Pr0j turns modern Production Graphics — from motion and multi-format campaigns to templated brand content — into durable productions, work items, versions, approvals, and outputs. One source of truth across every tool, format, and delivery.
Production Graphics are the repeatable, versioned visual deliverables modern teams ship across formats and channels: motion, social cutdowns, campaign systems, product-launch content, titles, lower thirds, end cards, and templated sequences.
They are not single files. They are living systems of related work.
Open last year's campaign and ask which brand rules applied, which version was approved, what shipped in each format, and why it changed. The answers are scattered across files, folders, review tools, spreadsheets, and memory. Pr0j keeps the production record with the work.
Software got version control. Design got multiplayer files with history. Film has run on production management for a century. Production Graphics still runs on file names and the memory of whoever has been there longest. That gap has a name: production debt.
The structure of the production
The history and status of the work
The relationship between every version, approval, format, file, and output
Motion design is one surface of the system. Production Graphics is the broader category.
Productions contain related work, versions, formats, statuses, owners, and approvals. Brief, in progress, review, approved, delivered — schedulable, staffable, accountable.
Every production item receives a durable identity that survives renames, reorganizations, exports, and tool changes. Open the work a year later and it can tell you what it is, who approved it, and why.
Send each item through the tool best suited to it — real-time, After Effects, generative, or another production surface — without losing its production history.
Artists, producers, clients, and agents operate on the same production data through views suited to their roles: the work and its notes, the budgets and timelines, the safe client cut and its approvals.
One production, moving through the system. Every step keeps its identity, so nothing has to be reconstructed later.
A work item (shot) is Pr0j's addressable production unit. It may represent a motion shot, graphic, cutdown, layout, sequence, or templated deliverable. Read the methodology.
The complete ontology — organizations, business units, personas, and entity codes — lives on the methodology page.
The same hierarchy, as an address. Type it anywhere in the system and you're there.
Pr0j holds the production logic above the tool layer. AE0N, the real-time engine, handles repeatable work. After Effects handles hero craft. Generative systems can handle prompt-native work. Each tool does what it does best while Pr0j preserves the identity, status, lineage, and approvals of the work.
“After Effects becomes a plugin.”
That is the motion-specific version of the idea: After Effects goes from the centre of the universe to the most powerful instrument in the building, called when a work item has earned it. Files become editable outputs of a durable production system — not the only place the production exists.
When a work item graduates to After Effects, Universe Export packages the production data into a native AE project: editable text and shape layers, hierarchical project panel, addresses preserved as comp names.
Pr0j speaks MCP so agents can draft production structures, create versions, queue work, and report status against the same data the human team uses. Approval remains with the people responsible for the production.
Running systematic, multi-format production and needing the truth to live somewhere better than a folder tree.
Shipping motion systems, hero sequences, and brand content that has to stay consistent across every format.
Output has outgrown file names and spreadsheets, and review cycles need to survive personnel changes.
Building with agents and wanting production workflows legible to humans and machines alike, from day one.
Production Graphics are the repeatable, versioned visual deliverables modern teams ship across formats and channels: motion, social cutdowns, campaign systems, product-launch content, titles, lower thirds, end cards, and templated sequences. They are not single files. They are living systems of related work.
No. After Effects stays the most powerful instrument in the building. Pr0j is the layer around it: the production structure, the versions, the approvals, the routing. After Effects is called when a work item needs it, instead of being the place where the entire production secretly lives.
AE0N is Pr0j's real-time rendering engine. It handles repeatable work — type, lower thirds, cutdowns, templated sequences — previews at full resolution instantly, and outputs every format from one source. Hero craft still routes to After Effects.
Pr0j models what the work already is: productions made of work items, work items carrying versions, versions carrying status and approvals. If your team already thinks in deliverables and reviews, the structure will feel familiar on day one. The change is where the truth lives, not how you work.
Pr0j speaks MCP, the open standard that lets agents operate software. An agent can draft production structures, create versions, queue work, and report status against the same data the human team uses. Approval remains with the people responsible for the production.
Creative producers and small studios, motion and brand-design teams, in-house content and campaign teams, and teams building with agents. Request beta access and tell us what you run; teams are onboarded as the platform hardens.
Pricing is being set with beta teams during the private beta. It will be published before general availability.
Pr0j is developed in daily use on live client work: real deliverables, real deadlines, real reviews. The platform ships to beta teams as it hardens. If your production sounds like the problems above, tell us what you run.