FilmLab

One call, the whole picture: account (tier, credits, reset), default models with price, jobs in flight, catalog freshness, project count. Pass project_id for that project's sequences, assets and review-queue length. Read-only, free.

Apply a deterministic colour grade to an image already in the project gallery — no re-generation, no provider, no credits. The look is computed pixel-exact (exposure, saturation, hue, lightness, contrast, film grain) and lands as a new gallery image the sequencer and export pick up. The same recipe on the same image always yields the same result (grain is fixed-seed), so a look is reproducible across every still. Set from_colorist to start from the project's colorist crew brief (look, contrast, grain) and tune with the sliders on top. At least one adjustment OR from_colorist is required. Synchronous — the graded image_url comes straight back, no polling.

Set the colour grade of ONE clip in the edit (Murnau), or of the whole programme with `programm: true`. It is the same grade a colourist sets in Murnau's colour workspace, and the export uses it: Murnau bakes the export LUTs when you set it. Only the fields you send change (`zuruecksetzen: true` starts from neutral). Fields and ranges, as the sliders: exposure in stops (−5..5); contrast, saturation, temperature, tint −100..100; hue −180..180; lift/gamma/gain/offset as {x, y, master}, each −1..1 (x/y move the colour wheel); log as {shadow|midtone|highlight: {x, y, master}} — the Log wheels in ACEScct, each acting only on its range of brightness (shadows below ~4 % linear, highlights above ~50 %), master ±1 ≈ ±2 stops there; hdr as {dark|shadow|light|highlight: {x, y, master}} — HDR zone wheels centred −3/−1/+1/+3 stops around 18 % grey, master ±1 ≈ ±1.5 stops; curves as {master|r|g|b: [[x,y],…]} 0..1; boost, shadows, highlights −100..100; intensity 0..100 (0 = original). Per clip also `sek` — a secondary correction: {qualifier: {hueCenter, hueWidth, satLow, satHigh, lumLow, lumHigh, softness, invert}, fenster: [{form: kreis|rechteck|verlauf|polygon|bezier, cx, cy, rx, ry, winkel, weich, invert, modus: add|sub, punkte (polygon/bezier only: 3–16 resp. 3–12 [x, y] in the window's own unit space, scaled by rx/ry and turned by winkel — bezier draws a smooth closed curve through them)}], grade: {saturation, exposure, temperature, tint, hue, schutz}} — schutz 0..100 takes the clip's and the programme's grade back inside the selection (100 = ungraded there, e.g. to protect skin); `sek: null` removes it. Any level also takes `warper` — the Color Warper: {huesat|chromalum: {res: 6|12|24, punkte: [[i, j, dx, dy], …]}}; node (row i, column j) sits at (j/res, i/res) and is moved by (dx, dy) in −1..1. huesat plane: x = 0.5 + 0.5·sat·cos(hue), y = 0.5 + 0.5·sat·sin(hue) (lightness kept); chromalum plane: x = sat, y = 1 − lightness (hue kept). Only moved nodes; `warper: null` remov…

Suggest a FilmLab grade look from a Resolve LUT name or path — read-only, no cost. First call resolve_node_graph_lesen on the local FilmLab bridge (filmlab_bruecke_mcp.py), a SEPARATE MCP server, and pass its lut field here. The agent connects these two calls: this Cloudflare Worker cannot reach the bridge at 127.0.0.1 on the user's computer or fetch the name itself. Only the name is matched; the Resolve LUT file is neither read nor imported, and its exact grade is not reproduced. Returns look, reason, alternatives and sicher (false means the name was not confidently recognised). Apply with lab_grade(look: …) only once the user agrees.

Suggest a grade look for a project — read-only, no cost. With image_id, includes the image prompt; without it, uses only the colorist crew brief. Returns a recommended look name with a reason and alternatives; apply it with lab_grade(look: …) once the user agrees.

