Help and FAQ

Story opens with a Where to begin box until a script is read. Have a script: paste it or press Add a file, then Read the script. Have only an idea: press Start from one line, let the assistant draft a storyline, then either Write the pack from the storyline (the production pack, which holds the whole film in one director's hand) or Draft a script from this (set the project cap first: the script is written to fit it), and press Use this; the pack or the script is read on Story at once. On Story, press Start with the example script to load a short built-in example, marked as one in its title; every page is drafted from it so you can walk the whole film and replace it with your own script any time. Or press Start from one line, type one line about your story, and let the assistant draft a storyline and then a script; set the project cap first, since the script is written to fit it.

The pack is the whole film written by one director in one pass: the promise, the beats, a segment list with a join at every break, the references, the cast with wardrobe in full, each place's geometry, the props, the look, and segment 1 in the full scene skeleton. It is how a continuous story is held: every segment's prompt is written by the same hand that wrote the segments before it and restates the blocks word for word. You do not need one; a script alone still works, with shots drafted by rules. With a pack, STORII writes the script, one shot per segment and every prompt from it, so the story part of the film is written once, by the director, not pieced together from fragments. Press Write the pack from the storyline on Story, or Paste a pack you wrote elsewhere.

By design. The method writes each later segment from the frame the one before it actually landed on, not from the frame that was planned, because the picture that landed is the fact and the plan is only the aim. Generate segment 1 on Shots. When its take lands, its card on Story reads Landed and shows the last frame STORII kept. Write the Boundary inventory under it in words, then press Draft segment 2: the assistant gets the whole pack and that inventory, and writes segment 2 to start on it. You can draft a segment before the one before it lands; the card says so, and the segment is then written from the closing frame as the aim.

It follows the script. Camera plans, scene packages, table read rows and scene ties move with their scenes when you add, remove or move scenes. Drafts you never touched are written again from the new text. Your own words, and drafts STORII made for you, stay as they are and get a note, The script changed under this, with Keep mine and Redraft from script beside them, so you decide item by item. The list under the scenes on Story shows what changed on the last read. Once a scene has been generated, scene numbers are kept, so takes stay with their scenes.

It is a draft. When your script is read, STORII fills every blank it can from the script itself, at no cost, and marks each one Drafted from the script. Camera plans get a first draft for every scene the same way. Edit the text or the shot and it becomes yours; the mark goes. For stronger drafts in one go, press Suggest with STORII and choose Draft every blank on this page; those arrive marked Drafted by STORII and cost what the panel shows before you ask.

Yes. Add the person with Add cast member, select them on Story and use Where they appear to tick the scenes they stand in. Add to script writes a line of action for them into the scene, so they are in the script as well as the cast. They count toward the people in frame, and they get a picture and a voice like anyone else if you want them to.

STORII takes a story from a script to a finished film in five pages that sit across the top of every screen: Story (the script, the people, the places and the look), Shots (direct each shot and generate it with the price on the button), Cut (the takes and your own clips become a film, with the story and score under the strip), Finish (grade the joined film) and Deliver (render one file with every edit baked in). The left menu lists the sections of the page you are on.

You can go from a named project to a read script, people and places with pictures and voices, a camera plan, and a priced shot before anything is spent. Generation waits on your typed go, or on the amount you allow on the click. PDF script reading is not connected yet.

Point at a control that is not obvious and hold for a moment: a short note says what it does, and whether it costs anything. They cover the tools on Cut, Review take, Edit Studio, Score, Subtitles, Grade and Deliver, and the fields on Settings. Tab to a control with the keyboard and the same note shows. A control that is plain from its own label, such as a menu item, has no note.

You need to be able to sign in. STORII is open to one email address for now, and there is no password to create. If you type a different address, the page says it does not have access.

Type your address on the sign-in page and press Email me a sign-in link. Open the email on the device you want to use and press the link. It works once and expires in 10 minutes. If it has expired, ask for another.

You stay signed in on that device for 7 days.

