Automation Forge Pro
Coming
Paid per seat. Pricing when it opens.
The engine half is free, today.
Three people have Unreal. Twelve people make the content.
Day one
Hear and watch a scene play before Unreal is involved.
Import a script the team already has. Generate a voice for every line. Listen to the scene paced end to end, add faces and rough motion, and watch it — in a browser, the same afternoon the pages were written.
A review that used to need a build, an engine seat and a technical artist now needs a login. The design conversation happens while the design is still cheap to change — and by the time anything is recorded for real, it has already been heard a hundred times.
The loop
Seven steps, and the last two are the product.
Generating is the easy half. What makes this a production tool is what happens on the way out: the brief, and the graduation.
A writer imports or writes the lines.
From a script the team already has, in a format they already use. No engine, no install.
Generation produces takes.
Several per line, cheaply, so a director has something to choose between rather than something to accept.
A director reviews and approves one take per line.
Rejected takes are kept. A change makes a new take rather than editing an old one, so nothing a director has heard is ever overwritten.
Approval makes a take eligible to ship.
Reversible, and logged. A director can change their mind on Friday without anybody rebuilding anything.
A developer syncs.
Approved takes land in the project wired to the right dialogue node. Pull, never push — the cloud never writes into your project unprompted, and syncing twice is a no-op.
The ledger produces a production brief.
When the design stops moving: the exact list of what to record for real, with the prompt, the constraints and a reference of the generated version beside every item.
The vendor delivers, and the asset graduates.
The real take replaces the generated one through the same ledger, chain intact. The tooling never touches that slot again.
A shot list derived from a game that has already been played, rather than a description of one that has not.
Who it is for
The creative team
writers, narrative designers, VO directors
Today they work in documents and shared drives, and a technical artist re-keys their output into the engine by hand. Most of them have never opened Unreal — and they are who the seats are for.
The developer
or the technical artist
Pulls approved work into the project. Does not have to be online while the creative work happens, and never does the re-keying again. One person, minutes a day, instead of a bottleneck.
External vendors
the mocap house, the VO studio
They cannot be given engine seats, and today they live in email threads and file transfers. In Pro they get a web login: they see the brief, deliver the real takes, and the deliveries land through the same ledger as everything else.
Every asset in the production is accounted for — what it cost, who approved it, where it landed, whoever made it. Which is why a studio that never generates a single asset can still run Pro as its VO and mocap production tracker, with a clean path into Unreal.
How teams will run it
Three shapes of the same purchase.
The narrative-heavy indie
Every scene is heard and watched before a single actor is cast. Generated secondary lines ship; the leads are recorded against a brief derived from scenes the team has already played — so the studio pays for exactly the performances the game needs.
The AA team in pre-production
The vertical slice is played for a quarter before mocap is booked. When the booking happens it is a shot list with reference video, not a spreadsheet of guesses — and the mocap house delivers into the project, not into a drive.
The studio that never generates
Pro runs as the production tracker: lines, takes, approvals, vendor deliveries, every asset accounted for, with a clean path into Unreal. Generation sits unused until the day the team wants it — and the workspace is worth the seats without it.
Asked first
What producers ask about Pro.
What lands in my project, and when?
Approved takes only, on the next sync, wired to the right node. Sync pulls — the cloud never writes into your project unprompted — it is idempotent, and it is source-control aware: assets land as proper checkouts, not as four hundred surprise file changes.
What does it replace — and what does it not touch?
It replaces the re-keying: the documents, the shared drives, the email threads with vendors, the technical artist copying other people’s work into the engine by hand. It does not open levels, edit Blueprints or place actors. Pro is a content and approval surface; the editor stays the editor.
What are we paying for?
Seats, for the people who do not have Unreal. The engine half — every plugin, the sync client, the single-developer ledger, the complete local generation path — is free and stays free. Generation inside Pro is included with a fair-use ceiling; there are no credits to meter. And Pro does not sell speed: a good local card already matches a rented one. It sells the loop.
Who owns the work?
You do. Everything synced is an ordinary Unreal asset in your project and your source control. If you stop paying, nothing in your project changes, and the free plugins keep working — they have no server dependency at all.
Can our vendors really use it?
That is half the point. A vendor login shows the brief and takes deliveries; it does not expose the rest of your script. The mocap house and the VO studio deliver against reference material derived from a game that has been played — and their deliveries graduate through the same ledger, chain intact.
When it opens
The pipeline is live today. Pro puts your whole team in it.
The engine half — the plugins, the ledger, the local generation path — is built, free, and working in a real production now. Pro is the workspace over it, and the waitlist is where it starts.
Opens a message to bojan@blackcode.ch. One email when Pro opens its doors. Not a newsletter.