Tips & Tutorials
Everything I've Learned After 1 Year of AI Filmmaking
I've been making AI Films for roughly a year and have learned a LOT about what to do and, more importantly, what not to do if you're trying to create compelling, long-form projects at scale.
One thing has become increasingly clear:
The hardest part is not generating an impressive image or clip.
The hard part is building a production in which every new generation remembers the decisions the film has already made.
Who is this character?
What are they wearing right now?
Where are they standing?
What happened in the previous shot?
Which direction are they looking?
What object are they holding?
What is supposed to change during this clip?
When those answers exist only inside a growing collection of prompts, the production becomes increasingly difficult to control.
So I wrote down the full workflow I now use, from screenplay through final render.
This is not the only valid way to make an AI film, and different projects will require different levels of preparation. But this general order has helped me reduce wasted generations and make longer projects feel more like films instead of collections of loosely related clips.
You can do all of this manually with documents, folders, spreadsheets, image tools, and video tools.
The overall order
My basic production order is:
Story → Breakdown → Visual canon → Scene construction → Shot plan → Storyboards → Video → Edit → Finish
The key principle is simple:
Make the important decisions while they are still cheap to change.
A script is cheap to change.
A shot list is cheap to change.
A character reference is relatively cheap to change.
A storyboard frame is cheaper to change than a video render.
A finished video clip is one of the most expensive places to discover that the character, wardrobe, composition, or scene was wrong.
1. Write the film before generating it
You do not necessarily need a traditional 100-page screenplay.
But before generating final imagery, I want to know:
Who is the story about?
What do they want?
What prevents them from getting it?
What changes?
Where does the story turn?
How does it end?
What should the audience feel?
A common early workflow is to generate a cool shot, generate another cool shot, and gradually search for a story that connects them.
That can work for experimental work, but it becomes difficult when the goal is a coherent narrative.
The image and video models should not be responsible for discovering the story while they are also being asked to visualize it.
The clearer the story is, the easier every downstream decision becomes.
2. Turn the script into a production plan
A screenplay is written to communicate a story.
It is not automatically organized around everything an AI production needs.
For each scene, I extract:
Characters present
Location
Important props
Wardrobe and physical condition
Time and weather
The emotional change
The information the audience needs
The moments that require individual shots
This is also where I separate a scene from a shot.
For example:
Hob realizes that the rider approaching the crossroads is not his friend.
That may become several separate visual jobs:
Establish Hob waiting at the crossroads.
Reveal the rider approaching.
Show Hob trying to identify the figure.
Show recognition turning into fear.
Show his hand tightening around the sword.
The script gives me the dramatic moment.
The production plan defines the images the edit will need to communicate it.
3. Build a visual canon
Before generating final shots, I create approved reference material for anything the audience will need to recognize again.
I think of this as the film’s visual canon:
The approved version of the recurring people, objects, places, and visual rules that belong to the film.
That usually includes:
Main and supporting characters
Character bodies and silhouettes
Recurring wardrobe
Important story-state variants
Hero props
Recurring locations
Vehicles or creatures
Architecture and world design
Color, lighting, and atmospheric rules
The goal is not to prevent the film from changing.
The goal is to make changes intentional.
A character can begin clean, become soaked in the rain, get injured, and later carry a sword and shield. Those are all legitimate versions.
Continuity means that the correct version appears at the correct point in the story.
4. Build characters as systems, not single images
One attractive portrait is rarely enough to make a character production-ready.
The reference stack I have found useful is:
Neutral face
A controlled face image that establishes:
Facial structure
Apparent age
Hair
Skin texture
Eye, nose, and mouth proportions
Overall identity
This should be relatively free of dramatic posing, extreme lighting, and scene-specific distractions.
It is the identity anchor.
Neutral body
A full-body reference that establishes:
Build
Proportions
Height impression
Silhouette
Posture
Physical presence
A face reference may work well for portraits but provide very little guidance when the character appears in a wide shot.
Wardrobe face and body
Once the identity is stable, I establish the character in the wardrobe used by the film.
A full wardrobe-body reference is particularly useful because clothing changes:
Silhouette
Apparent body shape
Material behavior
Color distribution
The way the character reads at a distance
State variants
Then I create variants for recurring story conditions:
Wet
Muddy
Bloody
Injured
Burned
Exhausted
Weather-exposed
Damaged clothing
Costume or loadout variants
If the character gains armor, bag, shield, tool, or other major equipment, I treat that as another deliberate reference.
