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I Made a Viral AI Short Film From Scratch — Full Workflow (Seedance 4K + Claude Fable 5) — Transcript

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0:01[screaming and groaning]
0:16[screaming]
0:22Hi, I'm Adil and what you just watched
0:24is an action short film made in sea
0:26dance in 4K. Crazy, right? Today we're
0:28breaking down how to build shots like
0:30these across completely different
0:31settings. A storm at sea, a desert, a
0:34jungle full of monkeys. You'll learn how
0:36to make shots that actually look
0:38cinematic. [music] How to carry a story
0:40from the first scene to the twist and
0:43how to do it without burning credits on
0:45random generations. And you don't need
0:47to write anything down. Everything from
0:49this video is in one blog post. The
0:51[music] script, the prompts, the asset
0:53sheets, and the cloth skill that writes
0:55the seed dance prompts for you. The link
0:57is below. If you want to master the full
0:58process and start making your own viral
1:00films, stick with me until the end. All
1:02right, before we start, let's watch the
1:04full short film.
1:06>> You think you're going to outsmart me?
1:10>> Nice try,
1:13>> Captain. Island sight is dead ahead.
1:26Captain, behind us.
1:27>> Behind us. Behind us.
1:30>> Didn't see this coming, did you?
1:38>> Time.
2:06Cindy down. [screaming]
2:26No,
2:33no.
2:42[screaming]
2:53>> [screaming]
3:08>> Ci, please. Anything but monkey.
3:15>> [screaming]
3:20>> Okay. Okay. I'm done. Fine. I'll do it.
3:23You win. Win. Just make it stop.
3:25[screaming]
3:35[panting]
3:51>> [screaming]
3:51[groaning]
4:00[groaning]
4:04>> Cindy, stop it. I said I'll do it.
4:08Two weeks. I'll do your chores for two
4:10weeks. Deal. [panting]
4:13>> Make it two months.
4:16>> Two months? Hell no.
4:18>> Okay. You said you hate monkeys.
4:29>> Stage one, the script. [music]
4:31All right, let's start with the story
4:32itself. First, how I made the script.
4:35So, I had an idea. A guy gets trapped in
4:38his little sister's AI generations.
4:40Every time he dies, he wakes up in a new
4:42world. Then I took it to Claude. And no,
4:45I didn't just say, "Write me a script."
4:47That always turns out terrible. I asked
4:50it to expand my idea instead. And it
4:52starts asking me questions. What's the
4:54runtime? I give it details. Which
4:57settings do you want? We pick the
4:58settings together. Want me to suggest a
5:00couple of plot twists? Yes, please. Then
5:03it gives me the script. So, we built it
5:05step by step. Nothing good comes out of
5:08one lazy request. The details are what
5:10make it work. That's why we get a script
5:12that gets millions of views. Steal the
5:14method for your own idea or steal the
5:17script. The full text is in the blog
5:18post. Now, I'm going to show you how we
5:20create the assets. Let's start from
5:22scene one. Stage two, the assets. First,
5:27here in Kicksfield, go to Cinema Studio,
5:29new project. Name it Blockbuster. Why
5:33not?
5:35On the left, there's a folder bar. I'll
5:36create a folder, call it scene one, and
5:40add a subfolder for each asset. Trust
5:43me, 2 weeks and 400 generations later,
5:45you'll be glad you did this. So, we
5:47start with the character sheet. I've
5:48already got one of myself, a front view,
5:50plus left and right profiles. Having a
5:53reference like this helps the model get
5:55my face right in every scene. So, I drop
5:57it into clog and ask for a prompt for a
5:59cactus sheet of a pirate. full body,
6:02front and back, plus a close-up. The
6:04close-up gives the model the exact face
6:06to lock onto, and the full body gives it
6:08his height. I'm also adding my
6:10preferences for the character, like the
6:13color of the bandana. On a quick pro tip
6:15for you, ask for a gray background. We
6:17found that the win rate is much higher.
