How to Make a Wedding Love Story Using AI (Full Tutorial) — Transcript

Full transcript

1. 0:00A love story I made for my friend's
2. 0:01wedding went viral, getting around 500
3. 0:03million views across social media.
4. 0:06Agencies charge thousands for films like
5. 0:08this. Today, I'm showing you how to make
6. 0:10one yourself. Just steal my prompts.
7. 0:12[music] Hi, I'm Adil. I generated the
8. 0:14whole thing with Claw and Cedence 2.5 in
9. 0:16Geeksville. Today, [music] you're
10. 0:18getting the full workflow. How to fix
11. 0:19sloppy AI faces, nail the scale, and
12. 0:22make the film look real. Script prompts
13. 0:24and the clot scale all in the blog post
14. 0:27below. swap any photos or make it your
15. 0:29first paid gig. But first, let's watch
16. 0:32the full love story.
17. 0:48[music]
18. 0:56Couldn't
19. 1:04[singing]
20. 1:10those
21. 1:14[music]
22. 1:27>> [music]
23. 1:44>> Don't run out of my foreign.
24. 2:07[music]
25. 2:10Hey
26. 2:12See
27. 2:31Hey, see what I say.
28. 2:41[music]
29. 2:56>> [music]
30. 3:01>> Hi.
31. 3:03What are you listening to?
32. 3:04>> Ah, it's Orin Con.
33. 3:06>> Oh, I love Oring Con.
34. 3:07>> Oh, really?
35. 3:12[laughter]
36. 3:13>> I'm Nate.
37. 3:14>> Isa. Nice to meet you. Oh, that's my
38. 3:16floor.
39. 3:22Holy
40. 3:26Isa, wait.
41. 3:27>> The first step of every AI video
42. 3:29workflow is the assets, the characters,
43. 3:31the locations, the props. Let's start
44. 3:33from scene one. [music] So for this,
45. 3:35start in Hixold Cinema Studio and name
46. 3:37the new project love story. Set up a
47. 3:40folder for every scene, subfolders for
48. 3:43each asset before generating a single
49. 3:45thing. Trust me, [music] 2 weeks from
50. 3:47now when you're sitting on 400
51. 3:49generations, future you will thank you.
52. 3:51So, we start with the character sheets.
53. 3:53Here's what everyone tries first. And
54. 3:54here's why it fails. You take the
55. 3:56person's photos, feed them in as
56. 3:58references, and generate a character
57. 3:59sheet. Let's see what we get. So, inside
58. 4:01clock, I'm going to ask for a character
59. 4:03sheet for my 1900s British traveler
60. 4:08character. Young guy, early 20s, uh,
61. 4:11with a stubble. I'm going to say use the
62. 4:14attached face references [music]
63. 4:15soft even lighting no shadows.
64. 4:19Now I'm going to take this detailed
65. 4:20prompt and inside Cinema Studio I'll use
66. 4:23Cadream [music] cuz it works best with
67. 4:25the faces and textures for the clothing
68. 4:28and generate a couple options.
69. 4:32Yeah, this is what I'm talking about. So
70. 4:34the face it feels a bit off. It looks
71. 4:37like a lookalike actor, not the [music]
72. 4:40actual guy. the bride would totally
73. 4:42notice because she always does. Now, the
74. 4:45clothing texture looks realistic, but
75. 4:47again, the face is not quite what I
76. 4:49want. [music] You might see a weird
77. 4:51texture on his face, and we don't want
78. 4:53that on our main character. [music]
79. 4:55So, here's what I'm going to do instead.
