El Comandante — 2:13, fiction, from a screenplay. You never open a timeline. No compositor, no grading suite, nothing uploaded.
A film about a propaganda broadcast being manufactured — made by the system it's about, and showing its own wires in the first shot and the last.
Every script gets smaller on the way to the screen.
The city on fire becomes a glow behind a wall. The crowd becomes four people standing close together. 1978 becomes a room with the blinds shut.
Nobody wanted those versions.
They're what was left after the money, the dates, and who happened to be free in March.
Y-O-X doesn't take the craft out of it.
You cast it. You choose where it happens, where the camera sits, how long the shot holds, what it sounds like. What it takes out is the part where you find out you can't have what you wrote.
The crew you'd have hired, if there'd been the money for one.
No timeline to master. No panels to arrange. No settings buried three menus down.
Say what you want the way you'd say it to somebody standing next to you — typed, or out loud. It comes back with the film.
✓ Reading scene intent
✓ Holding host / soundstage / wardrobe
✓ Rebalancing coverage and edit rhythm
A screenplay, a treatment, or the idea you've been describing to people in bars for two years.
Cast it. Choose where it happens. Say what the scene needs and how it should feel. Change your mind. Say it again.
Holding the same face across every scene. The same room, the same coat, the same scar. Working out the coverage. Cutting it together.
Finished. Picture, voice, music, sound, the cut, the look, the titles.
Picture. Voice. Music. Sound design. The cut and its rhythm. The look. Titles and credits.
A finished film — not a folder of clips to go and assemble somewhere else.
The old arrangement
Most people run a writing app, a generator, a board tool, and a folder of production documents that stopped being true three drafts ago. Every handoff loses something.
Y-O-X principle
Y-O-X is one system. Nothing is handed off, because there's nowhere to hand it to.
The old arrangement
Scripts move. Breakdowns, boards and shot plans stay frozen at whatever they were when you last touched them.
Y-O-X principle
Change the script and everything downstream follows. Cast, locations, props, coverage — all of it updates, because none of it was a separate document to begin with.
The old arrangement
Pick a product, inherit whichever model its company signed with. When something better ships, you wait.
Y-O-X principle
Y-O-X isn't married to anyone. It uses the best model available for each job — picture, voice, music — and swaps them out as they're beaten. The models keep improving. What you do doesn't change.
01 / Memory
Hundreds of films in, Y-O-X knows the ways this goes wrong. The face that drifts between scenes. The room that quietly changes shape. The cut that lands a beat early. The ending that never arrives.
Those aren't tips. They're checks that run before anything gets made — and when one of them disagrees with a film you're happy with, the check loses.
Then it starts keeping your things. Your faces, your places, your props: described once, held still, used again. The problem that ruined a shot last time, written down so it doesn't happen twice.
Your second film starts where the first one finished.
2:13. Fiction. One script.
A day's work, and nearly all of it was deciding — recasting, pulling new takes, arguing about music, moving a cut two frames to the left. None of it was spent executing.
01 / Reference assets — cast, prop, location
The screenplay is published in full. Read it and you've seen the entire input.
Proven at two minutes. Not twenty. Not ninety. Ask again in six months.
Juan Manuel Biaiñ has been making films for fifteen years — for the Bertha Foundation, VICE and Al Jazeera. Article 12: Waking Up in a Surveillance Society was nominated at Locarno. Seventy films have followed.
He built Y-O-X to make his own. Every check in it exists because a film went wrong first.
FILMOGRAPHY HIGHLIGHTS
Article 12: Waking Up in a Surveillance Society
Nominated — Locarno Film Festival
VICE / Al Jazeera Investigative Documentaries
70+ films directed across 15 years
Bertha Foundation Fellow
Surveillance & media manufacturing research
What you make here is yours. Your scripts, your characters, your footage, the record of what worked and what didn't — none of it trains our system, and none of it turns up in somebody else's film.
The checks get sharper because we keep making our own films, and we hand you what we learn. Not the other way round.
Zero Training Policy: Your scripts, prompts, and generated media never enter any foundation training pipeline.
Full IP Ownership: 100% ownership of output assets, storyboards, and cut sequences.
Encrypted Workspace: Isolated project state per production with strict access keys.
Access opens in November 2026. Invitations go out in batches, in order of signup date - so joining the waitlist earlier means an earlier invitation.
Plans are indicative and subject to change. Free at $0/month covers starter templates, 3 projects, 50 MB storage and 5,000 credits. Pro at $19/month adds the full template library, unlimited projects, 1 GB storage and 20,000 credits. Max at $99/month gives 10 GB storage and 125,000 credits. Enterprise is custom, with on-premise deployment, SSO and SAML, custom integrations and SLAs. Credits can also be bought outright and roll over for 12 months - one wallet covers text, audio, image and video.
You do. You own the output in full and can distribute or sell it commercially. Your scripts, prompts and generated media never enter any foundation training pipeline.
Short-form today. El Comandante runs 2:13 and the system is proven at that length - not twenty minutes, not ninety. Ask again in six months.
No. You direct it in plain language, typed or spoken - there is no timeline to master and no panels to arrange. Anyone who can describe what they want should be able to use it.
Deliberately unstated, because it changes. Y-O-X is not married to any provider: it uses the best available model for each job - picture, voice, music - and swaps them as they are beaten. That happens under the hood and should be irrelevant to you. The models keep improving; the way you work does not change.
No. Y-O-X has a zero training policy: your scripts, your direction and your finished films are never used to train any model, ours or anyone else's, and they are not passed to model providers for training either. You keep the copyright in everything you make, with no revenue share and no licence back to us, and each production sits in its own encrypted workspace so one cannot see another. That is the answer most AI tools will not put in writing, and it is the one that decides whether a tool can be used on work under NDA or headed for a festival.
Both refer to the same company and the same product. The name is Y-O-X; written without the hyphens it is YOX. The command line tool is yox, which is where you will see it unhyphenated most often.
Y-O-X is in use on our own productions. Access opens in stages.
What you get for being early
• Private beta, before it opens
• What's shipping next, before it ships
• A direct line to the people building it
• Founding-member pricing, held for good