Yes. On the Projects screen, press Settings on the project card. Inside a project, the Project settings button in the saved bar at the bottom does the same, and so does Settings on the project in Manage projects. Change the model, resolution, look, camera direction or length, then press Save changes. The name stays fixed. Takes you already made are kept; new estimates use the new model and resolution.

A storyline is kept with the project. On Story and Foundation it shows in the Storyline card above the script, and Open storyline lets you read, edit, copy or save it. The Storyline button near the bottom right opens the same box. Scripts and scene text go into the script and the scene you chose. Before you press Use this you can also press Copy or Save as text file under the answer.

In your browser, on the device where you made them. They are not stored on STORII's servers. The server knows who signed in and nothing about what you made.

Because of that, clearing your browser's site data removes your projects. Use Ledger and Save a project copy to keep a file of any project you care about.

On Shots if the project has a script, and on Story if it does not. A project you have just created starts on Story. Press any of the five pages across the top to move.

On the Projects screen, press the bin on a project, or Manage projects to see them all. STORII asks first and names the project. Removing takes the script, library, scenes, clips and audio off this device.

A copy is kept under Recently removed for 14 days, up to 10 projects, so you can bring it back. Press Undo right after, or Restore from that list later. Delete for good now skips the wait and cannot be undone. The copy stays in this browser only, so clearing site data removes it too.

No. STORII saves your project to this browser a moment after each change, and shows Working copy in this browser at the bottom of the screen when it has. Opening STORII again on the same browser brings your projects back.

Yes. Select it on Assets or Cast, press Rename, type the new name and press Save name. A locked item must be unlocked first. The name is kept with your project.

Yes, until you lock it. On Foundation, under Story, press Edit scene for the selected scene or Edit script for the whole text, then save. If a change cannot be made, the reason is shown under the scene list. Press Script locked to unlock a locked script first. On the Story page, pressing Read the script again reads whatever is in the box.

Yes. Press Radio play on Table read, and for a speaker choose A voice id from my own account, then paste the voice id from your voice service. STORII keeps the id with the project and never lists your account's voices. You can also add an accent, a mood and a short direction for each speaker; they apply on the v4 and v3 models only.

On Cast, select the character and open Make or add media: there the box is about the voice alone. Describe the voice in words (who they are, their age, how they sound), or press Suggest and choose Suggest a voice description, which writes it for you into that field. Pick the closest voice chooses the nearest preset at no cost; every preset says whose voice it is, a woman's or a man's. Design this voice sends your words to the voice service with your key and brings back previews to hear; Use this one saves that voice to your voice service account and sets it for the character. You can also add a recording of your own or paste a voice ID. STORII drafts a first voice only from what the script says of the person (she or he); when the script says nothing, the voice stays blank and the Story page says so.

Yes. With the character selected on Cast (or on the Story page, under Make or add media), use Add a voice ID to name and paste a voice ID from your voice service, or Add a recording to attach an audio file of the voice you want. The voice ID is saved on this device and chosen for the character. The recording stays on this device with the character and goes with each video take that has no radio play for the scene, as the voice to match. STORII does not clone voices, so a take may only follow the recording loosely. Remove takes the recording off the character.

The video service refuses a request whose key it has already seen with different settings. The likely cause was a request key being reused between sends, so this build gives every send its own key. Failed takes are refunded. If a take still fails, press Technical on its card, read the message, and start it again as a new take.

Yes. On Radio play, paste the voice id, type a name for it, and press Save voice id. It joins My saved voices in every speaker's voice list, in every project on this device. Press Update saved voice to rename it or Remove from my saved voices to forget it. Saved voices stay on this device, are not in your project file, and are never read from your voice service account. If you clear this browser's site data they are gone, so keep the ids somewhere you trust.

Yes. On Radio play, open Accent, mood and direction for a speaker and choose Match the mood of the scene (assistant) in the Mood list. Your assistant key pays; no cost is shown. When you press Confirm and match, it sends the text of that scene to the assistant service with your own assistant key, then fills in the mood and a short direction for that speaker. Nothing is sent before you confirm, and you can change the result.

