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Most AI filmmaking tools are still thinking shot-by-shot #DreaminaOcto #DreaminaSeedance2 #DreaminaOctoVibeCreate #DreaminaAI But real filmmaking has never worked like that. The hard part isn’t designing individual shots It’s whether: shot relationships, staging logic, camera rhythm, and sequence escalation can still stay inside the same cinematic flow while the sequence... show more

Amira Zairi

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35,496 次观看 • 2 个月前 •via X (Twitter)

#DreaminaOcto #DreaminaSeedance2 #DreaminaOctoVibeCreate #DreaminaAI

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Most AI animation tools start breaking the moment you move beyond a single shot. #DreaminaOcto #DreaminaSeedance2 #DreaminaOctoVibeCreate #DreaminaAI In real animation production, the hardest part was never generating a beautiful frame. It’s whether the entire sequence can still hold together after: The storyboard changes, the animatic pacing gets reworked, or the emotional beats of a character evolve. Can your: - shot continuity, - visual language, - camera rhythm, - And motion intent still stays coherent across the whole sequence? Most of the time, you’re not really creating anymore. You’re just rebuilding the same idea over and over again. What feels different about Dreamina Octo is that it’s the first time I’ve felt AI actually entering the animation thinking process.

Most AI animation tools start breaking the moment you move beyond a single shot. #DreaminaOcto #DreaminaSeedance2 #DreaminaOctoVibeCreate #DreaminaAI In real animation production, the hardest part was never generating a beautiful frame. It’s whether the entire sequence can still hold together after: The storyboard changes, the animatic pacing gets reworked, or the emotional beats of a character evolve. Can your: - shot continuity, - visual language, - camera rhythm, - And motion intent still stays coherent across the whole sequence? Most of the time, you’re not really creating anymore. You’re just rebuilding the same idea over and over again. What feels different about Dreamina Octo is that it’s the first time I’ve felt AI actually entering the animation thinking process.

SARAH

90,622 次观看 • 2 个月前

Most AI tools expect you to already know exactly what you want before you start creating — with a fully polished prompt ready to go. But while working on a cinematic wedding campaign with Dreamina Octo, I realized the creative process could feel completely different. 👉 Try it: #DreaminaOcto #DreaminaSeedance2 #DreaminaOctoVibeCreate #DreaminaAI I started with nothing more than: soft lighting, flowing wedding fabric, slow emotional pacing, And a feeling I couldn’t fully describe yet. What surprised me most was that the concept wasn’t predefined from the beginning. It slowly emerged during the creative process itself.

Most AI tools expect you to already know exactly what you want before you start creating — with a fully polished prompt ready to go. But while working on a cinematic wedding campaign with Dreamina Octo, I realized the creative process could feel completely different. 👉 Try it: #DreaminaOcto #DreaminaSeedance2 #DreaminaOctoVibeCreate #DreaminaAI I started with nothing more than: soft lighting, flowing wedding fabric, slow emotional pacing, And a feeling I couldn’t fully describe yet. What surprised me most was that the concept wasn’t predefined from the beginning. It slowly emerged during the creative process itself.

SANI BULA

91,567 次观看 • 2 个月前

Meet Dreamina Octo 🐙 The creative agent unlocking the full potential of Dreamina Seedance 2.0. Tell Octo what you're thinking, and it： ✅ Reads your canvas ✅ Keeps your context ✅ Picks up where your last idea left off When your vision shifts, Octo shifts with it — not just following, but thinking alongside you in real time. This is Creative Resonance — and it's just the beginning of Vibe Create. ⌛ Coming soon on Dreamina AI. 🎁 RT + Comment within 12h to get 1000 extra credits via DM! First 500 users ONLY! #DreaminaOcto #DreaminaSeedance2 #DreaminaOctoVibeCreate #DreaminaAI

Meet Dreamina Octo 🐙 The creative agent unlocking the full potential of Dreamina Seedance 2.0. Tell Octo what you're thinking, and it： ✅ Reads your canvas ✅ Keeps your context ✅ Picks up where your last idea left off When your vision shifts, Octo shifts with it — not just following, but thinking alongside you in real time. This is Creative Resonance — and it's just the beginning of Vibe Create. ⌛ Coming soon on Dreamina AI. 🎁 RT + Comment within 12h to get 1000 extra credits via DM! First 500 users ONLY! #DreaminaOcto #DreaminaSeedance2 #DreaminaOctoVibeCreate #DreaminaAI

