Your brand
Drop in your store link. Fotyra reads the rest.
Set Fotyra up once — brand, product, spokesmodels — and every ad after that takes one of two paths: the Short Way, on auto pilot by the Fotyra Director, or the Director Path, where you take the controls.
Fotyra is not a prompt box. It is a studio that already knows your brand, so most of the work happens once, at the very start. After that, every ad takes one of two paths. On the Short Way you make two choices and the Fotyra Director decides the rest. On the Director Path you take the controls yourself. It is the same run either way, and you can switch between them from one day to the next.
Three things, in any order, and Fotyra does the reading. You only check what it found.
Drop in your store link. Fotyra reads the rest.
One product link is enough to start its sheet.
Your own AI actors — the same face every time.
From here on, everything you make knows your brand.
Start at Add your brand: a project, your website address, a few minutes of crawling, and your Brand DNA is written. Then add a product from its own page — Fotyra pulls the photos and builds the reference sheet every render is measured against. Spokesmodels are optional and can wait; add one when you want a person on camera.
Once the setup is done, the shortest real run is three moves: pick a type, pick a product, press Generate. The Fotyra Director flies the rest — the concept, the world, the light, the framing, the words — from everything it has already learned about your brand. This is not a demo path; it is what most days look like.
Static, UGC or film.
The one it sells.
That's it. It's already on brand.
The type and the product are the only two things Fotyra needs. Everything you skip is not left blank; it is decided from your DNA, which is why a run with no brief at all still comes back on brand. Auto pilot is not hands-off, though: nothing ships until you have approved it.
Auto pilot is the floor, not the ceiling. If you have taste — an idea already forming, a frame you can picture — the same run opens into six steps you can direct yourself. There is nothing to fill in and no template to pick from: every decision a crew would make on the day is a control you can take. Expression, posture, wardrobe, lighting, world, framing, camera move, the words themselves.
A line on what it should do — or nothing at all.
Static, UGC or film.
The one it sells.
Who holds it, if anyone.
Light, framing, expression — or Auto.
Read the concepts, or render.
Three of the six steps are optional, and that is the point. Take the ones your idea depends on, hand the rest back to the crew, and nothing forces you into all-manual or all-automatic. The more you bring, the more of the piece is yours — and it still comes back in minutes rather than the weeks a shoot would cost you.
A line or two on what the piece should do. Write the intent, not the shot: "a launch ad that makes the new flavour feel like a reward after work" gives the crew more to work with than a list of camera angles, because camera, light and framing have their own controls one step later. You can also leave the box empty and let the Director build the angle from your brand alone. The full walkthrough is in From brief to generate.
Before a word is written, your brief is joined to what the studio already knows. Brand DNA brings the voice, the palette and fonts, the audience and the mood. Product DNA brings the reference sheet, how the product is used, its real size and the claims it may make. Spokesmodel DNA brings a fixed face and voice when a person fronts the piece. Together they are the brief the crew actually receives.
This is what separates a studio from a generator. A Creative Director sets the concept. An Art Director decides the world, the light and the look. A Film Director plans camera, scenes and beats. A Copywriter writes the lines, a Performance Strategist shapes the hook, and a Continuity Supervisor keeps the product exact. Each works from the same creative context, so the same brief on two brands produces two different pieces.
You sit above all of them. The Direction step lays out every decision as a control — Boldness, Mood & Energy, world, lighting, framing, expressions, wardrobe, camera — and the rule is simple: set what you care about, leave the rest on Auto. A control you never touch is a decision the crew makes with your whole brand in mind. See Creative Direction, as a whole.
Review Concepts costs nothing: it plans the run and opens a concept board you can read and reshape before any credits move. Films go further and add a beat-by-beat review. Generate Now skips the reading and renders the whole batch at once.
What comes back is never shown to you raw. The Continuity Supervisor compares each render with the product's reference sheet and writes a Fidelity report — a verdict, a score and what differed — that sits on every card in your Creative Library. Then the decision is yours: approve it, reject it with a reason, fix the copy in the static editor, or send a film back with a change request.
Every approval and every rejection is kept as approval memory. What you approve, and the reasons you give when you reject, shape the next brief's direction before you have written it — which is why the loop gets shorter the more you use it. What Fotyra learned shows the taste profile built for your project so far.
| You make | The brief | Direction | What comes back |
|---|---|---|---|
| Static creative | Type, intent, product, a count and a size | Controls for world, light, framing, faces, wardrobe | A batch of ads with editable text and logo layers |
| Product shot | Same, no headline needed | Product framing and presence lead; a spokesmodel is optional | Clean styled photographs of the product |
| Infographics | Same, plus one or more infographic types picked on the Product step | Framing locks to the product; the callouts are written from its features and claims | Feature and claim callouts baked into the shot |
| UGC film | Type, intent, product, a duration and any canvas size | Five free concepts, then a beat review. Creator-led, and the handheld phone camera is the format itself, so there are no camera rows | One creator-led, phone-shot film per concept in the size you chose, checked for fidelity |
| Cinematic UGC | Same as UGC | Concepts and a beat review, plus lighting, look and feel, camera language and pacing rows | The same creator-led film, shot with commercial cinematography instead of a phone |
| Product B-Roll | Same, no spokesmodel | Camera language and pacing; product timing is fixed because the product is always on screen | Cinematic product footage to music, no cast |
| Cinematic Ad | Add a soundtrack choice; the size defaults to widescreen but any canvas works | Concepts, then camera, pacing and product timing | A brand film with a score and, if you chose one, a narrator |
More in Start here
Start here01
Brand DNA is the structured profile of your brand — logos, palette, fonts, voice, audience, positioning and mood — that every creative Fotyra makes reads first.
3 min readRead
Start here02
Every creative anchors to one product. Product DNA is the structured profile of that product — real photographs assembled into a reference sheet, how it is used, its true size, its claims and its guardrails — that keeps every render honest to the thing you sell.
5 min readRead
Start here05
Three still types under Static Creative and four film types under Video Ads, what each is for, and how the choice changes the controls and the price you see.
5 min readRead
Point Fotyra at your store and do exactly what this guide describes, on your own brand.