6:19There's zero background clutter, which
6:21means more usable generations. And
6:24that's it. Now, Cloud gives me a
6:26detailed prompt. [music] Next, I'm going
6:27to take that prompt, go to GPT image
6:292.0. This is the best model right now
6:32for editing and creating a
6:33photorealistic character sheet when you
6:35already have a reference. Check this
6:37out. The costume is solid and the grime
6:40looks super realistic. The dirt and
6:44scratch on the face. Pull the whole
6:46pirate look together. But there's a
6:48catch and this is a pro tip you
6:50definitely want to know. Our character
6:51sheet has multiple faces in one image.
6:54It looks fine, but when we animate
6:56later, Cense [music] doesn't understand
6:58which trace to grab. So, it drifts a
7:00little in every scene. And by scene
7:02[music] five, our hero is a stranger.
7:05So, in GPT Image 2.0, I'm going to ask
7:07to erase the face from the full body
7:09shot on the first panel. Yep. Now, we
7:13have only one face to lock onto. Our
7:15first hero is all set. Let's add that to
7:17the canvas. And a quick note on this
7:19canvas, I'll be using it the whole time
7:21because it's basically just my
7:22workspace. I keep all my final assets
7:24right here on the screen so everything
7:26is in view and nothing gets lost. Next
7:29up, the location. Locations carry the
7:31whole film. If the setting looks cheap,
7:33every shot inside it does too. And no
7:35amount of prompting fixes that later.
7:37So, I'm aiming high here. A cabin that
7:39could pass for an actual movie set. So,
7:42I go to Claude and ask it to enhance my
7:44request. a pirate captain's cabin with a
7:46table, a single hanging lantern, a map
7:50on the wall, and thin rays of daylight
7:52leaking through the planks. I'm building
7:54the location in Soul Cinema. You already
7:56know the math here. Eight images cost
7:58only one credit, so I paste the prompt
8:00and run a few batches. What I like about
8:02Soul Cinema is that it gives you
8:03different variations from a single
8:04prompt, and that's exactly what you want
8:06when you're picking a set. And here's
8:08another pro tip. Always ask for 3/4
8:11angle. It adds depth, which gives the
8:13camera way more to hold on to when it
8:15moves. You'll get a much higher win rate
8:17than you would with a flat head-on shot.
8:19Let's hit generate and see what we get.
8:24Okay, honestly, these look okay to me,
8:27but they're not quite right. So, in the
8:29first one, the lighting feels a bit off.
8:32It feels like there are two lamps now,
8:34and you can barely see the map. As for
8:36the second one, the table got shoved
8:38into the corner and the map ended up on
8:41the side of the wall. Not quite what I'm
8:43looking for, but this one's great. So,
8:46two light sources, the lantern here, and
8:48the thin rays of daylight here. Plus,
8:51the map sits right in the center, easy
8:53to read. So, lighting does a lot of work
8:55in a location. Small details like the
8:58light rays are what make a generation
9:00feel real, and I'll show you exactly why
9:02that matters when we get to the scene
9:03generation. Let's go with this option.
9:06Straight to the canvas. And the first
9:08location is locked. There are a lot of
9:11props in this film, but let's cover the
9:12most visible ones, the ships. For these,
9:16I type a simple prompt straight into
9:17Soul Cinema. A pirate ship on water
9:21front and back three/arter views.
9:25Now, Soul Cinema gives me a bunch of
9:27options, and I pick these two. The
9:29bigger one becomes the enemy ship, and
9:31the smaller one goes to our hero's crew.
9:33I'm going to make some quick tweaks to
9:35the enemy ship though to make it look
9:36more intimidating. Now I drop the image
9:38into Claude and ask for an edit prompt
9:40with these adjustments. First, the
9:43sails. So, right now they're down and
9:45that makes the ship look parked. We need
9:47it moving, so I'm opening them up. And
9:50second, I'm turning the sails black
9:52because black sails give it exactly that
9:54dangerous energy we want. And on top of
9:57that, I'll put a skull logo with our
9:59colors on it. Now Claude expanded it
10:01into a full edit prompt. I take it to
10:03GPT image 2.0 and let's see what we got.
