hermeasinc.com

Search Imagine Films' social insights database for high-performing short-form videos.

The current curated trending snapshot: top videos ranked by how far each travelled past its own creator's usual reach, with the time the snapshot was captured.

Metrics, reach and hook for one video already in the database, by URL.

A creator's baseline — followers, average likes — and their strongest recent videos, so a single video can be judged against their normal.

What this database covers: platforms, how many videos, and how fresh the newest capture is.

Pull live data for a video that is not yet in the database, including its full transcript and hook, and add it to the corpus.

Pull a creator's recent post history live and add it to the corpus, so their videos can be judged against their own baseline.

Generate a film from a written description.

Status and output URLs for one generation, by request_id.

Recent generations for your organisation.

Before planning or editing, find out which of a film's elements a person has actually approved.

List the video compositions on this account, most recently edited first.

Read one video composition: its shape, and every element on its timeline with the times it occupies.

The history of a video composition — every change, who made it, and how much it changed.

Change a video composition.

Bring an earlier version of a composition back.

Render a composition to an mp4.

Where a render has got to.

Check a project's task list against what has actually been made in it — the films and whether they have rendered, the master sheets and their scene counts, the museboards, the elements cast — and propose what should change: work the material shows is finished, two tasks that say the same thing, a task whose prerequisite does not exist, work the film obviously needs that nobody has written down.

What is known about the footage in a composition — which clips have been analysed, by what, and what was found.

Find things inside the footage: people and objects that move ('subject'), spoken words ('word'), musical beats ('beat'), shot changes ('shot'), or notable moments ('moment').

Say what an element in the film is ABOUT, rather than where it happens to sit.

Every relationship this composition claims, and to what.

Take a relationship off.

Work out what every binding means right now and commit it as one new version — elements retimed to their moments, and placed against their subjects.

Check a film before handing it back: that every relationship it claims still resolves, that nothing anchored has walked out of frame, that nothing starts after the film ends, and whether it leans on footage nobody has analysed.

The most recent verdict on a composition, with every finding.

A link that plays this film in a browser, for someone with no account here — hand this to a client rather than making them wait for a file.

Have Maxwell WATCH the whole film, start to finish, and write down what is on screen.

What a screening saw, moment by moment — every frame that was looked at, what was on screen, and anything wrong with it.

Ask for a change in your own words.

Add to the record of this collaboration.

The collaboration so far, oldest first, so it reads as a conversation.

Deposit what a product's screens are, so films can be made about them.

What Maxwell knows about a product's software — the product map, and each surface with its purpose, copy and design tokens.

Make a clip about one of the product's screens, from what Maxwell already knows about it.

Connect a repository, so every push keeps Maxwell current.

Start Maxwell on a change to a film.

Work out the distance between the film as it is and what you asked for.

Write the plan that would close the gap, and what each item would cost.

Carry out a plan.

Judge whether the film now does what was asked.

Watch a film and say what is actually on the screen — shots, what changes, words you could read, where the eye goes, and anything genuinely wrong like a blank stretch or text off the edge.

What Maxwell saw when it watched: the shots in order, the words on screen, the concerns, and what was heard.

Where Maxwell has got to: what it understood, the gap it found, the plan and its clashes, which tasks are done and which are not, what it has spent, and which version the film is on.

Tell Maxwell what is wrong — with a film, or with what Maxwell itself did.

What has gone wrong on a film: what Maxwell claimed against what was actually there, and anything you have told it.

Read a film the way somebody watching it would, in three passes, and keep what each one says.

Where a full reading has got to, and what one pass said.

Measure a film against what it was asked to be.

What a render would cost at each resolution, in credits, before anything is spent.

Generate a film from a prompt at a chosen resolution.

Read a generation prompt the way a creative director does, before anything is generated.

Take a prompt through the loop until it is clean: check, read, revise, again.

Turn a gap into something somebody can act on: for each fault, the cheapest route that can actually close it — an edit to the composition, a Seedance `video_edit`, a `video_extension`, a full re-render, or nothing, because some faults have no route and saying so beats paying to find out.

What this account has kept — names, kinds and lengths, without the words.

One kept document, with its words.

Keep a video somebody else made, so it can be found again and built from.

The organisation's collections of kept videos — name, what the collection is for, how many are in it, and a few covers.

Start a new collection.

Rename a collection, and optionally rewrite what it is for.

Put a video the organisation has already kept into a collection.

Take a video out of a collection.

Take a kept video off the organisation's shelf entirely, and out of every collection it was filed in.

Say what has to be TRUE — 'a hundred accounts that fit us, in a sequence by the end of the month' — and this writes a goal and the tasks that reach it into Goals & tasks.

Why this company is worth contacting NOW — a new chief or head of something, money raised, roles being opened, a launch or expansion.

Whether an address may be contacted, and if not, why.

Record a person and where they work.

Find and verify somebody's work address.

A multi-step email sequence, with nobody in it.

Put people into a campaign.

What may be sent right now, already assigned to mailboxes and already rationed by capacity — halted domains are removed before assignment, so their capacity is never counted.

Mark an enrolment's current step as sent, advancing it.

What a reply is — interested, not now, wrong person, unsubscribe, an auto-reply, or a bounce.

Every campaign with its enrolled, sent, replied and stopped counts.

Real openings read from a real calendar, inside working hours.

Create the event AND invite the prospect — an event only the host can see is a note in a diary, and the prospect finds out nothing happened when nobody joins.

Say whether a booked meeting actually happened, and how it went.

Meetings whose time has passed and which nobody has said happened or not.

This organisation's deals, each with how many people are on the committee, how many discussions exist and how many blackswans have been found.

One deal with its buying committee, its discussions and every blackswan — each carrying the quote it came from, because the row could not have been written without one.

Record a discovery about the buying committee that changes how the deal is worked.

A strategy preparation for a deal or a call: the unknowns to resolve first, the framings, the protections, the initiatives.

One preparation with its items, ordered.

Each sending domain's warm-up day, daily cap and remaining capacity.

Never contact this address, or this whole domain, again.

Who this LinkedIn profile is to us.

Keep the person whose LinkedIn profile is open, as a contact.

Who this person is to us, from an email address, a LinkedIn profile, or a name on screen.

Keep this person as a contact — from an inbox, a profile, or a CRM record.

This waiting conversation is this contact.

Make a contact from the person on screen and attach their conversation, in one act.

A recruiter, a stranger, a mistake — stop offering them.

What a document or a record could be ABOUT: your open deals, companies, projects and contacts, most likely first.

Attach what you are looking at — a Drive document, a CRM record, a page — to the deal, company, project or person it is about.

What is attached to one deal, company, project or person.

Bring one CRM record into Hermeas as the RIGHT kind of thing: a contact becomes a person by their address, a company becomes an account, a deal is attached to the deal already synced.