Declare or list where a project's material comes from: 'eigen' (made by people) or 'ki' (AI-generated or AI-altered). Exports decide the EU AI Act Art. 50 disclosure per clip from this — undeclared material counts as AI. With asset_key + herkunft: declare (the file is checked for an AI mark; one found keeps it AI and the answer says why). With project_id only: list every declaration with its effect (`wirksam`).

Poll the status of an image or video generation started by lab_generate/lab_animate. There is no single-item status endpoint on the backend — this fetches the project's full image/video list and filters by id, so it needs BOTH project_id and id (the id alone is not enough). status inside the returned item's metadata is 'pending'|'completed'|'failed'; when completed, image_url/video_url is populated. When the run is done, the answer may additionally carry schritte (the step trail of this run) and review (a machine check against the confirmed brief, present once for a run that went through lab_propose/lab_run_proposal — absent for a still-pending run, a run started outside a proposal, or a repeat poll after the one-time check already ran): abweichung lists every field that came back different from what was confirmed, possibly empty; tool means the provider fallback chain degraded the run; bild means a vision check found the result contradicting an explicit statement of the brief (free for the user, once per run; bild_review says why it was skipped). A failed or degraded proposal run may also carry plan_b: alternatives with checked prices and proposal IDs, offered once. Present them to the human; never start them yourself. Call lab_run_proposal only after the human confirms an alternative.For a run that carried a kamerapfad, metadata.kamerapfad says what arrived and, as `angewandt`, WHICH form of it was actually sent — als_text (prose), als_regiebefehle (bracketed director commands, MiniMax/Hailuo), eigene_regie (the prompt already carried bracketed commands, so the path was deliberately NOT added next to them — eigene_regiebefehle lists them) or nicht_ableitbar (nothing of the path reached the prompt, with the reason). `sprache` next to it names the family rule and the source it rests on. For a reference-motion run, metadata.referenz_masse is the reference trail: one row per reference with what it measured (original_px) and, if the backend had to scale it to the mode…

Are any FilmLab generations running RIGHT NOW, across ALL projects? Use this before anything that restarts the backend (a deploy recreates the container and kills running jobs, losing paid credits), or to answer 'is the lab busy?'. Unlike lab_job_status/lab_batch_status this needs no id — it lists every job in queued/processing PLUS every direct image/video/audio/vfx generation currently within its own grace window (lab_generate/lab_animate write straight to their result tables, never to the job queue — omitting job_type covers both; naming one job_type narrows to the job queue only, since a direct generation's type vocabulary differs). Returns {busy, warm[], stale_count, stale[]}: `warm` are jobs that actually progressed within stale_after_seconds and are the ones a restart would destroy; `stale` are queue jobs stuck longer than that (a crashed worker leaves rows in 'processing' forever) — they are reported but do NOT make busy true, otherwise one zombie would block every future deploy. A direct generation is never 'stale' here — past its own grace window it stops being reported by the backend entirely and becomes the orphan sweep's job, not this check's. Carries no prompts or payloads: this view crosses project boundaries, so it returns only type, state and age.

Produce ONE element on a transparent background: generated, then cut out and stored as an alpha PNG in the project's gallery. This is the counter-move to the one-shot lottery — cast, props and foreground pieces are made SEPARATELY, arranged as a set afterwards and only then unified, so a wrong hand or a wrong lamp is re-made alone instead of re-rolling the whole frame. The element is deliberately optics-neutral: no lens or camera suffix travels with it, because the look is decided later on the finished comp and every layer is meant to inherit the same focal length and bokeh. ASYNCHRONOUS: the row comes back with status pending and image_url null; poll lab_job_status (type 'image') with its id until the url is populated — that url IS the cut-out. Costs credits when called without get_cost.

Extract the LAST frame of a finished clip as a new image (returns image_id, image_url, zu_dunkel). Use it as source_image_id to continue one unbroken take, or as a still. A frame that is too dark (zu_dunkel: true) makes a bad start image — say so instead of animating from black. Free (no credits). Chains (lab_verkettung) do this themselves for uebergang=durchgehend.

