Pr0j holds productions, shots, shot data, and versions as durable data instead of sealed, proprietary project files you need a subscription to open. Multi-format native from the jump: every shot ships 16:9, 9:16, and 1:1 from one source. The file becomes what it always should have been: one disposable rendering of something durable.
Pr0j is production management software for motion design. It models productions, shots, and versions as durable, structured data — not files, folders, or chat threads — so motion teams can track what shipped, who approved it, and which brand it belonged to years after the After Effects project has been archived. Pr0j is currently in private beta.
Open a motion project from a year ago and try to answer basic questions. Which brand was this for? Which version did the client approve, and why did it replace the one before it? Is the render on the server the same one that shipped? Everything that made the work meaningful lived in someone's head, an email thread, and a naming convention that broke the third time someone saved over it.
Software got version control. Design got multiplayer files with history. Film has run on production management for a century. Motion graphics still runs on file names and the memory of whoever has been there longest. That gap has a name: production debt, and every recurring project pays it again. Escape production debt.
The real structure of motion work, modeled: productions are made of shots, shots carry versions, versions carry status. Brief, in progress, review, approved, delivered. Schedulable, staffable, accountable.
Every shot, brand, and version gets a permanent, human-readable address that survives renames, reshuffles, and round-trips. Open the work a year later and it can tell you what it is, who approved it, and why.
The common ninety percent of shots ship through AE0N, the real-time rendering engine that outputs every aspect ratio from one source. Hero shots queue to After Effects running as a worker. Shots that are really a prompt go to generative video. Each shot ships through whatever serves it best.
The same production filtered per seat: the artist lens shows the work, notes, and revisions; the producer lens shows budgets, timelines, and runway; the client lens shows safe work-in-progress, finals, and approvals. Everyone sees the truth at their altitude.
The full hierarchy, including organizations and business units, is on the How-it-works page.
The same hierarchy, as an address. Type it anywhere in the system and you're there.
There is a race on to give AI assistants hands inside creative tools. It won't work the way people imagine, because the tools were never built to answer the phone: every attempt is a fragile panel wedged inside an app, one machine, one open project, amnesiac the moment the file closes.
The better move is holding the story of the work in a layer any surface can talk to. Pr0j speaks MCP, the open standard that lets agents operate software rather than describe it. An agent can't read a project file. It can read Pr0j: draft shot lists from a brief, version a campaign across brands, queue renders overnight, report what shipped and what's blocked, with a human producer holding approvals.
After Effects goes from the center of the universe to the most powerful instrument in the building, called when a shot has earned it.
When a shot graduates to After Effects, Universe Export packages the entire database into a native AE project: editable text and shape layers, hierarchical project panel, addresses preserved as comp names.
Producer-designers and small studios running systematic, multi-format production who need the truth to live somewhere better than a folder tree.
In-house video teams whose output has outgrown file names and spreadsheets, and whose review cycles need to survive personnel changes.
Teams building with agents who want production workflows that are legible to humans and machines alike, from day one.
No. After Effects stays the most powerful instrument in the building. Pr0j is the layer around it: the production structure, the versions, the routing. AE runs as a renderer inside the system, called when a shot needs it, instead of being the place where the entire production secretly lives.
Pr0j's AE0N real-time rendering engine. It handles the common majority of shots (type, lower thirds, cutdowns, templated sequences), previews at full resolution instantly, and outputs every aspect ratio from one source. Hero shots still queue to After Effects.
Pr0j models what motion work already is: productions made of shots, shots carrying versions, versions carrying status. If your team thinks in shots and reviews, the structure will feel familiar on day one. The change is where the truth lives, not how you work.
Every shot, brand, and version has a permanent, human-readable address that survives renames, folder reshuffles, and round-trips between tools. The project file stops being the source of truth and becomes one disposable rendering of it. Your work is your data, and it stays legible for years.
Pr0j speaks MCP, the open standard that lets agents operate software. An agent can draft shot lists, version campaigns, queue renders, and report status through Pr0j, with a human producer holding approvals. The pipeline was built assuming agents would arrive, not retrofitted after they did.
Producer-designers, small studios, and in-house teams running systematic, multi-format production. Request access and tell us what you run; teams are onboarded as the platform hardens.
Pricing is being set with early-access teams during the beta. It will be published before general availability.
When it's ready. Pr0j is developed in daily use on live client work, which means real deadlines harden it faster than a roadmap would. Early access is the way in today.
Pr0j is developed in daily use on live client work: real deliverables, real deadlines, real reviews. The platform ships to early-access teams as it hardens. If your production sounds like the problems above, tell us what you run.