AI Filmmaking: Prompt Engineer a Complete Commercial from Concept to Final Cut

1. Introduction: Car. Now, that, my friend is a $1.6 million commercial made with AI. Again, not partly with AI, not AI assisted. Every frame of every scene, every environment, every location, every reaction, every character. Everything is generated with the tools you have right now with your laptop. All right. Now, before I tell you how you build it, let me tell you a little bit about myself. My name is Dijo Sm gupta. I run a production house in Bombay called Ag Media Productions. I am an entrepreneur. I'm a director, producer. I had my bachelor's and my master's in films and animations from Rochester Institute of Technology in New York, with a specialization of FX, CG and color grading. And I've been making film. It's been my passion ever since I was a child. I've been doing this for almost 20 years now started very young. The course of my life, I've been honored to have received over a dozen awards, nominations, including Akans 2024 nomination, my short film countless. Many more films in the works. I also make stories for brands, for my clients, a lot of short films, a lot of DVCs, lot of fun stuff. So about two years ago, I started paying serious attention to AI, just not as a gimmick, not kind of replacing what I do. But because I could see clearly, this was going to change what production means, and I wanted to understand it before it changed me, my mindset. So I tested a lot of tools, built AI employees, built automations, good systems that I've built, good systems that my entire company is working with. And it was a lot of failures, a lot of successes. What you're looking now is a result of that work. Going to the crux of it, the brief you just watched is real. It's a proper production bible to kind of document that gets handed to a director before a $1.6 million gets sanctioned by the producers. Again, like log lines, synopsis, thematic core, 31 shot breakdown with camera notes, duration targets, tool assignments, the whole spiel. And obviously, we didn't have $1.6 billion. We reverse engineered it with Hicks field cinema studio, nano Banana and DaVinci Resolve. That's what this course is. Again, we won't go deeply into the nano Banana cinematics. We will dive more into the prompt engineering. So, again, this is commercial filmmaking, which means different rules, different structure. The way you're thinking is different. Again, you're not telling a story. You're making something that makes an audience want to stop completely in like 105 seconds with no dialogue, just sound effects. So you have to think creatively. That's the product, that's the film. Everything else is a setup for that one frame, which is the beer. So I chose again, this is something that obviously AI could not think of is what if? So if this was an actual beer, it would be like the sound, you know, something that the crack and the hiss. That's like the sound, the classic sound that touches every person's heart of a beer. I wanted to capitalize on that. And that was the whole point of it. Like, with sound, I direct. Again, Hicksfield Cinema Studio is your primary generational tool. Every dramatic scene, the operating theater, the courtroom, the cockpit, the Himalayas, the apartment, everything comes out of Hicks field, right? We are not going to go into detail of how I made these characters and how I made the locations. That's a complete, separate class altogether. If you want it, please leave it down on the discussion. Today, we're just going to work with what we have. Basically, we will be using a specific prompt structure, basically one flowing paragraph that moves through the camera, moves through the subject, action, environment, lighting, and maybe a little bit texture and audio in that exact order. Audio maybe not that much, but be using the character, the tagging system that Cinema Studio has, use that to always maintain character consistency. We're going to use divid resolve for the edit, a little bit grading, and the sound design and the final mix, 11 labs for the voiceover, which is towards the end. So this is how the class is structured. We start with a production bible. So before you touch a single tool, before you need to understand the brief as a real director. The thematic core is where the shot list is built the way it is. Why are we using B roll here? Why are we using extreme close ups here? The order of the elements, why are we doing this? We build a system before we generate even, like, a single frame. Then we go scene by scene, total of five scenes, 31 shots, 105 seconds, approximately. So, again, the hardest scene is the Himalayas. The most critical shot is the crack of the beer, and the most underrated lesson is probably the selection system. Knowing which image to keep, which take to keep. That is an edit decision, and most people do not treat it like one. They're like, This looks good. Download. You got to think from a director standpoint. So again, every lesson has one output. By the end, these outputs stack into a finished commercial. So let's go. Let's build it. Try to work on the prompt engineering and try to work on those aspects instead, rather than focusing on character consistency at this particular point of time. To focus on getting the shots cinematic, trying to make it so that you are actually in control of the shots. So, let's go. Let's begin. I will dive right in, build the entire from scratch with you guys. So let's get into it. 2. Reading a Production Bible like a Director: Alright, so let us begin. So we are now in lesson number two. So think about it like this. So this commercial is about a beer, sparkling water. Basically, I'm envisioning this as a beer, okay? Because it's just like, it's an emotional thing. So every commercial starts with a brief, right? Basically a short document that answers, what is the product, who is for, and what does it make them feel? And that is where you need to always build the production bible of your commercial. Alright? So if you see over here, we have 32 shots, 110 seconds, approximately $1.6 million value, zero crew. Alright? So if you see, we have the entire thing kind of laid out in one, two, three, four, five, six. We have scene one the operation theater, scene two basically kind of like a court, scene three the cockpit, scene for Himalayas, scene five is the payoff and last but not the least the logo. So before we have when I was thinking about this whole commercial, what I was thinking was, what can we do to make this pop? So the whole structural rule that I came up with is sound before vision, always, right? And that is how I kind of built out my log line, my thematic core. Now this is something that AI cannot do. This is something which is completely in your brain. You have to think of this. So here we have a log line. In the moments that define you, ARCA finds you. Right? So that's the log line of this product. Then we have the thematic core. Arca is not a product commercial. It is a film about the moments before something breaks, and the something breaks is kind of like the crack and the hiss of a beer, right? So it's like that moment just like that anticipation before every time a beer is over like that. And that can is the relief. That sound is the story, right? Every creative decision in this commercial flows from this one idea. The product does not need to be explained or sold, right? It needs to arrive at the right moment and be heard your ears. So sound design is extremely important in this. So we have five people, five worlds, five moments of extreme pressure, operations theater, courtroom, legal decisions, pilot flying in the skies, Himalayas being in the mountain, meditation, one sound that finds them all. So the thematic core is basically the whole point of this beer. It reveals itself through sound. First, image becomes second. Again, remember, thumb rule is never design a shot before you know what it feels or know what it sounds like. So as like an exercise, I would say, kind of try to write a single paragraph about your product or your concept, a single line, see where you can find peace in that. So we see over here, operating theater, surgical theater, blazing overhead, steel procession, nobody home yet. Grand courtroom, architecture of authority, empty gallery, no session yet. You know, so these are the locations that I have defined. And if you see what I did, what are these cool, cool, cool, cold, warm, is I'm also subconsciously using color grading to define the emotion. Everything, every single one of them are following a cool color palette. And then finally, the payoff is just a regular ordinary person having that warmth, giving that feeling of homeliness with that beer. The protests entire identity in 0.3 seconds. Everything before this moment was building up to this sound. All right? So now, that is that is all for lesson number two. Let us move on to next lesson where we will be discussing the five scene architecture, and we will go a little bit into in depth with color. 3. The 5-scene Architecture: Alright, amazing. So now let's get into the five scene architecture and the color arc in detail, right? So we have over here, we have scene one, which is the operating theater. We have a total of six shots, which is going to be like around 19 seconds. So basically, five vignettes, right? Each scene is a complete world with one character and one location and one problem. And the problem is kind of basically the distraction, the familiar sound, the crack and the hiss of a beer. That's what's happening with scene number one, which is the operating theater. We have the sound kind of like biometric, the ECG blap, the teat, teat, the machine registering life under pressure, tempo, regular, human, not metronomic. Alright, so cool. Then we have the courtroom, the barrister, which is the lawyer or the judge, the weight of judgment, every word is calculated. Grand courtroom, a place of authority gavel strike echo. You know, we can use deliberate final followed by the silence that, you know, the anticipation of the gavel to the sound of um, okay, wait, the crack and the hiss again. So a little distraction. Same thing with the cockpit, you know, maybe during a turbulent time, maybe during a thunderstorm, he's about to access the VFR. And as soon as that happens, he hears a sound. Looks a small distraction. Same thing with the Himalayas, wind dropping to silence in the whole blizzard and the whole snowstorm or there's a calm within the monk. And then finally, there's a small smile or maybe a small distraction or looks in another direction and sees that, okay, there is something that's happening. That's that. And then the payoff is kind of like the most ordinary person a person can be a simple guy with a white t shirt at home on a holiday or after work, just chilling by his couch, takes the beer, crack in the hiss, you know? So that's where, like, the main product's identity kind of comes into play. And then if you look at the thing, the color temperature is basically kind of like an emotional map. It's cool, cool, cool, cool, and warm, which brings you home, which is the final home run, yeah. So if you see the rule over here is the color arc is not a style choice. It is more of an emotional story. So your project, whatever you choose to do, make sure to map out your scene structure. So now let's go to the overview. Map out your scene structure and assign a temperature to each scene before generating anything, right? For this one, our structural rule is sound before vision, always. And what we're going to be doing is we're going to be following a prompt system. So in the next couple of lessons, we will be mapping out a basic shortlist, a basic understanding of how we're going to be generating the shots, and what is the timeline, what is the story of how we're going to be unfolding each scene. So let's get ready for the next lesson. 4. Mapping the Shot Lists: All right, so as we discussed, we have a total of 32 shots and across five different scenes. So each shot has a job. So the way we're going to be doing is we're going to be establishing. We are going to be acting. We're going to edit breathe for a little bit, and then which you know, the breath is going to be the Bro and then we're going to react, and then we're going to transition. So again, the tool assignment is not random, all right? So it is basically Higgsfield handles everything with characters and motion, and we're using Nano Banana Pro for um the product itself because it handles the product with text and graphics with super hyper accuracy. So we're going to do that for the stills where the product is visible. That is only in scene number five, right? And for this one, what we'll do is file naming is going to be of the utmost importance, um, every shot gets like a scene number and a letter. And when you have almost like 200 takes, trust me, this naming is truly going to help. So what we're going to do is we're going to have a project name, something like ARCA underscore one A, one Alpha, underscore take one.p4. All right. So what we're going to be doing, I'm going to show you a quick example of a scene. So we have, let's say, this operation theater. So if you see first, we have a couple of stills that we're going to be doing is we have scene one A, start frame then scene one B, scene one C and scene one E. Now, basically, so this has six shots of the operating theater. So the way we're going to be doing is we're going to have the stills generated using Soul Cinema using one Alpha Bravo Charlie Delta echo, and one echo. The last frame of that scene of the video will become the first frame of one F, which is one foxtrot start frame. So what that will do is that creates a chain link of the shot. That's what is one way of adding consistency to our images. All right. So now, for example, we see over here like a breakdown, we have an establishing shot, and the way we will always remember, the way we're always going to be working is we're going to be working with the prom structure, which is camera, subject, action, environmental lighting, texture and audio. This is something we will always follow, and I have seen with a lot of tests that this is the best way to get high quality cinematic images. Alright? So let's take an example over here. I'll let you read through this. And, of course, you can see we're going to be tagging the location, the character, and the prop whenever necessary. That way, it always um, takes that into consideration. So we see establishment, we see Bro, we see an action, we see another role, we see another action, and then a reaction. And then after that, we switch. So for example, operation theater, we have six shots. The courtroom, we have six shots, cockpit, we have six shots. Scene four, we have six shots. Scene five, we have seven shots, but just kind of like the payoff. And in this, we will be having the Nano Banana Pro images as well, which we're going to be using as and for the product, right? And the other thing what I'm going to be doing is, I'm going to be showing you the folder structure real quick. So we have this folder structure called ARCA Production. If you take a look over here, we have assets. The assets are going to have characters, the locations, the location cards, the product can. So over here we have the product can for the beer. So you can take a look. I have a front hero, a three fourth angle, a back, a top down, a condensation of the entire thing, and a tab up close. So these are all references that when we use the prompt in nanobanana, it will be able to automatically use this for, um, accuracy of the product. Then locations, we'll have the location cards here, via theater, courtroom, cockpit Himalayas apartment, right? So doing that, and then we have the characters, the lawyer, the mountaineer, personnel, pilot, and surgeon. Alright. And we have a couple of test frames as well. So what we will do is basically this whole aspect of camera, subject action, environment, lighting, texture, and audio, what we're going to be doing is in the next lesson, we are going to be showcasing with a test frame. Basically I have a test frame of the court and the monk. So you can see the monk. This is the character, by the way. And the courtroom. This is also the character. We're gonna be doing a test video with a prompt with the similar structure and showcasing how that is actually going to help us build it in the next lesson. Alright? So let's go. 5. The 7-element Prompt System: Alright, amazing. So now what we're going to be doing is we're going to take one of these test frames, and we will be working on making, um, a prompt using this same camera subject, action, environment, lighting, texture, and audio. So always keep in mind that, um, cameras always first always try to lead with that because otherwise, it's just going to guess your camera movement, and we don't want. Want to be a director. And that's the whole point is you need to think before you need to put everything here. Don't just let AI decide. Again, AI is your tool. You control it. Don't let it control your story. All right. So now we will use location tags. So for example, so let me just go to Higgsfield and let me go to Cinema Studio, and I'm going to do 2.5. And what we're going to be doing is we're going to be using basically a start frame, right? So use a start frame, and I already have the start frame already generated. So we're just going to use this one right here. So we have to start from here. Now, this is how we're going to go about it, okay? So we do, like, a slow