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One basic thing to keep in mind is consistency of lighting across AI-generated sequences. For this gritty Downtown LA crime sequence, the goal wasn't just getting a cool frame. It was maintaining a believable sodium vapor lighting look shot after shot. That dirty orange-yellow glow is such a huge...

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Dave Clark

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10,491 görüntüleme • 1 ay önce •via X (Twitter)

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The future of AI video is here, and it is completely mind-blowing. 🤯 OpenArt's new Smart Shot feature takes the "GPT-image 2 + Seedance 2.0" workflow and pushes it to the absolute extreme. The generated storyboard isn't just a simple sketch anymore. It is a highly detailed director's shooting guide, complete with precise camera lenses, framing, and lighting setups. One single prompt. A full multi-cut cinematic sequence. Zero editing required. Let me show you how to use this game-changer in the thread below 👇
1:00

The future of AI video is here, and it is completely mind-blowing. 🤯 OpenArt's new Smart Shot feature takes the "GPT-image 2 + Seedance 2.0" workflow and pushes it to the absolute extreme. The generated storyboard isn't just a simple sketch anymore. It is a highly detailed director's shooting guide, complete with precise camera lenses, framing, and lighting setups. One single prompt. A full multi-cut cinematic sequence. Zero editing required. Let me show you how to use this game-changer in the thread below 👇

John

107,492 görüntüleme • 2 ay önce

Edgar Wright on his favourite shot in 'Black Narcissus' (1947): "I think 'Black Narcissus' (1947) is one of the greatest colour movies of all time. There is one particular shot towards the end of the film with Kathleen Byron, which, in my head, that is probably minutes of film, when in reality the shot is only on screen for less than two seconds And it's a shot of Kathleen Byron coming through a doorway, and it's part of an incredible climax, which I won't spoil if you've never seen the film. But it's one of those shots in Cinema that is ingrained on my brain. Like a lot of Powell and Pressburger films, I think it's just [has] a picturesque quality to it which is just somehow difficult to pinpoint exactly what the magic of Powell and Pressburger together is. But I think the thing is sometime these are the films that you keep returning to, is you can't kind of define exactly what it is about the film that keeps you obsessed, you just keep coming back. And this is one of those movies." ('Edgar Wright’s Closet Picks', Criterion, 2025)
0:50

Edgar Wright on his favourite shot in 'Black Narcissus' (1947): "I think 'Black Narcissus' (1947) is one of the greatest colour movies of all time. There is one particular shot towards the end of the film with Kathleen Byron, which, in my head, that is probably minutes of film, when in reality the shot is only on screen for less than two seconds And it's a shot of Kathleen Byron coming through a doorway, and it's part of an incredible climax, which I won't spoil if you've never seen the film. But it's one of those shots in Cinema that is ingrained on my brain. Like a lot of Powell and Pressburger films, I think it's just [has] a picturesque quality to it which is just somehow difficult to pinpoint exactly what the magic of Powell and Pressburger together is. But I think the thing is sometime these are the films that you keep returning to, is you can't kind of define exactly what it is about the film that keeps you obsessed, you just keep coming back. And this is one of those movies." ('Edgar Wright’s Closet Picks', Criterion, 2025)

DepressedBergman

271,292 görüntüleme • 8 ay önce

Ben Affleck on the single hardest thing for AI to learn in creative work: He breaks down how large language and video models actually work, and where they fall short: "A library of vectors of meaning and transformers that interpret context… But they're just cross-pollinating things that exist. Nothing new is created." Affleck concedes the point but pivots to the deeper issue of taste: "Craftsman is knowing how to work. Art is knowing when to stop. And I think knowing when to stop is going to be a very difficult thing for AI to learn because it's taste." He adds that current AI also suffers from "lack of consistency, lack of controls, lack of quality." But Affleck is clear-eyed about where AI will hit hard. The visual effects industry is in his crosshairs: "I wouldn't like to be in the visual effects business. They're in trouble because what cost a lot of money is now going to cost a lot less and it's going to hammer that space more than it already is." His take: maybe it shouldn't take a thousand people to render something. AI will make backgrounds more convincing, change the color of a shirt, fix mistakes. It might even let studios produce "two seasons of House of the Dragon in a year instead of one." That's compression, not replacement. Affleck then makes a fascinating prediction about where AI actually creates value long-term, and it's in consumption rather than production: "Eventually AI will allow you to ask for your own episode of succession where you could say, I'll pay $30 and can you make me a 45 minute episode..." Ben Affleck sees this as the real opportunity: "My hope for AI is that it's an additional revenue stream that can replace DVD which took 15 to 20% out of the economy of filmmaking." He imagines a future of negotiated visual rights, where fans can buy an "Iron Man pack" and look like the Avengers in their own TikToks, the same way they used to buy Halloween costumes at the store. The throughline of Affleck's framework is simple: craftsmanship can be automated, but art is knowing when to stop, and that requires taste.
2:23