Yes. Press Suggest with STORII, choose Suggest a shot or Suggest a dialogue line, and press Import this scene from your script. The scene comes straight from your script and lands in Your notes. Change the Scene number to import a different one.

Yes. On Camera plan, press the shot's Subject, tick each person, then press Done. Looks at works the same way. The list holds every character in your script and everyone on the Cast screen.

A scene is READY only after its scene package passes five checks: a segment plan; the radio play, listened to, with its three checks ticked; an approved camera plan; a prompt with no spoken lines in it; and a cost estimate above zero. The Still to do line on the scene package links to each missing item. Open the scene and read the line that begins Missing, or read the Still to do line under the scene on the board. Press Mark READY when it is complete.

Every shot needs a size, an angle, a movement and a subject, and the final check must be ticked. The line under Approve plan names what is missing, shot by shot. A flag on a shot is a warning and does not lock the plan.

Press Radio play and use the scene list at the top of the box to pick the scene. The box voices one scene at a time. A scene with no spoken lines needs no radio play: its radio check passes on its own and the scene package says so. From a scene package, Make it with the voice service (or Open Radio play on Table read for a scene with no lines found) opens the box on Table read for that scene.

STORII reads a quoted line as speech when a name is near it: Mara said, "Open it.", "Open it," said Mara., Mara: "Open it.", or "Open it," she said. in a sentence that names one person. A quoted line with no name near it stays in the action, and the Radio play box lists it with Who says this?: the one person in the scene is chosen for you, or you choose; press Add the names to the script and STORII writes the name in front of the line in your script and reads the scene again. The Scene package says when a scene has such lines, and its link takes you to the box.

Yes. A scene is Packaged the moment its package is complete: the radio play, the camera plan and the prompt are all in. From shots fills the prompt from the plan, so that was the last piece. Packaged is not yet Ready: read and edit the prompt as you like, then mark the scene READY on Owner review (or flag it there for a closer read). Editing the prompt of a READY scene puts it back to Packaged until you mark it again. Only READY scenes generate.

Camera plan shows one scene at a time. If it opened on a scene that has no shots yet while another scene has some, a message names that scene; choose it in the scene picker. Shots are kept with the project and are not removed by moving between screens.

On the Shots page. Every shot card has a Generate button, Generate scene sends a scene and Generate all the whole film. There is no price on it and nothing to type: the cap you set in Project settings governs the project, and a Generate that would pass the cap is refused with a notice.

Changing a shot after the final check takes the tick off, because the plan you checked is no longer the plan. The message under the plan says which shot changed. Read the plan again, tick Mark final check done, then press Approve plan. Notes on a shot do not take the tick off.

Yes. On Story, press Add a person, or on Cast press Add cast member, type the name and press Add. People STORII finds in the script are added for you.

Four stills, one click: Make the four stills in Make or add media with a character selected makes a full body front view, a three quarter view, a profile and a close face, each described in the image service's own template (the type of shot, the person, a plain studio, the light, the angle and lens) with the same identity words from Notes for the picture on all four (what the person looks like and wears, the manner, your own words; the draft's Seen in and Seen sentences stay out, because a list of settings reads to the image service as a grid of panels), each asking for one figure in one frame, and puts them in the main picture and the three reference slots. The later stills are made with the first as a reference so the face holds. Every later picture of that person, and every key frame, goes out with those four. Make one picture still makes a single still for the slot you choose, and What will be sent shows the exact text first.

The first still of a shot. On Camera plan, Make or add media offers Key frame for this shot and Key frames for the shots without one; each is one picture at the image rate, made from the shot's size and angle, the place, the time and light, and the moment the shot opens on, with the shot's people and place as reference pictures. A kept key frame shows on the shot card and goes first with that shot's take as the opening picture, which is the video service's own way of holding continuity between shots. It is saved with the project and in the .stri file. STORII also keeps the last frame of every take that lands, under the same key frames, and sends it first with the take that continues from it when that shot has no key frame of its own.

