brand promo ran $1,500 / 6,000–6,500 credits in 3 days with one director and 8 parallel agents. Range: $315–$750 per finished minute, 2–5 day timelines, 1–4 person teams, 6–8 parallel agents at peak.
One fallback when generation jams mid-sprint. Keep two pre-approved variant shots banked per scene during Day 2 so a stuck shot on Day 3 doesn't block the cut — and use the parallel-model trick (same prompt, two image models, pick the winner) any time a single model stalls.
These are the load-bearing moves — the exact shape changes with your film, but the parallel-agents-on-a-daily-checkpoint spine is what makes 3 days viable.
Watch some of these to see what works for you:
To really set up the context for the agent, I normally start off with the creative producer agent. That's where I'll give the script, or the shot breakdown, along with the characters. That's the main agent that sort of holds the understanding and the vision of the entire film.
— Hridaye, invideo's creative director