kenny miller @kenbot

The Future is Hybrid. The best part about @Promise is our ability to be "always on" when it comes to R&D for hybrid methodologies. Doing some quick grey box camera tests in studio for future productions including 'Touch Grass.' I love the ability to direct my actors, and then even have flexibility to add a rack focus to open the scene after.

🤯 Depth can now recreate complex climbing and parkour motion this cleanly! Turned a fast climbing clip into a Depth motion reference, then swapped in a 20-year-old twin-tail student with a backpack while keeping the same concrete structure. Wall contact, weight shifts, jumps, climbing paths, and full-body movement all stay surprisingly clean and consistent! 🌟 Workflow: 1. Pick a reference clip under 15 seconds 2. Convert it to Depth with Depth Anything V2 3. Generate a new character + scene 4. Feed everything into Seedance with the prompt below 🌟 Depth video conversion: You can build a local Depth converter with Codex — prompt in the comments. Dance, martial arts, climbing, parkour, and other complex movements can all be transferred cleanly with Depth! Workflow + Prompt below 👇

Larus Canus @MrLarus

4 weeks ago

🤯 Found another great use case for Depth today! I tried recreating this fashion transformation video with my own character, but the original character kept showing up. 🌟 So I switched the reference video to Depth, and it worked way better! Same motion and timing, but now I

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"You might not think that programmers are artists, but programming is an extremely creative profession. It's logic-based creativity." — John Romero

🌊🕊️#webgl #threejs

ultimately, the leaps forward are made by specific empowered creative people with clear vision, not sprawling orgs or adhering to a process.

"lora training is back on the menu" @gokayfem

AI on the Lot 2026 @AmazonMGMStudio felt different. Huge love to @MachineCinemaAI and our “Memes R US” crew, including @brianwankum & @theBW7. We went with cinematic memes and won Best Picture 🎖️at the GenJam™ AIOTL 4h hackathon. Truly reMEMEarkable people and a great event 🔥

🫶🫶🫶🫶

Jamie @umpherj

2 months ago

we are all Steve coneysteve.substack.com/cp/201745775

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Increasingly, I believe companies may need to be rebuilt from the ground up, where you have a single timeline of all observability + product metrics + file changes laid out in a retrievable system, like Datadog + Posthog + Google Drive + Slack (really unified filesystem of Claude Code chats + Codex chats). This might be the new data foundation for any and all companies to maximize AI. Needs to be rebuilt because keeping track of diffs on existing system basically impossible to produce longitudinal information on decisions and rollbacks, something coding agent storage companies are actively trying to figure out, but this should extend to businesses as a whole. Highly skeptical existing businesses will adopt this though because it means overhauling everything about their instrumentation and business data, but I think businesses built on this foundation probably can execute 100x better and faster

It’s all about your keyframes.

A.I.Warper @AIWarper

2 months ago

Testing the new Ray 3.2 video-2-video from Luma Labs Probably the best performance transfer tool I've used in awhile. Pro tip: If you care about the lighting, be sure your keyframe is prepared correctly (mine wasn't clearly 😂) Process explained below 👇

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@mattworkman Every film gets its own app.

This 👇. There is also incredible willingness to break habits and try new things that hadn’t been the case for quite a while as habits hardened

Johnnie Manzari @johnnie

2 months ago

User interfaces are about to go through another big transformation, on the scale of command line to GUI, if not bigger. The new tools aren’t about making the old designs more efficiently, they are about making entirely new experiences.

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AI filmmakers are one of the MOST in-demand people in the creative industry right now. This is the dilemma right now. There are NOT enough AI filmmakers, partly because being really good at editing, cinematography, AND actual AI skills is a LOT to master. The very best AI filmmakers are very rare. There are 6 entities that are hunting for them, causing a squeeze in the job market: > Big studios - want to hire AI filmmakers for experimental and research projects > AI studios - they’re experiencing demand for their own projects and clients and need AI filmmakers to train and work on those projects > AI tool companies - want to hire AI creative directors and filmmakers to showcase their tools > AI streamers - who want to fill up their catalog with AI content > Ad Agencies - nobody cares if an ad is made with AI. Agencies are training up their own people to do AI to cost save on ads and… > Brands - are demanding quicker, cheaper, and more variety and since it’s so easy, they’re also hiring to tinker and even shorten feedback timelines While one side of the creative industry is losing jobs, demand in this industry is exploding and not abating. AI skills are very easy to learn but VERY hard to master.

Ridley Scott brought a foreigner’s enraptured eye to the mythic American West, capturing its magnificent, sun-baked landscapes with a breathtaking, almost mythic romanticism. I particularly loved how it effortlessly transcended the conventions of the traditional road movie and the classic Western. Guided by Callie Khouri’s terrific script, the film blossomed into a deeply affecting surrogate mother-daughter narrative in which its two heroines beautifully, and tragically, traded roles on their journey toward liberation. At the picture's beating heart were Susan Sarandon and Geena Davis, who delivered fantastic, genuinely luminous performances as two thoroughly ordinary women forced by circumstance into the lives of outlaws. They grounded the film's grand scale with an irresistible blend of grit and vulnerability. The supporting cast was equally superb, anchored by Michael Madsen’s rugged authenticity and a wildly charismatic, star-making turn from Brad Pitt...a revelation that served as his introduction to most of America. The result was a profoundly moving cinematic experience that didn't just entertain, but left a seismic and lasting impact on our cultural landscape at the time.

RetroNewsNow @RetroNewsNow

3 months ago

🎬 ‘Thelma & Louise’ starring Susan Sarandon and Geena Davis opened in theaters 35 years ago, May 24, 1991

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Here’s another pretty wild story from one of the world’s largest e-commerce companies on the impact of adopting Runway: They now generate 75% of all visual media with AI, replicating projects that previously cost $800K for under $10K, saving $30K per product shot, and shifting a $5–6M annual production budget from traditional production to AI. That's the way.

Consistently funny for years. Good for them. Like Backrooms, Obsession, etc... this is just another example of people not waiting around for opportunities and showing their voice, creating original content, etc. Don't wait around, the cavalry isn't coming.

The Hollywood Reporter @THR

3 months ago

Team Behind Americana at Brand Memes Account to Write Heist Comedy 'Jay Pegs Auto Mart' hollywoodreporter.com/movies/movie-n…

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We are pumped to officially announce Advanced AI Filmmaking 2.0. We teamed up with Kavan Cardoza (@Kavanthekid) to rebuild this entire course. This will be completely new workflows, tools, and more, all geared toward helping you learn the AI Filmmaking techniques that Kavan has been using at the highest levels. Our exclusive Beta Pricing goes live on Wednesday, May 27th, and ends on Wednesday, June 3rd (when training officially starts). Join the waitlist to make sure you can take advantage of the Beta Pricing. Check out the course here: curiousrefuge.com/advanced-ai-fi…

Incredibly well deserved Curry, Inde, Michael, Megan, Cooper and the entire TEAM OBSESSION !!! These faces are just getting started!

Global Box Office @GlobalBoxOffice

3 months ago

OBSESSION has officially become the cheapest movie to EVER top the American box office this century. Costing only $750K to be made, it earned $2.9M this Monday, surpassing both MICHAEL ($2.7M) and DEVIL WEARS PRADA ($2.0M).

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The Filmmakers at Cannes Who Are Learning to Love AI hollywoodreporter.com/movies/movie-n…

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