Ben Affleck on the single hardest thing for AI to learn in creative work: He breaks down how large language and video models actually work, and where they fall short: "A library of vectors of meaning and transformers that interpret context… But they're just cross-pollinating things that exist. Nothing new is created." Affleck concedes the point but pivots to the deeper issue of taste: "Craftsman is knowing how to work. Art is knowing when to stop. And I think knowing when to stop is going to be a very difficult thing for AI to learn because it's taste." He adds that current AI also suffers from "lack of consistency, lack of controls, lack of quality." But Affleck is clear-eyed about where AI will hit hard. The visual effects industry is in his crosshairs: "I wouldn't like to be in the visual effects business. They're in trouble because what cost a lot of money is now going to cost a lot less and it's going to hammer that space more than it already is." His take: maybe it shouldn't take a thousand people to render something. AI will make backgrounds more convincing, change the color of a shirt, fix mistakes. It might even let studios produce "two seasons of House of the Dragon in a year instead of one." That's compression, not replacement. Affleck then makes a fascinating prediction about where AI actually creates value long-term, and it's in consumption rather than production: "Eventually AI will allow you to ask for your own episode of succession where you could say, I'll pay $30 and can you make me a 45 minute episode..." Ben Affleck sees this as the real opportunity: "My hope for AI is that it's an additional revenue stream that can replace DVD which took 15 to 20% out of the economy of filmmaking." He imagines a future of negotiated visual rights, where fans can buy an "Iron Man pack" and look like the Avengers in their own TikToks, the same way they used to buy Halloween costumes at the store. The throughline of Affleck's framework is simple: craftsmanship can be automated, but art is knowing when to stop, and that requires taste.

Big Brain AI

31,170 görüntüleme • 1 ay önce

When given the opportunity to sit down with President Trump, Axios tells him they "like to do one big thing, and so the one big thing we want to talk about is power...how you think about it and how you wield it." Reporter: "What is the one big thing you've learned about wielding power?" Trump: "I think you have to do it judiciously. I think that experience is good. I always say that potential is far more important; in other words, having ability is far more important than experience, but having both is very good. And I learned a lot during the first administration...and somebody said the other day that this is a far more powerful administration, or term, than the first one...I feel it's a more powerful term than the first one. Now, that comes with experience; it also comes with having somebody precede you who's a disaster. I mean, the man was a disaster...I feel it's a very powerful administration right now." Reporter: "You mentioned the G7, you saw a number of world leaders. You walked in and you said, 'I'm the boss.' How many of them believed that?" Trump: "All of them. But I was just being funny...You know that was done as a joke...I was just being cute, funny. I wasn't trying to be the boss."
1:21

When given the opportunity to sit down with President Trump, Axios tells him they "like to do one big thing, and so the one big thing we want to talk about is power...how you think about it and how you wield it." Reporter: "What is the one big thing you've learned about wielding power?" Trump: "I think you have to do it judiciously. I think that experience is good. I always say that potential is far more important; in other words, having ability is far more important than experience, but having both is very good. And I learned a lot during the first administration...and somebody said the other day that this is a far more powerful administration, or term, than the first one...I feel it's a more powerful term than the first one. Now, that comes with experience; it also comes with having somebody precede you who's a disaster. I mean, the man was a disaster...I feel it's a very powerful administration right now." Reporter: "You mentioned the G7, you saw a number of world leaders. You walked in and you said, 'I'm the boss.' How many of them believed that?" Trump: "All of them. But I was just being funny...You know that was done as a joke...I was just being cute, funny. I wasn't trying to be the boss."

