LTX Studio is Lightricks’ AI filmmaking platform, built around turning a script into a full storyboard and shot sequence with a consistent cast across scenes, aimed at pre-visualization and short-film or ad production. Picasso IA is a curated catalog of 488 models spanning image, video, audio and 3D, with free credits to start and no script required.
LTX Studio and Picasso IA both call themselves AI video tools, but they start from different places. LTX Studio, from Lightricks, is a filmmaking platform: paste in a script or a rough concept and it breaks the narrative into scenes, generates a shot-by-shot storyboard with suggested camera framing, keeps a cast of AI Actors looking the same across the whole sequence, and hands you a built-in timeline to arrange and edit the results into a finished cut. Picasso IA is a studio built around breadth instead of a pipeline: 488 models we select and maintain ourselves, covering image, video, audio and 3D behind one guided interface, in six languages, with free credits the moment you sign up.
If your project is a short film, a branded ad, or any sequence that needs a dozen shots to share the same characters, locations and pacing, LTX Studio built specific tooling for exactly that job, and nothing in our catalog turns a script into a shot list the way its storyboard generator does. If instead you want to open a browser, pick a model already known to be good, and generate one photo, one clip, one voice track or one 3D mesh without writing a screenplay first, Picasso IA is built for that.
Neither approach is a lesser way to work. One treats a video as a production with a script, a cast and a timeline; the other treats a generation as a single, fast decision, across formats a narrative tool was never built to cover. The sections below cover what each side gives away for free, what changes when you pay, how each one actually generates, what each covers, and who should pick which. Where LTX Studio is genuinely the stronger tool, this page says so at length.
Eleven rows, the first seven answered with a yes or a no, the last four needing a phrase instead of a mark because a tick cannot describe them honestly.
| Feature | Picasso IA | LTX Studio |
|---|---|---|
| Standalone text-to-image generation | Yes | No |
| Video generation through integrated engines | Yes | Yes |
| 3D mesh generation from an image | Yes | No |
| Standalone music and voiceover generation | Yes | No |
| Turn a script into a scene-by-scene storyboard automatically | No | Yes |
| Dedicated character-consistency tool across a whole project | No | Yes |
| Curated catalog of ready-to-use models chosen by one team | Yes | No |
| Model catalog | 488 curated models, one account | One in-house video model family |
| First step | Pick a model, write a prompt | Write or paste a script |
| Built-in shot timeline for arranging a sequence | No dedicated timeline tool | Built-in shot timeline |
| What you produce | Single images, clips, tracks, meshes | A full storyboard and edited shot sequence |
The tally: Picasso IA leads on 4 rows, LTX Studio on 3, and 4 come down to taste and workflow.
Read that tally as a warning against oversimplifying, not a verdict either way. The three rows LTX Studio wins are not minor: turning a script into a storyboard, holding a cast consistent across an entire sequence, and giving you a timeline to cut the result into a finished piece are things we do not offer at all, by design, and if your work depends on any of them, the rest of this table will not change your mind. What a row cannot show is depth on the other side: our win on format breadth means image, audio and 3D sit in the same account as video, with no script required to reach any of them.
A new Picasso IA account starts with free credits that spend on the same 488 models everyone else uses, not a demo tier: you can run a frontier image model, a video model or a text-to-speech voice before deciding anything. The interface is in English, Spanish, Portuguese, French, Arabic and Hindi, and you can browse the community collection and the effects gallery without paying, which shows you what the catalog produces rather than what a page claims it produces.
LTX Studio's free plan lets you try the storyboard workflow itself, from pasting in a concept to seeing scenes broken into shots and generating a first pass of the footage. That free pass is enough to learn whether the storyboard-to-shot pipeline fits how you think about a project before committing further. Exactly how far a free account stretches is LTX Studio's own number to publish and it changes as the underlying model does; check LTX Studio's own pricing page for what is current.
The honest split: if you want to generate something today with zero setup and see the credit cost before you commit, Picasso IA is where that happens reliably from the first minute. If you want to test whether a script-driven storyboard tool can actually hold a cast steady across a full sequence before you plan a real production around it, LTX Studio's free plan lets you find that out first.
On Picasso IA, paying buys credits, and credits are the entire economy: every generation shows its cost before you run it, heavier jobs cost more, and plans differ only in how many credits you get. Current numbers live on the pricing page; we keep them there rather than in articles, because plans change and a stale number helps nobody.
On LTX Studio, paying raises the ceiling on how much of the platform's own model and storyboard pipeline you can run, and unlocks commercial usage rights alongside production tools built for teams working at scale. Specific tiers and what unlocks at each one are LTX Studio's own numbers to publish and change, and we deliberately do not restate them here, since a figure copied into this article would be wrong within a quarter.
The practical way to decide which side's paid tier suits you is to be honest about what recurs in your work. If you generate a wide range of one-off images, videos, voices or 3D assets that do not need to share a cast or a script across projects, credits that track exactly what you ran map cleanly onto Picasso IA. If your paid time keeps going into planning a script into shots and keeping the same characters recognizable across a whole sequence, a plan built around a storyboard pipeline and a timeline, the way LTX Studio's is, solves a problem ours was never built to solve.