10:07There it is. Now that's an enemy ship. I
10:09lock it and put it on the canvas. The
10:12rest of the props go through the exact
10:13same process. Soul Cinema and GPTH 2.0.
10:16One sheet each. We use Soul Cinema for
10:19the raw pass. [music]
10:20Simple prompt, a few takes, lots of
10:22variety, and GPTH 2.0 for the edits and
10:25the final clean sheet. So that's the
10:26asset routine. Now you know how to build
10:28them and how to iterate when something
10:30looks off. More takes on the table
10:32always mean better odds of landing the
10:34shots you want. Now we get to the step
10:36that looks boring but pays off the most.
10:39First name every asset. Then introduce
10:42all the claw by that name and add them
10:44to Hicksfield as elements with the exact
10:46same names as well because later during
10:48scene generation the prompts will
10:50automatch your inputs by these tags so
10:52nothing gets mixed up. I'll show you
10:54exactly how in a minute. So, this is our
10:56cast for the project. From the hero's
10:58character sheets to the locations and
11:00props, you can already spot the desert
11:02and the cabin in there, assets for other
11:04settings. And here's the good news. The
11:06process for every one of them is
11:07identical to what you just watched. Only
11:09the prompts change. So, I'm not going to
11:11make you sit through it three more
11:12times. Every asset for the desert, the
11:15jungle, all of it is in the blog post,
11:17ready to use, because the assets aren't
11:19the fun part. The most interesting is
11:21what comes next. Scene generation. Let's
11:24go.
11:25Stage three, [music] scene generation.
11:27In the first scene, Eduardo digs through
11:29a cluttered cabin, finds the treasure
11:31map, and right at that moment, one of
11:33his pirates bursts in. An island has
11:36been cited. First, I don't write prompts
11:38by hand. I use a skill I build in
11:40Claude. So, to load it, click customize,
11:44then go to skills and hit the plus
11:47button here, then click upload a skill.
11:50And that's it. This is a prompt builder
11:52skill loaded with director hacks that
11:54handles everything for you. It splits
11:56the scenes into shots and writes
11:58detailed prompts that enhance your idea.
12:00You can download it in the description.
12:02Let me show you how to use it. To start,
12:05I activate the skill, upload all the
12:07assets the shot needs from the canvas
12:09plus the script and tell what happens in
12:12the first scene. Part one, our hero digs
12:14through the cabin, finds the map, and a
12:18crew member bursts in. Now here besides
12:20props like the map, we also used one
12:22additional asset which gives us extras
12:24that actually match the scene. Okay.
12:26Clot gives me a detailed prompt. I
12:29pasted into seed dance and set the
12:30parameters right. So a cinematic 21x9
12:34aspect ratio, 4K for the best possible
12:37quality, a 15-second duration, and let's
12:40run four batches.
12:54CAPTAIN, ISLAND SIGHTED DEAD AHEAD.
12:57>> HM. A few problems here. First, look at
13:00the table. So, there's too much random
13:03stuff on it. Bottles, rags, ropes,
13:06[music] and they keep merging into each
13:07other. Second, the pacing. So, every
13:10face drags. The [music] shot needs more
13:12dynamics. And third, when the pirate
13:15opens the door, it looks like night
13:17behind him, but it's a daytime in our
13:19story. [music]
13:20And one more thing, the clip ends with
13:23Eduardo just staring at him. I want our
13:26hero to react the second he hears,
13:28"Captain, islanded dead ahead. You
13:31should start moving." Let's take all
13:32these comments straight back to Claude.
13:34Claude gives us the new prompt. Let's
13:35run it in C dance again. Same settings
13:37and see what we get. Yeah. So, now it's
13:40much better. And notice it's the small
13:43details that do the work here. The smile
13:46slamming the map down when the door
13:48opens, moving towards the door. When the
13:51character actually reacts to what's
13:53happening around him, the whole shot
13:55starts to feel real. Out of the four
13:57batches, this is the one straight to the
14:00final edit. Okay, let's move on to the
14:02next shots in scene one. So, here
14:05Eduardo runs out of the cabin and finds
14:07a treasure. I gave Clock my script,
14:09attached all the assets with all the
14:11names, and asked for a sharp zoom in on
14:13the far away case. For the shot, we're
14:15pulling in a whole set of props, and the
14:17star of the show, a mysterious little
14:19case with a glowing green button. This
14:21is the treasure our hero is hunting.
