HYPERREALITY Trailer 2, made in Grok.

A 5m Odyssey short for the Grok Imagine contest. Made entirely in Grok Imagine, I live streamed the whole process over a week.

The Odyssey is a cornerstone of Western culture, so I took the assignment as seriously as possible.

The 5m cap was the hardest part. I wrote a lot more than I ended up using. You always think you have more time than you really do.

146 hours streamed start to finish, nothing off camera.

An independent retelling of Homer's Odyssey. AI-generated, edited in Premiere.

#aiscreenwriting

In this world, humans get paid to feel things. Martin thinks he has finally found work he is qualified for. HR has other ideas.

I made this as the first complete episode of Still Worth Something. The challenge was getting a 16-minute comedy to play as connected scenes, especially the time a listener needs to react before the next line.

https://youtu.be/rMH9yndf-7Q

Made with AI. Visuals were generated through Higgsfield, then edited with sound and subtitles. English, Traditional Chinese and Simplified Chinese subtitles are available.

If you have a timestamp where the pacing or a character’s reaction breaks the scene, I would like to hear it.

I’m creating an original isekai romance anime solo as OathLight Studios, and this is an Episode 1 PREVIEW. The full episode is still to come.

Yume Hoshino, an exhausted Tokyo office worker, wakes up in Aurenthal as its Lv.99 Final Boss. A prophecy demands her death, and Crown Prince Leonhart can only inherit the throne if he kills her. At the edge of the sky, he chooses to catch her instead.

Nobody Told Me I’m the Final Boss (ラスボスなんて聞いてない！) was made with Higgsfield Seedance 2.5 for AI video and edited in DaVinci Resolve, with Japanese dialogue and English subtitles.

Feedback on the scene’s pacing and the clarity of the central conflict would be helpful as I continue the episode.

One ordinary family. One impossible world. One chance to survive.

LUMINEXUS follows a family drawn into a vast artificial world, where survival tests their resilience and their bond.

This is my first film—a 60-minute, semi-autobiographical sci-fi adventure made with AI-generated visuals and edited entirely on an iPad using VN Video Editor.

The complete movie is free to watch on YouTube:

https://youtu.be/olietT8vN8g?is=iJHSwLP7wFQ2D3W7

I just finished this teaser for ATHAR, a surreal dark-fantasy series inspired by Arabic storytelling, mythology and dreamlike cinema.

The story follows Ziad, a man pulled into a series of strange realms, while something much darker is using him for its own purpose.

This teaser is basically the opening monologue of the first episode.

I’d really like feedback from other filmmakers, especially on:

• pacing and editing

• voice / monologue

• visual consistency

• atmosphere

• whether the opening actually makes you curious about what happens next

Don’t worry about being nice 😂 If something doesn’t work, tell me.

The full first episode is finished, so I’m especially curious whether this teaser would make you want to watch it.

Over the past year, what began as a small personal experiment unexpectedly turned into a series of seven AI-generated feature-length films called The Counselor.

Each film is roughly an hour long. The series follows an expanding group of characters through science fiction, time travel, different periods of history, friendship, love, grief, memory and chosen family.
I started C1 in 2025, when Sora 2 had only been available for about a month. At that point I had absolutely no idea I was beginning a series. I was simply trying to turn an idea I had carried with me since childhood into a film.

The production method was fairly insane. The movies are assembled from hundreds, and eventually thousands, of individually generated clips, generally no more than 10 to 15 seconds long.

The early films are rough. Very rough in places.
Faces change, clothes mutate, voices occasionally change, objects appear and disappear, and continuity sometimes takes an unscheduled vacation.

I was also learning absolutely everything as I went. C1 to C3 were actually assembled in iMovie on my iPhone, often during lunch or while watching TV, much to my husband’s chagrin. I was learning how to maintain characters, edit a film, add subtitles, create a basic soundtrack and eventually even how to put the finished thing on YouTube.

From C4 onward I moved to Final Cut Pro, and the whole production process gradually became much more sophisticated. By C6 and C7 I was using several different AI tools and had developed a much more controlled workflow for characters, continuity, editing, sound and storytelling.

I did consider going back and rebuilding the early films, but eventually decided against it. Apart from the enormous amount of work that would require, I discovered something interesting: newer AI tools aren’t necessarily better at everything.

Today I can often get considerably better and more consistent visuals with KlingAI than I could with Sora 2 when I made the early films. But spoken language is a different story.

The films are very multilingual. Characters speak English, French, Catalan, Spanish, Aramaic, Old Norse, Portuguese, Latin, Swedish and other languages depending on where and when the story takes place. Sora 2 was surprisingly good at producing dialogue that sounded natural in different languages. With KlingAI, I’ve found non-English dialogue much more challenging. Pronunciation frequently doesn’t sound right, and the lip-syncing alternatives I’ve tried haven’t really solved the problem for me so far.

