How can we help?

Email support@lightcraft. Including your account email and a short description of what you were doing helps us resolve things faster.

Email support@lightcraft. pro with the device you were using, the app version, and the steps that led to the problem. Screenshots or a screen recording are always welcome.

You can do it yourself at any time. In the browser, open the user menu, choose Account Settings, and use Delete account under Danger zone. You will be asked to type your email address to confirm. Deleting your account permanently removes your profile, every organization you own, and all of the productions, scenes and files inside them — including organizations that have other members or an active subscription. The confirmation screen lists exactly what will be deleted before you commit. If you would rather we handled it, email support@lightcraft. pro from the address on your account and we will take care of it. Either way, deletion cannot be undone.

Spark is the planning and design layer: script, scenes, shots, and team collaboration in the browser, plus iPhone/iPad production for teams that do not need a cinema camera. Jetset is the on-set production layer, where a movie camera is moving around. The same project carries through both: a Spark scene loads into Jetset by snapshotting a QR code, and Autoshot brings everything into post automatically.

No. Lightcraft built the platform from the ground up. It runs natively in the browser with no game engine required, and it imports Unreal scenes via USD export.

No. There is no generative AI in the platform. Script breakdown is syntax parsing, and you choose your own assets and environments. If you want AI-generated environments, create them in an external tool (for example World Labs’ Marble) and import them.

Anything you create in Spark is yours to use freely. Assets generated with external AI tools are governed by those tools’ terms.

Everyone in your organization with access sees the same scenes live. Team members can join from a browser or device to follow a live camera stream, author shots, comment on shot lists, and review takes. Browser-only participants need no device at all.

No. AI segmentation composites people with no screen at all. A green or blue screen with chroma mode gives a much cleaner key, and even a small pop-up screen makes a real difference.

Yes. Tracking uses the phone’s motion sensor plus optical analysis of the video image, so feature-rich exteriors track especially well. No markers, and no calibration beyond finding the floor.

Real-time compositing works the hardware hard, so yes. For sustained shooting, use a phone cooler, choose Render Later so composites process as a batch after the shoot, and prefer the newest devices.

Create a production, give it a name and a three-letter code. Set your default frame rate (24 in the US, 25 in most other regions), your default camera settings, and choose landscape or portrait if you are shooting verticals. Every camera you create inherits the production defaults, and you can override any individual camera when you add it.

Fountain text or Final Draft files. On upload, Spark automatically separates the script into scene headings, and each script scene can carry its own full 3D scene. You can also toggle from view to edit and revise the script directly in Spark, publish the changes, download the script back out, or write a script in Spark from scratch.

Left-click and drag to rotate, and use the WASD keys to move, similar to Unreal Engine or a video game. If you are moving too fast, adjust the camera speed in settings. There is also a top-down view button, an overlay toggle for a clean view (grid, axes), and an orientation gizmo.

Two places. Spark includes an asset library of Gaussian splat environments from World Labs, which generates 3D scenes from a single photo or a 360 photo. Or upload your own environment as a PLY or SPZ splat file, from scanning services or generative tools.

Splats sometimes import rotated. Check the “Z up (Blender, 3ds Max)” box to orient it correctly, then fine-tune rotation and adjust the vertical position so the floor grid sits on the splat’s actual floor. Aligning the grid with natural lines in the scene, like streets and sidewalks, is a good reference.

Use the built-in scale references: a cube, a six-foot human, and a ruler. Drop the human next to something of known size in the environment and scale the scene until the proportions match.

Adjust the splat quality (low, medium, high) in the environment’s properties. Big splats with heavy animation on top may warrant a lower setting; smaller splats can stay at high.

Objects are USDZ files. The built-in library has a large set of props, and you can upload your own, tag them as prop or character, and add them to the library for reuse. The same six-foot human works for checking an object’s scale before you save it.

The current view becomes the thumbnail. Frame something that reads well, toggle off the widget and overlays for a clean image, then save.

Add a shot, pick a camera preset, then choose one of two placement modes. Match Your View drops the camera exactly where your viewport is. Click to Place drops it wherever you point in the scene. After placement, move the camera like any other object: drag its axis arrows, click a flat side to lock an axis for clean slides, or click and drag inside the shot window while using the WASD keys.

Yes. Each shot has focal length, T-stop, and focus distance, so you can dial in depth of field. Camera presets can be set per production or per scene.

Toggle keyframes on to set one at the cursor, move down the timeline, and reposition the camera to create an animation between keyframes. Each keyframe’s interpolation is adjustable: linear, smooth (the default, similar to Blender’s default), ease in, ease out, ease in and out, or hold.

Yes. Assign an object in the scene as the shot’s subject and set the camera to aim at it. The camera then tracks the subject continuously, so you can keyframe just the camera’s position while it stays locked on, for example, a car moving down a street. Scene objects animate with the same keyframe tools as cameras.

Yes, in both directions. Link script lines to an existing shot from the shot panel, or highlight lines in the script tab and choose Create Shot.

Everything in your production (script, scenes, shot lists) is on the phone, backed by the same live database as the browser. Navigate a scene with two joysticks (right rotates, left moves), plus height and speed controls, hit record, and the saved shot appears in the browser immediately, ready for playback.

AR mode maps your physical phone movement to the scene camera, so you operate it like a real camera. With the speed multiplier up, a few inches of real movement becomes a large camera move, and pinching the screen zooms. It makes shot iteration very fast.

Two modes. Person mode uses an AI matte with no screen needed, good for rough previs. Chroma mode keys off a green screen you pick on screen; even a small pop-up screen gives a much cleaner matte. After a take you can choose Render Now or Render Later; Render Later lets you keep shooting and batch the composite renders afterward.

You set capture quality in the app’s project settings: frame rate plus HD or UHD.

Composite takes sync through the Spark Atlas desktop application. Plug your iPhone into your computer, choose Pull Takes, and select what to upload. Atlas uploads the composite video to the web for team review (organized under Takes in the browser) and simultaneously saves the take files to a folder on your hard drive.

Four: the composite video, the matte, the isolated background plate, and the clean camera feed from the iPhone.

Yes, and this is why the take saves every layer separately. If the AI matte is rough or you framed out your green screen, take the clean camera file into your compositor (for example After Effects), rebuild the mask, add a spill suppressor, and re-composite over the isolated background. Tools like Beeble can push the look further. For previs, a couple of extra steps turn a rough real-time composite into something that fully sells the idea.

Add shots to a shot list from inside a 3D scene or from the shot list itself, generate previews, and reorder freely. It is a living shot list, more useful than static storyboards because every shot stays connected to its scene.

Yes. In the Editor tab, create an edit, drag shots in from a shot list, trim with in and out points or the blade tool (B), and layer as many audio tracks as you like; a little sound goes a long way toward selling a scene. Export the finished edit to share with your team. Seeing shots cut together is where timing and coverage decisions become obvious, before anyone is on location.