Because it goes on where the scene before it left off. The camera plan is drafted in script order: a scene whose heading keeps the same place and moment (CONTINUOUS, SAME, no time, or the same time of day) opens on the same size as the previous scene's last shot, and the card's note says it joins that scene on a match; its first take also opens on the last frame of the scene before. A scene in the same place LATER opens on a medium under a dissolve. Only a new place opens on an establishing wide. The strip under the scene name on Camera plan shows the joins across the film; add a wide yourself if you want one.

From the scene headings. When a scene's part is first placed on the timeline, the transition into it follows the join: the same place and moment is a plain cut, the same place later is a one-second dissolve, a new place is a cut on the matched pair, and a named change of the time of day into a new place (night to day) is a half-second dip to black. Change it on Cut as you would any transition; your choice is kept when takes land or the cut is rebuilt.

They do now. On a pack film the take is sent as the segment's own text, written by the pack's director. The director is handed your Feel with the pack ask and every segment ask, and the camera plan you edited with the segment ask. When the take is sent, your edited camera plan opens its camera section and wins over the segment's camera sentence, and a chosen Feel opens its look block. A plan you have not touched is the one shot STORII read from the segment's text, so it adds nothing. Pick the Feel under Project settings or per scene on Shots; edit the plan on Camera plan.

It is kept. A take sent again lands beside the earlier one, listed on Review take in the Takes row as sent again and in the Cut media pool, each with its own file on this device. Pick either for the cut.

The box on the Cut page's score form is sent word for word to the music service, with instrumental only, no vocals added. Your text for a scene is kept when you close and reopen the form, and a blank box opens with the scene, the bed mode and the sound of your Feel. The Scores list shows the exact text each score was made from, so you can compare what you asked with what came back; a short score has little room for detail, so name one instrument and one mood first.

Because it continues from it. A scene longer than one take is made in takes of up to 30 seconds, and the second take opens on the last frame of the first, which is the video service's own way of holding the people, the place and the light across a cut. The same happens when a scene continues in the same place and moment as the one before it. The waiting take is sent the moment the earlier one lands; if that take fails, the waiting one is not sent and nothing is charged for it. A scene in a new place starts clean and does not wait.

A line starting with = is a note on the scene, in the form screenwriters use: = Purpose: what changes in the scene, = Opens on: its first image, = Ends on: its last image. The drafted script writes them under every heading; you can write your own. They are never filmed, counted or spoken, and every take of the scene carries them to the video service as its STORY block so the scene plays as part of one story. A line in capitals on its own is read as a speaking character's name, as in any screenplay; a title or a chapter name written that way can be read as a person. Before the first scene heading nothing is read as a person, the film's own title never is, and a capitals line followed by a long paragraph about other people goes back to action on its own. For any other, pick its card on Story and press Not a person under This item (or beside the name on Foundation), and the line is marked with ! so it is never read as a name again.

Yes. In Make or add media on Story, Assets, Cast or Camera plan, press Add reference pictures and choose up to six pictures from your device, or paste a picture into the Direction box. STORII sends them to the image service with your description when you confirm, so the new picture can follow a face, a costume or a place. They are shrunk on your device first, shown as small pictures you can remove, and not stored anywhere by STORII. The image service may bill a little extra for each one; the price shown is the list price for the picture alone.

It is a copy of one project in one file, named after your project, for example harbor-light.stri, with its saved clips and audio inside it. Press Save a project copy on the Ledger screen to put one in your downloads folder, or Save project as on the Ledger or on Project home to choose the folder and the name yourself. It is not sent anywhere.

You can leave your review notes out of it with Save a copy without review notes.

Yes. Press Save project as on Project home or on the Ledger for the open project, or Save as on any project tile or row under Manage projects to save that project without opening it. On a desktop browser with a save window you choose the folder and the name; the saved chip then reads Save to your file's name and writes to it again each time you press it. On a browser without a save window the file goes to your downloads folder, and STORII says so. The phone pages watch and play only; saving a file is a desktop action.

