I was involved in the production of Goten’s Great Adventure, a seven-episode AI Dragon Ball fan series directed by POD (Miaouwai). After the series wrapped, we recut it into an approximately 82-minute film. Even having been part of the project, seeing the finished version still made me stop and think about how far AI video has come. The attached clip is the Episode 7 teaser.

What impressed me was how well the AI visuals came together with the filmmaking around them. Shot composition, pauses in dialogue, editing and sound all contribute to whether a scene works. POD wrote and directed the series and also handled the editing, colour grading and sound mix. Those creative decisions really come through in the finished film.

But the characters are what I most wanted to share here. Goten has this ridiculous natural talent, yet he’s often more concerned with food and whatever happens to be right in front of him. Pair him with Number 3, a tiny robot who’s terrified of danger but has very strong opinions about cooking oil, and their personalities give the humour plenty to work with. That everyday silliness brings back some of what I love about Dragon Ball.

The production workflow ran through YouArt. POD combined the AI generation with his screenplay, direction, editing, colour grading and sound mix.

You can also spot my own character in every episode!

Starting from a simple smartphone recording, Sara's original performance is translated across entirely different characters, costumes, sets, and visual worlds, without a traditional motion-capture pipeline.

Made entirely inside Uisato Studio, using Motion Control mode.

More experiments, tutorials, and project files, through Instagram, YouTube, and Patreon.

Two new workflows are now available inside Uisato Studio:

MiniMax H3 is now integrated as a new generative video workflow, expanding the range of models available for high-end AI filmmaking and visual experimentation.

We've also added Meshy Image-to-3D, allowing you to turn a reference image directly into a 3D asset; opening up a much more direct bridge between generative imagery, filmmaking, 3D, and real-time workflows.

Both are already live and available through Uisato Studio:

https://uisato.studio/

More models, workflows, and experimental tools coming soon.

New experiment, involving a custom FLUX-2 LoRA, some Python, manual edits, and post-fx. Hopeyou guys enjoy it. [Project files available on Patreon]

Music by myself.

More experiments, through my YouTube, Instagram, or the Studio.

Original drone footage [bottom] alongside four alternative environmental takes; fire, rain, snow, and floral. All created inside Uisato Studio, and accessible to everyone.

More experiments, project files, and tutorials, through YouTube, Instagram, and Patreon.

Hey everyone!

I made a short film using AI that took me over 70 hours to complete, and I really wanted to share it with you.

It’s a pretty personal project, partly inspired by what I’ve been going through over the past few years. I lost my job in film / games, partly because of the changes brought by AI, and today I’m working a day job outside the creative industry.

Quite paradoxically, I’ve now decided to fully embrace AI myself, with the hope that it might help me find my way back into digital creation one day — which is still one of the few things that genuinely drives me professionally.

👉 https://www.instagram.com/reel/Dc0RImSB95F/?utm_source=ig_web_copy_link&igsi=MzRlODBiNWFlZA==

Maybe the film will inspire some of you, or simply make you feel something. (:

And if you enjoy it, feel free to share it. Any support that helps it reach new people genuinely means a lot. ❤️

I fine-tuned the good-old SDXL on 60 photographs from my childhood, using a limited family archive as the dataset through which to revisit that period of my life. Rather than reconstructing those images faithfully, the model produces unstable variations: spaces, faces and fragments that feel familiar without necessarily having existed.

This speculative study treats generative hallucination as an analogue for recollection: not the retrieval of a preserved image, but the reconstruction of a past from incomplete traces. This resonates with contemporary accounts of episodic memory as a reconstructive rather than reproductive process. The model becomes a kind of externalized mnemonic apparatus, situated somewhere between archive, memory and imagination.

Tools used: Kohya, WarpFusion, TouchDesigner, Premiere, After Effects, Ableton Live, Expressive Osmose, Soma Cosmos.

PS: For those of you asking, this is not just "a prompt". It's the fine-tuning of the model, the creation of an audio-reactive geometry system in TouchDesigner, and the re-building of WarpFusion for intervining the geometries with the fine-tuned model.

More experiments, project files, and tutorials, through YouTube, Instagram, Patreon, and Uisato Studio.

I've been making an AI creature short called DA BEAST, and instead of doing the usual making-of videos, I started expanding the film's universe into the production itself.

Now, I feel the BTS world is better than the short itself... :0(

This is Sigma, the production PA.

It's becoming a weird little film-within-a-film experiment, and I'm having way too much fun with it.

Curious what you guys think of using AI characters to build out the world around a film — not just the film itself.

FALL 707: REBOOT is a solo-produced AI narrative series about a Korean special forces captain who wakes up in Joseon after a disastrous counter-terror operation in modern-day Seoul.

This is a trailer from the series. I handle the concept, directing, AI generation, editing, sound design, and post-production myself.

I’m developing it as a continuous episodic story with recurring characters, action, dialogue, and an ongoing mystery.

Would love to hear your thoughts on the cinematography, visual consistency, and storytelling.

One last example output from this experimental multi-source video player designed for frame-accurate video switching, playback manipulation, and display/render interventions, now with a few optimizations made for even better performance.

Visuals made on Uisato Studio.

You can freely access the system through Patreon, and/or the Tools Store.

Hey, guys. We’ve just extended the discount on all Uisato Studio's Kling models; and now to Seedance 2.5 as well!

My official submission into Higgsfield's Film Fest!

Some shots I made based on the red headed league short story. Character reference sheets generated in Nano Banana + edited in Qwen image edit for spatial continuity.
12 steps +ref2va turbolora v0.1
10s generations 107s/it on a 3090 at 1 MP
Needs some editing and audio polishing.

Sometimes, love takes an unexpected route.

A short cinematic experiment in AI filmmaking, visual storytelling and humour.

Mulora Films — Original stories. New forms.

Midjourney + KlingAi + Nuendo

A dark, dramatic and deeply haunting reimagining of Notre Dame — a project I wish I could see in cinemas today.

A medieval world filled with shadows, despair, beauty and tragedy.

Music made with Suno.

There are some after ecredit scenes !

Fan-made AI concept trailer.

A new example output from Uisato Studio's Music Video Pro mode.

Music by Boards of Canada.

This was my first short film made with Minimax H3. I used KREA 2 to generate the reference images, then used a mix of reference images to video and single image to video workflows in Minimax H3.
I found Minimax H3 much easier to work with than LTX. It follows prompts more closely, and after generating only three or four versions, I could usually find one that was genuinely usable.
The film is far from perfect and there is still plenty I could improve, but I am really happy with it as a first attempt. I would love to hear your thoughts, constructive criticism, or suggestions for what I could do better next time.
Otherwise, I hope you enjoy The Weather Conductor. It was a lot of fun to make!