Julia 🇺🇸

17,809 görüntüleme • 1 ay önce

Sam Altman: “The most underrated quality of all is being really determined” “The most underrated quality of all is being really determined. This is more important than being smart. This is more important than having a network. This is more important than a great idea.” As Sam explains: “The hardest thing about starting a company is the level and frequency of bad stuff that happens to you… So much of being a successful entrepreneur is just not giving up. When we have funded people who had a great idea, perfect background on paper, a great product, and it still failed — it has usually been that they’re insufficiently determined. I think this is the most important, non-obvious skill of a founder.” He continues: “Of course you need a good product and a good market and to be smart, but that’s really obvious. But the degree to which being a 3- or 4-standard deviation outlier on determination as a required skill of a CEO is not something that was obvious to me when I started.” Video source: Talks at Google (2017)
1:06

Sam Altman: “The most underrated quality of all is being really determined” “The most underrated quality of all is being really determined. This is more important than being smart. This is more important than having a network. This is more important than a great idea.” As Sam explains: “The hardest thing about starting a company is the level and frequency of bad stuff that happens to you… So much of being a successful entrepreneur is just not giving up. When we have funded people who had a great idea, perfect background on paper, a great product, and it still failed — it has usually been that they’re insufficiently determined. I think this is the most important, non-obvious skill of a founder.” He continues: “Of course you need a good product and a good market and to be smart, but that’s really obvious. But the degree to which being a 3- or 4-standard deviation outlier on determination as a required skill of a CEO is not something that was obvious to me when I started.” Video source: Talks at Google (2017)

Startup Archive

54,429 görüntüleme • 1 yıl önce

Sam Altman: “The most underrated quality of all is being really determined” “The most underrated quality of all is being really determined. This is more important than being smart. This is more important than having a network. This is more important than a great idea.” As Sam explains: “The hardest thing about starting a company is the level and frequency of bad stuff that happens to you… So much of being a successful entrepreneur is just not giving up. When we have funded people who had a great idea, perfect background on paper, a great product, and it still failed — it has usually been that they’re insufficiently determined. I think this is the most important, non-obvious skill of a founder.” He continues: “Of course you need a good product and a good market and to be smart, but that’s really obvious. But the degree to which being a 3- or 4-standard deviation outlier on determination as a required skill of a CEO is not something that was obvious to me when I started.” Video source: Talks at Google (2017)
1:06

Sam Altman: “The most underrated quality of all is being really determined” “The most underrated quality of all is being really determined. This is more important than being smart. This is more important than having a network. This is more important than a great idea.” As Sam explains: “The hardest thing about starting a company is the level and frequency of bad stuff that happens to you… So much of being a successful entrepreneur is just not giving up. When we have funded people who had a great idea, perfect background on paper, a great product, and it still failed — it has usually been that they’re insufficiently determined. I think this is the most important, non-obvious skill of a founder.” He continues: “Of course you need a good product and a good market and to be smart, but that’s really obvious. But the degree to which being a 3- or 4-standard deviation outlier on determination as a required skill of a CEO is not something that was obvious to me when I started.” Video source: Talks at Google (2017)

Startup Archive

39,199 görüntüleme • 10 ay önce

Cool thing about Simulon is that I can make a quick 3D scan of the environment and use it for occlusions and shadow catching. In addition to capturing scene lighting, this is one of those things that was doable, but was a pain to setup - now you get it right out of the box 😍
0:26

Cool thing about Simulon is that I can make a quick 3D scan of the environment and use it for occlusions and shadow catching. In addition to capturing scene lighting, this is one of those things that was doable, but was a pain to setup - now you get it right out of the box 😍

Bilawal Sidhu

23,162 görüntüleme • 2 yıl önce

Sam Altman: “The most underrated quality of all is being really determined” “The most underrated quality of all is being really determined. This is more important than being smart. This is more important than having a network. This is more important than a great idea.” As Sam explains: “The hardest thing about starting a company is the level and frequency of bad stuff that happens to you… So much of being a successful entrepreneur is just not giving up. We have funded people who had a great idea, perfect background on paper, a great product, and still failed—and it has usually been that they’re insufficiently determined.” He continues: “Of course you need a good product and a good market and to be smart, but that’s really obvious. The degree to which being a 3- or 4-standard deviation outlier on determination as a required skill of a CEO is not something that was obvious to me when I started.”
1:06

Sam Altman: “The most underrated quality of all is being really determined” “The most underrated quality of all is being really determined. This is more important than being smart. This is more important than having a network. This is more important than a great idea.” As Sam explains: “The hardest thing about starting a company is the level and frequency of bad stuff that happens to you… So much of being a successful entrepreneur is just not giving up. We have funded people who had a great idea, perfect background on paper, a great product, and still failed—and it has usually been that they’re insufficiently determined.” He continues: “Of course you need a good product and a good market and to be smart, but that’s really obvious. The degree to which being a 3- or 4-standard deviation outlier on determination as a required skill of a CEO is not something that was obvious to me when I started.”