push in from mid distance mid distance. And basically, So at this point of time to words. Now I know my character is Tenzin Dorgi, so I tag him like that. I said dusted in the Himalayan plateau. So I'm going to do Himalayas, which is the location that I have built. Fine 35 MM grain, breath condensation traces visible in foreground, near silence. So I can do that. Now, basically what this does is it kind of o you can choose a category as well, and I'm just going to copy this. Scot. I'm going to take this start frame right here. Put it there. What that does, it also locks in the aspect ratio. There you go. I'm going to do I'll just do one generation for now, and I'll just generate it single shot, and let's do a 7 seconds for now. Let's just do 6 seconds just to understand. How it goes. I sweet to generate. We're gonna do same thing for the courtroom. And I have these um go forward. As Lillian whereas Lillian. This is my character, Lillian. She reads, and this is the courtroom. I have the courtroom. So I'm tagging. So every time, keep in mind, the reason why I'm tagging is because I've spent time building these characters and building these locations. So that way, there's always consistency in the location, always consistency in what I'm doing. So you can see, over here, static slope push in, camera eases forward as this person sits on the bench in full black robe. So keep in mind, we are following this structure always, right? So it's very important to follow that structure. A distant creek of old wood near silence underneath, right? Now, just change the start frame. I am going to drag the courtroom picture as a start frame and do just one generation. There you go. Now we just wait till this is properly generated. Alright, so we have one generation up. Pick this. Look at that. Isn't that amazing? My see, there's some artifice here by his hand. So again, I just did one generation, but you can see with like a single pump like this. Imagine the amount of detailing that we've already had with. Now, we'll just wait for the second one. It's still generating. Oh, it's done. Take a look here. Look at the detail of sheet, the crumbling of the paper, the details, her eyebrow. Freaking amazing. So imagine if you do this properly, I'm telling you, you have you can make whatever you want to make. And you can cast whoever you want to cast, honestly, even if it's yourself, to be honest. Alright. Basically, this is last number five, which is the Higgsfield system. So, um, basically, in such a case, what we would be doing is, let's say we have this one. Let's say we downloaded this one. So let me just show you a quick example of the chaining logic that I'm saying. So let's say we have this one right here. What I would do is I would open Resolve. I would go to the edit page. I would let's say drag this video file here, and I'd go to basically the last frame. I'd go to this last frame, for example. And then what I would do is I would do File export current frame still. And then let's say I put this in downloads. Let's just do I do a test chain and I export. So that becomes the start frame of the next scene. And then I go back to do this. Go back here, take the start frame, go to my downs and take this one as my start frame. There you go. Sorry, that scene was black in color. And now what I will do is we do another prompt here. So we have as himalian elder, which is ten Zen, Breath our eyes open, deep water gaze, lens calm, join unhurried smile not perform camera, blah, blah blah. Recognition, the frame and opens fully. The milia opens fully behind thin cold flat boom. So let's do that and we'll do just one generation and generate. One more. So let's just see how this one works. So now what we can do is now we basically chain this, and now this one, we're going to kind of put it in timeline over here so that way we can chain and make it consistent as a star frame. So I hope you understood the last frame of the previous take is going to be the first frame of the next take. So that is how we're going to be chaining this. I'm just showing this as an example of how we're going to be working on our commercial as we make it. Alright? So let's wait until this is generated. And now this is done. Now let's check this video out. There you go. Now, again, this is a test. Again, I set the duration very less, so it hasn't had time. The amount of information I put, and the duration that I put is actually not right. So this is just a test to show you how this works. So now let's see if I downloaded this and I let's say I put this over here. And this would kind of go entirely like this. Boom. Okay? Now, again, you can see the aspect ratio. This is kind of playing around with it. So that's because in the prompt, if you recollect, I kind of put, um, the Himelis opens fully behind him, now obstructs the storm begins to thin out. Turning away from the camera until the back fills the frame. So the fills the frame even change the aspect ratio of it, which is okay, which is something we can take into consideration. So again, guys, this is trial and error, right? So not everything is going to happen and take number one. AI can make mistakes. It is up to you to take those mistakes, prompt engineering it to make it exactly like you want it. It's as good as telling action to a camera and the actor doesn't do a well job, you take another take. You do another take until you get the perfect take. All right. And that's pretty much it for now. Let's move on to the next lesson where we would be talking a little bit about the character design without a casting director. Alright? So let's go. 6. Characters without a Casting Director: Alright, so in this one, we'll talk about how we're going to be tackling character design consistency without being a proper casting director on site. So again, keep in mind, you're not casting a person. You are designing an archetype, right? Or role, or world, a set of pressures. So we've chosen five very difficult, um, extremely difficult professions. We have a surgeon, we have a judge, barrister, we have a pilot, we have a monk, and we have an ordinary man, which is, like, completely, completely polar opposite of the other four. So again, intense situations, for example, the surgeon, he is not a doctor, you know? The surgeon is someone whose decisions have no margin for error. That idea drives the whole character. So one soul cinema reference character image one soul cinema reference image per character, that image is kind of like your consistency anchor for across all your scenes across different angles. Every shot of that character must reference it. So again, I'm not diving into how we create the character in Hicks field. This is more of showcasing how we're actually using it. So, for example, I have a character called Diego Diego Marin, right? Diego Marin. So if you take a look over here, we have different shots of him holding the beer. So we see Diego Marin leaning back on the couch in rooftop holding Arca on his chest with one hand upright label facing directly towards the camera. Refer to Image one for accurate can design, label placement, and angles. So take a look at this. We have a prompt where we're tagging the character, tagging the beer. So the product design, the character design is already made. So that way it's consistent. So we see this one. Then we see another angle where it's the same person, you know? So this is where this how you're creating the consistency of the characters. Same thing over here, a little condensation, some more reference images. Again, Diego Marin in the tag of the prompt. Another one which is inside. Then we have another one where he then we have another one where he's drinking the beer. Another one with the blinds, you know, the lights falling, the blind lights falling on his face, little condensation of the Arca beer, another one at the rooftop. Sorry, I keep hearing a noise. So over here, you see that. Another one with a different angle condensation. So you see how we're using the same character references, we're using that. So now let me show you the character sheets that I've made. So we have the lawyer So this is the character sheet. So you see, like, a close up mid shot, the back side and the front side. So we're going to be always referring to this character sheet for the lawyer. Then we have the monk in the snow in the snowy mountains. Then we have the person at home. Simple crumpled white T shirt. Then we have the pilot. Crystal blue eyes. I don't know, I just thought that there would be some good nice eye color, especially if I zoom into his eyes, especially at the nighttime when he's flying the plane. Then we have the surgeon. The surgeon is going to be easy to nail with in terms of consistency because he's mostly going to be wearing a mask and, like, the hat that people with the scrubs that's usually there. So that is the characters. Then we have location tags. Again, this is in the assets folder location. We have basically the cockpit. So in different angles of the cockpit of the plane. Different views. The courtroom. Showcasing a little bit of the windows. Again, all of this is kind of like your pre production. It's kind of like your storyboards. If you don't do this, you will never get a proper looking commercial, proper looking film. The Himalayas. Then we have the living room. So you can see how much detail I'm working on over here is that if you see even the little cup over here, it's there everywhere. So that will maintain it maintain the consistency, the pattern of this design, like right here, right here, right here, right here, right here. Always nailing consistency. It is that attention to detail. Then we have the operation theater. This is the flip side of the angle. So when I generated all these through an Banana Pro. And again, we're not going to get into how generating these images. It's mostly the prerequisite of this classes that you have these ready, and then you kind of just get into creating the actual cinema. Put it in the discussion below if you want a separate class on just working on the locations and working on the characters, we can get into how we are going to do that. Yeah, that is the character design. In the next lesson, we will be generating scene number one. And again, super excited operation theater. Five scenes to go, Scene one. Let's begin. A 7. The Operating Theatre | Part 1: Alright, boys and girls, let us begin scene number one. Alright, so scene number one is basically the operating theater. So what we're going to be doing is we have a couple of setups here. We have different again, like I said, we have in finite budget. So we have a 70 grand format, 70 film. We have a premium large format digital. We have a cine digital. We have a classic 16 film. We have a premium large format, digital. We have all lenses. We have cinema primes, we have anamorphics. We have extreme macros. We have all different types of apertures. We are using different setups, and we will be using different lenses to create some amazing looks. So now, the first one we're going to do is we're going to do the establishment still, which is scene one establishment shot, right? So let's go. I'm going to take a prompt, right? And what I'll do is I'm going to go here and I have the setup saved here. So I'm just going to make sure it's the right one. It's epic. Uh, So in this one, we're gonna choose a grand form at 70 MM. Classic anamorphic 14 MM and aperture of 11. I'm gonna take a prompt, and we're just going to put it there. So white exterior shot, slight low angle, looking up at the hospital building facade at night, modern hospital glass and steel or brutalis concrete, cold, white, blue light blazing from the upper floor windows, blah, blah, blah, building lit monolith against dark night sky. Clinical authority at night, distant hospital the hum of building a full operation, photorealistic still image. Again, this is important for the image generation. I'm going to do a grid four by four, 21 by nine for cinematic format. We will do just a one batch because the reason is a grid generation basically it skips generating one image at a time, get a full grid from a single prompt. What this does is it just saves your credits. So I'm just going to be a little stingy on that, and let's generate. Boom. Alright, so you can see it does like a four by four grade, one, two, three, four, one, two, three, four, which is nice. I actually think I don't need that. I think two by two is good. I think a total of four. And what I'll do is I'll make this bat size two. But anyway, we do have a couple of good images that we generated. So we have this to All right. I think I'm going to use this one. I'm gonna upscale this. So basically, you could see the number of credits that you're using is more or less the same thing. So it wouldn't make that much of a difference from what I'm seeing. So let's wait for this to get upscale, and then we're going to use this as our establishment shot. So you won't really waste your credits. I think I'm just going to do a one by one and keep two images. That way, we have a little bit two different variations because now what I understood from the grid is that basically you get a full grid from a single prompt, but shares the same context, but there's not much variation. Like, if you take a look here, like, there's hardly variation. So there's no point. Again, this system just released kind of today, so I'm also getting used to it. So anyway, we got this ready, so we'll just download this preparing download. And the best part is it's four k. So it's gonna preview this real quick. Perfect. Boom. We'll just do one establishment shot, and it's going to cut this. And what I'm going to do is I had a couple of those extra images and go to place it there. And ignore those. I was just testing those stuff out. So we're done with the establishment shot. Now let's move to scene one Alpha. Alright? So this is where tags are going to be super important. So let's go to the setup. So this is going to be setup two. So let's go to the saved. So set up two, we're going to do a grand format 70 MM film, clinical sharp prime lens, 14 MM with a focal length of F aperture F 11. We'll use that and what I'm going to do is use this prompt, high overhead white angle looking directly down at the surgical table. Then I'm going to tag the operating room, sterile surgical suite chrome instrument trays, flanking the table, overhead surgical lights, blazing white blue from directly above. Then we have doctor Matteo Rinaldi stands at the head of the table, full surgical gloved masked, two scrub nurses flank either side. Also gown and masked instruments arranged with military precision, full surgical team visible from directly above, diagram of authority and precision, cold, clinical overhead light, heart shadows directly below, no warmth anywhere. Clean surgical drapes on the table, photo realistic still image. All right, so let's do this. I'm going to add their I'll just keep this. I have a feeling that they might be looking at the camera, which I don't want, but let's see how these two how the two images generate. Then we'll take a call after this and generate. So we'll wait for this to finish generating. Okay, so there was an issue with one of the generations. Apparently, there was some NSFW which they started getting, which is, like, kind of, like, they probably thought I was breaking up a body or something like that, but I didn't want that. So anyway, looking at this, it took the character right. I took the location right. Pretty nice, pretty nice. Um, Let's do this. Let's do two more. Let's do two more of these. I want to see some more options, right? But I really like this one. I'm gonna download and keep this one. This is one Alpha, by the way. Pretty good. Pretty good. Not bad. Not bad at all. So Arca, one Alpha. Start frame. Alright. Cut this. Oh delete this one. This is the old one or test one. I'm gonna do take one for one. Oh to this as well. I can always get it back from X field. Alright. Let's wait for this generation, and we'll be back. Okay, so what did I tell you? In this one, all three of them are looking up at the camera, which is obviously no. So this one doesn't look like it has a body in between. So it just looks like a flat bed, which will not work. Also, this location isn't that accurate. I really like this one. So it's a little bit clean. Obviously, this is a little bit more realistic. So maybe let's try to reference this and trying to do, like maybe not two. The let's see, the green sorry call line. Green surgical drapes on the table, I should look like there is a body underneath the green drape, but not directly visible. Alright, let's try this. Let's do two of these, and then if these two do not work, then we will just go with the one that we have downloaded. And I use that as a reference because I really like how there are stuff around. It makes it look a little bit realistic. This one was a little bit more empty, looked a little bit more like a studio setup. So let's wait for these two generations, and then we'll come back. Keep in mind, guys, the start frame, this is where it's kind of like preproduction. You spend a lot of time with a good start frame because if this is not proper, this is not accurate, when you do the videos, there is going to be possibility of it kind of breaking, right? So this is where you spend ample amount of time. Alright? Alright, so you can see it looked like they were trying to show something real, which is, I don't want. So this is fine. I guess we can work with this. Let it be a little bit studioish, which