80. 4:57It's a pretty simple hack, and honestly,
81. 4:59it sounds way too dumb to work. [music]
82. 5:01I built a hybrid. I kept the costume and
83. 5:03the body and the overall silhouette
84. 5:05using the Cadream sheet because [music]
85. 5:07that part was already perfect. And then
86. 5:09I just erased the head on the main
87. 5:11panel. [music] And then in the portrait
88. 5:12panel, we pasted the actual photo right
89. 5:15in. This gets you natural looking faces
90. 5:17and consistent [music] outfits every
91. 5:18single time. Now for her sheet, same
92. 5:20pipeline, second run. Everything runs
93. 5:22exactly the same. A quick request to
94. 5:24claude expanded into a full detailed
95. 5:26prompt generated in Hixold and then her
96. 5:29real photo swapped onto the head on the
97. 5:31front panel. These exact steps are what
98. 5:33keep you from [music] getting that
99. 5:34generic sloppy AI look. Same rules, same
100. 5:36order. The only thing that [music]
101. 5:38changes is the request. All right, now
102. 5:40the locations. About 70% of your final
103. 5:43video quality comes from the [music]
104. 5:44location. That's what makes or breaks
105. 5:46your video. For our first scene, we need
106. 5:48the 1900's hardware. And for that, we
107. 5:50need to fit four key moments. A packed
108. 5:53crowd, a shoulder bump, a long [music]
109. 5:55sprint, and a leap onto a moving ship.
110. 5:57So, this is what I asked from Claude.
111. 5:59And this is a detailed prompt we have.
112. 6:01[music] Now, I'm running a few batches
113. 6:02in Soul Cinema. Hands down the best
114. 6:04bottle right now for location generation
115. 6:06because of the variety it [music] gives
116. 6:08you. Since eight batches only cost one
117. 6:10credit, I had plenty of options to pick
118. 6:12from. With a scene this packed, the
119. 6:14first take never survives anyway, so I
120. 6:16generated several. Let's see what we've
121. 6:18got.
122. 6:20For the first one, gorgeous [music]
123. 6:22ship, right? But look at the pier.
124. 6:25There's no room for a crowd and
125. 6:27definitely no room for a run. For the
126. 6:30second one, no bridge [music] and no
127. 6:32room between the cranes and way too much
128. 6:34clutter. The extra birds and junk on the
129. 6:37left will just turn into mush during
130. 6:39[music] generation.
131. 6:41The third one, good layout, but wrong
132. 6:44lighting. That heavy yellow tint would
133. 6:46leak onto every single scene. [music]
134. 6:48Not our mood. Now, this this is the one.
135. 6:52The long pier gives you plenty of room
136. 6:53for a crowd, a crash, and a full sprint.
137. 6:56[music] She can get on board, and he has
138. 6:58a place to run. Best of all, the sides
139. 7:00hold all the mess, leaving [music] the
140. 7:02middle clean for the action. Okay,
141. 7:04location locked. Let's move on to step
142. 7:06three, the scenes. First and foremost, I
143. 7:09don't write video prompts by hand. I use
144. 7:10a skill I build and clock. It's packed
145. 7:12[music] with director tricks, breaking
146. 7:14down shots, timing, physics, camera
147. 7:17angles. Grab the link down below. And
148. 7:20all I do is describe the scene like I'm
149. 7:21talking to [music] a friend and attach
150. 7:23the assets. So, for scene one, the story
151. 7:25is 1905, a departure to appear, Golden
152. 7:28Haze. They don't know each other yet,
153. 7:30and she's late for a ship. He's the only
154. 7:32man walking against [music] the crowd,
155. 7:34and they clip shoulders. So, I'm going
156. 7:36to go into Claude and explain that same
157. 7:39thing in detail. [music]
158. 7:42And now I'm taking that detailed prompt,
159. 7:43dropping it into Cinema Studio. For the
160. 7:46model, I'm going to go with Cense 2.5,
161. 7:48[music] 30 seconds, 1080p.
162. 7:51And let's see the first batches. Okay,
163. 7:54here's our first problem. The model
164. 7:56totally missed the point of love at
165. 7:58first sight. Look at this. It keeps
166. 8:00turning a simple bump into a full-on
167. 8:02hug. Chest to chest, even kissing in
168. 8:04some of the scenes.
169. 8:07Pump the brakes here. When frame one is
170. 8:10already jumping straight to scene six,
171. 8:12two quick fixes made the scene work.
172. 8:14One, break down the physical mechanics.