Startup Archive

32,513 görüntüleme • 2 yıl önce

AI video is quietly shifting from generation to direction. After testing Ray 3.2 on a restaurant launch concept, that became pretty obvious. I started with two static images: one exterior shot, one interior dining scene. A few minutes later, I had a cinematic sequence that actually felt connected. The biggest improvement isn't just realism. It's control. Most AI video workflows still look like this: prompt → generate → regenerate → regenerate again. You're mostly hoping the model understands what you want. Ray 3.2 feels different. Instead of generating isolated clips, you can guide how one scene evolves into the next. You can shape transitions, control camera movement, preserve visual consistency, and build sequences that feel intentionally directed. For a simple restaurant commercial, that makes a huge difference. The exterior naturally flows into the dining experience. The pacing feels deliberate. The motion feels cinematic. The story feels connected. And that's what stood out to me most. For the first time, AI video felt less like prompting and more like directing. Every frame, yours to direct. Try Luma today using my link:
0:31

AI video is quietly shifting from generation to direction. After testing Ray 3.2 on a restaurant launch concept, that became pretty obvious. I started with two static images: one exterior shot, one interior dining scene. A few minutes later, I had a cinematic sequence that actually felt connected. The biggest improvement isn't just realism. It's control. Most AI video workflows still look like this: prompt → generate → regenerate → regenerate again. You're mostly hoping the model understands what you want. Ray 3.2 feels different. Instead of generating isolated clips, you can guide how one scene evolves into the next. You can shape transitions, control camera movement, preserve visual consistency, and build sequences that feel intentionally directed. For a simple restaurant commercial, that makes a huge difference. The exterior naturally flows into the dining experience. The pacing feels deliberate. The motion feels cinematic. The story feels connected. And that's what stood out to me most. For the first time, AI video felt less like prompting and more like directing. Every frame, yours to direct. Try Luma today using my link:

SONIA

41,625 görüntüleme • 1 ay önce

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.
0:30

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 görüntüleme • 1 ay önce

most people struggle to generate human faces consistently on seedance 2.0, especially when relying on character sheets a lot of the time, the system rejects it or the face breaks across scenes so I built a workflow that uses a base image as the anchor instead this keeps the face clean, natural, and consistent while still giving you full control for cinematic shots it’s a small change, but it makes a huge difference when working with human characters another thing I’ve learned, instead of generating scene by scene (which burns a lot of credits), it’s much more efficient to build multiple moments inside one 15s generation you can guide each second with slightly different prompt directions, then refine the final result with manual cut-to-cut editing this way you get more usable footage in one go and still keep control in post try it here: FLORA © #FLORATechnique
0:31

most people struggle to generate human faces consistently on seedance 2.0, especially when relying on character sheets a lot of the time, the system rejects it or the face breaks across scenes so I built a workflow that uses a base image as the anchor instead this keeps the face clean, natural, and consistent while still giving you full control for cinematic shots it’s a small change, but it makes a huge difference when working with human characters another thing I’ve learned, instead of generating scene by scene (which burns a lot of credits), it’s much more efficient to build multiple moments inside one 15s generation you can guide each second with slightly different prompt directions, then refine the final result with manual cut-to-cut editing this way you get more usable footage in one go and still keep control in post try it here: FLORA © #FLORATechnique

DStudioproject

23,372 görüntüleme • 3 ay önce

The difference a lot of people don't realize is that when you're a celebrity, 50% of the population doesn't like you. That's just how it is. They don't like you. But when you're a politician, 50% of the constituency hates you and two and a half percent of them want to kill you. That's the difference. There's always that two and a half percent lunatic fringe no matter where you are. It's pretty scary and it's tough on your family and that's why I have so much respect for politicians.
2:17

The difference a lot of people don't realize is that when you're a celebrity, 50% of the population doesn't like you. That's just how it is. They don't like you. But when you're a politician, 50% of the constituency hates you and two and a half percent of them want to kill you. That's the difference. There's always that two and a half percent lunatic fringe no matter where you are. It's pretty scary and it's tough on your family and that's why I have so much respect for politicians.