is fine. Um, this is also nice, though. Let's use this as a reference. Less cause that looks like something, there's something. Then we have Doctor is focused. Nobody is looking at the camera. And let's just do one of this and see how it is. See how much time I'm spending just for the first start frame because this is kind of going to be the anchoring point, right? Is basically if you get this right, everything else has a reference point. All right? And I think scene one Delta is also like a Broll shot, but it also carries the first ARCA sound cue, which is, like, check the ECG blip. So we'll work on that when we get there. Again, don't get attached to your first take. I know it's amazing, but, like, try to keep generating more and more. Different takes always. Remember how on live action when you're on set, you go one for safety. These are the safety nets. Alright? So let's get back once this finishes generating. So you can see in the recent one, he's just looking outside, which I don't want. So basically what I did is focused looking down. Nobody's looking at the camera. So I just do it a generation to see whether it works properly, right? So one Alpha, let's do another one. Keep in mind, we already have one good take, and we just need I'm just trying to get to that perfect moment to see whether it's actually gonna work. Alright. Okay. This is perfect. I'm going to use this one. I'm gonna download this. I'm gonna keep it we'll generate the videos, and we'll see which one works better. Okay? So this is gonna be our take two. So Arca, one Alpha. Take two. Cut this and just paste it here. And yes, this is a start frame. Naming always, guys. Always helpful. Alright, now we move on to shot. One bravo. Top down close up, nurses hands arranging instruments. Alright? So this is gonna be basically the B roll shot. Alright. So let's go here. What I want to do is I want to get rid of this, boom, boom. Take this top down close up overt angle, looking directly down at the instrument tray. Then we do OT, sterile chrome instrument tray surface, nurses glove hands, arranging surgical instruments with military precisions, scalpels, clamps, and retractors laid out in perfect order, cold, white, blue surgical light from directly above, hard shadows on instruments and chrome trae surface, Chrome instruments, green surgical cloths lining the tray, edges, latex gloves, no warmth anywhere. Photorealistic still image. Look at the amount of detail that I'm using. We're going to do two generations. For this setup, what we will do is we will use setup number three. One, two, three, which is a premium large format digital, clinical sharp prime, a 50 millimeter lens, and 1.4 aperture. I just feel like a director. I'm like, on set, just choosing whatever camera I want, which is just so freaking amazing. Right? And there you go. 21 by nine, check check. Alright and generate two more images, and we will see how they turn out. We'll be back when it's done. Alright, so we have two images flipped. One is from this side, and one is from this side. I really like both of them, so I'm going to download both of them, and I'm going to keep them because in the Edit page, I might just see from a continuity standpoint which one might look good, because again, it's a mix of AI and what I'm going to be doing as an editor as well. Alright, so let's go check that out. So we have downloads. This will be one Bravo. So Arca one bravo. Start frame, T one. Copy, and so be T two. Alright, cut them and put them here. Alright, so we have one B done. I really really, really good job. Really good job. Love it. Alright, now we're going to one Charlie, which is here. Tight close up a surgeon's gloved hands in the surgical field. Alright. Amazing. So what I'm going to do is go back here. And for this, I think I'm going to use the same 150 M because we're doing a close up. A very shallow depth field 1.4 premium large format digital. Alright, perfect. And one, Charlie, tight close up, eye level on the surgical field. We will choose the operating theater instrument trays in the shallow background blur Chrome tools precisely arranged. I'm going to choose doctor MaterVnads gloved hands at the surgical field, positioned and ready. So I have practice person with hands studying overhead surgical s, blazing white blue from directly above, heart lean shadows on the gloves and instruments, clean surgical drapes, framing the field, stainless steel instruments, latex gloves catching cold, surgical light, no warmth, photo realistic still image. God is in the details, guys, and generate And let's wait until this is generated. Okay, so I'm looking at the first the one Alpha. I honestly, to be honest, like, this is a little bit more realistic, yes. But in this commercial, everything's going to be pretty much zoomed in. So I'm honestly liking this one and also is doing justice to the location. So I kind of like this, and I like his texture of how he's like, you know, ready. The light on his skin is definitely much better than here. It's a little bit too much commercially. That's more cinematic. So I might go with that. I'm just sharing my thoughts. Alright. Ooh, amazing. So we have one with blue gloves, one with white gloves. So let's take a look at our original image. Keep in mind, guys, continuity is key. So both of them have white gloves, so we have to kind of use this one. Alright. But I do like this one, as well. But again, I don't think we should show much gore in, like, the actual film, so I think this is better. So, right, so let's do this. Let's download this one. So this is gonna be one, Charlie. So we have Arca, one, Charlie. Start frame. Take one. Cut and paste. Alright. This is fine. Alright. In case we need anything, we can always come back, okay? Now we do the next one, which is one Delta. Tied on ECG monitor screen, steady green Hartline. Alright, so we're going to do this one. This is a pretty simple to do. Boom. But with this location, you see how overall, there's always consistency in the environment, which is just amazing. Now on this one, we're going to go macro. So I'll do like eight K digital, full frame. We'll do an extreme macro. We'll do, like a 50 MM and a four. Allright? Te close up, blah blah blah. All right. Let's do two of them, and let's generate. And we'll be back once this is done. Alright, so we have a macro shot of this. No, the thing is, I'm not a huge fan of this, like, translucent thing. So what I'll do is I'm gonna do another one. The monitor is kept. I think what it's trying to do is trying to forcefully put the um, the location. So what I want to do is I'm not gonna put the tipering theater. 8. The Operating Theatre | Part 2: Let me find your room dark. Behind it, I'm just not gonna put this one. The screen glowing with a study. I'm just gonna keep this. So the reason why I don't want to keep the background, I want to just do like a tight focus just on the ECG monitor. Just that. So let's do that and I'm going to see how it looks. All right. Let's do two generations. So on purpose, I remove the tag so that it doesn't try to force a location. Again, keep in mind, guys, that just because you have a location tag for consistency, sometimes you don't need to see the location, so you need to make sure you need to think on the fly when you're using that. All right? This is where a director's job mix in AI is very, very important. So let's wait for this generation, and then we'll be back. Okay, this isn't that bad. It kind of gives like a low key reflection of what. At least it's like way up in the TV, which I can zoom in and post as well. This is, like, not the location, which is fine. This is somewhat the location, so I'm gonna keep this one, okay? So I'm gonna keep this one. Down on this, this is one Delta. Downloads. So we have ARCA one Delta, start frame, T one. Actually, I don't really need to put takes. It's only if I download only if I download one. But I'm just. I'm used to nomenclature, so I'm just going to do it anyway. And in the project files, by the way, I will provide the whole naming convention, so you can just use this for your usage whenever you if you're following along on this project. Alright. And then last but not the least, we have one echo which is medium close up surgeon face eye level. So this is very important to get consistency mark. All right. So over here, tagging is hella important. So the prompt is medium close up eye level location importante. So we have OT, sterile surgical sweet, clod white blue, placed from above. Then we have doctor Mateo, Rinaldi stand as surgaly fully surgical gloved mask, co clinical surgical eye, no warmth, eyes alert and focused above the mask scrub cap. Now, he hasn't been wearing a cap, so I'm going to remove this because the earlier generations didn't have a cap. So consistency. Insymmetry is blurred behind him, the authority of someone completely in control of the space. Now, in this particular one, over here, you see this little thing. We can add emotion. So I'm going to put a little bit acceptance, apprehension, disgust, hope, which is interest, basically, Serenity, trust. So I think I'm gonna put a little bit of trust. Actually, I'm going to let AI decide quickly for this one. Maybe for the next one, we could use surprise. Let's see how it generates. Alright, so we'll be back. While this is generating, let me go to the last one, which is the reaction. Eyes above the mass, hands slow. In this particular one, the reaction, we're going to be chaining this. So once the video of one echo is done, we're going to take the last frame of one echo and use that as the start frame and then use one fox trot as kind of like the prompt. Use that as the start frame to build the build the rest of the scene, which is the next shot. So that's why one echo that shot is very important. Alright. Now, take a look. Now, this one is pretty good in terms of, like, what's happening. But you can take a look that this is not really adding context to our scene as to what's happening. So what I would do is the two ones that we have, which is this one. I will basically reference this, add this as a reference. Reference this and the one that we have, I will reference this, as well. So we will add two references, and what we will do is we will also please refer to image one. Sorry. Two. Image one and Image two for surrounding elements for surrounding environment and placement of people and of subjects and objects. Subjects and objects, maintain continuity. I'm putting that so that, like, you know, people around are making are still there. I understand it's a medium close up, but this will not fly because it's a table. We have a whole body, you know, so let's do this and let's generate two more images. Because I have a feeling that this one, the earlier one will not really work. So let's see. We'll be back after all of these finished generating. Okay, so one of them didn't really work out. So I'm going to do a batch of three this time and just see whether this works. But this is at least better than this one. But we don't want the masked. No cap on his head. Let's do three generations this time. It's always difficult with people, trust me. So let's do this this one for some reason, started having a cap which is not correct in terms of continuity. So, see, AI does make mistakes. It is up to you to, like, kind of ensure that this is done properly. Alright, let's wait and see when this is back. Okay, so we do see a couple of nice ones. So I like this one. So it is very natural. It is very possible for a nurse to come behind and watch what the doctor is doing, which is nice. This one is also really, really nice. I really like this one. I really like this one. So I'm gonna download both of them. These are the first, only two ones that I really like. This is also nice. I'm being honest. So three takes for this one. Alright? So downloads. So this is one echo. So Arca, one echo, start to frame, T one. Copy this. Take two. Take three. Cut and paste. So we have Alpha, Bravo, Charlie, Delta, and Echo, and this is establishment shot. Alright, amazing. Cool. So we are done with our image generation. Now what we'll do is we will now put them into footage. Alright? So we have establishment. So we'll add one more folder called Just Epic. Exterior establishment. I think this folder was missing. So we will call do this as zero. Zero. There you go. Copy this 'cause I think everyone is gonna have that. Just gonna put this here. Paste. Courtroom, then we have a cockpit. Himalayas footage. You might call me being OCD about it, but this when you have a lot of footages, things like this are really, really helpful. Alright, so back to theater Opresion Theater. Footage. Alright, so now what we'll do is we'll do the establishment shot first. So I'm gonna copy this. I'm gonna, this is fine. Base this here, here, keep the start frames. Keep the start frames open and this one open. Alright. Now what we're going to try to do is we are going to move to the videos. Now we're going to take this establishment shot basically that we did. Make this into a video, right? Okay, now we go into the videos. So let's go. So what we're going to do is we have various options now the time of me recording this video, there's a lot of new things that have just come out, which is, um, basically Cinema Studio 3.5, which is really, really nice. But I don't know whether I'm going to be able whether I'll have enough credits to showcase that to you. So we will try. We will try. We will see we'll try one of them, and we'll see what can be done, right? So, what we'll do is we'll use the establishment shot first. So we'll take this. We will upload media. And what I'll do is I'll just paste this here. We have production, theater, start frames. So we have this arc on this establishment. Now the thing is, I'm going to leave this auto aperture dy focus one point for moderate auto. Then we have color palettes as well. So I'm going to leave this auto, leave this auto, leave this auto as well. I'm going to explain it in the prompt, right? Camera Lens But I don't like this ten ADP, you know, I'm just gonna do 2.5. I'm gonna keep it like that. I'm gonna keep it suspense. Keep the sound on, keep three. And for the establishment shot, what I'm going to do is I'm going to basically keep this one, and I'm just going to paste this. And I just want to basically I want to see what happens if I use the AI director, and let's see what happens. Curious. Alright, so it's working. AI director. Let's try to see if the tag works here. Tag is not working here. Operating theater. Let's do this. Let's see what Let's see what the AI director says. Okay. Thank you. Okay, amazing. So I did this for me. So what I want to do is I will apply the changes. The issue with this is if I add a reference media, let's say I did this one. But now I want to use this as sort frame. Okay. I'm going to do one and just see how it is. Let's make this maybe 7 seconds and generate. If this works properly, then, and if the thing is quality is good and this AI director is helping me, you know, place these things, then it's really I'm really happy, to be honest. So Alright let's be back when this is done generating. But the issue with C dance is that I think it takes long time. So let's see. And in the meanwhile, what I'm going to do is I'm going to do the regular one, as well. With my regular prompt, I'm going to do a 2.5, as well, and then we will see which one is better. I'm sure the newer model is better, but I want to kind of If it does a better job, why not, right? Start frame. We'll just think it's this one. If I'm not wrong. There you go. It is the right one. Suspense. Yeah, it is a little suspenseful. We'll keep that movement. We'll keep this 7 seconds. So that's 70 credits versus 14 credits, so keep that in mind. Let's just do one generation. So we have two different modes. One is cinema 3.5 and one is cinema 2.5. We'll see which one is better, which one is faster. Alright, let's wait for these two generations, and then we shall compare. Or let's see how this one was the cinema 3.5. This one was cinema 2.5. So let's check both of these and see which one is nice. Okay, let's take a look at this video. Go back. Definitely not. I don't want no transitions here. Ca 2.5 didn't really do a good job. Not bad. This is really nice. I really like this one. I really like this one. Wow, 3.5 is actually really good. Alright, let's go with this. Amazing. So I am going to download this. Let me just hear this real quick. Not bad. Okay. All right, so I think we're gonna be using cinema Studio 3.5. What I'm going to be doing is I'm going to be now quickly. So this is a good test. Now what I'm going to be doing is I'm going to do the similar thing for all the scenes. I'm going to take the prompt that I have. I am going to put them in the AI director here. I'm going to put them in AI director. And when I put them in the AI director, I'm going to be generating three takes of each of them of cinema Studio 3.5. And once I generate them, we will be doing a picking of, um, which take is good. And I'll tell you exactly why I'm choosing what. And then based on that, we are going to, um, we are going to put them into the folder. All right. So let's speed up that process, and we'll again slow down at the end of when we're shooting when we're shooting, when we are generating play shooting when we're shooting scene one Foxtrot. Basically, we're going to take the last frame you said as the first frame. All right. So let's speed this up for the next couple of shots. And again, same way I'm doing with the AI director. Write my prompt. And let's see. Okay, you guys will see it. I'm just going to speed through it so that the se lessons aren't like huge. All right? This is one Alpha. Drama I will using some characters location tags. Probably do 5 seconds. Choosing 5 seconds. 