14:23Now, let's paste the prompt from claw
14:25into seance. Same settings as before,
14:28four batches, and generate.
14:45Okay, not bad, but it needs to be more
14:48fun and interesting. Right now, it's
14:50just way too boring for me. So, I go
14:52back to Claude and ask for some
14:54adjustments. I want the hero to run like
14:57he's super clumsy. And I want the parrot
14:59to talk because the parrot screaming the
15:01same bad news twice is instantly funny.
15:04Claude updates the prompt back into seed
15:06dance for four more batches. So we have
15:08options to choose from.
15:22>> CAPTAIN BEHIND US.
15:23>> BEHIND US. BEHIND US.
15:26>> WOW. Now see how the talking pad changed
15:29the whole vibe. The scene feels alive
15:31[music] from these batches. I'm taking
15:33the opening clip from this one and the
15:37rest of the scene from this generation.
15:40Both go to the final edit. All right.
15:42And part three. In this scene, the enemy
15:44shows up. The villain crews captain. I
15:46tell Claude what I want. The camera
15:48starts at the waterline, moves up to the
15:50sight of the enemy ship, and finds the
15:52captain on deck just as he fires a
15:54cannon at our hero's ship.
15:57Now let's paste the prompt to se dance
15:59and see the result.
16:10Something is wrong here. So see the
16:12third shot. It ruins the visual flow and
16:15doesn't belong here. I'm going to ask
16:17claw to delete it.
16:20And here's how it looks now. There we
16:22go. The sequence makes perfect sense
16:24now. The enemy ship lights the fuse,
16:26fires, and we feel the impact on our
16:28side. Okay, let's move forward. Time to
16:31ramp up the battle. I upload a new
16:33asset, the Claude, the helmsman. And
16:35here's my request. And this time, pay
16:37attention to the camera nodes because
16:40they're the whole point of the shot. So,
16:42why follow the cannonball? Because it
16:44adds serious drama. It's way more
16:46impressive when you actually see it
16:48flying right at the ship. If you have a
16:50clear picture in your head, just tell
16:51Claude. It will turn your idea into a
16:53great detailed prompt. Now, let's copy
16:56this and run it in seed dance again. All
16:59right, we have a problem here. So, the
17:01cannonball lands in a different spot
17:03every time. Also, I don't want it to hit
17:07our heroes right away to show it's a
17:09near miss. Let's add a big water splash
17:12next to the ship right in the first
17:14frame. This instantly tells the audience
17:17it's an active sea battle. So, to fix
17:19this problem, let's use another pro tip.
17:21Instead of explaining the geometry in
17:23words, I give Claude a picture. I
17:25literally draw where the cannonball
17:27should hit and where everyone stands.
17:29One drawing tells the model what 10
17:31sentences can't. Also, every failed
17:33badge you avoid saves you credits. Okay,
17:36let's check it. Yeah, here you can see
17:39why 4K is worth it. Look at the
17:41explosion. Sharp and heavy. Not the
17:44usual blurry slob. Since I ran a couple
17:46batches, I can combine the best parts.
17:49So, I'll take the opening shot from the
17:50first batch and the rest from the
17:52second. And here's the real lesson. Run
17:54it, look at it, ask for the exact
17:56changes, and run it again. It's a skill
17:59that gets better with practice. Okay,
18:01back to our story. The blast blows our
18:03hero straight down to the lower deck.
18:05Everything around him is on fire, and
18:07his only way out is the water. To make
18:09it work, I described the jump to Claude
18:11and explained how to smoothly transition
18:13straight from the ocean into the next
18:15scene, the desert. Okay, so the camera
18:17angle at the start doesn't work for me,
18:19so I flip it. Now, the camera needs to
18:22look toward the bow of the ship. Okay,
18:24from these batches, I'm grabbing this
18:26one that jump overboard. One last fix,
18:28though. The first versions showed a
18:31completely dry deck, but a ship under
18:33fire should look wet and messy. One
18:35quick tweak in Claude,
18:37and here's the final version. Now, this
18:39is it. He falls hard, the limp reads
18:42real, and the wet deck makes the whole
18:44setting feel true. Okay, now let's cut
18:46it all together and watch the whole
18:48thing one more time.