Dreamina AI

48,529 次观看 • 3 个月前

Jannik Sinner was asked about the changes he’s made to his serve since the U.S. Open, ‘At times I still lose it. It’s not a shot where I feel very safe with. At the same time, we are working on that’ “Can I get you to discuss the changes you made to your serve? In particular since the U.S. Open…” Jannik: “Yeah, I mean it’s not only US Open. I felt like the serve was and still is a shot where I need to improve. It’s the only shot we have where we can do everything by our self. There is a lot of room to improve. We changed the motion a little bit. The rhythm of the serve, before, it was too fast in the beginning. Now it’s a bit slower. The toss usually was a bit more in front, a bit on the right. Now it’s a bit more back and over the head. But at times I still lose it. It’s not a shot where I feel very safe with. In the same time we are working on that. It’s one of if not the most important shot we have. Let’s see how I’m gonna serve this season.” (via Australian Open Press)

Jannik Sinner was asked about the changes he’s made to his serve since the U.S. Open, ‘At times I still lose it. It’s not a shot where I feel very safe with. At the same time, we are working on that’ “Can I get you to discuss the changes you made to your serve? In particular since the U.S. Open…” Jannik: “Yeah, I mean it’s not only US Open. I felt like the serve was and still is a shot where I need to improve. It’s the only shot we have where we can do everything by our self. There is a lot of room to improve. We changed the motion a little bit. The rhythm of the serve, before, it was too fast in the beginning. Now it’s a bit slower. The toss usually was a bit more in front, a bit on the right. Now it’s a bit more back and over the head. But at times I still lose it. It’s not a shot where I feel very safe with. In the same time we are working on that. It’s one of if not the most important shot we have. Let’s see how I’m gonna serve this season.” (via Australian Open Press)

The Tennis Letter

82,301 次观看 • 6 个月前

This was the very first shot that was animated by Léo Silly Pélissier, the director of animation of Flow during pre-production. The character rigs and models were later remade from scrach. There're still a few shots left in the film which feature the older rigs.

This was the very first shot that was animated by Léo Silly Pélissier, the director of animation of Flow during pre-production. The character rigs and models were later remade from scrach. There're still a few shots left in the film which feature the older rigs.

Gints Zilbalodis

114,967 次观看 • 1 年前

Michael B. Jordan reveals his first film with Ryan Coogler had a $700,000 budget and was shot in 19 days "Starting out with an independent film where we had like, $700,000 and some duct tape, you know what I'm saying? Shot a film in like 19 days" "Which was the core, the essence of filmmaking and acting, just showing up and trying to do the best work that you can. And his career evolving at the same time I was evolving" "And then going to do a spin-off of legendary franchise Rocky, to do Creed, and knowing that the odds are still stacked against us, but having that familiarity and that comfort to push one another"

Michael B. Jordan reveals his first film with Ryan Coogler had a $700,000 budget and was shot in 19 days "Starting out with an independent film where we had like, $700,000 and some duct tape, you know what I'm saying? Shot a film in like 19 days" "Which was the core, the essence of filmmaking and acting, just showing up and trying to do the best work that you can. And his career evolving at the same time I was evolving" "And then going to do a spin-off of legendary franchise Rocky, to do Creed, and knowing that the odds are still stacked against us, but having that familiarity and that comfort to push one another"

sara

75,031 次观看 • 1 个月前

Meet Dreamina Octo at AI on the Lot | Quick Highlight Recap That’s a wrap from Los Angeles! The "Meet Dreamina Octo" panel at AI on the Lot 2026 has officially concluded! AI on the Lot The electric energy from our incredible audience and global community made this a moment we won't soon forget. We were honored to be joined on stage by Phil Nibbelink, Lauren Indovina, and Jesse Wellens, who shared inspiring insights on creativity, AI collaboration, and the future of content creation. When the prompt isn’t the point, what truly matters? Dreamina Octo believes: the point was never about getting things done — it's the creative flow between you and what you're making. The wait is almost over! Dreamina Octo is officially launching soon! Thank you all for your incredible enthusiasm and support. Stay tuned for more exciting moments with Dreamina AI. Want to step into the flow early? Fill out our survey now to secure your spot for early access to Octo: #DreaminaOctoAIonthelot #DreaminaSeedance2 #DreaminaAI #DreaminaOcto #DreaminaAIonthelot

