Describe the light your scene demands. Get the day, the minute, the duration — terrain included, backup days pre-solved — and a physically honest render of the moment. Before a single truck rolls.
Computed in your browser, this instant — never looked up in a table. Simplified flat-horizon demo: the Light Director engine answers in microseconds, with terrain occlusion, exact color in kelvin, for any date across millennia.
A shoot doesn't ask "where is the sun?". It asks: "when will the light I want be there, on this terrain, for how long — and what will it look like?". Planning without the answer is expensive, and the industry documents it itself:
A blown magic hour, an exterior lost to rain, impossible continuity, a company move to a location whose light doesn't match. One avoided incident pays for the service several times over. That's insurance — a lucky producer can talk themselves out of it for a season.
Even a perfect production costs less: a stripboard assembled in days instead of weeks, previz without artist hours, a stage lit from a spec instead of trial and error, VFX served per take. That's arithmetic — nobody plans to get lucky on labor.
Not a report. Not a consultation. An instrument the production queries at will — in prep, on the shoot, at 2 a.m. before a 5 a.m. call. Every answer ships as JSON: your tools, consoles, and pipelines consume it as-is.
Ask the question backwards: name the light, receive the moment.
Unlimited, physically honest renders. Included. This is the gift, not the invoice.
The same numbers serve the stripboard, the stage, VFX, and interiors.
A scout no longer searches by name. They search by light.
One engagement, all-inclusive, for the full run of your production.
| Engine, always on | Every question, every inverse solver, unlimited queries — prep, shoot, post. |
| The light bible | Per location: windows to the second, durations, kelvin, lux, backup days — with a render of every candidate moment. |
| Unlimited Morpheus renders | Physically honest, recipe-cited, raw engine output. |
| Backup days, pre-solved | Every scene's weather alternates, computed months ahead — an if-then to trigger, catering included, not a crisis meeting. |
| Set Match — stage spec | The exterior's light, specified for the studio: direction, intensity, exact chromaticity, drift over time. Plain JSON, compatible with any hardware. |
| VFX & light continuity | The true sun of every take for post; the future days that match the plates already shot. |
| Interiors | Windows + orientation (or a full scan) → the building industry's standard metrics: does the room work, and when. |
| Atlas access | 30,000 real places, searchable by the light they produce. |
| Zero data retention | Every daemon is stateless and read-only. Your scans pass through, get lit, are never stored. Nothing to leak — by architecture, not by promise. |
The sky's geometry is mathematics, not a forecast. Sun position across millennia, terrain-true windows, moonlight in lux, the color of the light: deterministic, closed-form, recipe-cited. We are never wrong about where the light will be — in writing. A planning capability that simply didn't exist before.
We hand over the sheet; the production runs the day. The 1st AD makes the calls, the gaffer matches by meter. We are the instrument, not the operator — which is also why your department heads are our allies, not our replacements.
The one thing we don't solve — and we say it first. But we make it cheap on both sides: wait it out, with backup days already solved; or move inside, with Set Match rebuilding the same light on stage.
The rain can take the location.
It can no longer take the scene.
The public record: shot almost entirely in natural light, roughly 90 usable minutes per day, 80 shooting days spread across nine months, a budget that grew from about $60M to $135M — and, when the Alberta snow melted, an emergency relocation to Tierra del Fuego.
The 90-minute mystery: on a flat horizon, the principal location offered nearly 196 minutes of the light they wanted in December. The crew got ~90. The difference? The mountains — terrain occlusion, exactly what only our engine computes.
Ushuaia, confirmed: our reference computation shows the move to Argentina was right — the southern winter offered more golden light per day than the Canadian December. Their instinct was exact. It cost them a crisis; today it's a one-millisecond query.
Always less than one of your shooting days. To protect all of them.
Licensed per production, always on, unlimited renders. The ceiling is fixed and stated before the meeting — sized to your exterior load and budget class, from indie feature to flagship series. Founding terms: the first productions at half price, in exchange for a publishable case study and a screen credit.
How many days a month do you lose to rescheduling? At $500k a day, even three is a seven-figure monthly exposure. Certainty costs a fraction of one of them.
Every answer is closed-form: ten thousand simultaneous questions cost the same as one. No artist hours in a render. Our generosity costs us nothing — which is the best kind.
The certified schedule: the minimum number of shooting days that covers your script — with a mathematical certificate checkable in a spreadsheet. Sold separately, never bundled.
Today, that sentence costs a night of panic. With the engine: the window to the second, the color in kelvin, three backup dates, and a render — before the coffee is finished. Talk directly to the person who built every line of the engine: decisions in the room, changes in days.
Request a pilot — photography@kairoico.com