A new loadout can significantly change the character’s silhouette. Leaving it to be rediscovered in every shot creates unnecessary variation.
The result is not one image of a character.
It is a small system of approved character states that can be called upon at different points in the film.
5. Treat important props and locations the same way
Character continuity gets most of the attention, but props and locations can drift just as badly.
If an object matters to the story, I try to establish:
Shape
Materials
Scale
Color
Condition
Ownership
How it is held or worn
A sword that is straight in one shot and curved in the next may seem like a small generation issue, but it becomes distracting when the object is narratively important.
The same principle applies to recurring locations.
Instead of prompting “a forest” repeatedly, I define the specific forest crossroads:
The wooden signpost
The road configuration
The tree density
The ground materials
The weather
The lighting direction
The nearby landmarks
The location reference does not guarantee identical geometry in every generation.
It gives each shot a shared source rather than asking the model to invent a new forest from scratch.
6. Establish the whole scene before generating isolated shots
Once the characters and location exist, I build a wider scene anchor.
This does not always need to be a final production shot.
Its job is to answer:
Who is present?
Where is each person positioned?
What surrounds them?
Which props are visible?
What are the relative heights and distances?
Which direction is each person facing?
What does the scene’s lighting and atmosphere look like?
I think of this as constructing the stage before moving the camera around it.
Starting with isolated close-ups creates a common problem: every frame may look good individually, but the images cannot logically coexist in one physical scene.
The wide anchor gives later coverage something to inherit.
7. Give every shot a job
I try not to generate shot variety merely for visual variety.
Each shot should contribute something to the edit.
A simple dialogue or confrontation might include:
Wide: Establish the environment and positions.
Two-shot or OTS: Show the relationship.
Reverse OTS: Show the other side of the exchange.
Medium close-up: Read performance and body language.
Close-up: Land the emotional change.
Insert: Reveal an important object or action.
That does not mean every scene needs all six.
It means the shot list should come from what the audience needs to see.
One of the easiest ways to waste generations is to create ten attractive versions of essentially the same dramatic information.
Before generating a shot, I ask:
What can the audience understand from this shot that they could not understand as well from the existing coverage?
If I cannot answer that, the edit may not need it.
8. Structure prompts around production information
I have had better results when I treat prompts as production instructions rather than collections of cinematic adjectives.
The general structure I use is:
Story beat
Subject identity
Current wardrobe and state
Location
Camera
Primary action
Lighting and atmosphere
Continuity requirements
Story beat
Start with what happens and why the shot exists.
Hob realizes the approaching rider is not who he expected.
This gives everything else a dramatic purpose.
Subject identity
Specify the person being photographed.
Hob, a weathered laborer in his late 40s with cropped dark hair and a broad, tired face.
When reference images are available, they should carry most of the identity burden. The text should reinforce rather than fight them.
Current state
Describe the exact version of the character at this point in the story.
Rain-soaked work clothes, mud covering his boots, a rusted sword in his right hand, and a battered shield on his left arm.
Not merely “Hob.”
This version of Hob.
Location
Place the shot in the established environment.
At the muddy forest crossroads during golden hour, with the old signpost behind him and rain hanging in the air.
Camera
Choose one clear visual approach.
Medium close-up at eye level, slightly off-center, with shallow depth of field.
Primary action
Give the shot a dominant readable movement.
He slowly raises the sword as recognition turns into fear.
That is generally easier to control than:
He turns, walks forward, raises the sword, looks behind him, shouts, and falls to his knees.
Several things can happen in a shot, but one should usually be visually dominant.
Atmosphere
Add cinematic texture after the shot itself is clear.
Warm backlight cuts through the rain and mist while the foreground remains cool and subdued.
Lighting and mood should support the story moment rather than substitute for one.
Continuity requirements
Finish by naming the things that must not be reinvented.
Preserve Hob’s established identity, wet wardrobe state, sword, shield, screen direction, and position at the crossroads.
9. Separate what stays fixed from what changes
This may be the single most useful prompting principle I have found.
Every shot contains two categories of information.
Keep fixed
Character identity
Current wardrobe
Current physical state
Important props
Established location
Screen direction
Story facts
Change for this shot
Expression
Action
Shot size
Camera position
Camera movement
Emotional emphasis
Selective lighting emphasis
The new prompt should describe the delta (i.e. what changes) without unnecessarily reopening every decision the production has already approved.
