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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... part of the visual language of LA crime films. Once it shifts too much between cuts, the illusion starts to break. The other thing that doesn't get talked about enough is pacing. A lot of people focus on the generation itself, but editing is where tension is actually created. How long you stay on a face. When you cut. When you don't cut. The space between dialogue. That's what makes a sequence feel cinematic rather than a simple montage. As these tools improve, consistency, rhythm and pacing become even more important than raw image quality.show more

Dave Clark

32,244 subscribers

10,543 Aufrufe • vor 3 Monaten •via X (Twitter)

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24 Kommentare

Profilbild von Is this a 3D model?

Is this a 3D model?vor 3 Monaten

looks pretty bad man

Profilbild von Dave Clark

Dave Clarkvor 3 Monaten

I love @runwayml as a way to iterate fast. Going from Nano Banana Pro right into Seedance 2.0 is amazing. Then altering shots with Aleph 2.0. All in one window.

Profilbild von Financelot

Financelotvor 3 Monaten

It's definitely getting better. A few quick things though, the sound of the lady tapping on the window came from the left ear when it should have been the right. She also disappears in the shot right after.

Profilbild von Dave Clark

Dave Clarkvor 3 Monaten

Yeah I had that shot of her walking away. But I didn’t like the pacing.

Profilbild von teteu

teteuvor 3 Monaten

dudes hand not even on the steering wheel lol

Profilbild von CINΞMA

CINΞMAvor 3 Monaten

Craft is king always was. Backrooms is a success b/c of craft not tools or social media. That dood kane knows his ish, was prepared af, and executed

Profilbild von Wylde Chylde Records 🎧

Wylde Chylde Records 🎧vor 3 Monaten

Excellent use of a vintage Charger too. 😎

Profilbild von hippieh0p

hippieh0pvor 3 Monaten

Lighting is definitely one of the toughest things to keep consistent. I also noticed that rainy scenes like this end up looking great with all the reflections, but also more things that might cause variance. And like you say, so much is done in editing and pacing.

Profilbild von AI Explained

AI Explainedvor 3 Monaten

Totally agree, inconsistent lighting pulls me out of a scene faster than bad visuals

Profilbild von RCast

RCastvor 3 Monaten

You nailed it. Lighting consistency and pacing are what separate a real scene from a random montage. Great breakdown.

Profilbild von Rob Chase

Rob Chasevor 3 Monaten

You could also achieve this lighting by going outside at night. This isn’t worth unaffordable consoles and RAM.

Profilbild von Cherelynn

Cherelynnvor 3 Monaten

The lighting is consistent in the water drops too

Profilbild von Siesta Studios

Siesta Studiosvor 3 Monaten

you nailed it dude! 💯

Profilbild von Pode vir

Pode virvor 3 Monaten

editing is where the magic happens not just pixels damn

Profilbild von Pan

Panvor 3 Monaten

lighting consistency is the real cheat code

Profilbild von TrueVoice

TrueVoicevor 3 Monaten

that's one of the most difficult part generating a long story, the hardest part working in the consistency of Ruffus Universe. GPT Image 2 - Kling

Profilbild von Bas van den Eijkhof

Bas van den Eijkhofvor 3 Monaten

Nice work Dave. How do ya keep consistency in voice?

Profilbild von Gabriel Panazio

Gabriel Panaziovor 3 Monaten

Not trying to be that guy, but already being him: perfect consistency is what outs AI. The skill isn't locking everything down, it's knowing which inconsistencies to keep (great work btw).

Profilbild von ZED

ZEDvor 3 Monaten

Hey Dmed you yesterday my man,

Profilbild von akadrbob

akadrbobvor 3 Monaten

Just a small note love the 69 charger used to own one the scene lost the distinct tail lights going around the corner

Profilbild von Life Around Earth

Life Around Earthvor 3 Monaten

the way they talk about pacing and the space between dialogue is exactly what makes a crime sequence feel real.

Profilbild von Alberto Vélez

Alberto Vélezvor 3 Monaten

slop

Profilbild von DigitalAiCinema

DigitalAiCinemavor 3 Monaten

nice..Inspiring. Time consuming...patience is needed for sure. but fun nonetheless...seedance?