Yes. This shot on the Shots page lists the pictures and the voice that go with each shot. After the take lands, Review says what was sent with it. Each speaker gets their own voice reference: their own lines cut from the radio play, or their own saved recording when the scene has no radio play. A recording is never sent as the voice for another character's lines. The Review take line names the voice sent for each speaker, and says who went without one, so that character is given a voice of its own, clearly distinct from the others.

Yes. On Project settings, the Feel row beside Look sets it once for the project: a very fast, energetic feel with hard cuts and action, a slow drama, a continuous camera follow, and others, each named by what it does. The camera plan, the prompt and the score brief all read it. On the Shots page each scene header has a Feel list to give one scene a different feel. Choose Custom to write your own: name, seconds per beat, cutting, the camera that comes first, sizes and dialogue rhythm; blanks take Classical coverage.

On projects planned before 2026-10-25 the camera draft kept at most nine shots and stretched them to the scene's estimate, so long scenes lost lines. Open Camera plan and press Redraft from script: the new draft carries every spoken line as its own shot, each as long as its line needs. If the lines run past the scene's estimate, choose Keep every line or Trim to fit in the note under the scene name.

Each take now sends one voice reference per speaker, named for that speaker's lines only, and tells the video service who has no reference. Before 2026-10-25 a scene with no radio play sent one character's recording with everyone's lines. Make sure each speaker has a radio play voice (Table read) or a saved recording (Cast), then retake. The line under the take on Review names the voice that went for each speaker.

It is the working method the assistant follows when you press Suggest with STORII or Ask STORII: it keeps your characters, places and look the same from shot to shot and writes plain, filmable direction. Open the line that begins Works as the STORII director in the panel to read its rules. It only proposes. Nothing is used until you press Use this.

Single takes save as they were generated or edited. The look from Finish, the fine controls included, is baked into the film when you press Render the film on Deliver, together with every edit on the Cut's timeline. Deliver tells you this so it is never a surprise.

Yes. On Cut, press Import and choose a video (mp4, webm, mov), a sound file (mp3, wav, m4a, flac, ogg), a still (png, jpg, webp) or an SRT subtitle file, up to 600 MB each. It goes into the media pool; drag it onto a track or press Insert, Overwrite, Append or Place on top. The file stays on your device and is never uploaded, nothing is generated and nothing is charged. An imported clip cuts, trims and moves exactly like a take, is rendered with the rest of the film, and the grade on Finish covers it too. If a file is refused, the message says why: the kind is not one STORII takes, the file is empty, this browser cannot play its codec, or it is over 600 MB.

Onto the timeline. On Cut, the score track A2 holds music you import or make with Score under Generate here, and the subtitle track ST1 holds the cues, which you drag, trim and edit in the inspector, or add by hand with Subtitle. Scores and cues you made before are placed on those tracks under their scenes the first time you open the Cut. Finish holds one thing, the whole film and its grade.

No and no. Cues come from your script, from an SRT file you import, or from the speech reader that runs inside your browser; it needs no key and nothing is uploaded. The first use downloads the reader once, about 77 MB, and later runs are faster. It reads English dialogue and can mishear names and unusual words, so read the cues on ST1 and fix them in the inspector before you deliver.

Yes. On Cut, the cues show over the picture while you edit, and CC on the viewer hides them or brings them back; a note at the top left of the picture always says which. On Deliver, Burn captions in is off unless you tick it (it starts ticked when Captions is on in Cut, which Cut switches on when it first drafts subtitles; untick it for a clean film), so the film renders clean by default and the .srt sits beside it as a separate file. If it is ticked and the subtitle track is empty, Deliver warns you, because nothing can be burned in. Tick it and choose a font to burn the whole film's cues into the picture. The note under the deliverables says when captions were burned in and in which font.