Meet Dreamina Octo at AI on the Lot | Quick Highlight Recap That’s a wrap from Los Angeles! The "Meet Dreamina Octo" panel at AI on the Lot 2026 has officially concluded! AI on the Lot The electric energy from our incredible audience and global community made this a moment we won't soon forget. We were honored to be joined on stage by Phil Nibbelink, Lauren Indovina, and Jesse Wellens, who shared inspiring insights on creativity, AI collaboration, and the future of content creation. When the prompt isn’t the point, what truly matters? Dreamina Octo believes: the point was never about getting things done — it's the creative flow between you and what you're making. The wait is almost over! Dreamina Octo is officially launching soon! Thank you all for your incredible enthusiasm and support. Stay tuned for more exciting moments with Dreamina AI. Want to step into the flow early? Fill out our survey now to secure your spot for early access to Octo: #DreaminaOctoAIonthelot #DreaminaSeedance2 #DreaminaAI #DreaminaOcto #DreaminaAIonthelot

Dreamina AI

109,326 次观看 • 2 个月前

This is why actors remain essential. AI can never generate this kind of acting choreography, long performance rhythm, or silent emotional action on its own. Sharing a 2-minute scene from Mann-Pishach to explain a certain creative grammar behind the film. Rendering an 80-minute 4K film using AI-generated shots, After Effects compositing, and iPhone performances on a single PC is something very few filmmakers attempt. Most AI experiments stop at just a few minutes. I began by rethinking the visual and cinematic language itself. Once the script and storyboards were locked, I started treating AI the way old stop-motion filmmakers treated their frames — carefully, shot by shot. Those flashy 5–10 second AI generations were never the focus. They always came after the script, the shot divisions, the performances, and the emotional flow of the scene. Sharing here a short moment — Savitri Bai’s silent anger, played by Yaaneea Bhardwaj. This small clip may give some idea of how Mann-Pishach was constructed. The entire film was consciously created using cheap or free AI tools, simply to stay honest to the zero-budget experiment.

This is why actors remain essential. AI can never generate this kind of acting choreography, long performance rhythm, or silent emotional action on its own. Sharing a 2-minute scene from Mann-Pishach to explain a certain creative grammar behind the film. Rendering an 80-minute 4K film using AI-generated shots, After Effects compositing, and iPhone performances on a single PC is something very few filmmakers attempt. Most AI experiments stop at just a few minutes. I began by rethinking the visual and cinematic language itself. Once the script and storyboards were locked, I started treating AI the way old stop-motion filmmakers treated their frames — carefully, shot by shot. Those flashy 5–10 second AI generations were never the focus. They always came after the script, the shot divisions, the performances, and the emotional flow of the scene. Sharing here a short moment — Savitri Bai’s silent anger, played by Yaaneea Bhardwaj. This small clip may give some idea of how Mann-Pishach was constructed. The entire film was consciously created using cheap or free AI tools, simply to stay honest to the zero-budget experiment.

rahi anil barve

33,180 次观看 • 4 个月前

Ray Allen says his most clutch Finals shot had nothing to do with being clutch “Not just that [Game 6 Finals] shot, but all the preparation that went into it. To be so good at one shot in one moment, it’s like a thousand shots” “Not in one sitting, anybody who shoots a thousand shots in one sitting is lying to themselves, because you ain’t shooting a game shot” “It’s over time, the collection of shots I’ve taken, the work I put in. Knowing where you are on the floor, understanding the lines, where you feel around the basket, your footwork” “Over time it becomes innate every time you step on the court. That was one shot. But look at all the shots I took in practice, warming up” “I used to do drills where I’d lay on my back, jump up, have the coach throw me the ball and I’ve got to shoot. Get on my stomach, do the same thing.