List a project's media assets (image/video/audio) with their URLs. Optionally filter by asset_type. Returns up to 20 with a total count. Each row carries its address as `url` (with `type` and `key`). Project assets come back as SIGNED addresses on https://thefilmradar.com/api/lab/assets/abruf/… — valid for 24 h, loadable without a session and with any User-Agent. Only older rows may still point at media.andresmarder.com, whose CDN WAF answers some non-browser User-Agents (e.g. curl's default) with 403 — prefer a browser UA there, or hand the URL to the user.

List a project's generated audio rows, newest first — this is the POLL for lab_generate_music. Read two fields: `metadata.status` ('pending' | 'completed' | 'failed') and `audio_url`. A pending row has no url, and nothing downstream works with it: lab_bind_audio silently leaves the track empty (resolve-stems only takes rows that carry a url) and lab_beatgrid has no file to open. A failed row carries `metadata.error` and its credits were refunded. Reads only — no state changes, no credits.

List the character sheets in the FilmLab cast register (id, name, age, gender, project_name, prompt_prefix_en). Call this BEFORE lab_generate whenever a person must look the same across several images: pass the id you find here as `character_refs` instead of re-describing the person in every prompt. Optional `search` matches name or project name (substring, case-insensitive). It shows YOUR OWN characters plus the public catalog (sheets explicitly made public and bound to no project). Characters of other accounts' projects never appear — projects can be confidential. New characters are private. The register returns at most 50 sheets, newest first, and offers NO paging — 20 are shown here. `total` therefore counts at most 50: with more than 50 sheets it understates, and `search` is the only way to reach the older ones. Nobody there yet? Create a sheet with lab_create_character.

List past export jobs for a project (each with job_id, status, profile). Returns up to 20 with a total count. Finished rows carry the same signed, login-free result addresses as lab_get_export (download_url, herkunft.pdf_url, …; valid 24 h).

List a project's location scans with their reconstruction state — this is the POLL for lab_location_recon and the place the scan ids come from. Read `status`: 'pending' (clip uploaded, nothing reconstructed yet), 'reconstructing', 'done' (splat_url/glb_url/board_url are filled), 'failed' (error says why). Listing is what ADVANCES a running reconstruction from the outside world into the row, so calling this is how the state moves at all. Reads only — no credits.

List location boards, newest first — START HERE to find a `location_id` for lab_generate / lab_animate. Each entry carries its `prompt_prefix_en`: that is the exact text appended to your prompt as 'Location: …', so you can judge whether the board fits BEFORE spending quota. A board with an EMPTY prefix anchors nothing — it will silently do nothing. Fix it with lab_enrich_location_prefix or pick another board. Only public boards are returned, max 50 from the backend and 20 shown here; if your place is not listed that is a limit, not a failure — create it with lab_create_location.

The model catalog: what every video or image model can do — resolutions, durations, aspect ratios, audio, reference limits, price per second or per image — grouped by capability class with a one-line explanation per group. Read this before choosing a `tool` for lab_generate/lab_animate/lab_propose; copy ids verbatim. Cached briefly; `stand` says how fresh.

Location boards bound to ONE project. Narrower and more correct than lab_list_locations when you already know the project: it cannot leak boards from a different project with the same title. Boards created before the project binding existed (project_id NULL) deliberately do NOT appear here — use lab_list_locations for those.

List FilmLab projects (id, title, current pipeline stage). Call this first to find a project_id for the other tools. Shows up to 20 items; `total` counts your active projects (up to 200) and `truncated: true` means the list is cut off — sorted by last change, so older projects drop out of the shown window first.

List a project's sequences, newest first. Use it to find a `seq_id` instead of creating a second sequence for the same cut.

