Mobile responsiveness, and an enhanced Story Engine powered by Fal H3 Max

Three things shipped together this week: storyboard planning is now separate from image generation, your screenplay stays authoritative all the way through the pipeline, and every station works on a phone.

1. Planning no longer spends Media Credits

This is the big one.

"Plan next beat" now creates storyboard panels without generating a single image. You get the frame prompt, motion prompt, sequence, mode, purpose, cast, environment and dialogue ownership — all reviewable, all editable, before any image provider is called.

When the panels look right, you generate. One frame at a time, or select several and "Generate selected" — which tells you the exact panel count and maximum cost before it starts, saves each frame as it lands, and reports which ones failed without throwing away the ones that worked.

• Planning fails? You're charged nothing and no panels are created.
• A single image fails? Your reviewed panel and prompts survive, with an inline retry.
• Provider validation error? The reservation is released instead of eating credits.

2. The storyboard panel layout got redesigned

Board view is now an editorial overview: the frame, its number, title and a short prompt excerpt, with scene and sequence labels underneath. One primary action per card — Generate frame when it's empty, Review frame once it exists. Screenplay, dialogue and purpose details sit behind a compact disclosure instead of six editors competing on one card.

Single view is a proper inspector: large preview with asset selection and generation directly beneath it, then title and frame prompt first, motion prompt as its own section, and production details grouped into continuity, cast/environment and generation settings. Provenance is one quiet row instead of a wall of pills.

3. Your screenplay stays authoritative

If you imported a script, Frameliq now trusts the links you already have. Explicit scene links win over guessed ones, and imported scripts skip the scene-number join entirely — so generating scenes no longer re-points a beat at the wrong screenplay scene and pastes the wrong action and dialogue into your prompts.

Dialogue is assigned per line, not per scene. A shot carries only the lines actually heard in it, instead of the whole scene's dialogue landing in every shot that happened to have an audio tag — which meant paying for the same lines repeatedly and hearing them repeatedly on export.

4. Continuity you can actually see

Shot cards in Continuity Studio now show the generation mode, how many dialogue lines a shot owns, and the dialogue itself. You can override the generation mode per shot — automatic, first-and-last-frame, and the rest — instead of accepting whatever was inferred.

Prompt construction got stricter too: identity and dialogue are placed first so budget trimming can't quietly delete your character tokens mid-scene, dialogue has its own word budget, and your shot type, lens, camera motion, composition and lighting mood now reach the prompt instead of only the project-level style baseline.

5. And it all works on a phone

Frameliq was built for a big screen. If you opened it on your phone before, you know how that went: panels off the edge, a splicing canvas that wouldn't move, dialogs with buttons you couldn't reach.

Every station now works on a phone — Writer, Storyboard, Shot Designer, Continuity Studio, Composer, Settings. Not a cut-down mobile view; the same tools, laid out for the screen you're holding.

• The splicing canvas responds to touch. Drag the background to pan, pinch to zoom, drag keyframes and shots with your finger. It was mouse-only before — on a phone it simply didn't move.
• The Composer timeline works. Swipe to scroll the lane, drag the playhead, long-press a clip to reorder. Clip names stay visible instead of waiting for a hover that never comes.
• Dialogs stay on screen. Export, references and image editing fit the viewport and scroll inside it.
• Tapping a field no longer zooms the page. On iOS, focusing a small input used to zoom in and never zoom back.
• Hover-only buttons are visible. Removing a reference image, opening asset actions — things a touch screen could never reveal.

Turn the phone sideways and the interface gets out of the way: the film strip and stage rail collapse so the frame and timeline get the space.

One honest note

A phone is now a real place to write beats, board scenes, review frames and kick off generations. Fine trimming on the Composer timeline is still easier on a laptop — small clips and a fingertip are a hard combination.

We'd rather say that than pretend otherwise.

This week, in order

1. Plan a full sequence of beats without generating anything.
2. Read the panels in Board view, fix the prompts that are wrong.
3. Select the keepers and use Generate selected — check the cost it quotes you first.
4. In Continuity Studio, override the generation mode on any shot that guessed wrong.
5. Open the same project on your phone and see whether it holds up.

Existing projects and already-generated frames need no migration. Nothing to move, nothing to re-import.

Happy filmmaking, The Frameliq Team

P.S. — Tell us what still feels wrong. Reply to this email, or find us at @frameliq. A real person reads it.