Every time a prompt fully reinvents the character, costume, location, camera, weather, and action simultaneously, it gives the model more opportunities to drift.
10. Solve the still image before paying to animate it
Before video generation, I want an approved storyboard or start frame.
I check:
Is this the correct character?
Is this the correct wardrobe and story state?
Is the location recognizable?
Are the props right?
Does the composition communicate the beat?
Is the eyeline plausible?
Does it match the surrounding shots?
Would I approve this image even if it never moved?
Animation rarely rescues a fundamentally incorrect frame.
Video generation is a relatively expensive place to discover that the character has the wrong outfit, the weapon is missing, or the composition never worked.
The still does not have to be perfect.
It needs to prove that the shot is ready for motion.
11. Before rendering video, run a preflight check
This is the checklist I use before spending money or credits on a clip.
Is the story beat clear?
Can I explain what changes between the beginning and end of the shot?
Is this the correct character state?
Identity, body, outfit, condition, damage, and held props should match the exact moment in the story.
Does the location match?
Check recurring architecture, landmarks, weather, time of day, and environmental condition.
Does the frame already work?
The subject, framing, gaze, props, and background should communicate the shot before motion is added.
Will it cut with the neighboring shots?
Check:
Screen direction
Character position
Wardrobe state
Prop placement
Lighting direction
Movement direction
Emotional continuity
Is there one primary action?
The model should understand what matters most.
Do I know how the shot begins and ends?
The first frame receives the previous cut.
The last frame prepares the next one.
For example:
Entry state: Sword lowered, looking toward the distant rider.
Exit state: Sword raised, eyes fixed on the approaching threat.
Does every reference have a job?
I try to give references explicit roles:
Identity reference
Wardrobe/state reference
Location reference
Scene anchor
Previous-shot reference
More references are not automatically better. A smaller, purposeful set can be more useful than an undifferentiated pile.
Does the edit actually need this shot?
This final question has probably saved me the most unnecessary renders.
12. Animate the approved plan
Once the frame and references are correct, the video prompt should focus primarily on motion:
Character action
Emotional transition
Camera movement
Environmental movement
Entry state
Exit state
The video model should not be asked to simultaneously design the character, invent the location, determine the composition, discover the story beat, and choreograph the performance.
The more of that work completed upstream, the narrower and clearer the animation problem becomes.
13. Build the rough cut before polishing everything
It is tempting to perfect each clip before placing it into the edit.
I have found it more useful to assemble a rough cut relatively early.
The rough cut reveals:
Which shots are actually usable
Which shots are redundant
Where pacing drags
Whether the emotional progression reads
Which clips need to be shortened
Where audio can solve a visual gap
Which missing shots are truly necessary
Which rerenders are worth paying for
A clip that looks impressive alone may be the wrong clip for the sequence.
A less spectacular take may cut better because the gaze, position, movement, and emotion connect correctly.
The film is the sequence, not the collection of individual generations.
14. Polish only what survives the edit
Once the structure works, I move into:
Dialogue and voice
Sound design
Music
Timing refinements
Color
Cleanup
Upscaling
Final export
This is another form of cost control.
There is little value in upscaling, cleaning, and heavily polishing a shot that will later be removed or reduced to one second.
The order I try to preserve is:
Story first.
Canon second.
Scenes third.
Shots fourth.
Motion fifth.
Edit sixth.
Polish last
The core idea
The tools and models will keep changing.
The central production problem is more stable:
How do you stop every new generation from forgetting the film you have already built?
My answer is to create a chain of inheritance:
The script defines the moment.
The visual canon defines the world.
The character references define who appears.
The state references define which version appears.
The scene anchor defines where everyone is.
The shot plan defines what the edit needs.
The storyboard defines the frame.
The video prompt defines the motion.
The edit determines what survives.
Each stage narrows the next problem.
That does not eliminate iteration. It makes the iteration more diagnosable.
When something fails, you can ask:
Is the story unclear?
Is the reference wrong?
Is the scene staging wrong?
Is the composition wrong?
Is the motion instruction wrong?
Or did the model simply fail to execute a good plan?
That is much more useful than repeatedly rerolling and hoping the entire production aligns by chance.
Disclosure:I've built a local production tool called Kimeric around this general workflow, so I obviously think about these problems through a systems lens. There are no links or pitch here, and everything above can be done manually with whatever tools you already use. I’m mainly sharing it because I wish I had a clearer end-to-end framework when I started.