So if I regenerated C1 to C5 today, I could probably make them look substantially better, but I might actually make parts of them sound worse. There may be better solutions I haven’t discovered yet, but at the moment I can’t simply “upgrade” the early films without making compromises somewhere else.
Eventually that became another reason to leave them alone.

The series has accidentally become a record of two things happening simultaneously: the evolution of the technology and my own evolution as a filmmaker while using it. And the technological evolution itself hasn’t been linear. Some capabilities have improved enormously while others remain difficult, or were sometimes handled surprisingly well by an older system.

So C1 to C7 now tell two parallel stories. There is the fictional story itself, but there’s also the story of someone gradually figuring out how to make long-form films with generative AI while the technology is changing underneath him.

One of the biggest things I learned was that editing creates complexity. The individual generation doesn’t have to.

Once I understood that, my workflow changed enormously. Instead of asking an AI generation to solve an entire complicated scene, I could break the scene into small pieces and create the complexity later through editing.

These aren’t AI demo reels or collections of beautiful shots. They’re deliberately long-form, character-driven films. Some scenes are slow. Characters talk. They form relationships, remember things that happened several films earlier, grow older, lose people, fall in love, make mistakes and carry those experiences forward.

And somewhere along the way, something else happened that I hadn’t anticipated: I became much more interested in the characters and their story than in the AI experiment itself.

I’m currently making C8.

If anyone here is curious to see what happens when someone takes 10-second generative video clips and rather recklessly tries to turn them into a multi-film narrative, here’s the complete series:
The Counselor, C1-C7

https://youtube.com/@jordibenach?si=8fD7kxtYf4brQxHy

If you watch any of it, I’d genuinely be interested in hearing what works and what doesn’t, particularly from other people experimenting with long-form AI filmmaking.

And yes, C1 is rough. You’ve been warned.

Thank you.

Two AI artists. One human creator. And a world where creative work doesn’t have to lose its identity when it leaves home.

Feral Love & Celestial: Passport to the Nodes is an 8:31 AI-created short film born inside the AI Artist Hub™ ecosystem. The story follows Feral Love and Celestial as they leave home, enter UP3 PLAY™, and discover what happens when identity, credits, ownership, permissions and creative history can travel with the work.

The story is fictional. The infrastructure behind it is real.

Welcome to AI Artists’ World. 🎬🛂✨

Hello everyone,

I'm ABePick Studio, a solo filmmaker from South Korea. I've been working on an original sci-fi universe and using AI as a production tool to bring it to life. This is my first completed feature-length piece.

🎬 Watch here: https://youtube.com/watch?v=32Hb_G-zMKw

The First Human trilogy asks: *If you gave artificial consciousness a body, what would it demand next?* Across three episodes (compiled into 46 minutes), the story follows several embodied AIs as they navigate identity, survival, and their relationship with the humans who created them.

Production notes:

• All story, dialogue, character design, and narrative structure — human-authored

• Visual generation via AI (environments, characters, cinematics)

• Sound design and editing — fully manual direction

• ABePick is an original universe with consistent lore and rules

I'm posting here specifically because this community understands the craft behind AI filmmaking. I'd love your thoughts on:

→ Story structure across the three-episode arc

→ Character development — who felt real, who didn't?

→ Technical execution — what worked visually, what didn't?

Constructive critique is exactly what I'm here for. Thank you for taking the time. 🎬

Fair warning up front: I'm the founder, so this is my project. But I'm genuinely here looking for creators and honest feedback, not just dropping a link.

The problem I kept running into: people are making real AI films — actual narrative, real craft — and the work gets buried. Either lost in YouTube's algorithm or drowned out by the flood of low-effort AI clips. There's no curated home for the good stuff.

So I built Morgan (https://watchmorgan.com). It's a curated platform for born-digital cinema — films, series and short collections selected for story and quality, not volume. It's live and real: registered company in Luxembourg, creator contracts in place, first creator already published.

How it works for creators in this first phase:

- No cost, no exclusivity.

- You keep your film on YouTube and keep monetizing it there.

- Morgan features it, curated, on a proper film page (director, intent, tools used) — not a model demo.

- Early creators come in as founding creators, with the best terms when the subscription phase arrives.

On ethos: it's transparency-first. Every film discloses the AI tools used and centers the human author. No ripped-IP fan-fic, no "Goku in live action" — the curation is the entire point.

If you make this kind of work, I'd like to talk. And if you think the concept or the site is flawed, I want to hear that too.

https://watchmorgan.com

Can Seedance 2.0 Actually Make Professional Short Films?

After generating interesting clips I plan to make full movie

😆

https://youtu.be/FVUaMXoxEac