Open Deliver and read the red note under the files: it says why, names the file when one file is the cause, and quotes what the encoder printed just before it stopped (hover the Failed row for the full text). A file called encoder-log.txt appears beside the failed film: save it and send it with your report, it holds everything the encoder printed. Save ready files still saves everything that did come (the takes, the .srt, the EDL, the FCPXML and that log); the warning names the film that did not. While a render runs, the row says which stage it is in: Preparing sound, a percentage against the film's length, Again with a percentage if a clean copy forced a second pass, then Finishing the file while the last frames and the index are written. Every sound in the cut, the music and voice files (MP3, M4A, OGG) and the sound inside each picture clip, is prepared as plain 48 kHz sound before the film is assembled, the way an editor conforms audio on import. A score whose shape changes partway no longer stops the render, and the encoder opens each picture file only when the film reaches it, which keeps its memory down at 1080p. If a sound file cannot be read, the note names it: export it again as WAV or MP3 and import that copy. If one picture file will not decode in the browser, Deliver makes a clean copy of just that file and renders again by itself, which adds a few minutes. If it still fails, export that file again as an ordinary H.264 MP4 from the app that made it, import it in Cut, and render again. A long film at 1080p needs a computer with plenty of free memory; Web 720p uses far less.

On Cut, read the note at the top left of the picture: it says whether subtitles are showing, hidden or missing. If it says hidden, press CC on the viewer; the cues then show over the picture, just above the control strip at the bottom of the viewer, whether the film is playing or paused. If the subtitle track ST1 is empty, switching CC on drafts them from your script at no cost, and if your script has no dialogue CC stays on with a dashed outline and a note: press Subtitle (or S) to add one at the playhead, or place an SRT file from Import.

On Deliver, the lines under the format list say what the film will carry before you press Render the film: the score clips on the timeline, the voice lines, the sound from the pictures, and the subtitles. If the score is missing, make or place one on Cut (track A2) and make sure the track is not muted. For captions in the picture, tick Burn captions in; the .srt stays beside the film either way. After the render, the same lines say what was actually mixed and burned in, and name anything that could not be loaded.

On the Keys screen, every key is optional. The video service key is two parts joined by one colon, KEY_ID:KEY_SECRET; Keys refuses any other shape, and the Spend gate names a key problem beside its Check. Paste only the ones you plan to use, choose one passphrase, and save them all at once. Each saved key is then checked with one free read of its service, so its row reads Connected, or says in plain words that the key was rejected or could not be judged; the two fallback services have no free check and stay Saved, not tested. They are locked with that passphrase, on your device, before they are stored. The passphrase needs at least 12 characters. A passphrase set earlier with fewer keeps working. STORII does not write the passphrase anywhere, and its server has no place to store a key.

Type the passphrase once. After that your keys stay unlocked on this device until you press Lock now, remove them, or clear this browser's site data, so you are not asked again each time. Anyone who can open this browser profile can use them while they are unlocked, so press Lock now on a shared computer.

A key is used only when you press a button that sends something: Generate on the Shots page and Submit a round on the Generate queue send your video service key to the video service, picture generation sends your image service key to the image service, Radio play voice and music send your voice service key to the voice service, and Ask and the Suggest with STORII chips send your assistant key to the assistant service.

Only when you press a button that sends it. Video requests and key checks travel through STORII's own server on their way to your service, carrying your key for that one call; the server keeps nothing from them. Picture, voice and assistant requests go straight from your browser to the service and do not pass through STORII's server. The requests are Generate and Send on the Shots page, and Submit a round on the Generate queue (the scene prompts, and the pictures of any locked library assets used in the scene, to the video service), picture generation (your prompt, and any reference pictures you attached, to the image service), Confirm and generate on Radio play (the spoken lines of that scene, to the voice service), Make music on Score (your brief, to the voice service), Confirm and match on Radio play (the text of that scene, to the assistant service), and Send in Ask or a Suggest with STORII chip (what you typed or imported, to the assistant service), plus the free key check after you save or test a key (one status read of that service with the key, nothing made). Each uses your own key. Everything else stays on your device, including the cut, the grade and the rendered film. The Privacy page lists what is and is not sent.