5 seconds. Let's do 6 seconds, actually. 7 seconds is good. Just cutting. Okay. Change. Choose that one. Choose that. Sounds on mind. Start frame. You take one. 9. The Operating Theatre | Part 3: Let's do in my generations. Which one was it? Perfect. Just this one. Let's do suspens. Let's do general. And we will generate. We'll do three takes. Alright, now moving on. Let's move to the next one, which is the B roll. Top down. Close up. This one. Write my prompt. One problem. Trouble. James tags. You What language product? Great. Location. That's as So I think it was gonna go what I have. I generations. I'll use this one. J Okay. Let's try this one. Okay What I want to try is take this one again. Do this. T Doctor. So this is a start frame I want to use This one start frame. Three of them here. Gene my original prompt. Generate that. Alright, we have a lot of things that are happening. So, perfect. Glad to generate. Okay, amazing. So we do have a couple of good generations. We do have a couple of good generations. What we're going to do is we're going to go with this take number one, which is one Alpha. We can cut these courses in between, kind of use them interchangeably, maybe zoom in a little bit, and then we have this one, which is take two, which is a nice camera jib. We can reverse it and see use it however you want to. So anyway, these are good. These are good ticks. So now what we will do is we will move on to the next one, which is the nurse. So what I will do is remember the start frame that we have. The start frames over here for one bravo. We have two ticks, which is this one and this one. Alright, perfect. So I'll do is I'm going to do top down extreme flows directly down static. We will tag it over here, OT, roman spintr surface, gloved nurses hands, scalpels, clams, retractors, blah blah blah. We'll just copy this. This needs to be in video. 2.5. Boom. That what we will do is we will generate 7 seconds and a start frame is we will choose the one that we have. We're gonna choose this one. We're gonna choose this one. We're gonna do three of them, three of them, and we're going to generate it. Alright? After we generate, we're gonna just choose the best steak. We'll do one with this one and the other with, uh one is this is that. So one is a little bit low angle, and we'll choose this one. So, same thing. We're going to regenerate these three takes each from two of them, and we're going to choose one from the T one, one from take two. And we'll do 7 seconds, and we will generate, and that's it. So after generation. Alright, so generation is done now. We have We have the action, which is one this is sorry, the BL. I really like this one, because the other ones were just the instruments were breaking apart. This one is doing to justice to the movement of the hands with the instruments. Gonna use this as the Bal. So use one take generated six of them. This was the best one out of all of them. So let's go with this one. Moving on to the next one, which is the action shot, which is tight close up of the surgeon. So in this one, o we have this is one, Charlie. Remember the one was with the blue gloves. This is a white glove. So we're gonna use the white gloves. So we're going to use this one as the start frame and take this out, add this as the start frame and paste it. What we're going to do is we're going to go to OT, and then surgeon's gloved hands. What we're going to do is we're going to choose doctor Mattia Rinaldi, apostrophe S, which is his hand or we can do has his gloved hands work carefully at the things so that instruments pass rhythmically between hands, everything control method method methodical, the rhythm of someone who has done this 10,000 times, cold, white, blue surgical light above defining the gloves clearly against the deep surgical drapes. Text clouds, gleaming steel instruments, deep colored surgical drapes, controlled breathing, and the soft click of instruments being passed, right? So this we will always again do another three generations. And after three generations, we get The generations, we get these three. I don't want too much blood on a commercial. Here. Alright, so I like this one. So I'm gonna go ahead and choose this action shot here. Actually, I took kind of three of them. I'm gonna download all three of them, and I could use them a little bit interchangeably. Obviously, this cut that is there. Whichever if you wear. Unnecessary. Take this one. All right. Cool. So this is done. Now we move on to the other Bro, which is the ECG monitor. So we'll take this one, ECG monitor. What we will do is we're going to take this one, take start frame. We are going to use this one, which is the one that we had generated with not much stuff in the background. And, boom, we'll tie this one as OT. Again, three generations and generate. Once we generate that, we have these. Once that's generated, let's wait for that. Alright, that's generated. Now we have this one. Ooh, there's a nice shift here. I don't like this one as much. Ooh, I like this glitch. Alright, so I think I'm going to go ahead and take two of them. So download two. This one. Little bit shipped. And I can use these, you know? Amazing. Love this. Alright. Beautiful. Then we're going to do a medium close up of the surgeon. This is very important because he needs to look he needs to look good. So go here. And this is after he's hearing the sound, so keep that in mind that the expression is hella important to your doctor Mateo. So, look, doctor Mateo's focus completely in control, hands working below frame, eyes moving deliberately between the field and instruments, the authority of someone untouchable in this space. Cold clinical overhead, surgical light, even and without want on his face on the upper edge of his mask, surgical mask covering lower face, scrub cap, alert eyes above the mask, cardiac monitor beeping steadily, surgical instruments, controlled breathing. Alright? So after so let's generate three of them. Let's generate six of them, actually. Actually, let's generate three of them. Alright, so after generation four this is one echo. I have taken these three takes. Take a look. So I have one with the start frame as the nurse. Fricking amazing. Now we have one without the nurse, just like this. And T three is just this one. So I remember how for the start frames for one echo, we had three different start frames, one, two, and three. I took three takes of all of these three start frames, and I chose the best one, which is these three. And what we're going to do is going to take these three, take the last frame of that, and after taking the last frame, we're going to use that as a first frame, right? So in resolve, what you can do is you can take, basically, I'm just going to do this create new timeline using selected clips. Here timeline. And take this here. So basically what you do is you choose this last frame. And basically what you do is you do file export current frame is still. That is what you do, right? And you do that and then you'll have kind of do it this timeline, do it this timeline. Once you do that, you're going to have more start frames, which is this one. Take one, last frame, take two last frame, take three last frame because there are three different locations. So I took this one, this one, and this one. And doing that, we will do the last one, which is Foxtrot. Extreme close of eyes above mask, hand slow, head toiles 1 millimeter, far away look, single blink refocus. All right, so let's do this one. Foxtrot. And using those three start frames, what I'm going to do is extreme blows are blurred surgical lights softly out of focus. Then we have doctor Matteo Rinaldi hands slow slightly below frame, his eyes shift upward, not towards the monitor, not towards a colleague, towards something that has no business being in the room. His head toe is barely a millimeter, far away, crosses his eyes, a single slow blink, then his eyes refocus and he is back. Again, same thing. White, blue, surgical light, blah, blah, blah, the same thing. Cardiac monitor continues to steady beep. Nothing has changed. Alright? And we use the start frame. We're gonna use the three start frames, which is the last frame of one echo of three different ones. And after the three different ones, we're going to choose. We're going to generate them, and let's wait till the generation. Alright, so now generations done, I have taken the best one, which is this one. So I've taken Take one with a nurse in the background. FT is my favorite one. This is T two, Version one. I really like the textures of his eyes here. That's why I chose that. And this is another version of the same start frame. Just take two and take three. We have another one. He's looking up. I like how he's looking away, and then he's looking back. So I like these three, but my favorite is the one with the nurse in the background since but I've always added nurses. So I just think it kind of flows very, very well. So what we will do, finally, we will kind of put all of these together in a timeline and just see how it is, alright? So scene one, what I will do is I'm going to take the footage. I'm gonna go meet these ones. And master, I'm gonna go to the media. I am going to go here. Go AMP projects f But this is the favorite theater footage. Take this. I'm gonna take this and just drive out this year. Maybe, I think, add folders and subfolders into media. No. How do I make a add fold? Okay, create bins. Perfect. Alright, so now what I'm going to do is going to have this one, which is there. Establishing. So I have a timeline which is made, which is this one. Go to scene one, establishing this one. Then we have This one will take one here. Then we'll go here to roll one bravo. Then we go to Charlie. Let's take this one. One Toto. Toto. One echo. One echo right here. And one fox trot. Like, take one. Sorry. I gonna put this here. Alright, let's just quickly watch this one time. Okay. He was before Steen the sent. Whichever if you wear. This is very, very good stuff to work with, and I love it. So this is scene one is complete. We can do a lot with different takes and different things. So let's go ahead, move on to the next lesson and build the courtroom together. Alright? 10. The Courtroom | Part 1: Alright, so now we are moving in to moving into scene number two, which is the courtroom, guys. It's gonna be fun. This is going to be amazing. We're gonna have some fun fun times and basically what this is. I don't need this right now. Alright, so we have an establishment shot first. We have Alpha, Bravo Charlie Delta echo. Alpha again establish again, the same concept. Bravo is Bro, Charlie is action. Delta is again another Bro. Echo is action. Foxtra is reaction. We're going to use the same thing. We're going to build some stills first. Let's do the establishment still. So let's go here. Let's go to Image. Simple do this. And what we're going to do is this one, what we're going to do, we're going to use EpicideO setup number one Oh, hello. There you go. Grand form at 70 Mm. We have classic anamorphi 14 MMF 11. What we'll do is we'll just use this prompt. Wide angle, slightly low angle from the foot of the steps looking up at the courthouse facade, grand stone courthouse, neoclassical architecture, white stone steps sweeping upward to heavy carved wooden doors, columns or carved stone pilasters, the weight of the law in every surface, late afternoon, golden light hard, directional from one side, long shadows cast by columns across the stone steps, few small background figures on the steps, barristers with briefcases barely visible to the building. Scale of the institution makes everything below it small, hard golden afternoon light cutting diagonally across the goldstone, carved limestone or marble. So the amount of details that I've put in. Is amazing. So anyway, we are going to generate three of these, and let's go. Okay, so after generation, what we're going to do is we have three takes. I personally loved this take where persons are just, like, they're chilling there. The one is walking down the stairs. Two of them are above the stairs, and I like the blue sky over here. The other two were too many buildings. I didn't feel like there was enough. Over here, this is also pretty grand, but I didn't want to, you know, include all of this detail. I wanted to focus more on, like, the pillar. So I chose that. So that's the establishment shot. Now we go with two Alpha, right? Two Alpha. And for this, again, I'm going to use this similar thing. Setup one. Instead, we're gonna now do the tag because we're going to show the insides of it. Sorry. Court Courtroom. Grand courtroom, full session, tall windows, filtering golden afternoon light. Tables occupied Judge precisely the elevated ben smaller in sons the room doors with liberatory, Um, Gold enhterm sunlight through all windows, dossilights, dark, polished wood, full skill of the room visible for realistic image. Now, grand courtroom in full session is I don't know how that's gonna turn out, but ideally, I don't want too many people. We use Lillian over here, because that is our actor. We hired her. We casted her. Sonya, let's generate this one. Um, there's gonna be Ideally, I want the courtroom to be empty. I just want it to be laser focused working on by herself, because the more people you add, the more crowd you add, the more AI breaks. So let's see how this works out. Alright, so we have three different generations. One is here. This one, this is not bad. This is also not bad, but this is a man which this is not good. This is also not really Lilian. So I'm going to use the one which has Lilian here. I'm going to use this one for sure. I like this one. I go to save this two Alpha start frame Lilian. From afar, you can already see the way she looks. I think it is beautiful. I'm gonna use this as two Alpha. Now we go to To bravo, which is a tight close up of a gavel which is Tight, close up, gavel resting, judges, hands on papers. Alright? Tube bravo. There you go. Tu bravo. Too tight. Close up. Same thing. T courtroom. George's hands. In this case, we would two Lillian's hands resting. And this one, what we will do is we will use setup number five. So one, two, three, four, five, we will have a full frame. We will have this 150 MM, 50 MM, 70 cinema prime, 1.4 aperture, and a grand format 70 M film, right? If you have access to the cameras, why in the world would I not use it? Alright? So that's good and generate three of them. And after generation. We see I have two different takes that I like. One is this one. Really, really nice. One is this one. I really like this one because it's a little bit more closer. However, you can see, like, the texts are not really they are like they look like alien stuff, so I might just use this one. Lionel's looks decent here, but she might she looks a little bit, like, um, a little bit older than who she is. So we might have to fix that. But we'll come back here if it doesn't work out, okay? For now, let's go back, Let's do two Charlie now. Now we will do two Charlie, which is slightly low angle, Judge mid sentence one finger raised. I might just remove the one finger raised because that means she's talking to someone, and I want the courtroom to be empty. So we'll try to remove that one finger raised instead. Alright? So what we would do is take this, remove that we are going to, again, tag courtroom, and we do lilian. And I'm just gonna remove this one finger raised. Remove this. Leaning slightly forward, blah, blah, blah. And for this one, I will use 35 MMs to set up four Same lens, same camera, the focal length I'm changing to a little bit wider and the F stop to F four, alright? And generate. Now, after generating, I see that we have many takes that we like. So now we have take number one, which is a finger raise. So I did do one extra generation. Alright scratch this. So using this one. So this is one. And this is number two. So I like both of these, so I'm probably going to use both of them. I'm going to generate one with a finger up as well, and we'll see how that is. Now with the original prompt, I had the finger up. This does look good, but we will see. I don't think I want to use this. I think I'm gonna use take two or take three. Alright? So there you go two Charlie's done. See now our speed is now faster because now we've got the hang of how this is going, you know? So we have a couple of these done. Out of this generation, I also like this one. I'm just gonna download this, as well. This is the tube rubble. I do like this tube rubble. I'm just gonna save it as take them with three. And boom, boom. Take three. Don't need all of this cleanup. Some of my invoices. One of the things that you got to keep paying for being a business owner. Alright. Next one we have is the tie closes up Lawyer Spen hoovering, Jo leaning forward Atlas Dudas. T closes up your ****. Stupid take this out. Boom. Tight closes up. Take this out. Cordrm. And this one, what we will do is we'll again go back to setup five pun chin again to a 50 MM with open aperture for more boca. Let's close. What's up? Proxy is not been perfect. Alright. Then we have Baba. We generate three of these and four Delta. Let's see. Now, we see that the generations over here are going on the opposite side. So we started wide. Then we went