Ray Allen says his most clutch Finals shot had nothing to do with being clutch “Not just that [Game 6 Finals] shot, but all the preparation that went into it. To be so good at one shot in one moment, it’s like a thousand shots” “Not in one sitting, anybody who shoots a thousand shots in one sitting is lying to themselves, because you ain’t shooting a game shot” “It’s over time, the collection of shots I’ve taken, the work I put in. Knowing where you are on the floor, understanding the lines, where you feel around the basket, your footwork” “Over time it becomes innate every time you step on the court. That was one shot. But look at all the shots I took in practice, warming up” “I used to do drills where I’d lay on my back, jump up, have the coach throw me the ball and I’ve got to shoot. Get on my stomach, do the same thing.

katsu

115,499 次观看 • 1 个月前

I’ve tested a lot of AI tools this year. But nothing made me stop like this. For years, AI avatars could only talk. They looked robotic. Felt static. Always trapped inside one frame. Then Synthesia 🎥 dropped something different. Avatars that can act. Walk across a scene. Gesture with meaning. Gesture, pause, connect like you’re truly in the moment. It’s not just AI video anymore. It’s cinematic storytelling powered by text. The first time I saw it, I had to replay it twice. Because for a moment, I forgot it was AI. This isn’t an upgrade. It’s a breakthrough. We’re entering a new era where creators can turn imagination into motion. A full 3D scene. A complete performance. All from a simple prompt. Think about what that means. No studio setup. No crew. No editing. Just an idea and a few words. Training videos that feel human. Brand stories that look alive. Content that moves with intention. Synthesia solved what most people thought was impossible. Hands that move naturally. Gestures that match emotion. Scenes that look alive, not artificial. And it’s not about replacing creators. It’s about giving them a new stage. A way to build visuals that used to take cameras, lights, and budgets. Now, it takes creativity and a prompt. This feels like the moment AI video becomes a creative playground. And Synthesia just handed us the keys.

Darshal Jaitwar

56,865 次观看 • 9 个月前

NEW ANGLE Watch and decide, but I was never fully convinced he was shot in the first place. Never mind that his ear should’ve been blown off—now it’s magically healed. Or that the Secret Service took their sweat time getting him offstage. But from this angle: You see the photographers guided into place, the flag lowered for the perfect iconic shot… that seals it. It’s compelling as hell. But what still gives me doubt—who would sacrifice a life just for a photo op? Who would do such a thing?!

NEW ANGLE Watch and decide, but I was never fully convinced he was shot in the first place. Never mind that his ear should’ve been blown off—now it’s magically healed. Or that the Secret Service took their sweat time getting him offstage. But from this angle: You see the photographers guided into place, the flag lowered for the perfect iconic shot… that seals it. It’s compelling as hell. But what still gives me doubt—who would sacrifice a life just for a photo op? Who would do such a thing?!

Christopher Webb

539,641 次观看 • 1 年前

🎬 Cinematic Consistency in the Age of AI Video: Why Prompt Structure Matters ⠀ I created a custom GPT built specifically to solve one of the biggest problems in AI filmmaking: character and visual continuity across shots and sequences. ⠀ Too often, tools like Midjourney Video or Veo3 generate beautiful moments — but fall apart when you try to tell a story. Characters change. Outfits glitch. Locations shift. ⠀ This GPT helps with that. It’s trained to write highly structured cinematic prompts, with attention to: — Composition & camera motion — Character appearance and consistency — Lens & lighting consistency — Emotional tone, color grading, and even ambient audio cues ⠀ 💡 The result? A prompt system that actually thinks like a director and helps you like your DP or 1st AD. ⠀ Here’s a side-by-side comparison using the same simple sequence idea in Veo3 and Midjourney Video, both using my GPT. (don't judge the video result but the GPT assistance as I made this as quickly as possible) 👇

🎬 Cinematic Consistency in the Age of AI Video: Why Prompt Structure Matters ⠀ I created a custom GPT built specifically to solve one of the biggest problems in AI filmmaking: character and visual continuity across shots and sequences. ⠀ Too often, tools like Midjourney Video or Veo3 generate beautiful moments — but fall apart when you try to tell a story. Characters change. Outfits glitch. Locations shift. ⠀ This GPT helps with that. It’s trained to write highly structured cinematic prompts, with attention to: — Composition & camera motion — Character appearance and consistency — Lens & lighting consistency — Emotional tone, color grading, and even ambient audio cues ⠀ 💡 The result? A prompt system that actually thinks like a director and helps you like your DP or 1st AD. ⠀ Here’s a side-by-side comparison using the same simple sequence idea in Veo3 and Midjourney Video, both using my GPT. (don't judge the video result but the GPT assistance as I made this as quickly as possible) 👇