You set one cap for each project under Project settings, on the row Spend cap, and that is the only money setting in STORII; the general Settings page has none. A project with no cap cannot generate anything: Shots, the Scene package, the media maker and the retake all answer Set a cap for this project in Project settings before anything is generated, with a Set the cap button. Past the cap, every send (a picture, a voice line, a batch of takes) answers with the plan's total at list rates, the cost of what you pressed and the cap, with a Raise the cap button that opens Project settings. Nothing inside the project shows a price otherwise: STORII keeps the film's planned total to itself at list rates and measures it against your cap. When the plan reaches about three quarters of the cap, Nearing your cap appears at the top of every page with Raise the cap; at the cap it becomes a stop. Video is charged to your video service account; voice, music and pictures to your voice service and image service accounts. The Ledger shows what has been spent so far, after the fact.

The assistant writes the script to your project's cap: the ask carries a hard word count worked out from the cap at list rate (STORII times a script at two and a half words a second) and asks for two or more scenes of at most 30 seconds each, and the storyline is shaped for the same length. A draft with any scene over 30 seconds does not count as fitting. If a draft still runs long, STORII asks again on its own, up to three times with a smaller word count each time, and if the draft still runs over, Use this stays off: press Ask STORII again with the direction already filled in, trim the text in the box until it fits, or raise the cap under Project settings. The cap must be set on the project first; with no cap there is no budget and no script is drafted.

StableState has not published a price for STORII. This page will state it here when there is one.

Yes, on a laptop or desktop. Press the round Full screen button in the top bar, between the balance and your profile picture. STORII fills the screen like an app, and the leather frame tightens to the edges. It stays that way as you move between pages. Press the same button, now called Leave full screen (Esc), or press Esc, to come back to the browser window. A phone has no such button: it already fills the screen, and the cut player on Watch has its own full screen button.

Yes, to watch. On a phone STORII shows Projects, Progress, Watch (play your cut), Deliver (save your files), Ledger and Settings in a row along the bottom. Writing the script, planning shots, generating, editing the cut and Edit Studio are not on the phone: they need a laptop or a tablet held sideways. Projects are kept in the browser of the device you built them on, so save your finished files from Deliver on the laptop and play them on the phone.

A render on this device shows the step it is on in the list (Preparing sound names the file), then a percentage that follows the film written so far; the percentage holds at 99 for the last frames while the file index is written, and a long film takes a long time on a two-core device, so the estimate on Deliver is the figure to go by; Stop the render ends it, and a pass that makes no progress for minutes ends it by itself with the step named, leaving the encoder's log in the list to send with a report. Delivery saves files to your own device. Lock the cut on Cut, then on Deliver choose a format, tick Burn captions in if you want the captions in the picture (the line under it says what the film will carry, including the score, and names anything left out), and press Render on this device: the film is made on your device from the whole timeline and listed with its .srt, an EDL and an FCPXML beside it. Save all to device saves the film and each take you have kept. Until a take has landed there is nothing to deliver. A project copy is saved from Ledger.

The device formats are Web 1080p, Web 720p and Phone 720p; the cloud formats are Web 1080p fast, Broadcast 1080p, Master ProRes 422 HQ, Web 4K and Master 4K ProRes 422 HQ. Scope 2.39:1, vertical and square frames from Cut are cropped to, or letterboxed inside 16:9. A device render runs on your own device and sends nothing; a cloud render sends the cut's files after you tick the box that names them.

Web 1080p on your device is rendered in parts. Each picture clip on the timeline is prepared on its own at 1920x1080, then every part is joined with the sound and the captions in one last pass. The 720p formats render in one pass. The finished film is the same cut either way: the same frames, the same length, the same subtitle and edit-list files beside it. It takes longer than one pass. If a part fails, the sentence names the part and its clip, and the render starts again from the first part when you press Render.

