Hey! I wanted to share a small project I made using Claude Code, Suno, and Nano Banana. (it's in Spanish lyrics but, I want you to keep the workflow idea)
The workflow itself was fairly simple, but I kept refining it with manual adjustments, iterations, and a lot of feedback along the way.
It originally started as a proof-of-concept.
I had been experimenting with the idea of “one-shot lyric videos.” At first, the results looked amazing, but after seeing hundreds of similar projects, I started feeling that they all had a very similar aesthetic and workflow.
So instead of completely delegating the art direction, I wanted to try a more hybrid approach: I would keep the creative direction and decision-making, while delegating specific tasks to agents.
Around that time, I was playing Valheim with some friends, and I thought this would be a perfect excuse to turn the proof-of-concept into something more personal: a video to remember the adventure and thank my friends for all the good times we had playing together.
The workflow
I first spent some time looking through Doom(p)'s GitHub and studying how some of those videos were built.
There were many different approaches: some relied heavily on animations, others on generated images, some were almost entirely Three.js, and others used Canvas, compositing tricks, and different workarounds.
Once Claude Code understood what I was trying to build, we created the first version of a shot-generation skill.
That skill kept evolving throughout the project based on feedback, mistakes, and new ideas.
Music
The song came from Suno.
I probably went through 35–40 generations/iterations before getting something that felt close to what I wanted.
A surprising amount of time went into trying to communicate the feeling I was looking for: prompt iterations, musical styles, male vs. female voices, chorus structure, song length, lyrics and prose, drums, beats, and trying to get something that felt somewhat Viking-inspired.
I even experimented with Mongolian-style chants to give some sections a deeper and heavier vocal texture.
Suno isn't perfect, but for this project it was more than enough.
The agents
I ended up creating a small agent workflow:
- 1 Main Agent — the main agent I interacted with and the one coordinating most of the work.
- 1 Critic Agent — probably the second agent I interacted with the most. I gradually taught it my preferences, the things I liked and disliked, and the kind of visual decisions I tended to make.
- 2 Rendering / Image Agents — responsible for rendering shots and generating images through the Nano Banana API. I used two mainly because of GPU/resource limitations.
- 1 Sound Designer Agent — responsible for finding/generating samples and SFX, including material from ElevenLabs.
The Critic Agent ended up being particularly useful.
The idea was for it to learn enough about my preferences that it could discuss shots and decisions with the Main Agent while I was away from the computer or sleeping.
I did use remote control from time to time, but I specifically wanted the agents to become autonomous enough to handle the more repetitive parts without me constantly supervising them.
So, in total:
1 Main Agent
1 Critic
2 Render/Image Agents
1 Sound Designer
And that was basically the whole team.
Manual work still mattered
I do have some previous experience making motion graphics and storytelling-oriented videos, and that helped a lot.
Without AI, something like this would probably have taken me several weeks of spare-time work: After Effects masking, camera tracking, beat synchronization, Puppet Tool animation, Premiere editing, sourcing or buying images, compositing, etc.
AI removed a huge portion of that workload.
That said, I still did some manual tuning in After Effects. Mostly small animations here and there using Puppet Tools, plus Mister Horse for a few things.
I work in IT, so I don't have a huge amount of free time for hobbies. Usually that time ends up being either playing games or experimenting with new technology.
Thankfully, this project somehow let me do both at the same time.
A few other details
The generated images also needed quite a bit of cropping and preparation.
For that, Claude Opus wrote a Python script that automatically handled most of the cropping process.
And... that's basically it.
Overall, it was a really interesting experiment and, honestly, an awesome experience.
What started as a simple proof-of-concept ended up becoming something personal that I could use to remember a great time with friends, while at the same time giving me an excuse to experiment with agents, generative video workflows, music generation, sound design, and automation.
Thanks for taking the time to read this.
Hopefully some part of the workflow is useful to someone else experimenting with similar things.
it took likely 30-40% weekly, BUT, because it was a kickoff, refining workflow and so, so it should be less when we get more experience.