18:50>> You think you're going to outsmart me?
18:54Nice try.
18:57>> Captain, island sight is dead ahead.
19:09>> Captain, behind us.
19:10>> Behind us. Behind us.
19:14Didn't see this coming, did you?
19:45Okay, new setting, the desert. This
19:47scene comes together in three parts.
19:49Let's start with the first one. Here's
19:50what we have on our canvas for the
19:52scene. The desert location, the
19:54binoculars, and the riders. I drop all
19:56the assets into cloud and ask for a
19:59prompt. There's a lot happening here.
20:01The hero's entrance, his screams, then a
20:04dramatic camera zoom, and the ostrich
20:07writers appearing. So, I gave Claude all
20:09the details at once. The ostriches are a
20:12comic relief, so their reaction needs to
20:14be funny. Now, let's face the prompt and
20:17batch several.
20:22[screaming]
20:34So from this batch I'm taking the
20:36ostrich reaction and from this the
20:39writer is taking off toward the hero.
20:42Both go to the edit. The opening shot
20:44felt a bit off though. So I jumped back
20:46in and asked Claude for a quick tweak to
20:49fix the transition and make the dust way
20:51thicker. That way we get a perfectly
20:53smooth transition right from the pirate
20:55scene. We get the updated prompt and run
20:57it. Let's take a look at the results.
20:59Yeah, much better. I'm definitely taking
21:01the opening from this first generation.
21:04That breathing room at the start is what
21:06sells the cut from scene one. And that
21:09massive zoom out, it just looks
21:11expensive. All right, now part two. Back
21:14to the story. Our hero spots the case
21:16again. But first, the pro tip. Our story
21:19needs an oasis, but our desert location
21:21didn't have one. So, we treated the
21:23oasis as its own separate location
21:25asset. Now, the model knows the spot and
21:28the landscape around it. So, the oasis
21:31looks the same in every generation. I
21:33drop this image into Claude and ask for
21:35the scene where he spots the case. Runs
21:38for the oasis and the writers start
21:41chasing him. Paste the prompt into
21:42Cedance and hit generate. So, we're
21:45looking for that sandstorm moment to
21:46feel truly massive. Let's see what we
21:49get. Why is he running the wrong way?
21:52Okay, let's tell Claude what's wrong.
21:54So, he should always run toward the
21:56oasis. The storm needs more scale. And
21:59when he looks back, we should see the
22:02riders. New prompt into sea dance. And
22:04let's see what we get again. Oh yeah.
22:07Now you can really feel how endless this
22:10desert is. And the storm looks
22:12completely real. Just one problem
22:14though. When he turns around, [music]
22:16the writers are right on top of him.
22:18They need to be farther back. So, we
22:21actually have room for a chase scene.
22:24So, I'm going to ask Claw to push the
22:26riders back.
22:28And we send that prompt to Cance again.
22:30Run a few batches so I have options.
22:33Honestly, here I like almost all the
22:35batches. Now, I can mix and match the
22:37best parts. So, from the first batch, I
22:40love the wide shot of the storm rolling
22:42in while he stares into the distance.
22:44So, we'll use that for the moment when
22:46he sees the case. From the second batch,
22:48his reaction is the most natural when he
22:51lowers the binoculars and turns around.
22:53Definitely taking this part. And for the
22:55actual run, I'm taking it from the third
22:57badge. The storm is right there in the
22:59frame, and it looks straight up
23:00cinematic. Let's do the last part of the
23:03desert. So, here's my request. the whole
23:05chase in one prompt. K runs for the
23:08device. The writers and the storm are
23:10right behind him. And it all ends in the
23:13oasis. I'll also add a few specific
23:17camera cuts in the prompt. Now, let's
23:18take that prompt into sea dance and run
23:20a few bashes. Okay, this is looking
23:23pretty good, but he shouldn't actually
23:25reach the case. He needs to almost make
23:27it. So jumping for it, falling just a
23:30little short, and right at that exact
23:32moment, the sandstorm completely
23:34swallows the frame. So let's ask Claude
23:36to tweak this and run the prompt one
23:39more time.