List a project's cloned voices (lab_voice_clone results) — id, label, voice house, sample and preview URLs. This is where a `voice_id` for lab_voice_tts or lab_dub comes from, and where you look up which house a voice belongs to before pricing it. Both houses are listed unless you narrow it. Reads only — no state changes, no credits.

Generate a 360° equirectangular HDRI panorama of a place (costs quota). Pass loc_id to persist it on that board, so the viewer finds it again; without loc_id it is a one-off.

Reconstruct a real place in 3D from a scan clip: keyframes are pulled from the clip server-side and turned into a point cloud / splat on the location board, so a scouted room can be looked at from angles nobody filmed. THE SCAN IS NOT MADE HERE — it is a walk-around clip uploaded by the FilmLab camera app together with the phone's lens data. This tool takes one that already exists; lab_list_location_scans gives you the ids. SLOW AND NOT A JOB ROW: the answer comes back as 'reconstructing', and the finished state is picked up ONLY by lab_list_location_scans — lab_job_status and lab_get_job will never show this one finish. If the call times out, the reconstruction normally keeps running on the server: list the scans instead of firing it again. Re-running is allowed from any state that is not done.

Check the colour CONTINUITY of a scene in the edit (Murnau): every shot is compared with the scene's reference shot (the first, or `referenz_clip_id`) at the SAME scene points — found by feature matching (ORB + homography) between the two frames, each rendered through its export path. Image-wide statistics would measure the framing, not the grade (measured: up to 5000 K apart with no grade change). At those points: white point (Kelvin and mired), lightness (L*), colour distance (ΔE). Over the threshold (8 mired, L* 4, ΔE 3) a shot gets a `befund` with the number (e.g. '150 K wärmer als die Szene (13 Mired)') and a `vorschlag.grade`: a clip grade fitted so the shot's source colours land on the reference colours, with the deviation expected afterwards. Pass it to lab_grade_clip, then run lab_look_match again. Shots without enough shared content (reverse shot, different subject) come back as `vergleichbar: false` with the reason — nothing is guessed. Scenes come from the sequence's shots (lab_shots); without them give the shots as `clip_ids`. At most 24 shots per call. Writes nothing, costs nothing.

Set the sound mix of a sequence: per track `volume_db`, `pan`, `mute`, `solo` and `effects`. Every field you send is rendered — the backend rejects what it cannot render (422 with the reason), so a saved mix is the mix you hear. Tracks are the stems `dialog`, `music`, `sfx`, `atmo`, plus `master` (effects only: eq, compressor, limiter). Only the fields you send change; `effects` replaces that track's whole effect list. Effects: gate, eq, deesser, compressor, reverb, limiter — fixed order, one of each per track; give a `preset` (with its written reasoning), a one-knob `knopf` (0–1) or explicit values. Ducking is an effect too: {type:'ducking', quelle:'dialog', amount_db, attack_ms, release_ms} lowers this track while `quelle` is active. Call with `katalog: true` (and no tracks) to get every effect, its ranges and the presets with their reasoning. Any change discards the rendered mixdown. Changes state, costs nothing. Next: lab_mix_render, then lab_mix_messen.

Measure the RENDERED mix: integrated loudness (LUFS), true peak (dBTP) and loudness range (LU) of the master, measured on the mixdown file itself. Per stem the same values, speech-gated (under the dialog / in its pauses), and how many LU each stem sits under (or over) the dialog in dialog passages — exact. A stem's level inside the master is an estimate (stem plus the gain the master applied) and is labelled as such. Needs a current render whose stems are still the ones it was made from: any change with lab_mix discards it, and a newer audio file in a stem makes it stale (409 then — render first). Runs as a BACKGROUND JOB: you get a job_id at once; poll lab_get_job until done — the measurement is in job.result. Measure before and after a change to prove what it did. Writes nothing, costs nothing.

