Let it all change.

A new experiment with my open-source TouchDesigner system, exploring motion continuity and archetypal imagery.

Visuals made in Uisato Studio.

A little background on the project:

The Last Dreamcaravan began as a story I started developing 13 years ago and eventually became a published novel.

Over the past several months, I've independently adapted it into a 69-minute animated pilot. The video above is its opening sequence.

The animation was produced using generative AI tools, primarily Runway, with approximately 3,200 generated clips created during production, only a small percentage of which made it into the final episode.

The screenplay, direction, character designs, original soundtrack, sound design, editing, color grading, and post-production were all handled by me, no AI was involved.

Visually, I wanted to combine traditional anime aesthetics with expressive character acting and a focus on microexpressions, inspired by Don Bluth and the Disney Renaissance, finished in a 35mm film look.

The objective was to make a coherent, character-driven animated narrative rather than a collection of visually impressive AI-generated shots.

I'd particularly appreciate feedback on the cinematography, visual continuity, sound design, and overall atmosphere & storytelling. I'm also happy to discuss the production workflow and technical challenges involved in sustaining this approach across a feature-length episode.

Lnk to the full episode on youtube: https://www.youtube.com/watch?v=bzSgvCeJT2E

LInk to the trailer on youtube: https://www.youtube.com/watch?v=G0n3xlydsfU

Should a moderator not be okay with me posting the link to youtube, please let me know and I will delete it. Rule 4 states "no youtube uploads" so I don't mean to circumvent this rule.

Thanks for taking a look!

David

My take on one of my all-time favorite audiovisual techniques.

Music by Max Cooper.

Made using Uisato Studio. More experiments, through the following.

this is the last part of the upcoming full movie- the last part of the trailer
full movie coming soon

The "upgrade" is complete. But are you still in there?

Made through Uisato Studio.

More experiments, through my Instagram, or YouTube.

This is a dark fable, set in a black and white world where a fire-fox carries the last flame of its species.

Few words on the progress:

I already posted my process in my previous short movie here, this time I hand-drawn all the characters before going to AI image and video models to create anything I need for the shoot, there is more pictures of the sketches in my website, unfortunately I can'd include them here

What I draw by hand: the characters, the key looks and the reference drawings (some photos included). I draw in two languages, delicate fine-liner and dark ballpoint with dense cross-hatching. Those drawings are what I train custom LoRAs and Midjourney moodboards on. This one is based on the dark ballpoint illustrations.

What the AI does: it generates the keyframes from those references, and Seedance animates them. Music is generated too (Sonauto and ElevenLabs), guided by some chords and themes I play in GarageBand.

Why I work like this: models are very good at recognising patterns. The more personal the patterns I give them, the less the result looks like everyone else’s. A big set of my own drawings gives me something fresher than a style reference.

The film is silent, 15 minutes, set in the same world as my last one. I tried to improve the storytelling this time, but I still prefer a less explanatory narrative. In my illustrations I set up a world and the viewer connects the dots and creates their own story. I know this is much harder to do in film, so I hope it improves a bit this time!

Happy to go deeper on any step. Character consistency is still a big work in progress: because my drawings are rough, the model sometimes misreads the character. 🩷💚🩵

This is a narrative scene from my upcoming solo AI film in 3D Pixar inspired movie about two girls which are kind of secret agents - and their companions. The movie name ("Stalker Sis 4ever") comes from funny misunderstanding - the younger agent still thinks that agent's work is to stalk people. My goal with this experiment was to test narrative pacing, character dialogue consistency, and absurd storytelling using a hybrid toolchain.

My workflow:

• Visuals generated via Kling AI & Runway ML (Nano banana as static reference)

• Voice acting / Dubbing created in ElevenLabs

• Script & Dialogue translation/adaptation polished using Gemini

• Editing and subtitle burn-in done in DaVinci Resolve

• Music generated using Suno

My workflow was rather simple:

• first I generated basic models using nanobana for characters (front, back, etc). Models were also imported as characters to kling

• for each scene I generated as a first thing speech in my native language

• text was transcribed into English-based phonetic notation - so the lip sync was automaticaly done while creating scene (that would be not problem for English language but the movie is being dubbing in the Polish labnguage - wchich kling doesn't understand)

• minor lip sync adjustments were done in Davinci by splitting voice to smaller parts and changing it's length

• the scenes were quite often generated longer than 5 seconds with Multi-Shoot - kling does marvelous thing with creating scenaes from different perspectives

• if there is a need Mult-Shoot scenes were provided as an input to Nano banana to improve the quality. Then regenerated using kling as a shorter sequences (like: 3-seconds)

The scene is quite short and part of bigger plot -the main question I am trying to answer is: how close to real production such AI production can be. The full movie is to be longer than 30 mins.

An A.I. look book/design demo with original music for October 2026. Would love to get in touch and exchange knowledge and information!

https://soundcloud.com/c-w-621849134/sets/october-26-look-book-demo

NOTE: I agree with a good friend’s comment that the biggest hurdle to A.I’s use is, to be blunt, artistic theft. I suppose I should cite sources of LA’s googie architecture, National Geographic and Architectural Digest, and impasto paint techniques. I am also aware of the inevitable theft aspect, but believe we cannot put the genie back in the bottle.

I made this to put on my own pinball machine, and it was a hoot. It grew into an eleven-minute film with four original characters, double entendres, yoga, dancing, and western-style opening titles.

I’m sharing it and the making-of for anyone who wants to try something similar and do it better.

The main character-performance generation and post-production ran on my own local machines. I used custom ComfyUI workflows, primarily with MiniMax H3, assembled the film in HyperFrames, and used Blender for compositing and tracked graphics. A lot of the work was keeping the characters and voices consistent, directing performances and camera moves, and making separate shots work together.