A cloud render makes the film from the same locked cut on STORII's render service instead of in your browser, for the formats a browser cannot carry: fast 1080p, broadcast loudness, ProRes masters and 4K. Pick a format marked cloud on Deliver. A tick box appears that says exactly what leaves your device: the count and size of the picture and sound files in the cut. Nothing is sent until you tick it and press Render in the cloud. The files go straight to STORII's render store under a short-lived address made for that one render, never through the service that holds your keys, and are deleted when the film is back on your device, or after two days at the latest. Your script, notes, keys and the takes outside the cut stay here. The line under the button says how long the render should take and, on this account, Included on this account. While it runs the row shows the upload, the queue, the render and the film coming back; Save all to device then saves it like any other film. A 4K film from 720p takes is scaled up and gains no detail, and the note says so. If the render service is switched off the line says so and the button stays locked; render on this device instead. One render service job has a fixed time (about 80 minutes of work on its 2-core worker in this build), so a long cut at Web 4K may be refused with a sentence that says how long that format can take; choose a lighter format or render on this device.

When a render completes, the top of the Delivery card on Deliver says Your film is ready. Save it to your device. and shows Save with the film's name, then Save all to device. The card scrolls, and these two stay pinned at its top however much text is below. Every ready file in the list also has its own Save button. The files go to your browser's downloads folder.

A film cropped to 2.39:1 gets bars above and below when Letterbox inside 16:9 is ticked. A square (1:1) or tall (9:16) film gets bars at the sides, so the picture sits in the middle of a 16:9 frame. With Letterbox off the file keeps the cropped shape, so a square film is a square file.

Save project file writes your project and its saved clips into one .stri file where you choose. A big project takes a while, so the page shows Saving the project file: N percent and holds the tab: closing it asks you to confirm, because a file that is not finished is empty. When the write ends STORII reads the file back and checks its length, your project text and every clip against the file's own list, and only then says Saved ... and checked it. If the place you chose is slow, stalls or returns a short file, STORII says it was NOT saved there, names why, and saves a copy to your downloads folder instead; the empty file the chooser made can be deleted. The line Working copy in this browser in the corner is the browser's own storage, not the project file; Project file last saved and checked beside the Save project file button tells you when the file itself was last written and verified, or that it was never saved to a file.

The video service bills every second of a take, so a segment should be exactly as long as it needs: its spoken seconds, about 3 s for each action beat and at most 1 s to settle, normally 15 s or less. The pack ask now writes (spoken N s, N beats, N cuts) after each duration. The match check on Story flags a row over 15 s unless its must-end-on column opens with long because and a reason, flags a row whose speech and action cannot fill its length with no cut, and flags a total more than 5 percent over the film's planned running time. A row not yet written offers Tighten to N s in one press; nothing is sent or spent. Each hint links to the Ledger, where the dollars are.

On Ledger, What it cost adds up every take the video service charged for on this project, across all runs, and keeps it in the project file. It shows the project total, the seconds made against the seconds that are in your cut, the seconds and dollars that are not in the film, the retakes, and the cost per second of film. A scene with more than 25 percent of its seconds not in the film is marked. Takes made before this card existed show only for the latest run. On Shots, a shot made twice stops to ask what is wrong before a third take and offers the free fixes first: trim or re-cut on Cut, or change the join.

Open Settings, then Account. Under Help and FAQ the page names the build you are on (a release date and a short code). Press Copy diagnostics and paste the result into your message. It lists the build, what this browser can do (how many cores, how much memory, and which video and sound encoders it offers: H.264 at 720p, 1080p and 4K with and without hardware, AAC and Opus), the last lines STORII told you, and the encoder's log from the last render. It carries no project text and no keys, and nothing is sent anywhere: you choose whether to paste it. Add one sentence about what you pressed.

With no project yet, Projects puts one action in the middle of the screen: New project. The Studio card beside it says its tools open after your first project, then lists them (Active production, Scene tracker, Project look, Project rules, Borrow from past projects, Presets and Search all projects). On a phone, Projects says the phone is for watching and that projects are made on a laptop or tablet.

Open Settings, then Account. Sign out ends your sign-in on this device. Sign out everywhere ends it on every device. Your projects stay in the browser where you made them.