Jesus Plaza

51,432 次观看 • 1 年前

📖SEEDANCE 2.0 FEELS LIKE CHEATING — IF YOU USE IT RIGHT Most people don’t. It’s a controllable pipeline — and JSON prompts are the real upgrade most creators ignore. Most people still write simple prompts and hope for the best. That works… but only for random outputs. JSON changes the game: Instead of: “cyberpunk city, cinematic, camera moving forward” You define: •scene structure •camera movement •character consistency •timing per shot •motion rules This is where Seedance 2.0 becomes powerful — not just generation, but control. Creators who switch to JSON-style prompting stop “retrying” and start directing scenes like a system. That’s the difference between AI content… and AI filmmaking 📥 Tomorrow I’m revealing a method that changes everything about how AI content is made 🔖In the pinned article below you can see how this is used

📖SEEDANCE 2.0 FEELS LIKE CHEATING — IF YOU USE IT RIGHT Most people don’t. It’s a controllable pipeline — and JSON prompts are the real upgrade most creators ignore. Most people still write simple prompts and hope for the best. That works… but only for random outputs. JSON changes the game: Instead of: “cyberpunk city, cinematic, camera moving forward” You define: •scene structure •camera movement •character consistency •timing per shot •motion rules This is where Seedance 2.0 becomes powerful — not just generation, but control. Creators who switch to JSON-style prompting stop “retrying” and start directing scenes like a system. That’s the difference between AI content… and AI filmmaking 📥 Tomorrow I’m revealing a method that changes everything about how AI content is made 🔖In the pinned article below you can see how this is used

Zentrix⌚️

17,117 次观看 • 1 个月前

🇨🇳 AI isn’t “replacing” film, it’s rewriting the grammar of cinema. This student film competition shows exactly why: China’s new generation isn’t arguing about whether AI should exist in filmmaking. They’re already using it, blending classical techniques with generative tools, expanding visual language, and treating AI as part of the craft, not a threat to it. When a country integrates industry, research, and education at this scale, it doesn’t just adapt to the future. It builds it. The next wave of global cinema may not come from Hollywood’s nostalgia, but from classrooms where students treat AI as naturally as a camera.

🇨🇳 AI isn’t “replacing” film, it’s rewriting the grammar of cinema. This student film competition shows exactly why: China’s new generation isn’t arguing about whether AI should exist in filmmaking. They’re already using it, blending classical techniques with generative tools, expanding visual language, and treating AI as part of the craft, not a threat to it. When a country integrates industry, research, and education at this scale, it doesn’t just adapt to the future. It builds it. The next wave of global cinema may not come from Hollywood’s nostalgia, but from classrooms where students treat AI as naturally as a camera.

𝘊𝘰𝘳𝘳𝘪𝘯𝘦

35,763 次观看 • 8 个月前

Anne Hathaway say “Sinners” was not entirely shot on IMAX “I love this one because it was not entirely shot on IMAX” Matt Damon: “but a lot of it” Anne Hathaway: “but a lot of it… and i know that Ryan and Chris are friends and they had a lot of conversations about that” Matt Damon: “and yeah, it’s great to see a younger director picking up the mantle” Anne Hathaway: “and make an amazing movie… the sequence where the music kind of builds on top of each other and layers into it” Matt Damon: “yeah, everything, the performance… i mean it’s a brilliant movie”

Anne Hathaway say “Sinners” was not entirely shot on IMAX “I love this one because it was not entirely shot on IMAX” Matt Damon: “but a lot of it” Anne Hathaway: “but a lot of it… and i know that Ryan and Chris are friends and they had a lot of conversations about that” Matt Damon: “and yeah, it’s great to see a younger director picking up the mantle” Anne Hathaway: “and make an amazing movie… the sequence where the music kind of builds on top of each other and layers into it” Matt Damon: “yeah, everything, the performance… i mean it’s a brilliant movie”

5sta reze

3,474,958 次观看 • 21 天前

Can we call this AI directing? 😂 Seedance 2.0 with the Omni Reference feature honestly feels like a total game changer. Summer Trip is one of my film which I made used Omni Reference, not only start frame anymore and for the first time, it genuinely feels like I’m directing the AI instead of just prompting it. The reasoning in Seedance 2.0 is seriously impressive. It understands intent in a way that feels collaborative. Of course, in production it still needs proper touch-ups in post, grading, timing, polishing details, but the foundation it gives is strong. Like it or not, we’re already here. And to be honest, my workflow has to evolve too. I can’t approach this the same way I did before. It’s less about generating random shots and more about guiding, refining, and thinking like a director from the start. Personally, I see this as a shift, not replacing filmmaking, but reshaping the role of the filmmaker. Now the question isn’t “Can AI make it?” but “How well can you direct it?”