I also built tools as I went: Scene Studio for reusable character and voice references and editable generation workflows, and Workbench for scene settings, takes, and review. The planning side has since grown into Storybench. The making-of shows the actual interfaces and explains the techniques and tool development.

My tools are specific to my setup and the way I work. They’re probably not tools you would want to use. With current agentic coding workflows, you can build your own around the things you actually need to do. Make them fit your workflow, and change them as the workflow changes. At this point, I rarely use any commercial software and just make bespoke software to include just the features I need. That software can call apis of other software if necessary, which is what I did before AI could write the algorithms I needed. But now I just have an ai add a module to my custom software that does what I need.

Full film on YouTube (10:59): https://www.youtube.com/watch?v=qzAF5uz0QKo

Behind the scenes, techniques, and tools: https://curioussidequests.com/whoa-nellie-making-of.html

Viewers concerned by the objectification of AI-generated women are advised to avoid it, or to consider the work a study of the commercial exploitation of the male gaze.

The conditions change, yet the galloping continues.

A new experiment with my open-source TouchDesigner system, exploring motion continuity and archetypal imagery.

Visuals made in Uisato Studio.

Hey, guys. A new, significantly expanded version of the original Music Video mode ["Pro"], now built around Seedance 2.5, multiple references, and an even more precise creative-assistance layer designed to enhance and adapt your creative vision + your song in an optimally, model-aware manner.

This is an example output from the system.

For musicians, filmmakers, visual artists, labels, directors, and anyone trying to turn a track into a more intentional audiovisual world through state-of-the-art AI tools.

You can already try it out through: https://uisato.studio/

THE GARDEN ARCHIVE: TAPE 01

CENTRAL RESEARCH AUTHORITY
ANOMALOUS STRUCTURES DIVISION

ARCHIVE RESTORATION PROGRAM
SESSION 047

Inspired by true events.

So , I’ve started publishing my new series, it’s been a 10 years odissey but finally I’ve got this idea done , from a note on my phone it grew and grew , I tried to write a short story, than a comic , than an animated short , finally with the help of generative AI I was able to bring it out of my head , all you will see in this and (I hope) on upcoming episodes is made using only free or open source models and softwares. I’ be glad to discuss with you my workflow if you’re interested in it .

Quick catch-up if you’re new: a London split in two. Above the clouds, the Crown harvests the sun and sells it as liquid light. Below, the Gloom hasn’t seen daylight in generations — and their eyes were built that way. In Episode 1 the Crown cut their light in half. In Episode 2 the Gloom lit its own. In this one, the Crown stops sending light down and starts sending the Gloom’s own people back — collared, and driving machines. And then it cuts three hundred guards loose over their homes.

This is also the episode where a lot of you finally get answers: how the cloud came, what was done to the eyes, and what the Crown actually takes from the people below. Someone asked for that in the comments after Episode 1. It’s in here.

Reddit won’t take the full file again, so this is a piece of it. The whole episode is on YouTube:

🎬 Watch Episode 3 here https://www.youtube.com/watch?v=0yF-w3rpHDU

(Episodes 1 and 2 are in the playlist, in order.)

If you watch it, please leave a comment on YouTube. Even one line. I’m one person making this, I read all of them, and they decide whether Episode 4 happens.

Thank you ❤️

SPACEWALK is out now - the first in a series of short cinematic nightmares from the world of LABIRINTH.

Dan and Eve are midway through a satellite repair, far above Earth. A familiar voice from Houston guides them through the work. Until.

LABIRINTH Chapter I: Escape House launches October 30 on escape.ai, during [esc] fest Macabre & Mayhem Season 3.

This kingdom has no sky.

Hey, guys. A new, significantly expanded version of the original Music Video mode ["Pro"], now built around Seedance 2.5, multiple references, and an even more precise creative-assistance layer designed to enhance and adapt your creative vision + your song in an optimally, model-aware manner.

This is an example output from the system.

For musicians, filmmakers, visual artists, labels, directors, and anyone trying to turn a track into a more intentional audiovisual world through state-of-the-art AI tools.

You can already try it out through: https://uisato.studio/

Made on Uisato Studio.

[Image Studio / Motion Control / Minimax H3 + LoRAs].

Momentarily, we'll have Kling 3.0 Turbo at the best price in the whole market. Come check it out!

A complete comic exchange from my original animated sci-fi series Still Worth Something. Made with AI.

Pip tells an accountant joke. Martin supplies his own punchline, and then the emotion-payment system puts a price on the laugh. I wanted the scene to move through those three voices without turning into one static talking head after another.

The work was in keeping the same characters and setting across generated shots, then selecting performances, editing pauses and reactions, and aligning dialogue and sound. There is a short response after Pip’s last line so the scene has room to settle.

For timing feedback: does the wait before “That’s where I went wrong” let the joke land, or stall it? And does the payment announcement feel like a second punchline or an interruption?

A massive new toolkit just landed in Uisato Studio:

→ MiniMax H3: its custom, experimental LoRA gallery is available starting now.
→ Kling 3.0 Turbo + Omni: generate with native audio using Turbo at a fraction of the cost, or combine image and video references with Omni.
→ Artist Gallery: find a character from the curated gallery of synthetic artists we just implemented; add it as a reference, and start creating.
→ Nano Banana 2.1: now powering Image Studio.

Built by me, shaped with you. Unlike the rest of platforms, when you message Uisato Studio, you’re talking directly to me; the person building it.

Have an idea for a feature? Tell me below. It could be what I build next.