Render the sequence's mixdown, normalised to a loudness target: `broadcast` (EBU R128), `web` or `youtube`. With `auto_preset` it runs the AUTO-MIX instead: it measures every stem speech-gated (under the dialog vs. in its pauses), sets faders, ducking and a master limiter by the preset (`spielfilm`: music clearly under the dialog; `doku_vo`: the narrator leads), renders, and measures the result. Every auto-mix decision comes back as one sentence with its number, plus missed lower loudness bounds — read them, they are the reasoning you can pass on. Runs as a BACKGROUND JOB: the answer is a job_id at once; poll lab_get_job until status is done (the result — mixdown, measured loudness, the auto-mix report — is in job.result) or failed (job.result.status and detail say why: 422 solo on / dialog muted / no speech, 409 the tracks were edited meanwhile — nothing was overwritten). If a render of the same kind is already running for this sequence, you get THAT job_id back instead of a second render. Costs nothing. Next: lab_get_job, then lab_mix_messen.

The rules of one working surface, generated from the code: what the surface is, what an agent can trigger itself, what exists but only by hand, and what does not exist at all. Call this BEFORE answering what is possible on a surface — the three lists come from a table with a code reference per entry, checked in every PR, not from memory. Saying "that does not exist" about something the editor can do is the failure this tool prevents. Surfaces: edit, vfx, audio, idea, script, axis, location, crew, cast, pose, capture.

Turn a loose idea into a production-ready image or video prompt — the same Dreamer engine the FilmLab web UI uses (modes: beautify, storyboard, polish, format, shorten, expand, simplify, custom, stiluebernahme). beautify GENERATES (a 50-character thought comes back as a full prompt); polish/format/shorten/expand/simplify PRESERVE what is there. medium=video plus depth=skeleton yields the 15-block production prompt; depth only applies to video. anlass only applies to beautify. custom and stiluebernahme require instruction. For video the answer carries clip_duration_seconds — hand THAT number to lab_animate(duration_seconds), otherwise a prompt timed to 12s gets rendered as lab_animate's 5s default. In an Apps-capable host this opens as a form you can adjust and re-run; elsewhere it answers with the prompt as plain text. Pass `tool` (the registry key you will hand to lab_animate/lab_generate) and the finished prompt is laid out in the skeleton of that model family — location, camera, lens and light land where that family reads them, worded the way it reads them; families without a measured rule keep them appended as before, and the answer says so (prompt_skelett).

Propose a generation for the user to confirm: validates the parameters against the catalog, computes the price, and shows a card (widget hosts) or returns the same object as text. NOTHING runs until lab_run_proposal is called with the returned vorschlag_id — by the card's button, or by you after the user said yes. Without a measured price there is no vorschlag_id and no button: the answer then says so instead of offering an estimate as if it were a quote. Free.

Render a new clip FROM the motion of an existing one: your reference clip leads (camera move, blocking, timing), the model restyles what happens in it. Pass the clip's URL directly — the one you already have from lab_list_assets (asset_type 'video'), lab_job_status or lab_review_queue; nothing is looked up. Reference images bind cast, place and look; in_sec/out_sec cut the reference server-side before it ever reaches the provider, so you pay for the excerpt, not the source. Same backend path as lab_animate's source_video_id, with the fields that only exist there. Costs credits when called without get_cost. WITHOUT a reference clip (leave reference_video_url out), the images and sounds in `referenzen` alone guide the run — only for models whose lab_list_models entry says referenzen_ohne_video: true, and only FACELESS references (ort, stil, bild, stimme, ton): Seedance 2.5 rejects faces as reference images, even invented characters (measured 2026-09-27), so `figur` is refused before anything is charged. For a person, build a still with them first and animate it with lab_animate. Name the references in the prompt as 'reference only, never shown on screen', and avoid the word 'static' for short shots — it tends to return frozen frames.

Directing techniques: camera angle, framing, composition, movement and lighting, each with the emotional effect it creates (wirkung), when to use it (zweck_de), when it backfires (vermeiden_de) and a model-neutral prompt fragment (prompt_en). Search by effect (e.g. wirkung=bedrohung, isolation, sehnsucht) to find the ways to get there, then pass up to three `schluessel` to lab_prompt_transform(techniken) — the fragments are appended verbatim, not rewritten. One angle, one movement and one lighting setup per shot; framing and composition stack. Read-only, free.