23:41Yeah, now that's what I wanted. He
23:43almost makes it and almost is what makes
23:45it hurt. And since I bashed it, I get to
23:47choose again. So the jump toward the
23:50device goes to the edit from this batch.
23:53And the rear angle from the writers plus
23:55the run through the palms goes from this
23:58one. We'll stitch it all together and
24:00watch the full scene
24:07sit down. [screaming]
24:36All right, scene two is locked. Two
24:38locations left. Next up, the jungle. In
24:41this scene, [music] our hero is
24:42completely stressed out. And here's the
24:44joke. He's actually afraid of monkeys,
24:46but his little sister drops him right
24:48into a thick jungle full of them. You
24:51got to love her, though. She definitely
24:52has a wicked sense of humor. I'll be
24:55honest, this scene took the most badges
24:57and tries in the whole film. There are a
24:58lot of jump cuts here, and at some
25:00point, I even swapped assets in the
25:02middle of the process. So, instead of
25:04stopping on every single shot, I'm going
25:06to do something else. I'll show you the
25:08three most important shots that hold the
25:10whole story together. The rest of the
25:11shots use the exact same logic we talked
25:13about before. You use the skills,
25:15describe the scene, drop in your assets,
25:17and get the shots you need. We'll start
25:19with the very first shot because I
25:20definitely can't skip this one. So, in
25:22the story, our hero wakes up trapped in
25:24the jungle to make it hit harder. I
25:26decided to show it through his eyes. So,
25:29he wakes up hanging completely upside
25:31down by his legs, opens his eyes, and
25:34sees a massive spider right in front of
25:36his face. Here are the assets I used for
25:39the shot. And again, I'll drop all the
25:42links to these asset sheets in the
25:44description below so you can grab them.
25:46Now, I open Claude and type in exactly
25:48what I want. A blurry POV of the main
25:51character waking up, blinking,
25:54screaming, swatting the spider away, and
25:56then scrambling to break free. Now,
25:59let's copy and paste the prompt. Here's
26:02what we got on the first try. Okay, the
26:04model totally missed the point here.
26:05Instead of making the camera act like
26:07his eye, it literally tried to push the
26:10spider inside the character's eye. Since
26:11the multi-shot approach failed, I
26:13decided to focus only on the opening POV
26:15shot. So, I went back to Claude and
26:17changed my request. Give me just one
26:20continuous POV shot. The eye opens
26:23slowly like shutters and we see the
26:25spider. Claude updated the prompt and I
26:28ran it. Okay, this is better, but still
26:31not it. I don't like how the camera
26:33zooms out of the eye like the physical
26:36lens. And the spider shouldn't sit in
26:38the middle of [music] the frame. Okay,
26:40Claude updated the prompt. Let's run
26:41four batches and find the absolute best
26:43one. And we finally nailed it. Now that
26:47is a real POV. I love how his eyes
26:50slowly struggle to open. And keeping the
26:53spider off to the side makes the whole
26:54jump scare feel way more natural. Now
26:58the chase scene. And this is exactly
26:59where I show you exactly why I had to
27:01change assets and tweak shots along the
27:03way. So, in this scene, our hero is
27:06running for his life when he suddenly
27:08trips and falls flat on his stomach.
27:10He's completely surrounded by attacking
27:12monkeys, freezes up, and starts
27:14screaming out to his sister, begging
27:16them to stop. I ask for a multi-shot
27:18because the comedy is in the cuts. So, I
27:21drop in all my assets for the scene, my
27:23character sheet, the monkeys, the jungle
27:26location, and type out my request to
27:28Claude. I paste the generated prompt
27:30into C dance, run it, and here's what I
27:33got. Yeah, so the monkeys look really
27:35strange. The model is running them way
27:37too cartoonish, and those bright mandrel
27:40noses make the whole thing look like an
27:42animated movie. So, to fix this, I'm
27:44going to swap the mandrels out for white
27:46macox, something much simpler and more
27:48realistic. And here's the thing,
27:50changing your assets meta duration is
27:52completely normal if you want to avoid a
27:54plastic look or make the action clearer.
