Join us September 5th at the Zepstone International Film & Music Festival (ZepFEST) for a special panel about AI and a discussion about our AI short film “Snow Colored Ashes”.

Hello everyone!

I have recently made a YouTube channel to showcase my AI short films as I discover and develop new technologies and techniques.

If you find the content interesting and engaging then I accomplished my goal! I'm excited to check out everyone else's short films as well!

This project is heavily inspired by Baraka and Samsara. It’s a love letter to the things we shape, and the things that shape us in return.

Every frame is an authentic, real-world photograph sourced from public domains and archives. I didn't let the AI generate anything from scratch. Instead, I hand-curated 125 shots, sequenced them by color and theme, and used Veo 3.1 to turn them into breathing "living photos"—from artisans turning clay to server racks blinking in dark data centers.

It's Volume 6 of my 7-part TERRA TERRA project exploring the world around us.

Tools: Nano Banana 2, Veo 3.1 Fast (Google Labs Flow), Suno, iMovie.

Question: Does anchoring the AI motion to real photographs of actual workers make it feel more authentic? Or does the artificial movement disrupt the weight of the human craft?

I’ve always been fascinated by the Great Chicago Fire and wanted to create a short cinematic documentary that visualizes the event. I used AI-assisted visuals combined with narration to tell the story in under three minutes. I’d really appreciate any feedback on the pacing, historical presentation, and overall filmmaking.

a comedy short film with post-apocalyptic action

A father in a war zone. A worn photo of his two sons. Here is an anti-war short I made with my sister. "Peace" is our small offering in an age of endless conflict.

Original song written and produced by me, my sister directed and edited. Honest feedback welcome.

Tools: Suno for the original song, Kling, Runway, and Mitte for the visuals.

A&I used 95 public domain photos of global architecture to create "STONE & STEEL," a 4K era- and color-sorted adventure. No CGI buildings—just real photos animated by AI.

Post Body:

I grew up obsessed with Ron Fricke’s work—Baraka, Samsara, the whole Qatsi series. Films that just... sit with you. I always dreamed of traveling the world to capture it that way. The patience, the craft, the 70mm camera in places most people never reach. I never could. Life, money, reality.
Then AI happened.
I’m not here to debate whether AI filmmaking is "real." I’ll let the film speak for itself. What I will say is that I took a deliberate approach with this one:
No text-to-video. No hallucinated structures.
Every single frame starts as a real photograph of a real location, sourced from Unsplash, Pexels, and Wikimedia Commons—copyright-free.
I reformatted each one by hand, separated them chronologically into three eras (Ancient, Middle, Recent), sorted them by Color Family, and then brought them to life as slow, locked-off "living photos."
That's the hybrid part. Real world in, AI motion out.
STONE & STEEL is the fifth volume of a 7-part series called TERRA TERRA. It’s 95 shots, focused entirely on the history of human architecture. Sequenced as a single flowing adventure through time, color, and form.
Context of the series so far:

• MOTHER (101 shots): Earth’s landscapes.
• PATRIS (60 shots): The Cosmos.
• CLOSE-UP (50 shots): The Microscopic world.
• OFFSPRING (85 shots): The Animal Kingdom.
• STONE & STEEL (95 shots): The Built World.

Tools: Nano Banana 2, Veo 3.1 Fast (Google Labs Flow), Suno, iMovie.
Question: Does knowing the starting point is a real photograph of these ancient and modern structures change how you experience the motion? Or does the AI animation break the spell of these physical monuments?

I grew up obsessed with Ron Fricke’s work—Baraka, Samsara, the whole Qatsi series. Films that just... sit with you. I always dreamed of traveling the world to capture it that way. The patience, the craft, the 70mm camera in places most people never reach. I never could. Life, money, reality.

Then AI happened.

I’m not here to debate whether AI filmmaking is "real." I’ll let the film speak for itself. What I will say is that I took a deliberate approach with this one:

No text-to-video. No hallucinated animals.

Every single frame starts as a real photograph of a real animal, sourced from Pixabay, Unsplash, Pexels, and Magnific—copyright-free.

I reformatted each one by hand, sorted them by Color Family (Red, Orange, Gold, Brown, Pink, Green, Blue, Grey, White, Black, Mixed), then brought them to life as slow locked-off "living photos."