to her left side, her left side and her shooting. Now, if we move to the right side, which is behind her, we can't use these. Why? Because they are breaking 180 guys. So it's very important to keep those into perspective. The second thing is we can't use this as well, because this doesn't have this little ledge. You see this ledge? This ledge is important because we need to showcase continuity here as the ledge. So that is something we need to keep into perspective, and you need to make sure that is always followed. Otherwise, there's no point. So kind of hovering. What we're going to do, again, we're going to use this one probably. You see, this one is flat. We have more people there. This is breaking 180. This is breaking 180. This is, again, changing the entire layout. Remember, we already established the area. She's not down. They're all on the same level. So this is another person, again, breaking 180. So what we will do is we're probably going to use this one, and we're going to edit this. So edit this, and we're just going to remove people in the background and generate. That's the fun part about AI. You can still edit it. Now nano Banana Pro does this the best. But nano Banana Pro doesn't do the best in generating cinematic images and the choice of cameras that we have. I mean, you can input it, but this one, this cinema studio does it the best. So that's shot to Delta. After the edits, we have two takes that we generated. So one is this one. One is this one. So one with the person, one with other person. So you see now I'm probably going to use this one. But now, the issue that I am facing is, if you see, like, her mouth here and the one that Delta, the one that we took here, her mouth here are different. She looks way older in this take one, right? So I'm going to regenerate the two bravo one, and instead I'm gonna use this one, T two as a reference, alright? So let's do that. A perfection is the name of the game. So we are going to go to some of the cameras. Now two Bravo was setup number five, which is 70 MM 70 prime, 50 MM, three F 1.4. Perfect. We are going to use the same prompt that we did. I'm gonna tag courtroom and Lillian. And what I want to do is I'm going to take references from I want to upload it. A start frame. Let's just see without it if it does a good job or not. So It's too bravo, right? Too Bravo. Too fun. I'm going to use this one as a reference. Let's just generate, see what happens. I do want to generate this. And while we're doing that, we will also generate um, this one, medium close up judge face chain two F via last frame export. So two foxtrot is gonna be the first frame is gonna be the last frame of two echo, right? So keep that in mind. So we go do two echo now. To echo, use this prompt. Courtroom. Lillian Brooks at the bench. Reading glasses resting. I want to remove this 'cause we need to show that she's gonna wear it. Otherwise, there is no point of continuity. I just figured that out. Medium clothes, and it already floor. The images and generate. Boom, so after generating, we have two echo. Three takes, which I liked. One is this one. This one. And this one. So these are all good images. One has the gavel in the papers, which is continuity, but I think this is fine. She could have closed it, so so that's okay. We'll see if Ds are generating. Okay, so this one we have this one. Gavel resting. So it's not showing continuity. So what we're gonna do is we're going to do tube grava again. And it's gonna reuse the prompt. Carton Lillian. And we're going to use reference of let's see, something. This ensure the desk set up and the tilt and the ledge at the top end is exact matching to image one, which is a reference to three generations generate. I'm doing this for basically two Bavel, which is this one tie close gavel resting judges hands on papers. Is another Bro so again, we have the two Delta already kind of taken. Right here. This is still fine. We can fix a lot with color correction and, like, blurring. So just fix the writing. But let's fix let's check these generations out. So two echos also done. So foxtrot is gonna be the last frame of two echos. So not so worry. So let's wait back until this generation is done. Alright, so we got good generator. So we have this one. So I think we're going to use this one. I think this is perfect. So we're gonna use this one, and this is two bravo. We're gonna do this as take number three. So I think I like this one. Pop, pop. I'll see two bro CoplesPis and Tip three. Maybe take four. Sorry. Okay, this one was also not bad, but she looked maybe a little bit. The desk is not proper. So just take four then. There you go. Let's go back. Strot it. Perfect. Alright, so we are done with our still images. Now we can begin our video. Amazing. We're getting the hang of these guys. Now we'll just power through the video. So now what we're gonna do take the establishment shot the first one. 11. The Courtroom | Part 2: And we will be making videos out of this. So just delete this one, go into video. Start frame. Image generation WW that we chose, which is the blue one with the blue. So we'll choose this one. I just want to see whether the like actually happens. I'm curious. If I like this, will I be able to see it? As a start frame. Doesn't make a difference, right? I thought it would. I really thought it would. Alright. So extra shoans push up, we'll just do, like, a ort room, as poem classroom. Well, let's do 5 seconds. 6 seconds is good, I think, for these. Three generations and generate perfect. There we go. Let's just wait back until we generate the establishment shot. Alright, Zed had really nice ones, so we have this one. Then it is doing a cut for some reason, which I don't want. I want to cut myself. Okay, this is pretty fast. Don't want that? No I don't want to fade either. But this is nice. I'm gonna use this. I don't need that much. This is good. This is good. This is good enough for an establishment shot. Cool. So we're gonna use this one. And we are going to by the way, you can extract the end frame and the start frame from here in case you want to download this one. I think I download twice my bad. So Thanks. Here, courtroom. We have footage, exterior establishment. Boom. So we'll do Arca two step. Amazing. Now we do the two echo. To Alpha, sorry, grand Courtroom juts Mmll against architecture, and perceptible push. Amazing. We're gonna do this one. We are going to take this, take the prom. What we're going to do is take the start frame. Our image generation. I think it's this one? Amazing. The reason I'm selecting here and not directly uploading is because the sizes are too big, so it will have to re encode them, and then after encoding, then upload them. So it's just easier to choose from the generation instead, as long as I am aware of which one I'm using. So I'm using this one. Alright. So Fortran, Lillian Brooks. Boom, single shot three generations in the studio. Generate. 7 seconds for this one. Six is actually okay. 'Cause each shot is gonna be around 3 seconds, so six is good, just like 1.5, 1.5 from either side, just for cutting. In case there's an issue in the edit timeline, we can always come back and redo it, you know? So the best part about this is we don't have to go back and shoot it. It's a matter of a few seconds. That's the best part about AI is I'm directing this while I'm sitting on my computer, which is amazing. And they look they don't look AI. They look real. As long as you prompt it correctly, use this exact structure, camera, subject, action, environment, lighting, texture, audio. Six step. Alright, let's wait till this generates. Well, let's take a look at the videos it's generated. Let's check this out. Not bad. Oh, I love the papers. Good touch. Okay, I like these two. I'm gonna download this two T one and take two. This one and this one. I love the fact that she's playing with the papers. Seems to me she's busy in some crucial work. Alright, so take these two. Cut. Establish boom. So this would be Arca two Alpha. Take one. No, I do two Bravo, which is son. CT Bravo tight close up. Alright, so this one is gonna be Alright, so two bravo. Let's go here. So we have many takes for this one, I remember. We have four takes for this one. So let's do one, two, three, four, five, six, 789-10-1112. 12 generations, guys, can we do it? Can we do it? Um let's see. Which one was take number four? I think that was my favorite one. Just this one, right? So let's use this one. Was it this one? Let's comparing. Yeah, this is the one. Let's use take number four. Let's see how that works, actually. Alright, Let's do, six second, let's do. Yeah, this is the one for T four. Yeah, this looks pretty good. Okay, I'm going to do this one. To three of them, generate. All right. Amazing. Then I want to do one with take number three. Tate number three, but it's not accurate to the thing. Let's do take number two. So, this is what happens when I directly tried it right here. 20 megabytes. And this is 30 megabytes. This is where I like I miss Mac 'cause you could just, like, you know, encode it right there. And you cannot do that unfortunately with, um, windows. So let's try to look for it. We this one. Let's choose this one. Take two. So m Yep, this is the one. So I think I'm going to use these two takes and I'm going to generate. So I think six generations is okay. The other ones I've kept just in case, it's like you're taking couple of takes continuously, and you maybe use two or maybe use three. And then you finally put and use only one, which is your final shot. So it's basically like I'm shooting a couple of things. So I'm using two takes, two different start frames, and then kind of work in a way that I understand that from these two, which one will be better. And I might like both of them and I might keep it. Then in the edit timeline, I will decide which one I will use as the final final final final one, which will be so these two will basically be my candidates. Alright, so let's wait for this generation to complete. Alright, now we have six different generations. Let's take a look. Alright, so we have this one. Oh, man, this is showing people which I don't want. And same thing for this one. Same thing for Oh, the paper glitch. Alright. Well, let's take a look at this. Oh, not bad. I like this one. Let's just download this. Okay. Coring. Okay. I want to do another generation, and I want to use the first one is the starting frame, which is this one. Because I really like the take four that I used. But this time, what I want to do is the dry shuffle of papers, the quiet creep of wood. Don't show the entire courtroom. There is nobody else in the courtroom and shouldn't be visible in the background at any time. Alright, let's do three generations of this. Alright, let's we'll be back after this generation. Amazing. We have a couple of more stuff. Let's see. Little bit win. I still see this guy's hand. I don't want this. Okay, definitely not. Okay. All right. Alright. I think we have our shot then, 'cause this is the best one that we have. And we'll use a little bit of the VintiRsolves, like, thing to make sure, like, the text is really not legible and doesn't look AI. Alright. Amazing. And if anything, at the end, we will try to recreate this with nano Banana Pro. Just a steel frame. We'll see. So this one will be this is to gravel. So we'll call this Arca two B. No take, so there's just one take. Alright. Now we move on to two Charlie, which is slightly low angle, Judge mid sentence, one finger race, low push in. Alright, perfect. Let's do this. Now, poop. It's too slight low angle to emphasize authority. Slope push in. We will do at the courtroom, tall windows behind her, law books. Now we have Lillian, mid sentence from authoriative. We do not want one finger raised and we do not want every word carries a fold of the law. While she is reading the papers, read legal papers, her words are pretty perfect. So we are going to first see which one is our candidates for two Charlie. We have three takes. One, we're going to use I think this one start frame. Alright. Okay. Perfect. So let's go start frame. I chose the right one? Yes. Perfect. I did choose the right one. Alright, so you will do three of these, generate. Chenchen chen generate. And then after that, I'm gonna do T two, as well. I'm gonna use this one. I really like T two. So gonna use T two as well. And generate this, as well. Ooh. Lillian Brooks, let's go. Let me see some good acting. Lillian Brooks, let's go. I'm excited. Alright, let these generate. We will get back to Lillian Brooks. Alright. Boys and girls, we have two Charlie ready, which is the slight low angle. Okay, so let's see video number one. For the record, this court is done negotiating. For the record, this court is done For the record, this court is negotiating done. I wanted to look outside. I wanted to For the record. Look down. This court is negotiating done. For the record, this court is negotiating done. For the record. This court is negotiating done. Roll, this is a the record. The court has read what you filed. And now the court will read what you tried to hide. The court has the court has read what you filed. And now the court will read what you tried to hide. The court has read what you filed. And now the court will read what you tried to hide. The court has read Wis want to use the ones which has more of her looking downstairs, not downstairs, like down at the paper, right? For the record, this court is done negotiating. For the For the record, this court is negotiating done. For the record, this court is negotiating done. For the record, this court is negotiating done. Okay. For the record. The court has read what you filed. And now the court will read what you tried to hide. The court has read what you filed. Yes. And now the court will read what you tried to hide. The court has read what you filed. And now the court will read the court has read what you filed. And now the court read what you tried to hide. The court has read what you filed. And now the court will read what you. I like only one out of all of them. What I want to do is The moment she starts to look down, she never looks back up anymore up anymore. She continues to read by looking at the paper, pretending to read lines on the paper. Only starting is looking up. And what I'll do is I'll just increase this to 8 seconds and do three more generations. So this will do since the start frame is looking up, and there's nobody in the court, so she's gonna go down. So she's gonna go down, and then we'll have plenty of time to her for her to read, like, the paper and stuff. So let's see how this works. We already have one good take. Again, this thing is probably only going to be 3 seconds long. We have already done that, but I'm just going that extra mile to see if I can get a little bit more perfection, right? Alright, let's wait till we get these generations. Also, I'm almost done with my generation, 34%. This is where you have to spend money, guys. This is where you have to spend money. Again, it's better than $1.6 million. Alright, so let's see now, we have three different ones, which is built. Alright, I'm gonna turn on the lights because too dark for you guys, eh? Alright. Let's checked. The court has heard enough. By the authority vested in me, by your excuses are noted, then set asad. She's exact Judgment is entered. The court has heard the court has heard enough. By the authority vested in me, your excuses are noted. Then set assade. Judgment is entered. The court the court has heard enough. By the authority vested in me. Let's do one. Nothing She look. Maybe I am following my own thing incorrectly. What we would do is we will do the action part. I'm doing it towards the end. Ways She looks at papers, turns the pages, and continues to read without looking up. Let's try this now. 8 seconds and generate. Alright. This is two Charlie, right? Yeah. Do we have one too Charlie already? The court has read what you filed. And now the court will I do have This is really good already. So I'm gonna go here footage to Charlie. So I would do Arka two Charlie, take one. Hopefully, out of this, we'll get to take two, which is a better one for safety. So let's see. Alright, let's check how the two Charlie is. We already saved one. Um, we saved one for this one. Let's hope this one does a option. Hope this does a good job. For the record, there is no room left for doubt. This court isn't here to negotiate with noise. Judgment is entered. For the record. For the record, there is no room left for doubt. This court isn't here to negotiate with noise. Not bad. See action following the step, the prompt structure. It helps. Let's see the last one. Let's hope. For the record, there is no room left for doubt. This court isn't here to negotiate with noise. Amen is entered. For the record, there is no room left for doubt. I like this one and the last one. Let's download this one. And let's download this one. Download both these two, put them as T two and T three. We can cut across. You can change once you have the clips, you can kind of, like, punch in punch out. Then you use your editing skills to make stuff. Freaking amazing, bro, freaking amazing. Alright, so we have Alright. These are all done. Downloads. Alright, so I'm just going on what I'm gonna do is copy this. Paste this to take two and paste this to take three. Alright, two Charlie is done, guys. Now we move to two Delta tight close up Lawyers, pen hovering, JerelanFwd, everyone suspended. Amazing. Amazing. Alright, headphones off. Now we will create two