Kevin O'Leary aka Mr. Wonderful

24,897 görüntüleme • 6 ay önce

Making AI commercials takes 5 minutes and costs $5, right? That's what we keep hearing, so is it true? Short answer, no. If you want a good AI ad then I'd encourage you to engage a person or studio that has demonstrated that they can do these 2 things well: ☝ Tell a STORY (conflict and resolution) ✌ Control the consistency of a SCENE Often you'll find that "consistency" is demonstrated by having the same character in 20 different locations, and yes, that is a form of consistency. But the greater challenge of control is consistency within a scene. That doesn't just require your character to be consistent, now everything in the room, everything, must be consistent. However, storytelling is primary, because everything can be consistent, but that doesn't make it interesting. In short, the best way to demand a good story from yourself is to motivate every single cut. My rule is, if you're going to cut to a new shot, the previous shot must motivate that next shot. Each action of a character must be motivated, each scene, and so on. And yes, you need a team. David LaChance, Jr. and Robby are powerhouse AI artists, and I'm always honored to go shoulder-to-shoulder with them. Guys, you rock! DoControl is not only an awesome company, the people who run the ship are amazing people. It's a joy to mix it up with you.
1:00

Making AI commercials takes 5 minutes and costs $5, right? That's what we keep hearing, so is it true? Short answer, no. If you want a good AI ad then I'd encourage you to engage a person or studio that has demonstrated that they can do these 2 things well: ☝ Tell a STORY (conflict and resolution) ✌ Control the consistency of a SCENE Often you'll find that "consistency" is demonstrated by having the same character in 20 different locations, and yes, that is a form of consistency. But the greater challenge of control is consistency within a scene. That doesn't just require your character to be consistent, now everything in the room, everything, must be consistent. However, storytelling is primary, because everything can be consistent, but that doesn't make it interesting. In short, the best way to demand a good story from yourself is to motivate every single cut. My rule is, if you're going to cut to a new shot, the previous shot must motivate that next shot. Each action of a character must be motivated, each scene, and so on. And yes, you need a team. David LaChance, Jr. and Robby are powerhouse AI artists, and I'm always honored to go shoulder-to-shoulder with them. Guys, you rock! DoControl is not only an awesome company, the people who run the ship are amazing people. It's a joy to mix it up with you.

Jordan Daniel Chesney

25,803 görüntüleme • 7 ay önce

This scene always makes me think about what markets do once a simple asset story is no longer enough. At first people buy the thing itself. Then, at some point, that stops being exciting enough. So the market starts building layers around it. A structure. A wrapper. A more financial version of the same idea. That is why MSTR comes to mind for me here. Not because it is the same as a synthetic CDO. It obviously is not. But because the instinct feels familiar. If you believe in Bitcoin, the clean path is simple. You buy Bitcoin. If you want a more traditional route, you buy the ETF. That should be enough. But MSTR is something else entirely. It is Bitcoin, turned into a corporate vehicle, then turned into a capital markets machine, then turned into a narrative people are willing to value differently from the asset underneath it. And that is where it starts feeling less like pure exposure and more like financial engineering built around exposure. We have seen this movie before in different forms. Markets love taking a real asset, wrapping it in a new story, and then assigning the wrapper a value that starts drifting away from the thing it actually holds. As long as that premium stays alive, the machine keeps working. More demand for the structure. More capital raised. More accumulation. Bigger story. More believers. On the way up, it all looks brilliant. That is always the seductive part. In strong markets, even very simple reflexive loops can look like genius. The real question only shows up later, when the mood changes and people start asking whether the value was in the underlying asset all along, or in the extra meaning the market temporarily assigned to the structure built around it. That is why I find this clip so relevant. It is not just a reminder of 2008. It is a reminder of a deeper market habit. People rarely stop at owning the thing. They almost always find a way to build another layer on top of it. And to me, that is the more interesting question around MSTR. Not how much more Bitcoin it can buy. But how long the market will keep rewarding the wrapper more than the thing inside it.
1:26

