Framing as a setting, not a hope
Most generators treat framing as something you beg for in the prompt and hope arrives. Here it is a control on the card. Shot size has five values: wide, medium, close, over-the-shoulder and POV. Camera move has four: static, push in, pan and handheld. Each value maps to a fixed sentence that is appended to your line at render time, so the model receives an unambiguous instruction rather than an adjective buried in prose.
The sentences are deliberately literal. Wide: full figures and the whole set in view. Close: the face fills the frame, shallow depth of field. Over-the-shoulder: one shoulder soft in the foreground, the person they face sharp. POV: the camera is a character's eyes and the others look into the lens. Push in: the camera creeps toward the subject over the whole shot.
Coverage, the storyboard way
Film crews shoot coverage: the same beat from several framings, chosen in the edit. The timeline makes coverage cheap to plan. Duplicate a card, change its shot size, keep the line. A conversation becomes a wide to establish, an over-the-shoulder each way, and a close for the reply that matters, four cards that render as four takes.
Because each card is priced separately, you can render the wide at the Sketch tier to check the geography and the close at High for the face. The join conforms them to one frame.
Cast that holds across angles
A character on this site is a generated portrait used as a reference image on every take. The same portrait goes into the wide and the close, which is what keeps a face recognisable as the framing changes. Outfits and props are references too, and the set is a reference image of the location so the room does not change between angles.
Up to three characters can appear on one card, and up to nine reference images can ride along on a take, which is enough for three characters with outfits and a set.
When to move the camera
Static is the default for a reason: a locked camera lets the performance carry a shot and joins cleanly to whatever comes next. Push in belongs to the line that changes things. Pan is a reveal or a follow. Handheld reads as tension or intimacy and should be the exception on a timeline, not the rule. The draft tool follows these habits when it writes cards; you can overrule it on every one.
The framing clause describes a take. The render will follow it as closely as the model can, which is reliably for shot size and usually for movement, but it is a take, not a guarantee of a precise camera path.