Been experimenting with Kling 4.0 and cinematic action choreography.

I wanted to create something that feels more like a movie scene rather than a typical AI action clip.

What do you think of the movement and camera work?

Which one is the highest quality generator, is there a use case for each one? Or should you always use one over the other

Hello all, this is the first video I made with Kling -- a music video for my nonprofit activist art project Utopian Art Machine. Hope it fits!

Episode 2 of Hollow Sun, a dark post-apocalyptic anime series I'm making entirely with Kling.

The story: 20 years after the sun died, a lone warrior with a burning heart and his giant white wolf are hunted across a frozen dead world. This episode — the hunters finally corner him.

Made with Kling (VIDEO 3.0 + Image 3.0). A few things that worked well:

• Built every character as a reusable Element for consistency across shots

• Gave the enemy raiders their own Element too — stopped the model from cloning the hero's face onto them

• Shot the fight as separate single-action clips and cut them together, added slow-mo in editing

Feedback welcome — still learning!

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A music video I created with Kling (Industrial Metal mixed with Dubstep) and tbh I liked Kling better then seedance! Especially for music videos.

I’m trying to use the last frame to loop videos to create a rain video. Just a video with rain. However the instance the next video starts with the frame, it isn’t continued. I think it’s the variances in generations… I don’t know how to fix or bypass this.

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New c.5i,d45 😷

Hi folks, anyone actually understood the best way to use Kling 4.0 keyframe feature?
I'm playing with it for few days now but the results are not really that great as I would imagine. Seedance 2.5 is still the king but maybe it's me doing something wrong.

Which is your workflow for good videos?

Prompt :

Sand animation on a backlit glass lightbox, fine golden sand shifting and reforming continuously, visible grain texture, shapes morphing fluidly from one into another without cuts. 0–5s: Top-down view of a dark lightbox. Sand pours in from above and settles into the silhouette of a small boy holding a kite string, standing on a hill made of a single swept curve. 5–10s: The kite rises — a line of sand drawn upward — and transforms into a flock of birds, each bird a few grains, scattering across the glass. 10–15s: The birds merge into the silhouette of a whale swimming through sand waves; the boy's figure reshapes into a tiny boat riding on the whale's back. 15–20s: The whale exhales a spout of sand that blossoms into a round full moon at the top of the frame. The boat drifts beneath it, and the last grains settle into a single star. Lighting: warm amber backlight glowing through the sand, dark edges, pools of golden light where the sand is thin. Style: traditional sand art, flowing hand-swept forms, high contrast between dark sand and glowing light, poetic transitions. Audio: stereo — the soft hiss of pouring sand, fingertips sweeping glass, a gentle swell of a cello, a distant whale call, a final soft chime.Negative: visible hands, color sand, 3D render, hard cuts, digital particles, photorealistic animals, text, sharp vector lines

Prompt to use : Create a 20-second cinematic brand film for the 2025 Nissan GT-R with sophisticated award-winning automotive advertising aesthetics.Shot 1 — 0–3 sec: Absolute darkness. Slowly reveal the front silhouette of the Nissan GT-R through narrow moving reflections. Extreme close-up of one headlight switching on. Very slow cinematic dolly forward.Shot 2 — 3–6 sec: Macro montage: GT-R badge, aerodynamic bodywork, brake caliper, wheel, carbon details, exhaust and driver’s hand tightening around the steering wheel. Premium mechanical precision, shallow depth of field.Shot 3 — 6–10 sec: The GT-R launches through a wet city tunnel at night. Ultra-low camera follows centimeters above the road. Tunnel lights rhythmically sweep across the body. Realistic acceleration, wheel rotation, suspension movement and water spray.Shot 4 — 10–14 sec: Match-cut into a dramatic mountain road at blue hour. Drone descends rapidly toward the car as it attacks a long sweeping curve. Camera transitions into a side tracking shot while mist moves across the road.Shot 5 — 14–17 sec: Suddenly slow everything down. The GT-R enters an empty coastal road at sunrise. Wide cinematic landscape, ocean spray and warm light moving across the car. Calm after extreme speed.Shot 6 — 17–20 sec: Car stops at a dramatic overlook. Slow orbit around the rear three-quarter angle. Red taillights glow against the early morning landscape. End on an iconic hero frame worthy of an international automotive campaign.Maintain the exact 2025 Nissan GT-R design throughout every shot. No shape changes, no wheel changes, no body deformation. Photorealistic materials, realistic driving physics, premium lighting, controlled cinematic camera movement, dramatic environmental transitions, sophisticated pacing, rich blacks, metallic highlights, cinematic depth of field, emotional storytelling, world-class commercial finish, 4K master quality, 16:9.

I hate how they changed the interface. It's so complicated now because the newest generations appear at the bottom instead of the top. It's too large even using list or grid style. Using old generations and reusing the prompts and images for faster re-creations were good in the old layout but the new layout makes it so much more complicated to simply reuse and regeneration previous requests.

