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One line in / four ways out

What theidea lookslike atfirst glance

The first three seconds of a pitch are not spent reading. Say the idea in one line and get four genuinely different ways it could look, side by side, before anyone has lost interest.

50 credits a month on the free plan. No card needed to start.

OR RUN ONE OF THESE

One pass / four frames / four different readings

WORKED EXAMPLE 01 / 03

  • Fogged greenhouse glass at night with a wiped streak revealing warm blurred light inside
    01From outside the glass, where the room is only warmth and blur
  • A long timber table set between rows of tomato plants inside a greenhouse
    02The table itself, running the full length of the growing bed
  • Aerial view of a single glowing glasshouse in a snow covered field at blue hour
    03Pulled all the way back: one lit box in a dark field
  • A galvanised serving trolley among soil sacks and irrigation hose under a work lamp
    04The working end — trolleys, soil sacks, one hard lamp

Pulled apart deliberately: Seen from outside in the cold against Seen from the working end, inside. If four frames come back as four versions of one picture, there is nothing to choose between.

NOTICE

These are concepts, not artwork. They exist to get a conversation started.

CONCEPT — AI GENERATED

One line, four frames, one board

  1. 011 CREDIT

    Say it in one line

    One sentence is the whole input. The chat layer takes it apart along different axes — how far away, what hour, whose vantage, what state — instead of rewording it, because rewording produces four versions of the same picture.

  2. 0220 CREDITS A PASS

    Get four frames, side by side

    Four at once, each labelled with the angle it represents so you know what you are choosing between. All four are then compared against each other; if any pair comes back too alike, the frame contributing least is regenerated at no cost to you.

  3. 035 CREDITS A TILE

    Open one into a mood board

    Point at the one that works and it expands into six to nine tiles of material, light and surface. Export at 16:9 for the pitch page, 1:1 for a post, 3:2 for print.

Five ideas, twenty frames, nothing repeated

Every group below is one line of text put through one pass. Read the labels before you look at the pictures — that is the order the tool is designed to be used in.

01

A podcast about the last shop on a high street, told by whoever is still there.

4 FRAMES
  • A half lowered corrugated shop shutter on an empty street in flat morning light
    01Deadpan and frontal, at opening time, half shut
  • View from behind a worn shop counter with an old till and dust in a shaft of light
    02From behind the counter, looking out at an empty doorway
  • Telephoto view along a row of shuttered shopfronts with one lit window at dusk
    03Compressed with a long lens: the whole row, one window lit
  • A microphone on a boom stand between metal stockroom shelves under a fluorescent tube
    04The recording itself, set up wherever there was room for it

CONTRAST PAIR — The street looking in against The counter looking out.

02

A running club that only meets when it rains.

4 FRAMES
  • Rain streaking through head torch beams with runners silhouetted from behind at night
    01Mid-run, from behind, everything lit by head torches
  • Close up of running shoes striking a flooded pavement with the splash frozen
    02Down at ground level: one stride, one splash
  • A soaked blank route card on a rain drenched bench with ink bleeding
    03The paperwork, ruined, flat on a soaked bench
  • An empty top deck of a multi storey car park in heavy rain with one distant figure
    04Before the start: grey, wide and completely empty

CONTRAST PAIR — Mid-run, all motion against Before the start, all stillness.

03

A choir that rehearses in a drained public swimming pool.

4 FRAMES
  • The drained deep end of an old public swimming pool with folding chairs arranged on the floor
    01Standing in the deep end, where the chairs are
  • Extreme close up of chipped turquoise pool tiles around a rusted drain grate
    02Close enough to read the tiles instead of the room
  • Downward view from a disused diving platform onto an empty pool basin
    03Straight down from the top board
  • A row of battered wooden changing cubicles with peeling paint and one door ajar
    04Next door, where nobody is looking

CONTRAST PAIR — Inside the basin, at floor level against Above the basin, looking down.

04

A flower stall that only sells what didn't sell yesterday.