This is where the two products stop resembling each other, so it earns the longest section, and it is where LTX Studio's genuine strengths deserve real space rather than a passing mention.
Picasso IA does not write a script for you, and it does not carry a cast across a sequence on its own. We select and maintain the 488 models in the catalog, each vetted, each with a visible credit cost. The FLUX family for photographic realism, Seedream 5 Pro for illustration, nano banana for edits that preserve the original image, Imagen 4 and Recraft v4 for clean design work, Kling and Veo for video, hundreds more. When a stronger model ships, it appears next to the old one in the same interface, and picking a model is the entire skill required. Every generation is its own decision: one prompt in, one result out.
LTX Studio makes the opposite bet, and does it well. Paste a script, or even a loose concept, and its storyboard generator reads the narrative, breaks it into scenes, and produces a shot-by-shot storyboard with suggested camera framing, doing in one pass what would otherwise mean manually planning every scene first. That alone is a genuinely different capability from anything in our catalog: Picasso IA can carry an uploaded reference image into a single edit or generation, but nothing in it reads a screenplay and plans a shot list from it. On top of the storyboard, LTX Studio's AI Actors keep a character's face, wardrobe and mannerisms consistent from a description or a reference image across every scene of the same project, a materially harder problem than holding one image steady. A built-in Retake option lets a director regenerate one specific shot without redoing the scene around it, and the platform's own video model supports native portrait output, HDR and audio-to-video generation for longer takes than a typical quick clip, all inside one connected timeline.
Where the two philosophies genuinely diverge is planning versus picking. LTX Studio's approach asks you to invest in a script and a cast once, and pays that back across every shot that reuses them; Picasso IA's approach asks for none of that: pick a model, write a prompt, and the result is ready. Someone building a short film, a branded ad campaign, or any sequence that needs the same faces and settings recognizable across a dozen shots should look hard at LTX Studio's storyboard generator and AI Actors before assuming a curated catalog covers the same ground, because for that specific job, it genuinely does not. Our own guides to consistent AI characters and AI storyboards cover what a prompting-and-reference approach can achieve on Picasso IA, worth reading against LTX Studio's script-driven approach.
For still images, the two products point in different directions. LTX Studio generates images as storyboard frames inside a video project, a planning tool for a shot rather than a destination in itself; Picasso IA treats a still image as a first-class output, with 488 curated models chosen for being good at that job specifically, no script or scene required.
For video, both aggregate generation into a finished clip, but the path there differs. Picasso IA offers dedicated engines including Kling v3 and Veo 3.1, with image-to-video so a still becomes the first frame of a shot, each one a single, self-contained generation. LTX Studio builds video around its own model family, with native portrait output, HDR, and audio-to-video generation that ties sound and picture together in one pass, plus longer native takes than a quick single clip typically runs, all inside the storyboard-to-timeline pipeline.
For audio, both cover ground, from different directions. Picasso IA's audio side includes 464 text-to-speech voices across dozens of languages for narrating videos as a standalone deliverable, plus music generation you can use on its own. LTX Studio's audio-to-video generation ties sound to picture as part of a shot rather than a stand-alone voice or music track meant to be exported on its own.
For 3D, the two do not overlap at all. Picasso IA's image-to-3D through Hunyuan3D 3.1 turns a picture into a textured, exportable mesh, the kind of asset covered in our image to 3D guide. LTX Studio has no 3D mesh output; its entire model is built around 2D shots inside a video sequence, not spatial assets meant to be exported into a different pipeline.
LTX Studio's editing tools live inside the storyboard-and-timeline logic: the Retake option regenerates a specific shot without touching the rest of the sequence, and camera and blocking adjustments let a director refine how a scene reads before committing to a final cut, a real strength for anyone iterating on one project across many shots.
Picasso IA treats editing as a set of dedicated tools that accept any image, generated on our platform or not, without needing a script or a storyboard behind it first. Upload a phone photo and remove its background for the workflow in our background removal guide, upscale a low-resolution image with the tools in our photo upscaler guide, or hand nano banana an instruction like changing a shirt color without touching the face. Every editing tool shows its credit cost up front, so testing an upscaler on a real client file is a cheap experiment rather than a leap of faith.
The practical split: if the shot belongs to a sequence already built on LTX Studio, its Retake and camera tools stay in that same timeline on purpose, and pulling one frame out to edit elsewhere loses the continuity those tools depend on. If you are editing a one-off image with no script or sequence behind it, Picasso IA's tools do not ask what production it came from first.
Speed on Picasso IA is straightforward: fast image models return in seconds, frontier models take longer, video takes minutes because video is expensive to compute anywhere, and the credit cost tracks that reality before you commit. Picasso IA also limits how many generations one account runs at once, which keeps the queue fair and stops a runaway script from draining your own credits.
