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The Screening Room: set your muse in motion from a finished portrait or a written direction, priced by running time and resolution, stated before you confirm.
Animate only a fictional muse, or footage you own with documented consent.
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She Rides Reverse, Looks Back
The screening room
A portrait arrests a moment; a film lets her inhabit it. The screening room sets your muse in motion — either by handing it a finished portrait to animate, or by directing a scene in words. Because film is the costliest work in the club, it is commissioned deliberately: the price is calculated from running time and resolution, stated in full before you confirm, and returned in full when a render fails.
Members of discernment begin from a portrait. A still that has already survived selection carries her face, her gown and her room into the film at no additional risk — the direction then concerns itself only with how she moves.
How a film is directed
1
Begin from the chosen portrait
Image-to-film inherits the muse, the wardrobe and the set from its first frame — consistency that costs nothing extra.
2
Direct a single gesture
A turn toward the light, a slow walk the length of the room. One gesture, gracefully done, outlasts any choreography.
3
Commission at the room’s size
Choose running time and resolution for where the film will be seen — a preview, a feature, a loop above the mantel.
What films are commissioned for
Private Previews
The invitation
A brief movement drawn from the week’s finest portrait, sent ahead of the collection it introduces.
Signature Loops
Motion above the mantel
One unhurried gesture, repeated seamlessly, for profiles and private pages that reward a second look.
Feature Pieces
The evening’s programme
Longer scenes directed from the same dossier as the portrait series, for members-only collections.
Direction that renders gracefully
Portrait to film
“She rises from the piano, turns toward the candlelight and smiles, the silk of her gown moving gently; the camera does not move.”
One gesture, a still camera. The portrait has already settled who she is and where she is; the direction only asks how she moves.
Directed in words
“Fictional 30-year-old woman, dark chestnut hair in a low chignon, champagne silk gown, walking the length of a candlelit salon toward the camera, unhurried, cinematic.”
The dossier travels into film briefs unchanged, so a directed scene casts the same woman as the portraits it accompanies.
The cost of film, considered
| Consideration | Effect on price | The club’s counsel |
|---|---|---|
| Running time | Longer films cost more | A preview seldom needs more than a few seconds to do its work |
| Resolution | Higher costs more | Commission at the size of the room it will be shown in |
| Second attempts | Each render is a commission | Correct the portrait or the direction first; then render again |
How is film priced?
By running time and resolution, calculated on the commission and stated before you confirm. A failed render returns its credits in full.
Should I direct in words or begin from a portrait?
Begin from a portrait for any work that belongs to a series — the first frame carries the muse with it. Direction in words suits a standalone scene.
Will the film resemble my portraits?
Yes, when the dossier opens the brief and the first frame is drawn from the series. Consistency is a habit, not an accident.
What spoils a film?
Competing gestures and restless cameras. One gesture, gracefully directed, with the camera held still, is the reliable composition.
Are films private?
Entirely, until you choose otherwise. Films rest in your account; the club screens nothing on your behalf.
One membership, every room in the club
Portraits, film, retouching and finishing draw on a single balance and rest in a single private library. Begin with the room you need this evening.
Enter the Portrait Room