This scene always makes me think about what markets do once a simple asset story is no longer enough. At first people buy the thing itself. Then, at some point, that stops being exciting enough. So the market starts building layers around it. A structure. A wrapper. A more financial version of the same idea. That is why MSTR comes to mind for me here. Not because it is the same as a synthetic CDO. It obviously is not. But because the instinct feels familiar. If you believe in Bitcoin, the clean path is simple. You buy Bitcoin. If you want a more traditional route, you buy the ETF. That should be enough. But MSTR is something else entirely. It is Bitcoin, turned into a corporate vehicle, then turned into a capital markets machine, then turned into a narrative people are willing to value differently from the asset underneath it. And that is where it starts feeling less like pure exposure and more like financial engineering built around exposure. We have seen this movie before in different forms. Markets love taking a real asset, wrapping it in a new story, and then assigning the wrapper a value that starts drifting away from the thing it actually holds. As long as that premium stays alive, the machine keeps working. More demand for the structure. More capital raised. More accumulation. Bigger story. More believers. On the way up, it all looks brilliant. That is always the seductive part. In strong markets, even very simple reflexive loops can look like genius. The real question only shows up later, when the mood changes and people start asking whether the value was in the underlying asset all along, or in the extra meaning the market temporarily assigned to the structure built around it. That is why I find this clip so relevant. It is not just a reminder of 2008. It is a reminder of a deeper market habit. People rarely stop at owning the thing. They almost always find a way to build another layer on top of it. And to me, that is the more interesting question around MSTR. Not how much more Bitcoin it can buy. But how long the market will keep rewarding the wrapper more than the thing inside it.

Mercek

14,644 görüntüleme • 3 ay önce

🎬 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) 👇
1:36

🎬 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 görüntüleme • 1 yıl önce

When Andrew Huberman asked about the root cause of aging, Dr. David Sinclair gave a surprisingly simple answer: "Aging is a loss of information in the same way you try to copy a cassette tape, or even if you send information across the internet, some of it will get lost." There are two types of information our bodies carry: "There is the genetic information, which is digital — A, T, C, G, the chemical letters of DNA. But there's this other part of the information in the body that's just as important, it's essential, in fact, and that's the systems that control which genes are switched on and off." And when it comes to which one matters more for how long and how well you live, the answer isn't even close: — David Sinclair
2:35

When Andrew Huberman asked about the root cause of aging, Dr. David Sinclair gave a surprisingly simple answer: "Aging is a loss of information in the same way you try to copy a cassette tape, or even if you send information across the internet, some of it will get lost." There are two types of information our bodies carry: "There is the genetic information, which is digital — A, T, C, G, the chemical letters of DNA. But there's this other part of the information in the body that's just as important, it's essential, in fact, and that's the systems that control which genes are switched on and off." And when it comes to which one matters more for how long and how well you live, the answer isn't even close: — David Sinclair

John Cumbers

305,817 görüntüleme • 4 ay önce

A cinematic artist in the gaming industry gave harsh critiques of this Halo Campaign Evolved cinematic on LinkedIn: “It's hard to believe that this Cinematic for one of gaming's most iconic levels is what Halo Studios is shipping, but it appears to be. From the original 18-second cinematic, which had: -A great establishing shot, showing the scale of the area, reinforcing the rings grand architecture -Sleeping grunts, foreshadowing upcoming ambush gameplay (you're making a game, remember?) -A quick gag of the grunts running scared We now have a bloated 30-second cinematic of: -A more constrained establishing shot. -Doorway framing, a cinematic language of its own not appropriate for a scene like this -Grunts awkwardly... arguing? Standing around? Flailing their arms? What are they even doing? Why are we watching them do this for so long? -A stupid compression-effect shot on the grunt, so clearly made by someone just ITCHING to make a shot like this -Inappropriate for Halo, an enemy, and for a character who you cant even see the face of. -The cherry on top is the fully disconnected lighting between the cinematic and the gameplay space as the cinematic ends Stuff like this needs to be rightly criticized, and all the more for remakes, which should have none of the confusion and cross-department bickering as new games might. You're remaking a game. You know the space. You know the story. You should know the intent.”
0:33

A cinematic artist in the gaming industry gave harsh critiques of this Halo Campaign Evolved cinematic on LinkedIn: “It's hard to believe that this Cinematic for one of gaming's most iconic levels is what Halo Studios is shipping, but it appears to be. From the original 18-second cinematic, which had: -A great establishing shot, showing the scale of the area, reinforcing the rings grand architecture -Sleeping grunts, foreshadowing upcoming ambush gameplay (you're making a game, remember?) -A quick gag of the grunts running scared We now have a bloated 30-second cinematic of: -A more constrained establishing shot. -Doorway framing, a cinematic language of its own not appropriate for a scene like this -Grunts awkwardly... arguing? Standing around? Flailing their arms? What are they even doing? Why are we watching them do this for so long? -A stupid compression-effect shot on the grunt, so clearly made by someone just ITCHING to make a shot like this -Inappropriate for Halo, an enemy, and for a character who you cant even see the face of. -The cherry on top is the fully disconnected lighting between the cinematic and the gameplay space as the cinematic ends Stuff like this needs to be rightly criticized, and all the more for remakes, which should have none of the confusion and cross-department bickering as new games might. You're remaking a game. You know the space. You know the story. You should know the intent.”