See the DELIVERED film: up to 12 frames from the finished export (lab_start_export → lab_get_export status done), tiled into one image and shown. This is the rendered picture WITH everything the render adds — lens/grade, lower thirds, title cards and the AI badge — so use it to check the result, e.g. 'is the lower third readable at 7 s, does the badge cover anything'. lab_capture shows the cut BEFORE rendering (computed from the timeline, without those layers); this tool shows what was actually delivered. Give `sekunden` (seconds into the exported film) or `verteilt` (n frames spread evenly; default 6 when both are missing). A second past the end is an error with the film's length, not a silently clipped frame. Only finished exports with a video (not archive/PNG-sequence profiles). Free (no credits).

Restyle an existing board towards a wish (costs quota) — same place, different look, e.g. 'the same flat, twenty years later'. Changes the board itself, so images generated afterwards follow the new style. Also the repair path for a board whose prompt_prefix_en is a raw field dump (lab_create_location returned prefix_generated: false): restyle it with a wish like 'keep the place, write a proper image prompt'.

Review generated assets: set verdict (accepted|rejected|pending) and/or selected. Pass ONE id, or `ids` for a bulk review — after a generation run there are usually dozens to sort, and clicking through them one by one is why the review fields went unused. Rejected assets drop out of the default listings and become prunable. Note: single-id calls make `selected` exclusive per scene (one chosen variant per scene_ref); bulk calls do NOT, because a bulk over one scene would keep resetting itself and only the last id would stay selected.

Browse GENERATED rows (images or videos) — newest first, each with the INPUTS it ran on. Every row carries `inputs[]` (start/reference images, reference videos, character refs — role + url) and `params` (model, mode, resolution, seed…). Read those before comparing two runs: a run without its inputs is a claim with a picture attached, and a comparison described as one-variable has more than once turned out to differ in three. An input whose URL was never recorded appears as `origin: 'unrecorded'` — that is a gap in the write path, NOT a text-to-* run. Two modes. PER PROJECT (pass project_id + type): adds the review filters — verdict, selected_only, scene_ref — and carries `selected`. ACROSS PROJECTS (omit project_id, or pass since/until/tool_used/cursor): the time-range view for 'what ran on August 3rd?'. The review filters do not exist there and are rejected rather than silently dropped. Page with `next_cursor`.

Run ONE pipeline module for a project (context is injected from upstream modules + crew agents). SYNCHRONOUS and LLM-heavy: light modules return in seconds; heavy ones can exceed ~55s and then time out (504) — run those in the FilmLab web app instead. Pass an invalid module name to get the list of valid module keys. Returns the module output.

Run a proposal exactly as shown — same model, same parameters, same price. Called by the card's button, or by you after the user confirmed. Single use: the proposal is consumed BEFORE the run, so a second call is refused instead of paying twice. Valid 15 minutes, for the account that created it. Costs credits. The run is checked against what you confirmed only when it FINISHES; poll lab_job_status and read review there. This answer carries review only if the run completed synchronously.

Measure ONE clip of the edit as numbers instead of a picture: a frame is rendered through the clip's export path (input profile, grade LUT, secondary correction) and measured — luma percentiles (P1/P50/P99, Rec.709), mean R/G/B, green excess (G minus the mean of R and B: >0 green cast, <0 magenta), vectorscope centroid (Cb, Cr), clipped highlights and crushed shadows. `befund` says what is off in words with the number; `vorschlag.grade` is a correction computed on a sample of the source through the clip's full grade (gamma wheel master first, then exposure, temperature, tint, gain wheel) towards median luma 0.42 and no cast WITHOUT pushing highlights into clipping, with the values it expects — pass it to lab_grade_clip, then measure again. When nothing more is gained, `vorschlag.grade` is null and `grund` says why. Give clip_id (from lab_grade_clip without grade) or zeit_s (seconds on the timeline); default is the middle of the clip. Writes nothing, costs nothing.

