What if you could change your script, blocking, assembly edits, sound design, or color grade all simultaneously, in any order, whenever the idea comes to you, with all your creative desktop tools in your production pipeline, without starting over? Sounds crazy, but it’s how I made this film with Voyager. @startvoyager It’s the first in a series about a guy whose 1 AM yogurt run turns into a night with a drunken stranger, days before they demolish her building. Based on a True Story... Shoutout to @SamJWasserman for putting me onto Voyager. You’re always a step ahead on latest tools and somehow still make time to share them with everyone. Appreciate you! (This is not a sponsored post. I'm just very pleased with the results I was getting, and I feel it'll play an integral part with my client work.)

Everyone thinks the considerate thing to do is ask when someone seems to be hurting. Not always. Asking is for you. You get to feel like you helped, and the discomfort moves off you and onto them. So he does the one thing she requested: nothing. #dreaminacpp @dreamina_ai

A man adjusts his TV antenna for nine years looking for the perfect channel. His wife waits for him to stop. I noticed in every relationship I've been in, we fell into a rhythm. Sometimes for one night, sometimes for years. Who talks first. Who walks ahead. Where to eat, where to go for the weekend, who moves in. Nobody gets to pick which position they're in, and I've been both of them depending on the relationship. But I could tell you the exact tempo of every single one. That tempo is what I was searching for in this film. Two people running through stages, studio stages, stages on a timeline, stages in life, having the same fight in one room then another. We both know the sentence that would end it and neither of us says it. That's not a sign of a bad relationship. That's just what a long one looks like. That's what made it hard to build, because talking over each other is like a duet and the video models forget that on every generation. They want the two of them to take turns like strangers. So you build the stagger back in every time. He moves, she catches up a beat later, he blinks, then she does. Nobody lands on the same frame. Referencing previous video gens is what binds it all together. It carries what came before and what's coming next in a way no prompt can. And working on Kyoso's platform made that part seamless, but more than the tools it's the people behind it. They're very attentive when something isn't working and they'll actually go find a fix. For example, Seedance generally will block gens with human faces over possible IP strikes, which means every gen gets treated like a risk. @kyoso_ai found a solution where we register the faces and IP with their agent and they handle it from there. I don't know anyone else doing that. But it makes sense. The onus should sit with the creator, not with the platform or the model, and I believe that's a step in the right direction. But you know what ties all of it together? The music. It's what turns their bickering into a dance. Once they're off running you can hear the tempo they've been keeping the whole time. Nine years of it, and perhaps neither of them can hear it anymore. Director, Writer, Generator, and Editor: Me Executive Producers: @kyoso_ai & @jordandchesney Composer & Sound Designer: @DavidLaChanceJr Produced by: JDC Entertainment

A former child star hides in a video store. At midnight, his biggest fan finds him. Most people use gen AI for spectacle. The impossible camera moves, the things you can't shoot in real life. I get it. But with this one, I kinda just wanted the film to live or die on faces. Turns out that's the hardest thing I've thrown at Seedance 2. The prompts had to be super dense. Every micro-expression written out, every gesture, every half-second where a face flips from delight to grief to stillness. But there's a limit. If you pack in too much, the model gets overwhelmed and starts hallucinating on every single run. So the whole process was a balancing act. Enough detail to get a real performance, but not so much that the visual falls apart. One character talks a mile a minute, and the other is suppressed, holding everything in. But honestly, the film is for everyone who feels like they peaked a little early. The ones who found some success when they were young, and then watched people take from them, and take, and take, until there was nothing left. Until the thing you loved became the thing that emptied you. It's for the ones who need a little encouragement to get back up. So be nicer to yourself. It's okay to take breaks. Just don't wait twenty years.