One project, six stages
Source, Art, Story, Video, Sound, Deliver. Each stage uses what the stage before it made, so you never describe the same thing twice.
Shotink is a studio, not a prompt box. Twenty steps in six stages take your comic pages to a finished film, with voices and sound. You can run any step on its own, fix what it made, and run it again.
Source, Art, Story, Video, Sound, Deliver. Each stage uses what the stage before it made, so you never describe the same thing twice.
Every stage starts with a cheap plan step. It reads your files and writes notes. You read the notes and fix them. Then the expensive steps follow them.
Paint over a mistake and say what should be there. Crop a panel. Copy good art over bad. Say a line again. Make a shot again. The new version takes the old one's place, and you can go back.
Pick your files and the run button shows the cost. Nothing runs until you press it, and a step that fails costs you nothing.
Steps are in the order you would normally run them. a few credits steps read your files and write notes. by the minute steps make pictures, video or sound, and you pay for the minutes they take. free steps cost nothing.
Bring the comic in. Cut every page into single panels. Take the speech bubbles out.
Drop in pictures, a folder, or a comic zip. Your pages keep the order you put them in, and nothing is changed.
Reads every page: all the words, what is happening, and what happens between the panels. Everything later in the film uses these notes, and you can ask the assistant about your comic from them.
Cuts each page into its panels, in reading order. Run it on the original pages, before the bubbles come out.
Finds every speech bubble and takes it away, leaving an empty hole where the words were. If one is missed, paint over it yourself.
Repair the panels, paint them in an anime style, and make them the right shape for video.
Looks at every panel: who is in it, how it is framed, its light and colour, and what needs repair. It also says if the panel is a real picture at all — a thin border or a sound effect on blank paper is skipped later. One click brings it back.
Paints artwork into the holes the bubbles left. One hole at a time, each with its own notes, so what belongs in one hole cannot end up in another.
Paints every panel again in one of more than 70 looks: studio anime, watercolour, oil paint, ink, clay, black-and-white manga. The style is how it is drawn. The light and mood of each panel stay separate, so a happy page stays happy in a dark style. This step also removes a leftover border or a drawn-in sound effect.
Comic panels are all different shapes. Video is one shape. This adds new picture around the edges until every panel fits the frame. It only adds: your own picture is put back on top, so nothing inside it changes.
Read the pages as a story, then write the script your film is made from.
Reads your imported pages and writes what happens on each one, every line said, and who says it. It describes people instead of naming them, so the notes still work after the art is repainted.
Writes one script with a time on every line, so each line lands on the right picture. Choose narration (one voice telling the story) or dialogue (the characters speak). Switch between them later without losing the timings. No pages yet? It writes from your prompt. No prompt? It gives you a finished script to write over.
Plan the shots against the story, then make a clip for each shot.
The only step that sees all your pictures at once. It chooses which panels are worth a shot and drops the rest with a reason, joins panels that show one moment into a single shot, fixes the light, the colours and the characters for the whole film, and makes each shot as long as the line spoken over it. It all lands on a storyboard you can change.
Makes one clip for each shot. Your picture is the first frame, so the clip starts exactly on your artwork, and the words on the storyboard say what happens next — including the action the comic never drew. Not happy? Say what is wrong and get a new clip in its place.
Plan the sound, design the voices, then read the lines, add the effects and clean it all up.
Takes your clips and your script. Gives every speaking character their own voice for the whole film. Fits each line to its clip and tells you which lines are too long, so you can make the shot longer instead of rushing the words. Reads the mood of each scene for the effects step.
Say how a character should sound in one line of plain words, and get a sample of that voice. Or upload 3 to 10 seconds of a voice you have the right to use. From then on every line that character says is made from the same sample, so they sound the same all through the film and in every later fix.
Reads your script out loud, one sound file for each line, at the speed the plan worked out. Nine ready-made voices, or your own. Ten languages, and every voice speaks all of them. One bad reading is one line to say again.
Watches each clip and makes background sound and effects that match what happens in it. A film with talking and no background sound feels unfinished.
Goes over all the sound at once: noise out, levels matched, so voices and effects sit together instead of fighting.
Put everything together and take your film away. Made fresh every time, so it always has your newest work.
Your clips in order with their transitions. The ends of each clip are trimmed for you, and the cut is made new each time from the clips you have now.
Every voice at the right moment, every effect under the right shot, balanced to one level. Play it against the picture before you render.
Joins the picture and the sound into one finished film, adds subtitles from your own script if you want them, and can make the picture larger and sharper for a few credits. Download the film on its own, or the whole project as one zip.
A tool shows up on the files whose mistakes it fixes, and nowhere else. So the row of tools stays short enough to read.
The normal cursor, and the way to choose an area for the other tools.
One brush. On a panel it takes away a speech bubble the studio missed. On finished art it marks the part you want drawn again.
Cut a border, or a piece of the next panel, off a panel that was cut too wide.
Paint over what is wrong and say what should be there in plain words. Only that part changes. “Give the hand five fingers” is enough.
Copy one part of a picture over another. When the answer is “more of that wall”, copying beats guessing. Free and instant.
One panel, one look, in place — before you run a folder of fifty through it.
Pages, panels and finished art, with the right tools, the file's own notes beside it, and a history you can walk back.
Your script as lines with times. Rewrite, retime, reorder. Switch narration and dialogue. Mark the script your film is planned from.
Watch a shot, say what is wrong, get a new one in its place. Trim the start and the end.
One file for each line, so one bad reading is one line to say again — same voice, same moment.
Ask about your own comic: who is in this panel, what happens on page 12, why was this shot dropped. It can also set up the next step for you, with the files and settings filled in. You still press Run.
Point it at a stage and it does the work: pick the next step, run it, check it, carry on. Tell it how many files to use, so you can judge a stage on three panels before you run two hundred. Make it stop at the end of each stage. Stop it whenever you like.
There are no locked features. Plans only change how much you can make each month.
Make an account, import a chapter, and run the plan steps for a few credits before you make anything big.