Speed on LTX Studio depends on the pipeline stage: breaking a script into a storyboard runs faster than generating full footage for every shot, and rendering a longer take with audio-to-video takes real time. LTX Studio's own guidance is the source for current generation times, since those numbers move as the underlying model changes.
Licensing deserves the same care on both platforms. On LTX Studio, commercial usage rights are tied to the plan a project runs on, so confirm what tier a piece of paid work needs before delivering it to a client. On Picasso IA, model licenses come from the underlying providers and can differ between models, so check the page for the one your business depends on. On both, no license removes the risk that a generated shot can resemble a trademark, a real person or a distinctive artist's style, and an AI Actor built from real reference photos deserves particular care around consent before it goes anywhere commercial.
Eight honest reasons, four per side, compressing everything above. If your real alternatives lean toward a general video engine instead of a full storyboard-and-cast pipeline, the Runway comparison may match your decision better than this page does.
Choose Picasso IA instead when you want image, video, audio and 3D under one account without writing a script first, would rather pick from 488 vetted models than plan a production yourself, need an exportable 3D mesh rather than a video-only output, or want to start free and see the credit cost of every generation before you run it.
Most people end up using both for different jobs rather than replacing one with the other, so treat this as adding a tool, not abandoning one. Keep any scripts, storyboards and AI Actor casts on LTX Studio exactly as they are while you test; nothing about trying Picasso IA requires giving anything up.
For fast, one-off generation across many formats without planning a production, yes, and for a scripted sequence with a consistent cast, not really. If you want dependable results from vetted models across image, video, audio and 3D without a storyboard step, Picasso IA is a genuinely strong alternative. If what you actually need is a script broken into shots with a cast that holds steady across the whole thing, LTX Studio built specific tooling for that and we have not, and no amount of curated breadth substitutes for it.
No. Picasso IA does not import storyboards, scripts or trained casts from another platform; every model in our catalog is one we selected and maintain, and generation happens one prompt at a time. A storyboard or an AI Actor built on LTX Studio stays inside that platform's own timeline. If a project depends on a specific cast staying consistent across many scenes, that generation needs to happen on LTX Studio, not here.
No, and this is one of the clearest differences here. Picasso IA does not read a screenplay, break it into scenes, or suggest camera framing for a sequence; every generation starts from a single prompt you write yourself. What Picasso IA offers instead is prompting and reference-image editing on a per-generation basis; if a script-to-storyboard pipeline is what your project needs, LTX Studio's generator is built specifically for that.
Not the same way. LTX Studio's AI Actors build a dedicated consistency profile from a description or reference image and hold it across an entire multi-scene project. Picasso IA relies on careful prompting and uploaded reference images per generation, covered in our consistent AI characters guide, which works well for a handful of related images but was not built to hold a cast steady across a full scripted sequence.
Yes, both. The catalog includes multiple video engines, Kling v3 and Veo 3.1 among them, covering text-to-video and image-to-video, and image-to-3D through Hunyuan3D 3.1, which turns a picture into a textured mesh. Video and 3D cost more credits than a still image, and the cost is shown before you run the job.
Never on Picasso IA; a single prompt is enough, and picking a model is the whole first step. On LTX Studio, a script or a concept is the natural starting point for the storyboard generator, though the platform can also work from a looser idea; its strongest features, a scene-by-scene breakdown and a cast that holds together, depend on giving it a narrative to plan around rather than a single one-off prompt.
We deliberately avoid printing numbers for either product in an article, because prices and allowances change and a stale figure misleads more than an absent one. Picasso IA sells credit-based plans where every generation shows its cost up front; current numbers are on the pricing page. LTX Studio's plans and what each tier includes are published on its own site and change independently of anything we control.
Treat commercial use carefully on either platform. On Picasso IA, licensing comes from each model's provider and can differ between models, so check the model page before building a business on it. On LTX Studio, commercial usage rights are tied to the plan a project runs on, so confirm a paid deliverable is covered before you ship it. On both, review outputs for resemblance to trademarks, real people or distinctive artist styles, and take particular care with any AI Actor built from real reference photos.
No. There is no partnership, no affiliate program and no payment in either direction between Picasso IA and LTX Studio. LTX Studio's name appears on this page because people comparing a script-to-storyboard filmmaking platform against a curated catalog search for exactly this comparison, and the most useful answer we can give is an honest one rather than a sales pitch dressed as a comparison.
Genuinely, yes. Its storyboard generator gives creators a real way to turn a script into a planned shot list without a separate pre-visualization tool, AI Actors solve a problem, holding a cast recognizable across dozens of shots, that most single-generation tools never tried to solve, and its built-in timeline moves a project from concept to edited sequence without leaving the platform. Competing with it honestly means admitting a scripted, multi-shot production with a recurring cast is better served by a tool built for exactly that than by a curated catalog that never tried to be one.
Both products reward someone who shows up with a clear idea of what they need, and the cheapest way to find out which one fits is to try each on a real job rather than a hypothetical one. Open the Picasso IA toolkit with a prompt you already trust, spend the free credits, and if the results earn a place in your week, the pricing page is where the plans live.