173. 8:17Instead of they bump into each other,
174. 8:19write the exact motion. Shoulders hit,
175. 8:21suitcases swing, momentum carries them
176. 8:24half a step past, planted feet turn.
177. 8:26When the collision becomes physics, the
178. 8:28romance feels natural. Two, every
179. 8:31background character is always moving.
180. 8:32[music] To fix the NPC crowds staring
181. 8:35into the space, forced every person to
182. 8:37be mid-action in every frame. With all
183. 8:39those fixes dialed in, [music] I took it
184. 8:41back to Claude and got a fresh prompt.
185. 8:43Let's run it again in Cance 2.5.
186. 9:02>> [music]
187. 9:08[music]
188. 9:09>> Yeah, now that's a collision. Shoulders
189. 9:11momentum, the double stop. And here's
190. 9:15why CDS 2.5 really nails it here.
191. 9:17[music] It understood every physics
192. 9:19detail we wrote. So, fewer batches to
193. 9:21the result. Okay, this one's locked.
194. 9:24Let's move on to scene two. He's thrown
195. 9:26into a gladiator arena against [music]
196. 9:28the giant, gets tossed across the sand,
197. 9:30grabs a sword, and takes the giant down.
198. 9:32He looks up at the queen's box for a
199. 9:34reaction, [music] but she just flashes a
200. 9:36flirty look and walks away. For the
201. 9:38assets, we have Nate, Isa, the giant
202. 9:40opponent, and the arena background all
203. 9:42organized right inside the canvas. And
204. 9:44spoiler alert, I'm about to show you how
205. 9:46to beat the biggest bottleneck in a
206. 9:48video right now. Sizing. Let's go. So,
207. 9:51the real characters will cast from the
208. 9:53photos. But the giant, we need to invent
209. 9:55him. And honestly, generating a madeup
210. 9:57character like this is the best way to
211. 9:59go. It's fast, cheap on resources, and
212. 10:01since the model gets to be totally
213. 10:03creative, you instantly get a ton of
214. 10:05incredible options. So, watch how this
215. 10:06works. I'm going to type a short request
216. 10:08to clot, which is [music] going to turn
217. 10:10it into a full detailed prompt. Now I'm
218. 10:13going to take that prompt
219. 10:15straight into Soul Cinema to generate
220. 10:17the character sheet. Now let's watch
221. 10:19what Soul Cinema comes back with. Okay,
222. 10:21look at this one. Great buddy, but the
223. 10:24chains look like melted rubber. In this
224. 10:27one, the axe turned into [music] some
225. 10:30fantasy decoration. Way too fancy for an
226. 10:33executioner.
227. 10:35And this one. Yeah, I think this is our
228. 10:37guy. The body is huge and soft, exactly
229. 10:40how we described it. The hood with a
230. 10:43rough [music] stitching really works
231. 10:45here. The chains read as real heavy
232. 10:48iron, [music] heavy links, actual
233. 10:50weight. Okay, locked. Let's save it into
234. 10:53elements [music] as giant. And now I'm
235. 10:55going to describe the scene in detail.
236. 10:57Drop in all the assets. And once Claude
237. 10:59hands back the prompt, I go straight
238. 11:00[music] into Cinema Studio and run a few
239. 11:02batches. Okay, here's a problem that
240. 11:05almost broke the whole scene. Size
241. 11:07inconsistency. We rode three times
242. 11:09taller than [music] the hero and the
243. 11:11model just wouldn't hold it. One day
244. 11:13he's a monster, next day he's barely a
245. 11:16head taller. Every batch a different
246. 11:17giant. So, here's [music] how we fix it.
247. 11:20I use Claw to convert our character
248. 11:22sheet into a structured prompt, keeping
249. 11:25the boy's head aligned at the giant's
250. 11:27mid thigh, and then render that height
251. 11:29comparison sketch in GPT image. Oh yeah,
252. 11:32check this out. A basic pencil sketch,
253. 11:34[music] just two outlines showing the
254. 11:35hero and the giant. Now I'm going to
255. 11:38feed it back as a visual reference and
256. 11:40describe the fight to Claude again and
257. 11:43get a [music] detailed prompt.