27:57I always keep a few asset variations
27:58ready just for moments like this. So, I
28:01upload the new white Macak asset sheet
28:03into Claude and ask for some crucial
28:05changes to the action and the framing.
28:08Now, let's take the updated prompt and
28:10run it across four new batches and check
28:13out the new result. Okay, this is so
28:15much better. I love the new side profile
28:18shot. It lets us actually see the chaos
28:21of the monkeys leaping over him. So, I'm
28:24going to take the actual fall from the
28:26first batch and then grab the perfect
28:29moment of the macak running over him
28:32from the second batch.
28:34All right, now on to the final part. So,
28:36this next shot is very funny and
28:38genuinely useful because it shows what
28:41to do when something on your character
28:42changes midstory. All right, let's get
28:44into it. So in our story, the hero runs
28:47down the path, the jaguar jumps him and
28:49rips his pants, and he keeps running
28:51until he flies right off a cliff. So I
28:54drop all the asses into Claude and ask
28:57for a single take. The run, the jaguar
29:00[music] attack, the ripped pants, and
29:02the fall. Continuous camera movement
29:05looked amazing, but we hit a classic AI
29:07glitch. The pants [music] got ripped,
29:09but a second later, they magically
29:11stitched themselves back together. So to
29:13fix this, I used a quick workaround. I
29:16generated a brand new character sheet
29:18showing the hero already wearing the
29:20torn pants and boxers. Now I feed the
29:22model the second sheet and it always
29:23knows what the torn pants look like. I
29:26went back to Claude to plug in the new
29:28asset and make two quick fixes to the
29:30ending. Keep the device [music] in the
29:31guy's hands as he falls and make sure
29:34the Jaguar stays at the top of the cliff
29:36instead of falling with him. Now I'm
29:38taking that new prompt, running four
29:40batches with the new setup,
29:43and let's see what we get.
29:48[groaning and screaming]
29:55[screaming]
29:56Oh yeah, I'm taking this exact take and
29:59dropping it into the final edit. Now,
30:01let's watch the full jungle sequence
30:03together.
30:09>> [screaming]
30:35>> Cindy, please. Anything but monkey.
30:48Okay. Okay, I'm done. Fine. I'll do it.
30:50You win. Just make it stop. [screaming]
31:02>> [panting]
31:15[groaning and screaming]
31:30>> Now onto the next scene, the big twist.
31:32As it turns out, our hero wasn't
31:34dropping into these crazy worlds by
31:36accident. His little sister Cindy was
31:38intentionally sending him there. In this
31:41scene, we finally see her and get a
31:43dialogue going. Honestly, dialogue
31:45scenes are incredibly important, and I
31:47want to show you how to shoot a classic
31:49over-the-shoulder shot sequence that
31:51doesn't fall apart or glitch out.
31:53According to the script, the main
31:55character drops out of nowhere and slams
31:57right onto a living room couch, matching
31:59his fall from the cliff. Then, behind
32:01him, a slight giggle. She turns around
32:04and finds his sister. So, first again,
32:06I'm going to send all my assets to
32:07Claude. character sheets for Adele and
32:11Cindy and the location and describe what
32:14happens in the scene with a new prompt.
32:18Okay, see the problem? So, Cindy's
32:20background changes from generation to
32:22generation. And if your background
32:24shifts when you cut between characters,
32:26the scene will never piece together in
32:28the edit. But there is a solution,
32:31though. The model needs more information
32:33about the room. That brings us to
32:35another major pro tip. When making a
32:37dialogue scene with reverse angles, you
32:39must generate reverse angle environment
32:41references of the same room. Feed the
32:43model images of what both sides of the
32:46room look like. That gives the model a
32:48blueprint of the room and the background
32:50stops jumping between cuts. I also
32:52noticed that the green button device
32:54kept changing sizes and the parrot kept
32:57getting trapped inside its cage instead
32:58of sitting on top. Let's fix that, too.