Delta. So I'm gonna take this prompt. Boom, boom, boom. So tight close ups quick intercuts. Tight close ups with quick intercuts. We do courtroom. Y'all do with are pen hovering over notepad. Now writing, suspended mid thought. No. Now we have juror leaning forward. So instead of a juror, what I'll do is Lilian Brooks leaning forward, completely held. Suspend gravity for words. No, I don't want to show this one. 12. The Courtroom | Part 3: Looking forward, completely held. Again, this is the Bureau. Suddenly looks away. Distracted, distracted on global afternoon light on the faces of the audience business. This is wet the courtroom. Perfect. This is good. Now, what is This is two Delta, right? So in two Delta, what was our start frame? Delta, two Delta? Alright. We have two takes. This one and this one. So without, without, without, without the person. So take two. So do you use T two. Alright. So now what I will do is start frame. Start frame. Yeah, it's gonna be difficult. This is the one with the guy, right? Mm. Yeah, right now, the website is glitching out a little bit, my boy. Alright, let me fix it. I'm just going to refresh, maybe restart my computer and just come back. Give me a second, guys. Alright, so now you have the start frame ready? Man slop it forward. What I'm going to do in this one is I'm going to try doing a multi shot. I want to do a single shot. I'm also going to do a multi shot auto, and I'm going to just crank it up to 10 seconds. I just want to see what AI does over here, right? Generate. And I'm also going to do a single shot as well. Multi shot auto. What that does is kind of takes different angles, cuts it according to you. What we can do is we can use that, maybe use some parts of it. We will see. And we didn't do it for the operating theater, but I thought, let's switch it up over here. So these are ways of how you can kind of make or break different types of videos and commercials. It is going this extra mile that makes a difference. It was taking time to even generate, but we'll do this, and we will do a single shot as well. Turn it down to maybe seven, 6 seconds, and we'll do another generate. And then we will see you guys when these six videos have been generated. Alright. Alright, now, let us check what these footages are. I don't like the thumbnails. There's personality there in the background, which is improper, which isn't accurate. Let's see. This is multi shot. Yeah, this is the first one about Multi shot, yes. Correct. Okay, if you take a look at this one, I do like this one. I do like it. This is nice, but I don't like how there's a person in the background again. This is nice. Um, right. Multi shot. Multi shot. Um, see. Distracted. There are no other people other than Rooks in the courtroom. Let's try that, and we will do one with multi shot and another one with the regular just like single shot. I want to do that. I want to see how this is. I don't know why it just included people. Okay, this is nice. I can use the pen and her looking away. I'm unable to see this one. Took? No. Okay. We could use There's pen on the side, but there's a person on the background, but we can use the pens. That's nice. Alright, let's download this. I think we're good, per se, but let's I mean, I still don't want to, like, downloads. So two downloads, which are pending, right? Yeah, two downloads that are pending. Or let them download. This is obviously not gonna work for the single shots. I'm glad we did the multi shot for this one. Very, very creative. That's where AI can really be. Alright, let's pause until this downloads finished. I'm just gonna save it to my File Explorer. Alright, so one is downloaded? Let's take that. To child This is too Delta right. It's, uh, too Delta hero. We'll do Arca, two Delta. Take one. Alright. Second one still downloading, so we will wait until then let's see if we can watch this. It's there, but it's not there. It ain't playing. Alright, we'll wait. Alright, so now we have these ones. Okay, you're red. Leg out part. Come on. Another person. People keep coming in my frame. Okay, you're Red. Alright, see this one. We already have something similar. Oh, she's not in the main juror. She's like, Oh here. Does make sense. Okay, we have what we need. We're just waiting for this download 'cause it's taking forever. Alright, we'll just wait. Alright, amazing this is done. We'll take this one. Coffee. Take two. Boom, boom. Take two. This is the final that we chose. Okay. Perfect. Now we do, um, two echo. Alright, so two echo is. Her face commanding the room, eye level is static. Alright, cool. Amazing. So two echo is basically this one. Boone two echo. Close up eye level. Courtroom Bird courtroom background behind her. We have Lillian commanding the room, come who gets control the room. Amazing. Reading glasses. Not there. I'm changing 'cause I don't want reading glasses. It's been 10,000 times looks and reads the paper with confidence 'cause I don't want it to look, again, outside. Alright, so let's just do two. What is this two echo right? Let just look at the start frame. So we have two takes. Which one should we use? One. Two. Alright, so we'll use T one. I like T one. So take one is basically we have is it this one? Come on. Trying to see which one it is. Oh, we have three takes, sorry. One, two, three. Okay, so it's the one with the papers. Let's use that one. One with the papers. And the gavel. Right. Let's just drag it here. This one is less than 20 MB. We'll just drag this start frame. 6 seconds. M don't need the room listening. Perfect. And and we will do multi shot auto. I really like this multi shot 'cause it gives me room to play with in post production. So I'm going to do that. I'm going to make it 7 seconds and generate poop. Because what we can do is we can play around with a little bit of that, play around a little bit with this, mix and match, you know, put Delta and echo a little bit back and forth. That way we can really, really capitalize on the reaction because we have a medium shot of her, like, you know, looking on the side. And then here we have maybe she's speaking more, so we can punch back and forth at different angles, which is really nice. Okay, so three generations. Let's be back. A, let's check. There are some generations which are done. Let's go here, go back. Okay, man. This is nice. I like this wide. I like this white kind of brings back, goes back. I like this one which can be used. This is nice. And I want to do, like, a single shot as well. 7 seconds. Generate. Let's generate the single shot and see what works, what doesn't. I'm almost out of credit, spois. Alright, let's wait till this generation is done. Alright, so we have a couple of generations. Let's take a look at this one. For the record, your story is very tidy. Shame the facts aren't is nice. For the record your story is very tidy. Shame the facts aren't for the record, your story is very tidy. Shame the facts aren't also very nice. The record. We can use it in. The story is just someone we can use this to, like, Oh, she's distrusted, you know, something like that. For the record, your story is very tidy. Shame the facts aren't Okay. For the record, your story is accents 'cause the book is closed. We'll be getting kind of zoom in on later on. Okay. So we have two Delta. This would be two Echo. Spell downloads. So ca two echo. Take one, copy this, paste this, and then take two. Alright, e's go back here. Okay, so we have this one. Okay, we can use this one. To echo. Did I put this in the wrong one? No, I didn't. Two echo. This is T three, 'cause I might just use that white shot. Look, I like this white shot, which is nice. Yeah, okay. W. Just copy this. Sorry to play it. Let's pick three. Now what I'll do is I will open Resolve. Alright, so I have this one, which is the whole video. Let me just for now, what I want to do. This is for some reason, my Internet is not working. So I will try to change this to a local thing. The Internet is being wonky for some reason today. I just need something to. Alright, so I'm gonna take these three takes, put them here. And I'm going to create a new timeline using selected clips. Create, take take number two, take number three. Now. Shame the facts aren't. Put this right there. One frame before. Take this file export. Is current frame as still. What I'll do is Courtroom start frames. What I will do is I will make this as a PNG. PNG, and I will call it Arca. This is two echo. Take one. Last frame, take one. I'm gonna copy this. Export. Perfect. Same thing with this one. Take the last frame here. File, Export. Current frame is still, paste it and make this take too. Export, that's done last but not the least. Take this frame. Because it's creative, I want to maybe use this wide, punch into the next one. Export, current frame is still, and we'll do this as take number three. Boom, export. Amazing. So we have all these three. Delete this. Don't delete this, delete this. And I will close resolve also. Boom. So now we have these Last frames, as well. Now what we'll do? 'Cause we will take this one, which is the reaction. Extreme close up. Absolutely static. Now what we'll do is we'll do Midward she straps mouth open, heatils eyes elsewhere, beat, then returns. All right. So we will take the sorry, so take one JPEG file, put that as a start frame, upload it, and you add a little bit of distraction. Do a quick generation. 42. There you go, generate. But anyway, this is done. Move this, upload, take number two JPEG. Wait for it to upload. Hopefully, this time it'll be faster. Okay, wow, this is done. Generate again. Generate, generate, generate, generate. And then we go to the next one, which is the last one. We'll just take number three JPEG file. Excuse me. There you go. I delete this. Take three JPEG file. Ri frank. Let's hope this is done early. Alright, so we have the next one which is ready. And There you go. Generate. There are a couple of ones which are done. Let's see. There's a cut. All right, let it generate, and we will be back. Alright, so for to echo, we have these final takes. Take a look here. For the record, your story is very tidy. Shame the facts aren't. For the record, your story is very tidy. Shame the facts aren't. I really like this. I really like this one, which is really good. And then for the for the last one, which is basically the last frame, what I'm going to be doing is I have this reaction. Sorry. Using the start frames as this reaction. Basically, the JPG files. So this one T one and this one. So we're gonna be using these three last frames, right? So basically, based on these three last frames, we are going to create the two foxtrot. So let me just quickly Alright, so we're going to be for courtroom. The two fox extreme close up, midward, she stops, mouth opens, head tiles, eyes elsewhere, beat, then returns. All right, same thing. What we are going to do is here. We are going to pace the prompt extreme close up absolute static. Again, just tag, and we use Lillian again. Lillian, boom, boom, boom, boom, boom. We take the start frame. What we're going to do what we're going to take the start frame, and we want to use every start frame, every start frame of the last frame of two echo. So the three start frames, I'm going to generate three, six, nine. Don't do nine generations, and we'll see which one is good. Alright? So after generations, go let me show you the takes that we have. Now I workshop, I did a lot of assessment, and I found these two takes to be the best ones. Take a look. For the record. The slight eye twitch is just perfect. I might just use that zoom. So this is just amazing. Now, what I'm going to do is I'm going to put them in, put them in DaVinci Resolve and just see how everything kind of floats, alright? I'll just line them up and we can see. Alright, what I'm going to do is I am going to take just, like, the timeline. I'm just going to drag everything from here, courtroom, footage, establishment shot. Take this one. Then I'm going to take **** one here. So drag this out here. Put the dig one here. Take one here. Then take the Bro, put it here. Here, then we take the action. I'm gonna put all three takes here. And I just put maybe on let's see how it is. I go to Charlie's Don to Delta. Let's do B here. To Delta to Echo. Take one. And then to Foxtrot, else, do you take one. 'Cause right now, we're just lining up to see. Again, we can always come back and change it, but I just want to see how it looks, alright? Let's go. When it removes this? Be raw. Amazing. The court has read what you filed, and now the court will read what you tried to hide. For the record, your story is very tidy. Shame the facts aren't it was take two, right? Aren't Good. I think we have enough. We have enough. If we need anything, we will take a look at it in our edit. And obviously, we can switch, like, for example, maybe I want to use this one here, this one there. We will switch it around and see what we can get, alright? So that's it for courtroom two. Now this is where you have to, like, you have enough footage. You did enough takes. There's only you have to, like, stop at certain point and move on. Otherwise, we will never be able to finish this project. So take a pause, move on to the next scenes. And when we're editing this at that point of time, we will see if we need any other generations, alright. Onto the next scene, which is the plane, the cockpit. Let's go. 13. The Cockpit: Alright, so now we're going to go to the next one, which is the cockpit. Now, you guys understood with the first two scenes how this works. Now what I'm going to be doing is I'm going to be speeding it up a little bit, and I will not make you sit through every single trial and error. So that's something I showed you with scene one and scene two. So in a similar aspect, we're just going to go through the prompts. And after going through the prompts, again, keep in mind that go through each generation, see which one will fit in your vision in your vision of the story. Look for continuity. And for example, in this particular one, the still images will be including the instrument panels, which is going to have a lot of numbers, a lot of text. Now, for that, doing a simple Hicksfield cinema still image wouldn't be my recommendation. Instead, I would go with nano Banana Pro because it does an accurate, um, accurate render of graphics, especially text. So I'm going to go with that. We're going to go through each and every shot, and then we're going to I'll show you the ones that I took, and then we'll move on from scene three to the next one. So let's begin the cockpit. Alright, first thing, establishment still. What I'm going to do is I am going to basically, use this particular prompt. Alright. So for this establishment still, what I'm going to be doing is this one. Witsinmn exterior shot from slightly above to one side, looking at the aircraft in level flight, large commercial aircraft at cruising altitude against deep night sky. Where are the dining grids you lights. Beautiful. Generate two of these. And once I generate, we have cockpit, star frames. We have this one. Now keep in mind, I did choose this one. I really like this one. I like the city lights as well. The thing is I'm going to be including make sure that in case the window from the window inside the cockpit, if the outside is visible, make sure the city lights are also somewhat visible. That is extremely important to note. Alright. Cool. Amazing. Moving on to the next one. We have three Alpha, the start frame. Amazing. Boom. Take the next one. Start frame. This is the prompt. What I did is I used a Syndigito for this one. Synadigito, this is a little bit wide, so I would go with a 14 MN and I keep the aperture four. And we could choose a classic anamorphic. There you go, class inimorphic. And go over here, 21 is to nine, four K one by one, and generate this. Now, I could generate through here, but sometimes what happens is because of instrument clusters and text and graphics, which is gonna be on the instruments, it's better to go with nano Banana Pro. So doing that is always better. And obviously always remember to tag your elements, which is cockpit and also the pilot. In this case, it is his name is Mateo Alvarez. Alright, so you do that. And with the generation, we have this one right here. We have this one. Take one. This one. Take two. Now, I personally love T two, usually pilots, when they sit when they're flying the plane, they usually don't wear their jackets, right? So I like the fact that he's wearing a white shirt, and he removed his jacket because they like to be comfortable. They usually come into the plane with jackets on. So the fact that I'm able to think like this is what I would like you guys to do. So most of AI is just you thinking here. So that I cannot you cannot outsource that. You know, it is very important to know which one is which one to do when. This is something AI will not tell you. AI is going to be like, Oh, this is the element. This is this. You just so that's where your directorial things, your continuity things, your overall skills as director of this commercial will come into play, alright? Alright. Next one. We have three Bravo, tied on instrument panel. Needless. Study. Perfect. Go here again. This is the prompt I'm going to be using. I'm gonna tag the location and generate. So this is three bravo, and we have two ticks. One, two. I see how, like, the controls and everything are proper. Like the text are good. They're really, really nice. So, that's good. And the layout is also similar to how we see over