Search the FilmLab universe catalog of AI tools, news and companies. Query must be at least 2 characters. Returns up to 20 matches with a total count.

Generate or CLEAN UP a SOUND track other than music — sound effects, ambience/atmosphere, dialog, a voiceover, FOLEY scored to an existing clip, or the repair kinds that take an EXISTING recording apart instead of inventing one: denoise (take the noise out), split (separate it into stems), isolation (keep the voice, drop the rest). All of it goes through the same audio pipeline as lab_generate_music. ASYNCHRONOUS: the call returns immediately with a row whose `audio_url` is null and `metadata.status` is 'pending'. Nothing is playable yet. Poll lab_list_audio (matching audio_type) until that row's status is 'completed' and audio_url is set; a failed row refunds its credits and carries metadata.error. The backend picks the provider for the chosen `art` on its own — there is no `tool` parameter here.

Read the SHOT layer of a sequence — which clips form one shot, which scene it plays in, who is in it, and what the continuity pass found. This is the layer above the timeline: lab_get_sequence gives you clips in a row, this one gives you the cut. Costs nothing, writes nothing. Use it before changing a cut: a shot binds clip_ids, so the times come out of the timeline and a shot whose clips you shorten simply gets shorter. Read `clips_ohne_shot` as well — it says how far the meaning lags behind the timeline, and an empty `shots` list usually means nobody has derived them yet (lab_shots_ableiten does that, for free). Every shot reports `clips_verwaist` (clip_ids that no longer exist in the timeline) and `zusammenhaengend` (false when another shot's clip sits between this one's): a torn shot is allowed — one location cut into twice — but it says so, instead of showing a duration longer than the sum of its clips.

Derive the shot layer from what the clips already say about themselves — consecutive clips of the same scene become one shot, and a scene that returns later becomes a second one (one location cut into twice is two shots). Costs nothing: it groups rows and reads titles, it generates nothing. Titles come from the project's shotlist where the scene is in there, so this is more than a regrouping — it fetches meaning the pipeline already produced. SHOTS YOU SET BY HAND SURVIVE. Only derived ones are replaced, and clips already held by a manual shot are left out of the grouping entirely — a derivation does not take handwork's material away. Read `clips_ohne_szene` in the answer: those clips say nothing about where they belong, so each became its own shot. That number is a job for the pipeline, not a fault of this call — and grouping two nameless clips would be a claim about connection that nobody made.

State the shot cut yourself: which clips form one shot, what it is called, which scene it plays in. This is the counterpart to lab_shots_ableiten — that one groups by the scene the clips already name, this one is for the judgement no field carries. Costs nothing. Use it where derivation cannot reach: ingested footage has no shotlist by nature, and a sequence whose clips name no scene would come out of a derivation as one shot per clip — the timeline under another name. It is also the ONLY way to build the 'movement' layer (arcs over shots); the derivation only ever writes 'shot'. REPLACES the whole level in one go: every shot of this `rung` that you do not list is gone. The other level is untouched — recutting shots does not throw the arcs away. Refusals happen BEFORE anything is written: an unknown clip_id, or the same clip in two shots of one level. A half-set shot list looks like a result and is none. Read lab_shots first and send its clip_ids back — a shot binds clip identities, not time ranges, so shortening a clip later simply shortens the shot. What you set here counts as handwork: a later lab_shots_ableiten leaves these shots alone and does not touch their clips.

Start an ASYNC export render of a project sequence. Returns a job_id immediately (status 'queued') — does NOT block. Then poll lab_get_export with that job_id until status is done|failed. Needs the sequence_id to render (an integer from the project's sequences). `derivatives` asks for extra cut-downs of the SAME render (portrait for social) alongside the main file — their URLs come back in the finished job's `derivatives`. The finished job also carries `zielmarkt_checkliste` (delivery checklist per target market, set with lab_zielgruppe).