258. 11:45I'm going to take that prompt into
259. 11:47Cinema Studio. Let's run it and [music]
260. 11:49see what we get.
261. 11:57[panting]
262. 12:06>> [groaning]
263. 12:12>> Oh yeah, this is where Cance 2.5 really
264. 12:15shows [music] off. Two things I noticed
265. 12:17right away. First, it just understands
266. 12:19the prompt better. Fewer batches to get
267. 12:22what I asked for on 2.0. This fight
268. 12:24would have cost me twice the
269. 12:25generations. And second, the physics.
270. 12:28[music] Watch his body in the fast
271. 12:29movements. The dodges, the tuck and roll
272. 12:31after the throw, [music] the sharp cuts
273. 12:33sideways, the limbs don't actually
274. 12:35morph. Now, the key decision of this
275. 12:37scene, I split it in two. Part one is
276. 12:39the fight, pure physics, the grab, the
277. 12:42throw, the takedown, and part two is the
278. 12:44acting, her worrying, her exit, his hope
279. 12:48draining. Why split it? Because one
280. 12:50prompt can't focus on both. The fight
281. 12:52gets softer, [music] the faces get
282. 12:54flatter. two prompts, full focus on
283. 12:57each, then stitch them in the edit. So,
284. 12:59here's my request for part two [music]
285. 13:02and describe the fight to Claude again
286. 13:05and get a detailed prompt. Let's run it
287. 13:08and see what we get.
288. 13:12[groaning]
289. 13:25>> [cheering]
290. 13:29>> again.
291. 13:31>> And here's the finished scene. [music]
292. 13:33He hits the wall, falls, and that fall
293. 13:35takes us straight into the next scene.
294. 13:37Now, they're both robbing a train that's
295. 13:39racing toward a sea [music] bridge. The
296. 13:41tunnel on the other side. We've already
297. 13:43locked the assets for the scene. The
298. 13:44workload is the same. [music] Let's
299. 13:46focus on the videos. the biggest scene
300. 13:48in the film. 16 shots, a western movie,
301. 13:51a train robbery on horseback, a
302. 13:53shootout, and inside all that chaos,
303. 13:55[music] he's still chasing her. I gave
304. 13:57Claude the beats plus their characters.
305. 13:59Him clumsy and unsure, her precise, no
306. 14:03wasted movements, got the prompt, and
307. 14:05ran the batches. Let's watch them.
308. 14:08Yeah, you can see the slop right away.
309. 14:10So, in this one, he's galloping right on
310. 14:13the rails. And here the jump shot is
311. 14:16just not something I asked for. The
312. 14:18scene is complex. A lot of shots, a lot
313. 14:20of tricky actions, and the model keeps
314. 14:23losing the logic of what happens where.
315. 14:25Then it hit me. We've actually [music]
316. 14:27solved this before. Remember the giants
317. 14:29height chart? If a problem is about
318. 14:31spatial logic, stop describing it and
319. 14:33just draw it. So I sketch the shots by
320. 14:36hand. So the first one is the slow-mo
321. 14:38jump. The horse stays behind the car off
322. 14:40to the side and flies in on a diagonal.
323. 14:43So, here's the process. I'm [music]
324. 14:45going to save each sketch as an element,
325. 14:47attach them to the chat, and tell Claude
326. 14:50that these are the storyboards for the
327. 14:53exact shots. Claude reads the geometry
328. 14:55from the drawings, the story from text,
329. 14:58and nails the perfect prompt. Now, let's
330. 15:01see them side by side. Look at that one
331. 15:04ugly sketch. And the special layout
332. 15:06finally started to work. [music] The
333. 15:08horse stays off the rails in every take.
334. 15:10The diagonal jump lands exactly like the
335. 15:13sketch. The geometry held from these
336. 15:15batches. We pulled the best pieces into
337. 15:17the [music] edit. And the same lesson as
338. 15:19the giant. If it's about space, draw it.
339. 15:21Okay, here's the full scene.