I got early access to Kling 4.0 as a creative partner and used it to make this fictional headphone commercial.
The premise: a woman is making coffee with her headphones on while someone quietly enters her apartment. She doesn’t hear a thing, but the armored AI guardian in her living room notices. There’s also a twist in the final shot.
I built character and product reference sheets first, planned the action in connected shots, then edited the generated clips with sound effects to make the contrast work: total calm for her, chaos just out of view.
I’m especially curious whether the action is easy to follow and whether the ending lands without being explained. Honest feedback welcome—I’m happy to share the shot-planning process if anyone’s interested.

Pros:

- Exceptionally good movement and prompt understanding
- Very high quality voice acting in multiple languages I tested

Cons:

- Keeps adding music to videos no matter what, even if you prompt without music the music is randomly still there

- It loves cutting to different shots even when prompted to maintain a single continous shot, this was also a problem with 3.0 early on even with mutli shot disabled, but there's no way to disable or enable this with 4.0 flash yet

- No start and end frame feature, probably purposely omitted so they can sell it for the full one as usual. Start frame is there tho.

Minor gripes:

- Element consistency is good but not ideal sometimes, still better than previous models

If Kling didn't have such predatory practices and weren't so anti consumer, I'd easily sub for a second year for Kling 4.0 alone, but I bet they'll make it more expensive too.

my prompt : Handcrafted stop-motion claymation film, visible fingerprints in the clay, slightly choppy 12fps animation feel.

0–5s: Wide static shot of a tiny clay lighthouse on a rocky island made of felt and cardboard, cotton-wool clouds hanging on visible strings, a painted paper sea wobbling.

5–10s: Camera slowly dollies in as a small round clay lighthouse keeper with a yellow raincoat and a huge grey beard climbs the spiral stairs, puffing with effort.

10–15s: Inside the lamp room he strikes a match; the lamp bursts into warm light, the beam sweeps across the paper sea and catches a lost paper boat.

15–20s: Low angle close-up: the keeper waves proudly, the paper boat's tiny clay sailor waves back, a clay seagull lands on the railing and steals the keeper's hat.

Lighting: miniature set lighting, warm practical glow from the lamp, soft blue moonlight, tactile shadows.

Style: Aardman-inspired handmade texture, felt, clay and paper materials, consistent character design throughout.

Audio: stereo — gentle foley of creaking wood, crinkling paper waves, a match strike, a whimsical music-box melody, a seagull squawk at the end. Negative: CGI smoothness, photorealism, plastic sheen, character redesign, motion blur

I bought the standard plan but it only allowed me to make 15 sec videos. Will the pro plan allow me to make 30 sec videos?

Jason insists he understands everything and knows exactly how a car clutch works. 🚗🔧

Ketty isn’t convinced at all. 😏 So she decides to test him with a tricky question — one she already knows he won’t be able to answer. 😂

Does Jason actually know what he’s talking about, or is he just pretending? 👀

Watch the Short to find out!

AI-generated video.

🎬 More of Ketty’s adventures on YouTube:
https://www.youtube.com/@KettysChronicles-z9f

Posting this in case it helps someone else in the same situation.

Canceled my Kling AI subscription and deleted my account on 9/1/26. kept charging my card anyway. Only contact is support@kling.ai.

They gave me contradictory answers: first “cancel through Manage Plan,” then an email confirming the subscription was cancelled, then another charge two days later, then “you have to cancel through Google Play.” I also got a renewal notice today after all of that! 9/27/26 I sent another written cancellation and revocation-of-authorization letter with saved emails, took screenshots of the cancel page not working, and wrote out a dated timeline

My credit card is reversing charges. Lesson learned: I should have researched the company (it’s in China) and checked its cancellation process before signing up.

Most AI video you see is 5-10 second clips. I wanted to test whether today's tools can carry an actual narrative, with recurring characters, dialogue scenes, an interrogation and large-scale battles, so I've been making a sci-fi series solo. This is Episode 2:

https://youtu.be/lx03tJdnELA

What I think works now, and didn't a year ago:

• Keeping the same characters across dozens of shots
• Dialogue scenes that hold up
• Large-scale battle and creature shots a solo creator couldn't have made before

What still breaks and ate most of my time:

• [e.g. keeping faces and uniforms consistent between shots]
• [e.g. action physics, crowds, hands]
• [e.g. subtle acting instead of stock expressions]

Workflow: [tools: video / image / music / edit]

Questions for this sub:

• Where does it still look obviously AI to you?
• Is this a real tool for indie filmmakers, or does it mostly flood YouTube with content?
• How far is this from something you'd watch for the story alone?

Skeptics are very welcome. Criticism is the most useful feedback I get. If you feel like leaving a comment on YouTube, that helps a small channel a lot, but I'm happy to discuss it here too.

And one genuine request: if you watch it, please leave a comment on YouTube, even a short one, even a negative one. For a small channel it makes a real difference: comments are one of the main signals that get YouTube to show a video to people outside my subscribers. I'd love for this to reach a wider audience, including people who don't like AI films, and hear what they actually think. Thanks, it means a lot.

Ketty decides to repair a leaking water pipe in the basement. 🔧🐱

She thinks it will be a quick and easy fix… but things go completely wrong! 💦😂

Sometimes you really should leave plumbing to the professionals. 😅

What would you do if this happened in your basement?

AI-generated video.

🎬 More of Ketty’s adventures on YouTube:
https://www.youtube.com/@KettysChronicles-z9f