HistorAI
David and Paula Ben-Gurion reading together in their home library

Our methodResearch comes
before every frame.

Before a single image is made, we know what the room looked like, what stood on the shelves and what people wore. Every detail in the frame rests on photographs, documents and expert review.

AI reconstructionDavid and Paula Ben-Gurion in their library

Seven stages.
Our creative and research teams, together at every one.

Technology is the engine. Academic expertise is the driver.

  1. Archival mapping

    We build a timeline and map everything that exists: photographs, documents, finds and testimonies. We start from what is known, not from what looks good.

    Output: timeline and source map

  2. Approved mood board

    Historians set the period context: clothing, architecture, objects and light. This is the reference every later stage is checked against.

    Output: mood board
    Expert sign-off

  3. Research-based script

    The story is written from the research. Every scene carries a reference to the source it relies on.

    Output: script
    Expert sign-off

  4. Design in a closed environment

    Characters and locations are built in a closed AI environment (a “sandbox”) fed only with verified archival material. What is approved here becomes a binding reference.

    Output: design sheets

  5. Storyboard review

    A historian goes through the storyboard frame by frame, so the film doesn't drift from the sources before animation begins.

    Output: storyboard
    Expert sign-off

  6. Animation

    Rendering that keeps the visual language of the period. For Heroines, for example, we researched the frame rate, grain and scratches of 1940s film projection. Then post-production.

    Output: work-in-progress cut

  7. Final curatorial review

    The curator or historian formally signs off on the film. Only then is it delivered, in every version needed: for the exhibition, the website and social media.

    Output: final files
    Final sign-off

What it means in practice

Locked design

Characters and locations are approved once and become a binding reference. Every later frame is checked against them — proportions, clothing, architecture and light — and whatever doesn't pass is rebuilt.

Licensed content only

We only feed the tools material we have the right to use: the client's material, licensed archives and content we created ourselves.

A real example — The Letter

In the historical review of our film about Chaim Weizmann, details were corrected such as how acetone production was described and where he received his doctorate — Fribourg, not Berlin. These are exactly the errors the process is designed to catch.

100% curator control

We don't distort, we enhance. Every AI-generated asset goes through the curator or historian, and nothing enters the film without their approval. That way the institution remains the custodian of historical truth.

A real example · The Letter, scene 4

From source
to frame.

London, 1922: Chaim, Vera and the children in the park. Every character, object and place in the scene was designed from approved archival material (stage 2), built in a closed environment (stage 4), and only became a frame after sign-off.

A frame from The Letter: Chaim Weizmann lifting his son in a London park, 1922
The finished frame · The Letter · Yad Chaim Weizmann
Photograph of Chaim WeizmannSource
Chaim Weizmann character in the film's styleDesign
Chaim WeizmannThe character was built from period photographs — the coat, the beard and the hairline — and approved before animation.
Photograph of Vera WeizmannSource
Vera Weizmann character in the film's styleDesign
Vera WeizmannA character turnaround based on archival photographs of Vera from the period.
Portrait of Michael Weizmann in Royal Air Force uniformSource
Michael Weizmann character in uniformDesign
Michael Weizmann, RAF pilotThe uniform and pilot's wings follow his portrait photograph.
Childhood photograph from the archiveSource
The boy character in the film's styleDesign
The boy in the park sceneClothing, haircut and proportions follow childhood photographs from the archive.
Photograph of a British World War II bomberSource
Model of the aircraft in the film's styleDesign
From toy plane to bomberThe wooden toy plane that becomes a bomber in the skies of World War II, modeled on a period RAF aircraft.
Archival photograph of an English parkSource
The park location in the film's styleDesign
The park in LondonThe location follows an archival photograph of an English park. Source: Havering Libraries – Local Studies.

Principles behind every project

Licensed content only

Every piece of material we use — with rights.

Ethics and regulation

Working in line with theEU AI Act.

Partnership with experts

Historians and curators all the way through, not just at the end.

Closed environment

Our tools are fed only verified archival material, never open datasets.

Want to see it in practice?

We'd be glad to show you what a real project's source file looks like.

Let's talk