33:01Now I'm going to give Claude the extra
33:03assets, the reverse location, and ask it
33:06to lock in the exact size of the device,
33:10and fix the parrot so it stays on top of
33:12the cage. Now we have the updated
33:14prompt. Let's run it again. Yeah, much
33:17better. So, because we gave the model
33:20those reverse angles, the room stays
33:22completely consistent when we cut back
33:23and forward, and the parrot is right
33:25where it needs to be, and the device
33:27stays the exact same size. So, I'm going
33:29to grab this clip for the final edit.
33:32According to the script, the main
33:34character and Cindy try to make a deal,
33:36but they can't agree on anything. So,
33:38Cindy sends him back again because he
33:40clearly hasn't learned his lesson yet.
33:43So, this is where the overthe-shoulder
33:44sequence happens. I sent Claude the
33:46scene description. Okay, so the camera
33:49randomly broke the axis and started
33:52zooming in on the main character, and he
33:54didn't even disappear all the way. Plus,
33:57Cindy's physical position was shifting
33:59with every single cut. So, to fix this,
34:02I need to lock down the rules. I'm
34:04telling Claw to keep the camera
34:07completely static,
34:09showing Cindy from the exact same angle
34:12during her lines, and cutting to the
34:15main character over her left shoulder
34:18during his lines. So, that's the 180°
34:21rule. break it and the audience stops
34:24knowing who's standing where. I'll also
34:26ask to change the hell now line from
34:30allow scream to annoyed disbelieving
34:33tone. Okay, here the acting and the
34:36actions are all right, but the camera
34:39didn't log and Cindy keeps shifting
34:42between takes. Let's see another batch.
34:46Okay, we got this. This one goes
34:48straight into the final edit, almost
34:51completely intact. The camera framing is
34:53rock solid and the acting is spot-on.
34:56And with that, scene four is locked.
34:59Now, let's watch the full film one more
35:01time.
35:03>> You think you're going to outsmart me?
35:07>> Nice try,
35:09Captain. Island sighted. Get ahead.
35:22Captain, behind us.
35:23>> BEHIND US. BEHIND US.
35:26>> Didn't see this coming, did you?
35:39Heat.
35:49Heat. Heat.
36:03Sit down. [screaming]
36:38>> [screaming]
37:04>> Ci, please. Anything but monkey.
37:17Okay. Okay, I'm done. Fine. I'll do it.
37:20You win. Just make it stop. [screaming]
37:31>> [panting]
37:50>> Ah!
37:53A
38:01>> Cindy, stop it. I said I'll do it.
38:04Two weeks. I'll do your chores for two
38:06weeks. Deal.
38:09>> H Make it two months.
38:13>> Two months? Hell no.
38:15>> Okay. You said you hate monkeys.
38:22>> [screaming]
38:24>> And that's the big takeaway. We
38:26approached this like actual filmmakers.
38:28We didn't just throw a random oneline
38:30prompt and hope for the best. We built a
38:31script first and then used our prompt
38:33building framework to turn it into
38:35highly detailed working shots. Along the
38:38way, we used the exact pro tips you just
38:40learned, like single face character
38:41sheets, separate location assets for
38:43complex scenes, and reverse angles to
38:46keep everything consistent. And because
38:48it's all in 4K, it looks like money. You
38:51watch the explosions, nothing melted. We
38:53learned a ton making this film, and I'm
38:55giving all of it to you. The full
38:56script, every single prompt, the asset
38:59sheets, and the prompt guide are all
39:01yours. The best part is that this exact
39:03workflow works for anything.
39:05Commercials, short films, or any random
39:08idea in your head. It's the exact same
39:09approach. So, steal these tools and go
39:12create something great. And as always,
39:14if you found this video helpful, hit the
39:16like button, subscribe, and I'll see you
39:18guys in the next one.

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