340. 15:53New era, new tactic. We have pirates.
341. 15:56He's a captain now, and he's in love
342. 15:58with the captain of the enemy ship.
343. 16:00[music] The only way to get close to her
344. 16:02is to attack her ship. This scene needed
345. 16:04more assets than any other. Two
346. 16:06captains, a dualist, the deck, a spy
347. 16:08glass, [music] and the whole doors, plus
348. 16:11one special asset that solved a unique
349. 16:13problem. One more thing about the
350. 16:14character sheets before we shoot. I run
351. 16:16the same sheet prompt through [music]
352. 16:18three different models, Cream 5 Pro, GBT
353. 16:20Image 2, and Nana Banana, and compared.
354. 16:23So, for him, Cream [music] 5 Pro, the
355. 16:26costume has the most texture and wear,
356. 16:28and it stays consistent across all three
357. 16:30panels. For her, GBT Image 2 has the
358. 16:34better curls. Full, natural, identical
359. 16:36from every single angle. The other
360. 16:38models couldn't hold them. So, here's
361. 16:40the takeaway. Every model brings its own
362. 16:43strength. [music] Choose the best one
363. 16:44for the job. Then, the next problem
364. 16:46showed up. A pirate battle needs [music]
365. 16:48pirates, and my background characters
366. 16:50kept generating as random mush.
367. 16:52Different faces every shot, sometimes
368. 16:54barely human. So, I cast them as extras
369. 16:58like a real movie would. I lined up 10
370. 17:00different pirates against the gray
371. 17:01backdrop and packed them into a single
372. 17:03element, the crew. Now, every deck shot
373. 17:06pulls from the exact same characters,
374. 17:08assets locked, and now I'm handing
375. 17:10clawed part one of our scene. And this
376. 17:12is the prompt that I got. Let's run a
377. 17:15couple batches and see what we get.
378. 17:16[music] I mean, I love how this turned
379. 17:18out. I just grabbed the best shots from
380. 17:20each render to build the scene. One
381. 17:22prompt gave me four takes and [music]
382. 17:24three made the cut. I'm going to be
383. 17:26honest with you. A perfect 30 secondond
384. 17:27AI render just doesn't [music] exist.
385. 17:30You generate raw footage, then stitch
386. 17:32the scenes together in the edit. This
387. 17:34scene is split in two because the full
388. 17:36sequence doesn't fit into [music] one
389. 17:37generation. Part two is short, only 15
390. 17:39seconds, and is my favorite beat in the
391. 17:41whole film, the duel that never happens.
392. 17:44Here's the prompt. Let's see the
393. 17:45results. [music] Again, four batches
394. 17:47from one prompt. I took the battle
395. 17:49behind him from this generation and the
396. 17:51whole duel from this one. The action
397. 17:54just better here.
398. 18:07[screaming]
399. 18:25All right, on to the next scene. New
400. 18:27setting. Old Italy night, fireworks,
401. 18:30[music] a mass ball across the palace
402. 18:32square. Both in burgundy and both in
403. 18:34masks. This is the closest they've ever
404. 18:36been, and neither one knows who the
405. 18:37other is. At this point, I genuinely
406. 18:40feel like I'm directing a romance drama.
407. 18:42[music] Starting with the assets, full
408. 18:44carnival gear, masks, and the crowd
409. 18:47[music] square, all linked in the post
410. 18:48below. And notice the location. This
411. 18:51time I generated it already alive with
412. 18:54the people. I did this because a
413. 18:56location [music] without the crowd here
414. 18:57kept breaking. So I generated a quick
415. 18:59test to see if the crowd would hold. And
416. 19:02this is what it looks like. There we
417. 19:04[music] go. Beautiful. The square is
418. 19:05alive. The festival feels real. And the
419. 19:08prompt stayed clean and simple. This is
420. 19:11the whole trick. So assets locked. Now
421. 19:14my next prompt. Let's generate. Okay.