Can we call this AI directing? 😂 Seedance 2.0 with the Omni Reference feature honestly feels like a total game changer. Summer Trip is one of my film which I made used Omni Reference, not only start frame anymore and for the first time, it genuinely feels like I’m directing the AI instead of just prompting it. The reasoning in Seedance 2.0 is seriously impressive. It understands intent in a way that feels collaborative. Of course, in production it still needs proper touch-ups in post, grading, timing, polishing details, but the foundation it gives is strong. Like it or not, we’re already here. And to be honest, my workflow has to evolve too. I can’t approach this the same way I did before. It’s less about generating random shots and more about guiding, refining, and thinking like a director from the start. Personally, I see this as a shift, not replacing filmmaking, but reshaping the role of the filmmaker. Now the question isn’t “Can AI make it?” but “How well can you direct it?”

Dinda Prasetyo

29,385 次观看 • 5 个月前

Christopher Nolan talks about the video message scene in Interstellar: “It was always the north star of the film, this beautiful sequence ... We filmed McConaughey’s reaction first ... he hadn’t seen the video messages, we’d filmed them all in advance, so that everything would be there in the moment, and he wanted to give us his first reaction. We shot it twice close-up, and I think I used the second one, because the first one was too raw. Then we shot the monitors, and the wider shots, and put it together. The last piece of the puzzle was a beautiful piece of music by Hans Zimmer that hadn’t really found a place in the film ... it was devastating ... When the messages stop, the music stops ... it’s not the sort of thing that I like to do, but it felt perfect and apt for that moment.”

Christopher Nolan talks about the video message scene in Interstellar: “It was always the north star of the film, this beautiful sequence ... We filmed McConaughey’s reaction first ... he hadn’t seen the video messages, we’d filmed them all in advance, so that everything would be there in the moment, and he wanted to give us his first reaction. We shot it twice close-up, and I think I used the second one, because the first one was too raw. Then we shot the monitors, and the wider shots, and put it together. The last piece of the puzzle was a beautiful piece of music by Hans Zimmer that hadn’t really found a place in the film ... it was devastating ... When the messages stop, the music stops ... it’s not the sort of thing that I like to do, but it felt perfect and apt for that moment.”

Kalshi Culture

790,834 次观看 • 10 个月前

So Runway Gen 4.5 finally adds image-to-video, the workflow most pros rely on for consistency. We put it head to head with Kling AI and Flow by Google VEO using the same reference images and prompts (below) to evaluate motion quality, stability, and cinematic realism. 1. Action/WaterPhysics Test Prompt: Cinematic, wide-shot of a man running in a shallow river. The camera is tracking the man from behind as he runs up the river. Handheld camera shake as the camera follows the man. 2. Fire Physics Test Prompt: Cinematic, wide-shot of terrified woman running towards her burning barn. She abruptly stops, and puts in hands on her head as she watches her barn burn down. 3. VFX test prompt: Cinematic, wide-shot of a hooded figure. Flashes of purple magic and smoke whirl around the figure. The figure lifts its arms as the purple magic and smoke intensifies. 4. 2D Animation Test Prompt: 2D animated shot of a waiting at a bus stop in a thunderstorm. The man turns, walks to the bench, and sits down. 5. 3D Animation Test Prompt: 3D animated shot of an octopus. The octopus reaches into a coral and picks up a glowing white gem. 6. Conversation Test Prompt: slow camera push-in as two friends are having a conversation at a coffee shop Overall verdict: Despite the “world’s best” claim, Runway Gen 4.5 is not there yet. Prompt adherence is solid, but motion, physics, and cinematic realism still lag behind tools like Kling and VEO. Great platform, mid-tier model for now.