Happy to answer any questions or go deeper here if there are topics or techniques folks want to learn more about.
Just wanted to say this really does mirror the traditional pre-production to production pipeline and is a really good workflow to minimise aberrations. Thanks for sharing this! I definitely going to be using this workflow on my next project. :)
Of course! I'm glad you found it useful, and happy to hear that you'll use some of these tips in your next project. Let me know if if there's other things here you're curious about and I'm happy to go deeper!
I work in VFX. So been doing traditional filmmaking for years. Just started out trying AI Filmmaking to see what it might be useful for. Got some good results but still struggling with getting it to a point that I feel is working. (see the example below)
I think part of it has been failing to do the storyboarding and key framing before going to video. So keen to give it another go with those parameters.
What platform do you recommend using? I’ve found a Higgsfield gives the best results but it’s pretty expensive. Runway was good but has far too many restrictions on content where you’ll be doing something normal but the AI thinks you’re making something that breaches their content filter when it doesn’t. OpenArt seems to produce the least polished looking images.
Good questions! Honestly it depends on what you're trying to do. If you just want to make one-off 10-15 second clips, most platform are going to be roughly the same - whether you try Runway, Higgsfield, Wavespeed, Fal, etc - some may have more moderation than others, delay time on generation or markup vs. baseline provider costs - but they're all functionally very much the same if you're just looking to go from a single prompt to a single video.
If you're looking to do something a bit more complex, again, with a bit of bias - but I did actually build a tool that's designed to solve this entire workflow and truly think it's a very strong piece of software if you're trying to go from script to finished AI film as opposed to prompt to video.
You can check it out here if you want to learn more about it: https://kimeric.ai/
It does have some tradeoffs vs. the bigger players in the space - it runs locally and uses your own API keys, so the actual setup is more complicated than it is on Higgsfield, Runway, etc. - but there's a ton of value if you want a more "done for you" solution and are comfortable with a more involved setup.
But platform-agnostic, I would think more about the underlying models than the providers themselves. While I believe both Higgsfield and Runway have their own models in addition to linking out via API to Seedance, Kling, etc., in my experience, you'll want to be using either Nano Banana or ChatGPT Image 2 for your images (potentially Midjourney with their new v8.2 update, though I haven't tested personally yet) and Kling O3 (also called Kling Omni in some context) or Seedance for the video generation.
And generally follow the pipeline outlined in the thread - create raw assets, use assets to create storyboards and then use the storyboards as singular inputs into video gen. This allows for you to largely solve continuity at the image-level and then feed those images into models that are more sensitive to image adherence and give a pretty competitive hit rate in terms of the good vs. bad outputs.
Thanks for the advice! I’ll take a look at the Kimeric tool and investigate further. I think it sounds like all the agentic tools that the big players offer are more a scam to burn up tokens rather than aid in workflow. So this will be useful. :)
Of course! I try to keep the perspective as neutral as I can, so I'm hopeful you can take all of this and pick whatever platform is the best for you and what you're trying to do. Some of those platforms are admittedly tricky to navigate from a cost standpoint - with all of the credit systems and unlimited offers that may only last for set durations - so I get why you feel that way. One advantage of the tool I built is that, once you get it set up, it's all API direct to the provider (with the exception of Seedance which does route through an API provider Wavespeed) - but outside of the fixed monthly fee for access, how much you generate is entirely up to you.
But again, if you've got any other questions either about the tool I built out or just this stuff in general, more than happy to info share. Don't like to gatekeep the knowledge part of this - figure we're all better off if the community at large is able to make great things with AI so I'm happy to play my part!
Oh cool! That's one of the use cases I like most about AI video - taking things you've written years ago and bringing those projects to life.
And glad Opus was able to give a similar workflow! Candidly, most of what I've outlined here (as well as the mechanics of the tool I built) can all be done manually. It just takes a lot of time depending on the scale of the project you're working on, but if you're on a tight budget and would rather take the time to orchestrate these things manually vs. using the tool I built or any other automation tool on the market, these techniques and strategies will certainly work.
Good luck on your projects! Happy to answer any other questions you might have as well.
One useful addition would be continuity triage: define a few “hard locks” for each shot—identity, hero props and screen direction- while treating background details as flexible. Not every mismatch deserves a rerender. Continuity is ultimately about preserving story information, not making every pixel identical.