422. 19:17Okay, I tested it as a one 30 secondond
423. 19:19prompt and honestly it held but this is
424. 19:21the pref finale. The first time they
425. 19:23touch acting needs room and inside one
426. 19:26giant prompt it just doesn't work. So
427. 19:28one more message to claude. Let's split
428. 19:31the scene above into three prompts 15
429. 19:34seconds each. Prompt one. From the
430. 19:37beginning up to the moment he breaks out
431. 19:40of the circle [music] of dancing girls.
432. 19:43Prompt two. The hero runs through the
433. 19:46crowd,
434. 19:48sees the girl across the road.
435. 19:51The carriage passes, the hero [music]
436. 19:53disappears.
437. 19:55She searches for him, turns around, and
438. 19:58walks into the thick of the crowd behind
439. 20:01her. And prompt three, the girl walks
440. 20:04through people in the foreground looking
441. 20:07around.
442. 20:09Now, I'm going to generate each prompt
443. 20:11separately. [music] And this is why you
444. 20:14split the takes. Just look at their
445. 20:15faces. You can actually see him getting
446. 20:18lost in the dancers and you really feel
447. 20:21her scanning the crowd in one long prom.
448. 20:23These beats felt completely rushed.
449. 20:25Breaking it up gives it room to breathe
450. 20:27and it's [music] a total game changer.
451. 20:39>> [cheering]
452. 20:55>> Okay, that was the carnival. Now the
453. 20:58finale. This is present day, the campus
454. 21:00elevator because that's the real story.
455. 21:02The real Nate and Isla met in college.
456. 21:05[music] and everything you've seen so
457. 21:06far, that's what was playing in his head
458. 21:08every time he tried to work up the nerve
459. 21:10to talk to her. The assets, him as a
460. 21:13student with a backpack on watcher, her
461. 21:16in a beige cardigan, the elevator,
462. 21:18[music] and headphones, all again in the
463. 21:20blog post. But there's one more key
464. 21:22asset [music] that you won't ever see on
465. 21:24screen. This whole scene lives or dies
466. 21:27on sound. And here's how we pulled it
467. 21:29off. My friend Nate recorded a quick
468. 21:31voice [music] memo humming our main
469. 21:32theme. Just that simple. D melody.
470. 21:36Without it, the model just hallucinates
471. 21:38a new melody every take. But with it,
472. 21:41the character hits those [music] exact
473. 21:42notes on point. And the best part, works
474. 21:45with any track. Just drop your favorite
475. 21:47[music] song in as a reference and copy
476. 21:49the trick. Okay, first let's watch what
477. 21:51happens if we don't attach the audio
478. 21:53reference.
479. 21:54>> Oh, really?
480. 21:59[laughter]
481. 22:01>> My brother's just terrible at singing.
482. 22:03off key zero rhythm. Now let's try it
483. 22:07with the audio. So in claude I'm going
484. 22:10to drop in my request.
485. 22:14Take that new prompt into C dance and
486. 22:17upload the audio into the prompt here
487. 22:20and let's run a couple batches.
488. 22:24>> Hi. What are you listening to?
489. 22:26>> Ah, it's Oring Conan.
490. 22:28>> Oh, I love Orcon.
491. 22:29>> Oh, really?
492. 22:34>> [laughter]
493. 22:35>> I'm Nate.
494. 22:36>> Isla. Nice to meet you. Oh, that's my
495. 22:38floor.
496. 22:39>> Boom. First take, perfect execution.
497. 22:41[music]
498. 22:42So, audio references aren't a gimmick.
499. 22:44They're how you force the model to get
500. 22:46the [music] acting right. So, that's the
501. 22:48whole pipeline. The skill, the script,
502. 22:50the prompts, everything I used are
503. 22:52linked below. And better yet, we've also
504. 22:54[music] created a custom app where all
505. 22:56you have to do is upload your photo and
506. 22:58the bride's photo, and you get the full
507. 23:01exact same love story built for [music]
508. 23:03you. So, go try it out. And as always,
509. 23:06if you find this video helpful, hit the
510. 23:08like button, subscribe, and I'll see you
511. 23:10guys in the [music] next one.