Rebs Gaming

307,248 görüntüleme • 1 ay önce

ELON: LEGACY MEDIA IS DRIVER OF MISINFORMATION... AVERAGE CITIZEN OFTEN KNOWS MORE THAN JOURNALISTS "I think the media is a driver of misinformation much more than the media would like to admit. In a lot of cases, it is the average citizen that knows more than the journalist. Very often when I see an article about something I know a lot about, they get a lot wrong. The best interpretation is someone who doesn't really understand what's going on, has only a few facts, has to come up with an article. If you read an article about something you know about, how accurate is that article? Now imagine that is how essentially all articles are. They're an approximation, but not an exact situation. If somebody is an expert in the field and was actually there and writes about their experience, that's in a lot of cases going to be better than a journalist because the journalist wasn't there." Source: Interview with the BBC, April 2023
1:09

ELON: LEGACY MEDIA IS DRIVER OF MISINFORMATION... AVERAGE CITIZEN OFTEN KNOWS MORE THAN JOURNALISTS "I think the media is a driver of misinformation much more than the media would like to admit. In a lot of cases, it is the average citizen that knows more than the journalist. Very often when I see an article about something I know a lot about, they get a lot wrong. The best interpretation is someone who doesn't really understand what's going on, has only a few facts, has to come up with an article. If you read an article about something you know about, how accurate is that article? Now imagine that is how essentially all articles are. They're an approximation, but not an exact situation. If somebody is an expert in the field and was actually there and writes about their experience, that's in a lot of cases going to be better than a journalist because the journalist wasn't there." Source: Interview with the BBC, April 2023

Mario Nawfal

39,061 görüntüleme • 6 ay önce

Christopher Nolan explains why the Cyclops in the Odyssey is more horrifying than any monster "One of the first things that i showed him was a painting by Goya, one of the black paintings of Saturn eating his children and it's a it's a horrific image" "But one of the things is really horrifying about it we talked about a lot is that the blankness of the expression, that this is not a monster, nobody thinks they're a monster" "And that's what action makes it most frightening is that if from the monster's point of view they're not monster" "We're irrelevant to them and that's what's really scary we've got a lot out of the films of my friend Guillermo Del Toro" "One of the things he's taught me in his film is that the monster is never just a monster"
0:39

Christopher Nolan explains why the Cyclops in the Odyssey is more horrifying than any monster "One of the first things that i showed him was a painting by Goya, one of the black paintings of Saturn eating his children and it's a it's a horrific image" "But one of the things is really horrifying about it we talked about a lot is that the blankness of the expression, that this is not a monster, nobody thinks they're a monster" "And that's what action makes it most frightening is that if from the monster's point of view they're not monster" "We're irrelevant to them and that's what's really scary we've got a lot out of the films of my friend Guillermo Del Toro" "One of the things he's taught me in his film is that the monster is never just a monster"

le.hl

1,584,709 görüntüleme • 3 gün önce

**The way his fingers naturally follow the contours of the car is such a crazy detail.** For a fast-paced action shot that most people would only see for a second, the level of detail is honestly insane. His hand doesn't just clip into the vehicle or rest awkwardly on it it actually conforms to the shape of the car's bodywork in a believable way. It's one of those subtle details that adds a huge amount of realism, and the fact that Rockstar put that much effort into a split-second moment says a lot about the overall level of polish.
0:26

**The way his fingers naturally follow the contours of the car is such a crazy detail.** For a fast-paced action shot that most people would only see for a second, the level of detail is honestly insane. His hand doesn't just clip into the vehicle or rest awkwardly on it it actually conforms to the shape of the car's bodywork in a believable way. It's one of those subtle details that adds a huge amount of realism, and the fact that Rockstar put that much effort into a split-second moment says a lot about the overall level of polish.

DriftRespawn

43,289 görüntüleme • 1 ay önce