Ask what clip durations the project's cutting preset WOULD give a sequence — and change nothing (`angewendet: false`). Use it to see the consequence before lab_apply_rhythm writes it, or to size a sequence that has no clips yet (pass `anzahl`). It knows nothing about the measured beat grid: the tempo it uses is the text from the preset's music brief ('mittel bis schnell, 100–128'), which is a promise, not a measurement. Only lab_apply_rhythm reaches for the grid that lab_beatgrid measured. Reads only — no state, no credits.

Write a WHOLE cut into a sequence in one call — clips in order with their lengths, an optional dissolve between them, an optional bed underneath. This is the counterpart to lab_get_sequence: that one reads the timeline, this one writes it. Prefer it over a chain of lab_add_clip calls whenever you already know the whole cut: a chain that breaks in the middle leaves half a sequence behind, this either applies or refuses. Costs nothing — it validates and writes rows, it generates nothing. Every video_id is checked against the project BEFORE anything is written, so a wrong id is a refusal here and not a gap in the cut nobody notices. Pass `sequence_id` to write into THAT sequence; omit it and a new one is created. Pass `sequence_id` WITHOUT a manifest to read back the stored cut as a manifest — for an agent that already has the sequence_id and wants to see what is in there before changing it. (The Resolve bridge does NOT go through here: it talks to the FilmLab server directly with its own bridge key and does not know this MCP.) Reworking a cut you read back? Keep each clip's `clip_id`. A clip that comes back with its identity keeps its track, its in-point in the source and its scene, and the shots bound to it stay bound; a clip without one is treated as new and gets a fresh identity, which orphans whatever pointed at the old one. Two honest limits: the Resolve bridge applies the clips but reports `uebergang` and the bed's level/fade as not applied (its scripting API has neither a transition call nor a clip volume property). The FilmLab sequence render applies the bed with its level and fade, but NOT `uebergang` yet — dissolves are stored and render as hard cuts (checked 2026-10-03).

Generate SOUND EFFECTS for a whole sequence, shot by shot — Simon Meyer's pass: every shot is muted, padded with black frames up to the model's minimum length, re-rendered by Seedance 2.5 in editing mode at its low resolution with sound on, and only the generated sound is kept, stretched back to the original timing (the black padding is the sync marker) and laid at the shot's position. The result is ONE sfx track in sequence length, bound to the sequence's sfx stem; the other stems stay as they are. Each piece and its offset are listed in the audio row's metadata (stuecke). Shots come from the sequence itself, in export order and export length — no cut detection. Costs credits, priced per shot over the seconds actually sent (the padding counts); call with get_cost first. ASYNCHRONOUS: returns a job_id; poll the job until done. A shot that fails is refunded on its own and named in fehlende_einstellungen; if the whole run fails, all of it is refunded. The model is told: keep the picture, diegetic sound only, no music, no dialogue, no voices — `hinweis` adds a setting line for every shot.

Relight and restyle an EXISTING clip while the performance stays untouched (Beeble Switch X): lighting, background and props change, the subject and its motion do not. The source is the clip of a generated-video row — or, with asset_id, an uploaded file that stands in for it. in_sec/out_sec cut the source server-side first, so a long take can be transformed in pieces. ASYNCHRONOUS: a new video row comes back as pending; poll it with lab_job_status. Costs credits when called without get_cost.

Enlarge an EXISTING clip (Topaz, passed through fal): same shot, same length, same sound — more pixels. There is no prompt here; nothing is re-imagined, the frames are scaled. The source is the clip of a generated-video row. Both the length and the source height are measured server-side before anything is charged, and a source too tall for the larger factor is refused rather than run. ASYNCHRONOUS: a new video row comes back as pending; poll it with lab_job_status. Costs credits when called without get_cost.