4 FRAMES
  • Overhead view into a zinc bucket crowded with overblown roses and drooping tulips
    01Overhead, into the bucket, at its blowsiest
  • A small covered flower stall on a quiet pavement before opening in low golden light
    02The whole stall, before opening, in low light
  • Open flowers being wrapped in plain brown paper on a scarred wooden trestle
    03The transaction, close in: hands and paper
  • A nearly empty flower stall at dusk lit by a single bare bulb with wet ground reflecting
    04Dusk, three buckets left, one bulb

CONTRAST PAIR — At its fullest, first thing against At its emptiest, last thing.

05

A supper club that happens inside working greenhouses, once a month, through winter.

4 FRAMES
  • Fogged greenhouse glass at night with a wiped streak revealing warm blurred light inside
    01From outside the glass, where the room is only warmth and blur
  • A long timber table set between rows of tomato plants inside a greenhouse
    02The table itself, running the full length of the growing bed
  • Aerial view of a single glowing glasshouse in a snow covered field at blue hour
    03Pulled all the way back: one lit box in a dark field
  • A galvanised serving trolley among soil sacks and irrigation hose under a work lamp
    04The working end — trolleys, soil sacks, one hard lamp

CONTRAST PAIR — Seen from outside in the cold against Seen from the working end, inside.

STEP THREE

Point at one, and it opens

Choosing an angle expands it into a mood board of six to nine tiles: the materials, the light, the surfaces and the small things that were implied by the frame but not shown in it. This is the page you hand over when someone says “yes, that one — tell me more”.

EXPANDED FROM
The table itself, running the full length of the growing bed
COST
5 credits a tile — 45 for a full nine
AVAILABLE ON
Angle and Room
  • Condensation beading on cold glass with warm blurred light behind
  • A candle stub pressed into dark potting soil in a terracotta saucer
  • A chipped enamel plate on a rough wooden crate in hard side light
  • Backlit tomato vines silhouetted against a misted glass wall
  • Mismatched folding chair legs standing on damp gravel
  • A string of bare filament bulbs hanging through dense foliage at night
  • Frost crystals forming on a window pane at night with a warm glow beyond
  • Crumpled unbleached linen on a timber table with wax drips in raking light
  • A dark ceramic jug pouring water into a tumbler under warm lamp light

PRICING

Free until the watermark is the problem

Fifty credits a month covers the angle split and two full passes — eight frames, enough to find out whether this works for you. Free exports carry a visible watermark and come in one ratio, which is fine right up until the moment the frame has to go into the deck.

Yearly saves 20% on both paid plans. All prices in USD.

  • Free

    50 CR/MO

    $0USD

    Enough to run the idea twice and see whether the angles hold up.

    About 2 passes of four frames a month.

    Start free

    No card. No renewal. Nothing to cancel.

  • Angle

    500 CR/MO

    $15USD/month

    For the person with a meeting in the calendar and a page to fill.

    About 24 passes of four frames a month.

    Choose Angle

    $15 USD charged today, then $15 USD every month automatically until you cancel. Cancel any time in two clicks from your plan page. See the Terms and Refund Policy.

  • Room

    1,900 CR/MO

    $44USD/month

    For a studio running several ideas at once and keeping the trail.

    About 94 passes of four frames a month.

    Choose Room

    $44 USD charged today, then $44 USD every month automatically until you cancel. Cancel any time in two clicks from your plan page. See the Terms and Refund Policy.

Credits are a service usage allowance. They are not money, not stored value, not redeemable for cash and not transferable. They are issued by your plan each period and are not carried over. There are no credit packs and no top-ups — if a plan runs out, you move up a plan or wait for the next period. Full pricing

Questions worth asking first

01Can I give these images to a client as finished work?

No. That is the one thing this service is not for, and it is written into the Acceptable Use Policy as a breach.

A concept frame is a picture of a direction. It is made in seconds from one line of text, by a machine, with no art direction and no checking. Look closely at any of them and objects stop resolving, structures stop making sense, and detail turns to texture. It will not survive being printed large, and it will not survive a client looking at it twice.

