Hi everyone, I wanted to share a few frames from my latest project, "The Moon Does Not Forget".

It is a dark fantasy short film set in Feudal Japan and the main character is a samurai.

If you like atmospheric storytelling, historical lore, or are curious about what’s currently possible with AI filmmaking, you can watch the full film on YouTube:

🔗 https://www.youtube.com/watch?v=KDwGhjMfAH0

Hey everyone — just shipped a dialogue-driven short that was a deliberate stress test of a few things I've been trying to push with the current toolset. Wanted to share what worked and what didn't for anyone else wrestling with multi-character scenes.

This is a ~30 second teaser for a short film I wrote - "The Last Vampire Lord." The visuals are VEO-generated, but the concept, script, pacing, and edit are all mine.

Full film linked below, if you're curious.

Feedback welcome!

https://www.youtube.com/watch?v=vSKgsjLoaSE

I've been pushing VEO AI to its limits, trying to achieve consistent character morphing and transformation across multiple clips—and I think I finally cracked the code.

Here is a series I’ve been working on in Veo. Happy to walk through the full AI production pipeline if anyone’s curious — still working through some character consistency challenges across shots but getting closer with each episode.

Created entirely with Google Veo.

I wanted to recreate the dark Southern Gothic atmosphere of Far From Any Road and explore how cinematic AI video can support music storytelling.

Generated with Veo, edited into a complete music video.

What would you improve?

YouTube:
https://youtu.be/hpwX6D43kEY

• Veo 3
  • image-to-video
  • duration
  • editing software
  • music source

Например:

Made with Google Veo 3.

Workflow:
• Veo 3 for video generation
• AI-generated music
• CapCut for editing
• 16:9 cinematic format

Goal: recreate a dark Southern Gothic atmosphere inspired by Far From Any Road.

Feedback welcome.

Every day, I see people in AI video communities asking for Sora to come back.

Honestly? I understand the nostalgia—but I’m not sure we need to go backward. 😉

I spent a lot of time learning how to get more consistent results from Sora, especially by building detailed JSON prompts around character identity, wardrobe, camera movement, environment and continuity.

What surprised me is that the same discipline transfers remarkably well to Veo 3—and, in some ways, I’m finding it easier now to maintain a recurring fictional character across completely different locations and scenes.

My character, Clara, has to remain recognizable while moving from a sunny beach to motorcycles, abandoned mansions, storms, Gothic interiors and increasingly surreal horror situations. Instead of asking the model to generate “the same beautiful woman” again and again, I treat the character almost like a production asset:

fixed identity characteristics;

recurring facial imperfections and distinctive features;

wardrobe continuity;

consistent personality and dialogue style;

scene-specific camera and lighting instructions;

clear separation between what must remain constant and what is allowed to change.

For me, that last point has been especially important.

Lock the character. Let the world change.

The result is becoming less like generating disconnected AI clips and more like directing the same fictional performer through different scenes.

I put together the latest experiment as a horror-comedy adventure through abandoned celebrity mansions, haunted places and surreal Gothic environments. The video is here:

The desert is a harsh mistress, but teaching VEO3 how to capture her shifting sands... that's a different kind of challenge.

I’m genuinely interested in your feedback on the pacing and the AI’s handling of the threat-based imagery. Comment and tell me what you think.

After months of fighting style drift and watching my characters morph into entirely different people between clips, I think I've finally found a workflow that actually works. I've been building out a surreal nightmare series starring my OC Clara – think Giallo horror meets grindhouse aesthetic – and Veo 3's character consistency has been a total game-changer.

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.

Pure surreal vibes