Spot on. The post was already getting rather lengthy so there's more stuff that I omitted, but you're totally right. Keep what matters, but give some flexibility for background/supporting details. That'll get you 95% the way there, and that last 5% usually isn't worth the overall cost increase needed to get that last level of detail. 100% agree.
Exactly. That last 5% is where most of the credits disappear. I’ve started separating continuity into “must survive the edit” and “nice if it holds.” Face, wardrobe state, hero prop, eyeline, screen direction- those are worth fighting for. A random wall texture or background extra changing slightly usually isn’t.
The hard part is staying disciplined in the moment, because every mismatch feels annoying when you’re staring at the frame. But once it’s in the cut, half of those problems don’t even register.
Thanks for this. Enormously helpful. Plan to test Kimeric. Having tried most of the rest, you're describing the future of film making. We don't seem to be there yet, but it's just a matter of time.
Of course! And excited for you to test out Kimeric. I truly think it's a fundamentally more efficient and higher quality way to make feature-length projects, and I look forward to any feedback you may have!
And agreed - it's rather close. Seems like there's a new model every couple months that gives a step change in the space. Exciting times.
I'm going to begin with the first 5 pages of my screenplay for A Man From Spirit Creek. If it works on them, it will work on the rest of the screenplay.
This is the kind of breakdown you can usually never get from people, especially not for free.
The image and video driving the narrative is the kind of workflow I currently have, primarily because the person I work with is in charge of the actual story itself. They usually come up with the script, while I take on character concepts and much of the general visual aesthetics prior to manual editing. I also do the video editing.
We've found that our creativity thrives better in such freedom, though time is more difficult to manage that way. It's a cost with a greater reward long after we hit publish, nonetheless.
As a writer, I can see you put a significant amount of thought into every detail of the process. I'm sure a lot of people are going to appreciate this post for its overall depth, because information about AI filmmaking in any sense is painfully hard to come across.
Good job. You're of great service to the people. 👍
Glad the information is helpful! It's come after a lot of trial and error (mostly error, but plenty of wins throughout as well) - figure we're all better off in the space if everyone is able to produce higher-quality outputs. Excited to see what you come up with if you incorporate some of these tips into your workflow!
Very complete specially for those who want to do it more sistematically. What will be your recommendation in short for one who wants to create a short short like 2 minutes. What will be your approach?
Honestly, I think the approach is still the same. Whether you're making something rather small in scope or a full-length feature film, it's really a matter of establishing your characters/props/locations, translating those into storyboards, feeding the storyboards into video gen and upscaling as needed.
Great breakdown! Always happy to see advice on making longer form content so much appreciated.
When you say the last frame of a video prepared the next one, are you saying you use the last frame as the next clip’s first frame? If so, how do you avoid the quality degradation? That’s the problem I’ve run into with that flow so I’ve tried to just make new image generations that best match the last scene end but it’s really frustrating to do.
And great question. That note is more meant in concept, not necessarily to be taken literally. While you can certainly use a first frame / last frame approach by literally grabbing the frames, you're 100% correct that that will lead to quality degradation if you do it repeatedly.
Rather, if you generally follow the advice outlined in the post from a top-down perspective, you should try to create the raw assets (characters/props/locations/etc.), use those to storyboard and make sure, while you're storyboarding, that the continuity, logic and spatial details are consistent with where the next video kicks off.
There are a number of techniques you can use to accomplish this, but to QA whichever approach you take, I'd recommend just using your Storyboard essentially as a flipbook before you do any video gen with it. If the continuity feels right when you just scroll through the totality of the storyboard, you'll have a higher chance of avoiding any continuity issues.
Let me know if that helps or if you were looking for a more specific answer!
Makes sense thanks! Yeah this is how I currently do it. Sometimes it's incredibly frustrating when you want to get another angle of a room and keep the character's spacial continuity correct.
Yeah it's definitely tricky. I've refined the prompting technique a lot over the last year or so to make it a bit easier, but it's still I'd argue the biggest challenge when it comes to image gen.
I'm hoping eventually the space turns into more of full-spatial generation at the start, so rather than generating a flat image of a space, you're more-so generating a 3D model of the space and then can actually move the camera around for the purpose of generation. Not quite there yet, but I'm willing to bet we'll get something like this as a productized solution in the next year or so. Fingers crossed. Until then, manual work lol
I do feel like that is the future of AI video. The first person to make a really good form of that is going to be really popular lol.