Every export carries the mark “Concept — AI generated” composited into the image data itself, at the moment the file is written on our servers. There is no setting that removes it, and removing it by editing the picture is a breach of the Terms.

The difference is what the picture is for. A concept exists to make somebody understand what you are talking about, so that the real thing can then be commissioned, shot, built or designed properly. Finished work is the real thing. This service makes the first, so that you can go and get the second.

02Do you train models on my ideas?

No. The line you type, the reference images you upload, the angles that come back and the frames that are generated are not used to train, fine-tune or improve any model, ours or anyone else’s.

We hold our model providers to the same restriction contractually. Where a provider’s ordinary consumer terms would permit training on submitted content, we do not use those terms.

Nothing you make appears in our marketing either. Every example on this site was written and generated by us for that purpose.

An unreleased idea is commercially sensitive, and a service that asks for one has to be unambiguous about this. The full position is in the Privacy Policy.

03Why do the four frames have to be different, and what if they are not?

Because four variations of the same picture tell you nothing. The entire value of a pass is that you can put four genuinely different readings side by side and point at one.

So the chat layer splits your line along different axes — how far away, what hour, whose vantage, what state — rather than rewording it, and every frame is labelled with the angle it represents so you know what you are choosing between.

After generation, all four are compared against each other with a perceptual hash. If any pair comes back too alike, the frame contributing the least difference to the set is regenerated automatically, at no cost in credits to you.

04How accurate is the output, and what can I rely on?

Treat it as a suggestion, never as information. Output can be implausible, unbuildable, unoriginal or simply wrong, and none of it is checked by a person before you see it.

We do not promise a concept can be made, filmed, staged or manufactured, that it is unique to you, or that it does not resemble something that already exists. Similar lines produce similar pictures.

Anything inside a frame that looks like writing is texture, not text. Do not read it. Anything on this service that has to be exactly right — a price, a date, the concept mark — is drawn as real text over the image, never generated inside it.

The AI Disclaimer sets out the whole position, including where output must not be used at all.

05What happens to my credits at the end of the month?

They stop. Credits are issued by your plan at the start of each period and are not carried over — whatever is unused when the period ends is not added to the next one.

There are no credit packs, no top-ups and no way to buy credits separately. If you run out mid-period, you move up a plan or wait for the next period. That is a deliberate design decision: credits are a usage allowance, and nothing here should behave like a stored balance.

Credits are not money, not stored value, not redeemable for cash and not transferable to anyone.

06How do I cancel, and what happens when I do?

Two clicks on the plan page inside your account. There is no cancellation fee, no notice period, and you do not have to contact us or explain yourself.

Cancelling stops the next renewal. It does not end the period you have already paid for: your paid features stay available until the last day you paid for, and the account then moves to the Free plan with all of your work still in it.

Paid plans renew automatically until you cancel — monthly plans each month, yearly plans each year — at the same price, on the same payment method. We email a reminder before a yearly plan renews.

07When do I get a refund?

In full if you were charged after cancelling, charged twice, charged for something you never had access to, or charged without authority. Also in full on a yearly plan asked for within 14 days of the first payment, if you have run no more than one pass.

Not for a period you simply did not use, and not for credits, which are never refunded.

If a pass itself went wrong — it failed part-way, the frames came back too alike, the service was degraded — the remedy is credits back so you can run it again, usually the same day. That is faster than money and it puts you back where you were.

Email support@gallusprojectsuk.com with the date and the line you used. The Refund Policy has the full list.

08Is there an age limit?

Yes. You must be at least 18 to create an account or buy a subscription, and you confirm that when you sign up.

We do not knowingly collect any data from anyone under 18. If you believe an account has been created by someone under 18, tell us at the support address and we will close it and delete the data.

START HERE

Give it a face before the meeting

No card to start. These are concepts, not artwork. They exist to get a conversation started.