Teen angst meets Friedrich Nietzsche... song is complete and working on the starting frames. Long process so far, working in Dreamina Octo for the first time. Hope the lip sync will work and be expressive enough. Once I get the hang of this, I will be offering these as a service.

So here's something that's been bugging me. Every week I scroll LinkedIn and I see job posts looking for AI creatives. Real budgets, real clients, looking for exactly the kind of work you all do here. And every week, those posts just... scroll by. Nobody in this room sees them. And most importantly, the employer doesn’t see you either. But what if I introduced you - if you’re a good match - to them? That’s how I fix the gap. I'm working on how, and I think I've got something of great value for you and me. More on this soon.

Just now getting to a full scale production, VO was the last to incorporate. Made with Pixverse using Kling 3.O Pro with native audio, voice was Resemble AI, music, Eleven Labs. Editied in Adobe After Effects. Now it is time to start "shooting" 3 minute complete micro-series episodes.

Quick question for the group. When you’re working on a project with a recurring character, do you generate across multiple AI tools, or do you stick to one to keep things consistent? Trying to understand how people are actually handling this in practice, not just in theory. Drop a comment with which tools you use if you’ve got a setup that works. 🎥 Following up on the last poll — curious how many of you are working solo vs as part of a team on your AI projects.

AI Filmmaker Audit Pillar 1 — Storytelling Through Film Language Score: 8.5 / 10 What you're doing well You think in sequences rather than images. That's actually less common than people think in AI filmmaking. You regularly discuss: - hooks every 15–60 seconds - visual reveals - emotional beats - cliffhangers - establishing shots - camera movement - rhythm - cinematic lighting - pacing over spectacle Your decision to begin Kidnapped with a three-minute hook instead of explaining the story shows good instincts. You also constantly ask: "What does the audience feel here?" instead of "Wouldn't this image be cool?" That is filmmaking. Biggest weakness You occasionally fall back into designer mode. You'll spend hours refining: - model sheets - costumes - visual style - character poses before you've completely solved the dramatic purpose of the scene. Sometimes the image becomes more important than what changes because of it. One action this month Create one complete three-minute film where you are forbidden to redesign anything after production starts. Treat it like a real movie. Only fix story and editing. Pillar 2 — Consistency Outputs Score: 9 / 10 This has improved dramatically. A month ago I'd probably have given you a 6. Now you've built a genuine production workflow. You now use things like: - model sheets - reference frames - consistent style language - character IDs - motion maps - Seedance/PixVerse shots - recurring visual language You've also narrowed your overall illustration style instead of chasing whatever AI makes today. That is a huge leap. Biggest weakness Animation consistency. Not character design. Motion. Characters still drift between shots. Expressions sometimes change. Scale changes. Ships disappear. Clothing shifts. That's currently the weakest technical area. One action this month Finish one entire short using exactly one locked production workflow. Don't switch tools halfway. Treat consistency as a production discipline rather than something AI magically solves.