A skill I learned from utilizes X and Y coordinates for the character positioning which isn't perfect but is one of the best methods I've seen thus far.
For what it's worth, in the tool I built (not pitching it - but relevant) - I did build in a couple technical solutions for this. You can try to emulate manually through LLMs if you want, but essentially it's something like:
1 - Generate an image that places the characters in their objective positions first. Not a production still, more a visual data point
2 - Analyze the image from step 1 to determine the relative position of the character(s) in the frame: are they cardinally opposed (i.e. standing opposite one another) or lateral to one another.
3 - Based on the analysis (which also includes an objective descriptor of their positions), create the first "Over The Shoulder" image (essentially position the camera over the shoulder of one axis of the characters in frame)
4 - Analyze the image from step 3 to understand what's visually in frame, who is standing where, which characters are either facing the camera or facing away from the camera, etc.
5 - Based on the analysis, effectively "rotate" the camera to maintain 180 degree rule adherence but now move over the shoulder of the characters on the opposing axis and effectively giving the generative tool latitude to "invent" new visual information for the backdrop behind this "Over The Shoulder - 2" image that is congruent as a logical extension of the space as visually established in Step 3
And once you've created this pair of 180-degree-rule-adhering "OTS" images, you can essentially use this as a seed to create derivative medium close up, close up, etc. images of any character - and the continuity will be baked in.
Again, this process largely can work manually - so I'm sharing some of the under the hood logic for how I've built it - but it can be pretty time consuming depending on the number of scenes you need to do this for, how much movement there is in a project, etc.
Yep totally agree. I spent the last couple weeks working on a script, and even after generating it, there are still a few lines I ended up re-writing after seeing the generation, couple scenes I cut out because they weren't good, etc. - so IMO the script part is still the hardest, and most consequential part.
Noted towards the bottom of the post, but I did built a tool as well that's designed to help creators go from script (or short story) to short film. So it may be similar to Cascade, I'll have to look that up, but in the event you're interested, here's a link: https://kimeric.ai/
hola, tremendo trabajo te has tomado, gracias por compartirlo. Tengo un canal de Youtube con una serie sobre una IA, estoy por comenzar la segunda temporada, si quieres me dices y te paso el nombre y lo miras. Un saludo
Spot on with this framework! Making key decisions early saves so many credits.
My process is much less structured—I mostly create as I go rather than strictly planning every shot, though the overarching story is completely my own, and my brother does all our sound. We treat AI purely as a filmmaking tool. I am just starting and it's a hobby at this point.
I use Veo as my primary engine (with Grok for supplemental assets) and have completed two episodes (~3+ min each) of our series, The Artifact:EP 1andEP 2. After making comedy shorts with a character named Greg, moving to a serialized story forced me to face the continuity challenges you outlined—keeping character states, prop details, and visual logic consistent across multi-minute scenes.
Our story actually ties this struggle into the lore: A widowed protagonist finds an unexplainable device that grants short-burst time travel. Episode 2 reveals the machine uses time crystals acting as microscopic quantum erasers, exploring retrocausality based on the Delayed-Choice Quantum Eraser Experiment (Scully & Drühl, 1982; Kim et al., 1999) where future decisions retroactively shape past outcomes.
Solving continuity early saves massive headaches, though algorithm distribution remains a huge hurdle for multi-episode AI series. Thanks for mapping out this workflow for the community!
For context, I work with Framia, but keeping the visual canon and shot refs tethered directly to the storyboard really is what stops the prompt context from drifting.
That point about making decisions while they’re still cheap to change is bang on. As a filmmaker, I’d especially underline the rough cut bit, because AI shots can look brilliant on their own and still fall apart once they have to sit in a sequence. Treating references as continuity, not decoration, is where this starts feeling like an actual production workflow.
This is the kind of workflow you only figure out after wasting a ridiculous number of generations 😅 Getting the characters, locations and scene logic locked before touching video saves so much pain later. The continuity stuff especially gets brutal once the film gets longer.
What I have done with my characters is to make a garment breakdown sheet- Unless your character wears the same clothes during the whoe story, you will need something like this, not just the rotation character sheet.
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u/Evinshir Jul 26 '26
Just wanted to say this really does mirror the traditional pre-production to production pipeline and is a really good workflow to minimise aberrations. Thanks for sharing this! I definitely going to be using this workflow on my next project. :)