here, which is exactly what we want. That's why nanobnanaPro comes in clutch guys. Okay, amazing. Now we go to three Charlie. Here Charlie is. Dry close up pilots hands on the instrument panel. Now, that's a complication, guys. Alright. Now, we do same cockpit, and we go Pilot's hands, which is Matteo Alvarez. Hands resting on the controls. Now, one thing which I really think is necessary for, again, you are the director. You control AI. AI doesn't control you. And I hope that never happens. But hands resting on the controls. Over here in parentheses, what I can do is he's not wearing his jacket. Wow. White shirt only. So you can, like, you know, reiterate it because AI is not smart enough to understand what you want. So it's always good to reiterate your guy, your employee, which is this guy right here, you know? So do that and generate. So what that will do is for three Charlie is we have There you go. White shirt. Same instruments, DG RCB I five MRs exactly as we wanted. There's another ti that I have. So I want to use both these ticks and see which one it is when we finally generate the videos and the edits. Alright. In the next one, we have three Delta. Three Delta is what exactly? Side window, moonlight cloud tops, night sky, no character. Perfect. This is again another Broll just like cutaway from what we're seeing. So keep in mind, it is it needs to be similar to the establishment shot, alright? So we see. So cockpit, aircraft side frame window. And what I would do here is I would add an image. You can add you can basically add an image here and use that as a reference, yeah? So, for example, if I had, let's say, the establishment shot, so I would do something like this. I would just drag here, and the outside the outside of the aircraft. Needs to be exactly like tag Image one. So that's how you reference images, and that's how you maintain continuity throughout all your scenes, alright? Now, there might be some of these stakes will have um, errors. So it's important to find those errors, see what went missing, and counter those with prompts. So that's where your natural language skills are extremely important, and knowing how to type English is very, very, so important, guys. You cannot rely purely on an AI to do an AI. I mean, you can, but you need human control to think consciousness. Yeah? Alright, that is three Delta. Moving on as we have three Echo. Perfect, medium close up pilot phase, instrumental it. Don't eat this. Don't need the image. Take that. We have cockpit. Or, let me show you the photo, the image that we generated. So this is the image that has been generated from T Delta. So decided to use this one. Perfect little bit clouds from the pilot scene, and also the city that we generated in the establishment shot. Now moving on to three echo. Medium close up cockpit that we have Mattel and generate. Now three echo. We have this one. We have this one. And we have this one. I really like this one, as well, because it's not really behind, it's not really in front. It's also from the side. But also, I use the image as a background, which is extremely, extremely important to put that in the image. Alright? And the white shirt, of course. Alright now that's done. Now three Foxtrot is going to be the start from is going to be basically the last frame of the video of three echo. So keep that in mind. Now moving on to the video, guys. Let's move on to the videos for each scene. Same thing we go to the video and white shot this guy. G here. Cockpit, Admie Another reason why I'm using this guy is next 2.5 is because it's less coins. I would it's only 24 coins. If I were to change the same thing to, like, 3.5, let me show you. ****'s crazy. 192, 1192 guys. Like, I guess it's much more better, but, like, 2.5 is still very nice, and 3.5 does give you that optionality of, like, you know, choosing the style and stuff. But right now with this, I think I'm doing enough with my own prompts that I don't need that. It does help you. So when I get money and use and have more coins, I will use 3.5. Anyway, so doing that, movement Autospeedam duration and I'm going to upload the start frame. And we shall generate it. Alright, here are my two takes. One. Let's take two. Grateful. I'm going to use one of them, whichever fits the edit properly. Well, let's go back to three Alpha, which is, wide from behind both the pilots. So we'll take that, copy it. And paste. The prompt. This is the prompt, by the way. I'm using everything in natural language, 'cause that's what works best with, um, Cinema Studio 2.5. Tag my elements, put the start frame and Vala This is three Alpha. Take a look at T one. Nice. Okay, It's one. Oh, I like this guy's reaction how he's looking at his fingers. This is much better. Now we have the Bro tight on instrument panel. Now I'm going to take the prompt of the second one, and we will be creating this prompt. So we have cockpit. This is three Bravo, which is a B roll and have the start frame and generate. So no character in this. Excuse me. I like this? That's weird. So I did a multi shot audio just to see how it is. I think the stake one is pretty nice. Go with that. Now let's move on to three, Charlie. Tied on hands when you cross instruments adjusting cha materials. Alright. There. All go cockpit, Mateo. This is the prompt I'm using as and generate. Let's three, Charlie. And Nice. I like the tilt of the camera, which is nice. Anyway, I'm keeping these takes, and in the edit, it's just like I have extra shots. I'm gonna edit and see which one I can edit out of these, use a mix of both, but it's good to have good takes, you know? So, now, there are many generations that have happened. These are the two ones that I've selected. Now we do three Delta, go here. Let's close up to the side. Your culpet and generate Three Delta. Nice. I like the little turbulens. Nice multi shot. Okay. Also cool. Amazing. These are the takes that I've chosen for three Delta. In the next one, we have three echo medium closed out face under the pines wrinkling focus completely in control. Alright. Mes focus. That makes it perfect. With this prompt, I want to be suddenly hears something that gets distracted. Los away. You decide to eye this 'cause I'm thinking about the vision of what. Again, this is exactly the place where you're telling your actors, Hey list, and by the way, can you look away when I'm recording? Like, you're telling the actor. Like, while I'm I already practice, this is my preproduction, all the prompts and everything, but, like, I am here on the on set thinking, Okay, you know what? You're hearing something and you get distracted. Do that. That's what he's gonna do 'cause he has to. If I say jump, you ask how high? Alright, so sweet echo, so we have this one. The best ****, in my opinion. Wow. And that last frame is gonna be my first frame. Right here. Last frame. This is the last frame. I'm gonna use that to make three foxtrot. And boom, take this. This is the prompt for three Foxtrot. Blanks on the drums, instrument on. Amazing. Both start frame and generate. And this is what we get. Nice. Look at that doll want Look at that dolly. Oh. Hell yeah. Now, that's that. And we have all our shots for the pilot scene. Now just put it in the timeline together, and we'll have some masterpiece. Let's take a look. Alright, so now I'm just gonna want to remove maybe this one, three A. I'm gonna. Let's see. I'm gonna take this one out. B, this one, three, Charlie. I'll just do this one, three D I'll take. This one echoes. Let's see. What is that, and this is what we have. Let's view it. Oh, we use the wrong take for this one, but it's okay. Again, it will change when you're caught. I'm just placing it for you to see. Beautiful. Amazing. Now moving on to the next one, which is the final not the final scene, but, like, the final profession, which is the monk, alright? Let's move on to that one. 14. The Himalayas: Alright, so now we move on to the next scene, which is the Maas. Alright. Let's go. So same thing. We are going to go one by one. Establishment shot. Let's check out the establishment shot. Use this front. We're gonna go to Image. Take that. We're gonna go Himalayas. Actually, let's just do it because this doesn't have to be the location. It's like the overall establishment. So this is the prompt that I'm using. Stupid. Extreme angle. Perfect. And this is what we have. You have the establishment one. Wow. It's so beautiful. I think I like take two better. Amazing. That's take number two. Alright, then moving on to the next one. We have four Alpha, wild himalia so now no monk yet, but we need to still see the main location. So it's like there's a sense of familiarity. Alright. Putting the prompt here. Now, we don't need to use nano banana anymore because there's no images, so we do Himalias Location tag, boom. Location tag, there you go. So that is that. Um, let's wait. Let's generate. And for Alpha, we have one beautiful take. Amazing. The monk visible far off, maintaining continuity, isn't that amazing, guys? Amazing. Alright. That's done. Move you on to the next one. Now it's gonna happen. So basically, you now have an idea of how to do this. You take a prompt, take some of the takes. If something doesn't add up, immediately change it through your natural language. Four Bravo, tight close up, snow driving across Jagged Rock. So now it's just following your shot list, which I created here. So now we have four bravo. Boom. B there. Same thing. Me sure you tag location, Himalayas, and my four bravos right here. Beautiful. Got some nice inserts of some Bro which is exactly what I wanted. Close us out. Moving on to the next one. We have four Charlie. So now we have to reveal the monk a little bit. So on this one, what we will do is we got to tag two of them. So Himalayas, and then we have the monk. His name is Tenzin Dorji Boom, Genot and we have four Charlie. Amazing. That's amazing. Look at how he sells Zen which is amazing, which is really, really cool. Love it. All right. Moving on to the next one, which is Fort Delta. We have tight close up saffron robes, again, another nice bel for nice cuts. So you can check out my prompt here. Location tag. Don't we have this one. We have tens and Doc. Now, you must be wondering why this is why this is there. Like, why am I not teaching you how to do this? This is your natural language skills. So this class is advanced in the sense that you need to know what filmmaking is. You need to know the verbiage, you need to know how to set the tone of film, set the tone of color, right? Yeah, filmking I can teach you, but filmmaking, watch my other classes for that. Alright, and generate, we have four Delta now. We have four Delta, take one. Oof. And we have take two. Both of them are equally good, which is amazing. Now, for Echo, we have medium distance one seated dolly towards the face. Amazing. We will just take that. Boom, boom. So we go Himalayas. Then we do Sorry, tens in tens in Dory. And generate. For Echo, we have it generated. Boom. This is one, and this is the other one. Amazing. I really like this one. The one straight ahead, which is nice. Alright, and now for four Foxtrot this would be the first frame would be the last frame of the video for four Echo. So now let's move on to the videos. Alright, now we do the establishment shot, the extreme wide. So we're gonna go here Extreme wide, absolute static, the HimalianPlateau, in a full blizzard, blah blah blah, and generate. The start frame is the main establishment shot. Generate. Alright? And these are the takes after generation. Okay, let's see the next one. I don't like the plateau as much. I mean, we can use the beginning parts of the establishment, which is nice. All right. Amazing. This is done. Now we go into the next one, which is the four Alpha, which is the actual location. Alright? Here we do need the location tag, Himalayas, boom boom. So there's that generate with start frame and four Alpha. Take a look here. Beautiful. I'm gonna keep. These are good takes, guys. Keep them. In the edit, you can always select which one you want. So this is what, again, like I said, it's similar to just recording the same scene twice. You do another take for safety, right? This is that safety. All right. Moving on. Moving on to four Bravo. Alright? Let's see. Four bravo. Himalayas. Boom, this is a tight close upshot and generate. Alright, now we have four Bravo. Take a look here. Amazing. A nice review Iteration. There you go. Amazing. 67. Nice orbit motion. Beautiful. Amazing. Love it. Moving on. We have the reveal. Here's the prompt. Now, again, this is something all of it I built myself. How? If you want to know how I did this, put it in the discussion below, I might just make another class. Alright, Hamelion Storm. Let's go here. ImonFllbzsard. Then we have this guys ten Dorgie Boat start frame. And this is for Charlie and generate. Alright, after generating. We have Charlie. Take one. Alright. This can be used. BEA tifo guys. All right, moving on until next one. Four Charlie, four Delta. Let's take this is another B roll tie close up on the saffron robes, basically. So let's go here. Take that location tag again. Anybody else. And Tenzin has his saffron robe fabric WeppingGenerate. This is four Delta. So four Delta. Alright. Take one. Okay. Nice wing. Nice one, please. Alright. Okay. I love the fingers. So like, it's very accurate in terms of meditation. It's a proper Mudra, you know? Nice. I forget what it's called, but nice. Alright. For echo, we go here. Copy this. Now, guys, now this is easy because this right here is preproduction. Do not forget this. Learn to do the pre production. This is my shot list. I thought about this, I created this. I did everything, and now I'm able to, like, you know, do this fast. But again, choosing the right take all of that is also not easy. Alright, so for echo, Himaleos we have tens in Dorgi's face generate with a start frame. And we have four echo right here. Oh, look at that doll Amazing. Okay. I don't want him to open the eyes yet. Beautiful. All right. Now we'll take the last frame of this of all of these three takes, and this is what we have. Take a look. Uh, go back here. Start frames. Last frame, take one. I have this one. I have this one, and I have this one. I'm going to use the one which is closed. So for that one, we have the foxtrot. Let's close these out. Boom, right here. Take this Helias ten sentgi. Perfect. Amazing and generate. And this is what we have. Sorry. Kias footage Fox Trog. Take one. Small smark. There you go. Oh, I like this one. Beautiful. Alright, amazing. Now what we'll do is we will take this into resolve. Now we're done with all the videos for the Himalayas, basically. Feeding for now. And what I'll do is I'm going to try the footages right here. Perfect. Take this one here, and then Alpha two Foxtrot. Drag them here. Now for Alpha, I might just, you know, just delete this. T three. I'll delete it four B, T two, four Charlie, take two it. Four Delta take two, Delta I take four, for Echo, T two, take three. I don't need. For Foxtrot. Alright, there you go. Let's take a look. See how it is. Nice. Here's a sound. He looks up. Smiles. Perfect. Now obviously, I just did a simple lineup to see how it is. We it's flowing, whether I need anything, and it's flowing amazing. And we are going to now work on the next scene, which is the payoff with the white T shirt guy. Alright, so see you in the next lesson. 