Character
On the field and in the field.
Visual consistency that is based on narrative consistency.
Gary Nunez — three costumes, one locked face
Gary runs residential job sites. Across the film he wears three different things — a high-vis vest over a washed-out flannel, a slate polo with the cap in his hand, a white polo on the green — and not one of them is allowed to touch his face. Same sun-creased forehead, same salt-and-pepper mustache, same stocky build carried the same way. The costume is the only variable, and it is written down as one before a single frame is generated.
LOCATION
A location sheet separates what must never change from what is supposed to. The fairway, the bunkering, the treeline and the cart path are locked. Sky, light and weather are free to move.
The course sheet — four angles, one geography
The same green, held across a whole sequence at 2.35:1.
Two skies over the same course. The weather is a variable and it is allowed to move; the ground underneath it is not. That distinction is the whole reason the sheet exists — without it a generator quietly redraws the bunkering every time the light changes, and nobody catches it until the cut.
THE PROBLEM
On the course he is exact. Fourteen handicap, been fourteen since March. Six-iron, 162 to the pin, dead into the wind. He knows it cold.
Then he gets in the truck. The dashboard is a drift of crumpled notes. The job address is on a sticky note stuck to a hard hat. The photo that proves the framing passed is somewhere in a camera roll of houses that all look alike. Gary is not a careless man — he is a precise man with nowhere to put the precision.
That gap is the film, and it is also the argument. Mess and no mess. The difference between them was never effort. It is whether the thing was written down.

The dashboard, the hard hat, the camera roll — three flavours of one failure
He wrote it down. He just can't read it back.
PRODUCTION ENGINE
The workflow. Five stages, each one a handoff with something finished attached to it.

A clearly articulated idea is transmitted to the Director.
The Director delivers the treatment and the shotlist.
Anchor images for character, location, and world dynamics.
Elements come to life.
Elements are assembled and delivered. Fun ensues.
Rigor makes Fun possible.
See it finished
Character sheets and shot specs are how it stays consistent. These are the pieces that came out the other end.
Watch the demo videos →funistheproduct.com/demo-videos