So Runway Gen 4.5 finally adds image-to-video, the workflow most pros rely on for consistency. We put it head to head with Kling AI and Flow by Google VEO using the same reference images and prompts (below) to evaluate motion quality, stability, and cinematic realism. 1. Action/WaterPhysics Test Prompt: Cinematic, wide-shot of a man running in a shallow river. The camera is tracking the man from behind as he runs up the river. Handheld camera shake as the camera follows the man. 2. Fire Physics Test Prompt: Cinematic, wide-shot of terrified woman running towards her burning barn. She abruptly stops, and puts in hands on her head as she watches her barn burn down. 3. VFX test prompt: Cinematic, wide-shot of a hooded figure. Flashes of purple magic and smoke whirl around the figure. The figure lifts its arms as the purple magic and smoke intensifies. 4. 2D Animation Test Prompt: 2D animated shot of a waiting at a bus stop in a thunderstorm. The man turns, walks to the bench, and sits down. 5. 3D Animation Test Prompt: 3D animated shot of an octopus. The octopus reaches into a coral and picks up a glowing white gem. 6. Conversation Test Prompt: slow camera push-in as two friends are having a conversation at a coffee shop Overall verdict: Despite the “world’s best” claim, Runway Gen 4.5 is not there yet. Prompt adherence is solid, but motion, physics, and cinematic realism still lag behind tools like Kling and VEO. Great platform, mid-tier model for now.

Curious Refuge

25,538 次观看 • 6 个月前

Hakeem Olajuwon and Kevin Durant talking about mid-range shots being dead in the NBA “I can’t believe it. You see a few guys in our league still keeping it alive. SGA was the MVP. He still shoot a lot of mid range. It’s the unpredictable shot. It’s an easy shot to shoot once you master it. Once you figure it out, it feels like a layup. I’ve been trying to keep it alive, man. I’ve been shooting. I shoot the most in the league. Get to your spot, preserve some energy. You don’t got to dunk and shoot from deep all the time. You can mix that in. But the mid-range is that area. That was the name of the game back in your era of basketball. I feel like everybody had a mid-range game” (Via Boardroom)

Hakeem Olajuwon and Kevin Durant talking about mid-range shots being dead in the NBA “I can’t believe it. You see a few guys in our league still keeping it alive. SGA was the MVP. He still shoot a lot of mid range. It’s the unpredictable shot. It’s an easy shot to shoot once you master it. Once you figure it out, it feels like a layup. I’ve been trying to keep it alive, man. I’ve been shooting. I shoot the most in the league. Get to your spot, preserve some energy. You don’t got to dunk and shoot from deep all the time. You can mix that in. But the mid-range is that area. That was the name of the game back in your era of basketball. I feel like everybody had a mid-range game” (Via Boardroom)

NBA Courtside

550,298 次观看 • 6 个月前

DŌKYŌ: A Three-Minute-Long Single-Take Short Film Made with AI We can agree that Bytedance Seedance 2.0 totally changed how people create videos. Omni mode enabled faster creation of short films, solo creators making feature-length films, and you can create a 15-second commercial in one shot with a single prompt. But it also opened the door to long, continuous takes, which were not possible. Usually the length of a generated clip is limited to 8–15 seconds. Of course some people tried to cheat around this limitation by doing last frame first frame generation and stitching, but it breaks the camera movement and the pace of the actions. With Seedance, it was very different: instead of fighting the engine I was able to think about what I would like to see, instead of what are the limitations. I planned the framing, the camera movement, the action, and built the three-minute sequence step by step. Of course, this means if you later realize that something is wrong three or four sections earlier, you have to redo everything that follows. Visually, I wanted to maintain a very cinematic, low contrast, grainy, soft look, siilar to an expired 8mm or 16mm film, so there was no upscaling, rather the opposite: softening the image in every possible way. #DreaminaCPP Dreamina AI

DŌKYŌ: A Three-Minute-Long Single-Take Short Film Made with AI We can agree that Bytedance Seedance 2.0 totally changed how people create videos. Omni mode enabled faster creation of short films, solo creators making feature-length films, and you can create a 15-second commercial in one shot with a single prompt. But it also opened the door to long, continuous takes, which were not possible. Usually the length of a generated clip is limited to 8–15 seconds. Of course some people tried to cheat around this limitation by doing last frame first frame generation and stitching, but it breaks the camera movement and the pace of the actions. With Seedance, it was very different: instead of fighting the engine I was able to think about what I would like to see, instead of what are the limitations. I planned the framing, the camera movement, the action, and built the three-minute sequence step by step. Of course, this means if you later realize that something is wrong three or four sections earlier, you have to redo everything that follows. Visually, I wanted to maintain a very cinematic, low contrast, grainy, soft look, siilar to an expired 8mm or 16mm film, so there was no upscaling, rather the opposite: softening the image in every possible way. #DreaminaCPP Dreamina AI

László Gaál

20,130 次观看 • 1 个月前