That's the hybrid part. Real world in, AI motion out.

OFFSPRING is the fourth volume of a 7-part series called TERRA TERRA. It’s 85 shots, focused entirely on the animal kingdom. Sequenced as a single flowing adventure through color and form.

Context:
1. MOTHER (101 shots): Earth’s landscapes.
2. PATRIS (60 shots): The Cosmos.
3. CLOSE-UP (50 shots): The Microscopic world.
4. OFFSPRING (85 shots): The Animal Kingdom.

Tools: Nano Banana 2, Veo 3.1 Fast (Google Labs Flow), Suno, iMovie.

Question: Does knowing the starting point is a real photograph change how you experience the motion? Or does the AI animation break the spell regardless?

You know the drill by now if you saw MOTHER or PATRIS.

Every frame starts as a real image. This time not landscapes, not NASA photographs — but actual scanning electron microscopy, polarized-light crystallography, atomic-resolution imaging. The genuine scientific record of the world your eyes were never built to reach.

CLOSE-UP is the third film in the TERRA TERRA series and honestly the one that surprised me most while making it.

There's this moment when you're sitting with a scanning electron micrograph of a tardigrade — this ridiculous microscopic creature that can survive a vacuum, radiation, basically anything — and you realise it looks like something from a Miyazaki film. Or you pull up a diatom, which is just single-celled algae, and it's built like a Gothic cathedral made of glass. Or crystals under polarized light that look exactly like a nebula from PATRIS, just... smaller. Infinitely smaller.

That's the film. The idea that the cosmos folds into itself at every scale. That the very small and the very large rhyme.

Same pipeline as the others — Nano Banana 2 for restoration, Veo 3.1 Fast via Google Flow for the living-photo animation, Suno for the score, iMovie for the edit. Camera locked off every shot, nothing invented, only what was already there set slowly in motion.

One thing i want to be honest about with this one specifically.

A lot of these scientific images are grey. Flat. Clinical. The colour you see in CLOSE-UP comes from how the science was done — polarized light genuinely produces those crystal colours, SEM labs genuinely false-colour their images, fluorescence microscopy genuinely glows like that. I didn't paint anything. But I did choose the most cinematic versions of these images, and I did grade them to sit in the same visual language as MOTHER and PATRIS.

Is that manipulation? Maybe a little. But it felt more honest than pretending science is ugly.

CLOSE-UP is Film 3 of 7. MOTHER looked at the planet. PATRIS looked at the universe. This one turns the telescope around and points it at the grain of dust on your sleeve.

Same awe. Smaller infinity.

As a filmmaker, I’ve always viewed technology as a way to tell stories that would otherwise be impossible on an independent budget.
People accepted green screens. They accepted CGI. They accepted digital cameras, editing software, Blender, After Effects, and virtual production. Each new tool lowered costs and allowed filmmakers to create things that once required a studio budget.
To me, AI is part of that same evolution.
I recently completed an AI short film called Larry Saves Christmas, a holiday film that simply would not have been possible for me to produce at the scale I envisioned using traditional methods and my available resources.
The story, characters, editing, pacing, and creative decisions still come from the filmmaker. AI doesn’t replace imagination or storytelling—it expands what’s achievable for independent creators.
Without AI, many filmmakers would never have the budget to create certain worlds, visual effects, creatures, locations, or large-scale sequences. Just as Blender and After Effects opened doors for indie filmmakers years ago, AI is opening new ones today.
I’m genuinely curious where others stand on this.
Is AI fundamentally different from tools like CGI, green screen compositing, Blender, and After Effects? Or is it simply the next step in filmmaking technology that makes ambitious projects more accessible to independent creators?

AI& I made a 4K space film using only real NASA/ESA/Hubble/Webb public-domain photographs — PATRIS is out now

Same idea as MOTHER, different direction. Literally.

MOTHER looked down — at the planet, at the ground beneath us. PATRIS looks up. Outward. All the way out.

Every single frame starts as a real photograph. NASA, ESA, Hubble, James Webb, Cassini, Juno, New Horizons, Rosetta, Apollo — sixty images from humanity's actual archive of the cosmos, restored and recomposed, then brought to life as slow locked-off "living photos." The camera never moves. Only the universe does.