15. The Apartment: Alright, welcome to the final scene, which is the warm apartment, white T shirt guy. Alright? So, going back to the payoff scene, which is completely this guy is going to be completely warm, non important white T shirt guy. Alright? Let's go. Establishment shot. Take the still, boom. So keep in mind that for this one, there's gonna be a lot of proper logos. So we need to use nano banana for that. So just do this, since we don't really care about the interior, so you just do a simple generate and we have There you go. That is the establishment shot. Beautiful. Amazing. Now, I don't know if I'm going to use this establishment shot or not. It depends on the edit, you know, how the flow of it is, how the music is, the sound design is. So it's important to keep the shots. Again, keep in mind, these are ts. It's as good. I keep repeating itself, keep repeating myself. It is as good as basically making sure that we are recording the camera all the time, okay? Now, that's done this image number one. Then we move on to the next one. I see, I kind of make this orange I'm yellow nanobnana. So we go five Alpha. And this time, the way nano Banana works is it works with more natural language rather than too much information. So that's what I did. Alright? So go here. We'll go image. So we have. So this guy's name, by the way, my cast. His name is Ethan Morales, okay? Ethan Morales. And we have living room is our location tag, plain shirt, white apartment, completely ordinary and generate and generate, right? So that's five Alpha. We have five Alpha right here. Look at that chill in by the lamp. Location tag. Amazing, good, beautiful. Alright, that's five A. Now we go five B, which is Bravo. Same thing. PUB from inside. Call refrigerator interior. Let me do living room. And let me go Ethan Mas hands enters for Arca. Actually, I don't I want to reveal the can yet for something on the shelf. Alright, and generate, which is this is five bravo. Look at that. Beautiful. Got a POV from inside the fridge. Okay, amazing. Moving on to five, Charlie. Sits down. Take that. Boom, boom. Then we have Ethan. Ethan others walks back to the couch in the living room. In the living room, sits down, medium shot, apartments apartment quiet and generate. This is five Charlie. So this is five Charlie. Good. So we get shot of him walking midway. But you can see the issue that's already there is that he's holding something, but we don't want to show that he's holding something. Like, we don't want to show the product yet because we're going to be using our special macro photographies, videographies that we have taken for the product, right? So that's going to be the big, the big, big review. So we'll wait on for that maybe in post production, we can gonna fix it. Zoom, maybe add some pan, maybe add some tilt, right? So, anyway, that's five Charlie. Then we move on to five Delta, the hero shot. Boom, take that. Dota take EN Morales right here. Then here we need to do like, we need to tag the beer because even though it's not going to be visible completely, we want to still show consistency over all the shots. She's from Hos on gold. Boom. Okay, and generate. This is five Delta. Take a look here. Oh, PEA, beautiful. Amazing. Take the other one. Amazing. Amazing. And then what I did is, I also took an EMT shot with nana Banana Pro, and I used this one as a room reference. So basically the reason why I did this is basically I will always take this image, drag it here. And when I do this, the reason why I do that is now what I can do is refer to Image one for location accuracy. Alright, so going back to what we were talking about is that if you don't put the location reference, what happens is sometimes it could just give you an outside golden hour. Just because I said warm lights, it assumed that I wanted golden hour in my um, entire scene, which is not true because I want, like, a nice contrast of the tu and orange. So you can see, like, it does different stuff like that. So, like, it added another. The location per se, is the same, like, with the same lamp, same floor lamp, desk lamp, and all of that, but it's he's moved into, like, a different couch, which I don't want. We need him to be on the same couch in the same field all the time. So keep that in mind that this is important, right? Not this, not this, even though the location is the same, that you need to make sure that that consistency is always always there. All right? So now, what we are going to do is we're going to go a little bit more raw. And sometimes what happens is we want to showcase the fact that he's going to the fridge, he's opening the fridge. He grabs something, he grabs something. He comes and sits down, the crack, which is the main crack in his, the main the proper time when the actual sound, which is going to be like the big blast, which is what the surgeon, the judge, the pilot, and the monk is hearing is finally gets revealed. And when we do that, it cuts to the macro shots, the product videos. Alright. So let me show you what I have exactly done. So you can see here, he just sits, but he doesn't carry anything. Take a look at this one. Carries it. Same thing. Take a look here. Cut. That's a very good multi shot. So the prompt that I use is right here. So sometimes what happens is I had to wing it a little bit. In the living room, the carman dolls in into a medium shot, and we see the couch straight ahead. Ethan Morales walks in from the screen left, sits down, sighs and then looks outside and goes to grab something from the coffee table from screen right. So the amount of information that I'm giving to him in terms of what he's grabbing, where he's going. So I'm taking these shots from an impromo I'm going on the fly a little bit apart from pre production, and that is the learning, guys. That is the learning that, yes, you make a short list, you have everything, but at least I have a vision of what I'm doing, which is why I can improvise and build my shots out. So it's like me as a director being in front of the field, and, like, on set, and I'm like, Okay, you know what? Let's try to do this a little bit differently and see how it comes out. And you'll be surprised that if you take the right decision and if you have a proper reproduction of your vision, you'd actually be able to win this. So if you take a look at this multi shot, we have him walk. He sits down. There's another cut size looks so well, and I could just cut it over there. I don't have to showcase this, you know? So it's like that. And the one thing I was struggling a lot with is the fridge, because I was not able to get a shot from the inside of the fridge to the outside. So every time inside of her fridge shot with stuff kept inside, door is closed, I was unable to get it. And finally, I had gotten that, and now take a look. Now, see. This is where AI breaks a little bit. Take a look at the things that I've done. The fridge door opens, we see Ethan Morales looks and grabs something from the bottom shelf. We don't see what he grabs. The refrigerator door swings closed, and the light cuts to dark. Alright, so then we look at in this one, he opens the fridge from the other side. Now, see, this is something that AI really is frustrating. Fridge door opens. We see Ethan Morales grab something from the bottom shelf. We don't see what he grabs. The refrigerator door swings closed, and the light cuts to dark. So it's like, again, it's a trial and error. Can we have this one? It just I just appears. But I can use this. I don't have to use the entirety. We can cut away when the AI breaks. Like, What the hell? Over here, the shelf just stays put. So this is a lot of trial and error, and you have to these are examples of where you have to make sure that you are properly, properly doing this prompting because prompting is as good as directing, so you need to be able to learn how to type, learn how to say things in the film lingo. Only then will the model understand, right? Then I have a couple of these. I'm just showing you all the failures that have gone. This guy just gets up. Nowhere. And sits on the other side. I mean, it's a good shot, but I want him to sit there. Now, this is where, like, you know, if I was on set, I would just tell him, Don't sit there, sit here. So it's just a little bit different. If you look at the prom, take a look. This is what it is. Now, this is the other one. I really like this shot because his hands are covered with the chair, so might use that might not use that. Let's see. Now, we hear he breaks the fourth wall or he looks somewhere else. So so what I decided to do with my impromptuness, I decided to basically open the fridge, close the fridge, sit down, give a macro shot of the beer of his fingers, actually going and basically about to crack it. When we crack it is when the entirety of the macro photography and the videography begins. So I'm using that as a point because that's, like, the most slub. It's been the anchor for the entire scenes of the film, right? So now let me show you the things. After all of these failures, let me show you what I have generated. So we have five Alpha. Walk in a way. Five bravo. It's cut from here. Five Charlie. Five Delta T one. Too much of a spray. That's not necessary. But it's nice, though. The text is weird. I did a multi shot here. This is not how you open a can. Now, out of all of this, I'm going to cut it in a way that I'm going to make something in the edit. So this is where your skill as a filmmaker and your new skill as an AI filmmaker comes into clutch, which I will show you in the next lesson when I go through my edit timeline and my sound design timeline. Then I also generated some money shots film slow motion drinking with live condensation beer. Then we have I smelling it. Then another money shot. I think in my pre production, this was kind of missing, which is to showcase the end of the the end of the um, the end of the commercial, basically the hero shot. So I did that, and that kind of concludes the payoff. So I kind of reduced onset. When I was on my set, I kind of improvised it because it wasn't really working in the way that I wanted it to. Like, the actor wasn't doing a good job, so I had to improvise based on the location, and that is why you get rehired, guys. That is why you get rehired because you're able to think on your feet. It is as same as being on set, okay? Now, what I did is I made another scene, which is basically all my macro shots. So if you take a look, I made the macro film, basically. And what I did over here is I used the new model that came out, C Dance two point oh. Now, I'm not going to go through this entire thing. That's a whole class within itself, but I'm going to show you what all I generated. All right? Now, let's take a look here. Let me go here, take a look. So we have this one Beautiful. Amazing. Amazing. Beautiful. So I use different kinds of, like, materials because everything was sound related. So I decided to, like, you know, let me just use a hop cone, filter it out. Some of these, some of this, some of this 'cause it's sound related. Tuning fork with the beer in the glass. And then the final reveal. And all of this is done through nanopanana because it's needed to have the proper text render. And then I added the footages and all the footages had proper seat duns. The way I did the prompting was I did shot by shot calculation, and I did all of that in a proper way. And then in the next lesson, we will go through the timeline, the sound design, the edit, and I will show you exactly how I've placed everything, the choice, and then you'll be able to see the final product. Again, do not get excited. This is not an editing class. I will just show you how the timeline looks. I'll show you what I've selected, and I'll show you my choice of sound, and then we see the commercial once more. And then alla you have your $1.6 million commercial ready to go. And this is a beer. It could be a beauty product. It could be a car, it could be anything you want. Remember, you're the master of your space and of your time. Let's go. 16. Post Production in DaVinci Resolve: Alright. Amazing. So now that we are done with all our scenes, I went ahead and did an amazing edit. I did a quick lineup, then I did a nice creative edit. I did a couple of takes and did the sound design, the entire music composition, the foli, the sound effects, mixed and mastered them, kind of all of it together. And let me take you let me help you go through the timeline as to what all I selected and why was my choice. Again, this is not an editing class. This is just something. The final This is where your film knowledge, you as a filmmaker, will be extremely important, right? So I'll scrub through the footage that I selected. Alright, so we have here. So I left basically kind of like I left black in the beginning. I'm going to mute the music for now. Black. Then we have this operation theater. Maybe what I can do, I can add, like, a couple of dynamic zooms here. Maybe just like So, see, I've kind of done an intentional cut where tools. So we have tools, and then we have the actual tools, which is coming into the picture of him actually cutting through the body. And that Look, this is what I did is I took the T one of one Delta and I used a little bit of it. I took this one as the one echo as, like, slowly starting. And then I took the one Delta. And this is Take two. I use the glitch later on and I cut it. So when the glitch happens, he actually looks up, you know, so that is what your edit is. So basically, it's like, I have shot so many footages, and now I'm going to kind of, you know, going to cut it and make it very, very, you know, creative. So that's what I did over here, and then I joined it with take number one Fox. Fade out. Establishment, same thing. Did some black points. Establishing the court, little rub of the paper. She's reading something loudly. Pen, different viewpoint, cut, and boom. Got to, like, the plane. Now, if you take a look at the court scene, if you take here. So I did Alpha Bravo, Charlie, then I did Delta, then I did echo. And then I did a foxtrot. So I didn't join them consistently. I kind of left a little bit caps because there was issues with the court the judge, remember? There were sometimes people in the background, sometimes people not in the background. So that continuity, I used I cheated it through editing, and that is what exactly is your job as an editor, as a colorist is to remove the imperfections and add some imperfections. Making it believable. Now we move on to the plane add a little bit more turbulence here. Took that, then took the window. So if you take a look here, the way I construe the story is I took the two takes of three bravo, take one and take two. Take one and take two. So I kind of match cut them. So, Okay, turbulence is happening. He's going to grab his throttle. And then I skipped Charlie and I went straight to Delta. Delta, the turbulence is happening, and he's fixing more stuff for the turbulence. And that's when he pauses, the finger, hears it, added a little bit more camera move, and then slowly into that and use that as a transition. And I kind of faded it to white to match cut with the Himalaya scene, which is the establishment. The same thing, you can see, I kind of over here, I did different takes from Bravo, take one, faded to take two. Fat to Black, then went back to four Alpha again because that's when I'm introducing this guy. So I'm using I'm interchanging my takes, yeah? For Alpha, then again, move to Charlie. Then we have Delta T one. I wanted to add more insert. See, this is why more taking more takes is so important is more Bros of Delta, so I to take one and take three over here that flowed with the story of what I'm trying to say. And then I did Foxtrot. And then cut to, like, a complete different scene. That's on purpose. That if you take a look, is I did so many generations for scene five. I was only four clips maximum in the beginning here. I used five Alpha, five Bravo, five Bravo twice, and I did five Delta. I'll tell you why. Take a look. We have five Alpha, five Bravo. And this is the place Papa and then transition to the macro Broll. How amazing is that? And then I did the entire shots for the Broll. I added a bunch of effects, bunch of cuts, and did a couple of effects like this. Boom effects like that. Then add another transition with water. Boom, like that. The way I did that is again, I did it through AI generated first and last frame, did a transition, flipped this thing to my screen direction, and use this one instead as the base. So that is that, my friend. That is the commercial. Now, after all of our hard work, let me play the commercial for you now with the final sound design, a little bit more tweaking. Here you go. Have fun. And that, my friend, that that is kind of what the commercial is. I hope you enjoyed it. I hope you had fun. I think it is a beautiful, beautiful commercial. We can make anything that our imagination lets us. Alright, keep that in mind. And thank you for attending this class. If you have any questions of how I did the macros, macro photography, how I did the sound design, or if you have questions on how I, um, worked on the characters in detail of how to make the characters. Put it down in the discussion below, and I'll be more than happy to kind of help you out and make another class out of it. So let me know. I'm here for you guys. You can book one on ones with me while you're working on this project. If you have any questions as well. You have access to my calendar. And yeah, thank you so much, guys. Please. 17. Thank You!: And voila, you guys just made a commercial, not a demoeel, not a proof of concept, a full blown commercial. With a production Bible, a thematic system, a five full realized environments, a color arc that moves from cold to warm without a single line of dialogue, and a brand moment built entirely, entirely around a sound. Now, again, you probably did not have the character consistency, the prop consistency, but this is something that you guys need to take your time and go through those settings, the one that I talked about, the sole cast and also the prop engineering, right? Now, basically, the $1.6 million budget was never the point. The thinking behind the budget, the production bible, the entire architecture, that is what you have learned, my friend. Here is what I want you to stick with. Everything you built in this class, the way you read the brief in the Higgsfield prompt structure, the key framing, chaining system, the workflow for product accuracy, the color temperature arc, the sound before the vision, the structural decision, the selection criteria, that turned 12 takes into one cut. None of that is specific to ARCA. So take it to brief, any product, any brand moment. System works because it's not really about the tools, yeah? It's about understanding what a frame needs to do and choosing the right tool to make a to do that. The skill does not expire when the tools update. Remember that? I'm there on Instagram, tag me on Instagram on simply Jijo. I want to see what you made, and I mean that every time I say it. I would love for you guys to post on your discussions. Let me know your thoughts. Let me know if you want to have a deep dive into the character making, into the product making, how I nailed the consistencies. I mean, you pretty much got an idea. It's just like a little five minute tutorial that you might want if you need to. Again, remember the gap between what AI filmmaking was two years ago and what you just filled is genuinely something. Okay? That's the good stuff. Take it for granted. And that's a wrap. In the next one. Clock it.