Profilbild von N0V3L020

N0V3L020vor 3 Monaten

Love it. You've go it down perfectly. I have something very similar!

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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 👇

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John

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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)

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

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Auteur House

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Big Brain AI

31,384 Aufrufe • vor 4 Monaten

you numbered the steps so it could not get lost it does not get lost that list was written for a model that wandered, and this one plans better than the list does, so every number you added is a place where it is no longer allowed, to be smarter than you state the goal, the constraints, and how you will know it worked keep the numbers only where exactly one sequence is safe, which is deletes, auth and compliance the procedure felt like rigour it is a cage built to the dimensions of a model that is not in the room

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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."

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Julia 🇺🇸

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One of the reasons the bank shootout in Heat sounds so incredible is that much of the gunfire you hear was actually recorded on location. Michael Mann wanted to keep the natural sound of the blanks echoing through the streets of Downtown LA. The buildings created this canyon-like effect where every shot just exploded through the city and kept bouncing around. They tried replacing some of it with cleaner gunshot effects afterwards, but it just didn’t have the same impact. That raw sound is a huge part of what makes the scene feel so intense. You don’t just hear the gunfire, you feel how loud and chaotic it would be to actually be standing there. Still one of the greatest shootouts ever put to film.

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The Best Films

29,672 Aufrufe • vor 28 Tagen

I wanted to see how far AI video could actually go when you give it a real cinematic story. So I started with one simple idea: a lone astronaut standing on an unknown planet, watching a massive spacecraft emerge from behind the mountains. Then I built the scene with **Seedance 2.5 on Morphic**. The goal wasn’t just to generate a pretty shot. I wanted the whole sequence to feel like one continuous scene — the same character, the same environment, consistent lighting, realistic ocean reflections, atmospheric movement, and a spacecraft that actually feels massive. What surprised me most was how much control you can get over the storytelling. I could take the scene from a wide cinematic establishing shot → to the astronaut’s reaction → to the spacecraft reveal → and finally into a massive energy portal over the ocean. And the best part? I didn’t need a camera, actors, a film crew, or a huge VFX setup. Just the idea, the prompt, and **Morphic**. This is the kind of AI video workflow that makes you rethink what a solo creator can actually produce. Seedance 2.5 is now available on Morphic What would you create with it? 👀

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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.”

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Startup Archive

32,513 Aufrufe • vor 2 Jahren

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

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

23,549 Aufrufe • vor 5 Monaten

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:

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

41,651 Aufrufe • vor 3 Monaten

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.

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 Aufrufe • vor 8 Monaten

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 Aufrufe • vor 3 Monaten

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.

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 Aufrufe • vor 5 Monaten

higgsfield DROPPED this and it just made ai filmmaking easier than ever. they open-sourced their originals. every flagship video they produced in-house, the entire prompt is now public. the references, the generation settings, the model, the resolution, all of it sitting right there on the project page. for anyone making ai video this is the part that actually matters. the hardest thing was never the tool, it was knowing how to prompt it. what to write to get cinematic lighting, character consistency across shots, real physics, camera movement that doesn't look ai. that knowledge stayed locked inside studios and a few people who figured it out early. now it's just open. open one of their best clips, read the exact prompt that built it, copy it, download the video, rebuild the whole thing yourself.

higgsfield DROPPED this and it just made ai filmmaking easier than ever. they open-sourced their originals. every flagship video they produced in-house, the entire prompt is now public. the references, the generation settings, the model, the resolution, all of it sitting right there on the project page. for anyone making ai video this is the part that actually matters. the hardest thing was never the tool, it was knowing how to prompt it. what to write to get cinematic lighting, character consistency across shots, real physics, camera movement that doesn't look ai. that knowledge stayed locked inside studios and a few people who figured it out early. now it's just open. open one of their best clips, read the exact prompt that built it, copy it, download the video, rebuild the whole thing yourself.

Sulfur

31,111 Aufrufe • vor 2 Monaten

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.

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 Aufrufe • vor 10 Monaten