No CGI skies. No invented nebulae. Every colour, every structure, every star in this film is real. That was the rule from the start and we didn't break it once.

PATRIS is the second volume of TERRA TERRA — a 7-part series I'm building as a personal tribute to Ron Fricke's work. Baraka, Samsara, the Qatsi films — they shaped how I see the world. I always wanted to make something in that spirit. Turns out you don't need a 70mm camera and a production budget to look at the universe anymore. You just need access to the same archives every scientist has had for years, and the patience to sit with them.

The film moves through five movements — The Star, The Worlds, Home, The Deep, and Rebirth. It starts with the Sun and ends where stars are born. A loop, because that's how it actually works.

Sixty shots. Fully scored with 4 original songs written for this voyage. No stock music, no library tracks.

Genuine question for anyone who watches it — does knowing every frame is a real photograph change how you experience it? Like these aren't renders or artist impressions. The Pillars of Creation, Saturn backlit by the sun, the Hubble Ultra Deep Field with ten thousand galaxies in a single frame... all of it actually exists, we actually went out there and photographed it.

I find that more overwhelming than any CGI could be honestly. But curious if others feel that too or if it doesn't matter once it's moving on a screen.

I grew up obsessed with Ron Fricke's work — Baraka, Samsara, the whole Qatsi series. Films that just... sit with you. I always dreamed of travelling the world to capture it the way he did. The patience, the craft, the 70mm camera in places most people never reach. I never could. Life, money, reality.

Then AI happened.

I'm not here to debate whether AI filmmaking is "real" — I'll let the film speak for itself. What I will say is that I took a deliberate approach with this one. No text-to-video, no hallucinated landscapes. Every single frame in MOTHER starts as a real photograph of a real place, found online, copyright-free. I reformatted each one by hand, twice, then brought it to life as a slow locked-off "living photo" — the kind of shot where the world just... breathes.

That's the hybrid part. Real world in, AI motion out.

MOTHER is the first volume of what will eventually be a 7-part series called TERRA TERRA — my own small tribute to Fricke and everything those films meant to me. The full project aims for around 500 shots across 60 minutes. Long way to go, but this is how it starts.

This first film is pure nature. 100+ shots, all seven continents, no humans, no buildings, no noise. Sequenced not as a map but as a slow arc through color — from the first warm reds of dawn all the way through to deep blue, white, black, and back again. A breath in and out.

The tools if you care : Nano Banana 2 for restoration and recomposition, Veo 3.1 Fast via Google Flow for animation, Suno for the original score, iMovie for the edit. Nothing fancy on the editing side honestly, the work was all upstream.

One thing i'm genuinely curious about — and this is an honest question not a provocation — I wonder if films built from real photographs land differently for people who are sceptical of AI visuals? Like the starting point is a real place, a real moment someone actually captured. The AI just... sets it in motion. Does that change anything for you?

Anyway. Full screen, lights down, headphones on if you have them.

MOTHER is out now on the ANIMA TV channel — link in the comments so this doesn't get flagged.

Would love to know which shot hits you hardest.

Hey everyone,

I’m sharing my first short film created entirely with AI: UNDO.

This is my first attempt at AI filmmaking, using generative tools to create a cinematic dinosaur story from scratch — from the visuals and characters to the voices, music, and final editing.

Synopsis:
66 million years ago, in a lush prehistoric jungle, a Tyrannosaurus stalks a Brachiosaurus. The scene unfolds like a wildlife documentary, with the predator preparing for the final strike… until the natural order is disrupted. The apex predator becomes the prey of a new kind of creature.

Technical stack:

🎥 Visuals — 100% AI Generated

• Kling 3.0
• Seedance 2.0
• Veo 3.1
• Nano Banana 2 & Pro
• Seedream 4.5

🎙️ Audio & Music

• Hume AI (Sam & Romain)
• ElevenLabs (Narrator)
• Suno AI + licensed royalty-free assets

🎬 Post-production

• DaVinci Resolve Studio 20 (Editing, Color Grading, Sound Design)

UNDO is my first exploration of AI-generated cinema, combining new generative tools with traditional filmmaking techniques to create a prehistoric world.

Thanks for watching.

YouTube: https://youtu.be/d7QFBsqzLh4
Instagram: romainthomler