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With new AI video models coming out every week, I'm starting to find them harder to compare.
Since most of them are already pretty good, the differences between the models start to feel less significant.
And maybe that's actually the interesting part.
As the models start to converge in quality, I've been enjoying the directing part more, because that starts to matter more than the generation itself.
Once the visuals are there, it's about deciding how they move, connect, and build on each other.
Here's a short product sequence I created with FLUX 3 over the weekend!
Amazing work!!
This one is with what model?
The directing point is really interesting. Once the models get close in quality, knowing how to shape the sequence becomes the real skill.
Nice work
Surreal
Spot on! As AI output quality normalizes, the real magic shifts back to creative direction, pacing, and editorial taste 🎬 retro-futurism with FLUX 3 sounds like a killer combo!
GOATED!!!
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When creating a multi-scene AI video, I usually generate each scene separately.
It feels like the safer way to keep each shot under control.
But when I tested Seedance 2.5, I found something different.
I tried creating a cinematic sequence using 5 images as the key visuals.
What I noticed was that generating the scenes separately gave me worse results.
Generating them in a single take actually gave me a more accurate result based on the prompt. The flow between the scenes also felt more connected since the model had more context to work with.
I've included the prompts I used in the comments.
This was the third take. Hope you like the result!
I’ve been doing a lot of video work for my own clients lately too, especially creating AI videos and bringing the final pieces together in the edit. Love seeing different approaches to the process.
How I color grade iPhone footage in CapCut
(BEGINNER FRIENDLY)
Let me know if you'd like to see more of my process creating and editing content for my clients.
A NORMAL AMOUNT OF SKY
My entry for the CapCut Seedance 2.5 Video Challenge.
I am interested in creating worlds that exist somewhere between magical realism, liminal spaces, dreams, and quiet unease. Places that initially feel soft or nostalgic, but gradually reveal that their architecture, scale, or internal logic cannot be trusted.
For this film, I imagined a girl beginning inside an empty school, a place shaped by repetition, observation, rules, and the pressure to become a recognizable version of yourself. She walks into a faded pastel-pink bathroom and discovers a luminous horse behind a full-length mirror.
The horse represents the possibility of escape, freedom, desire, and a life that cannot be completely explained. When she crosses the mirror, the camera crosses with her. She runs alongside the horse through a fluorescent landscape where rain, flowers, institutional ceilings, and an artificial sky coexist.
An astronaut eventually leads the horse away. I see the astronaut as a figure already accustomed to surviving unfamiliar worlds, while the girl is encountering one for the first time.
As the camera pulls backward, the apparently endless landscape is revealed to exist inside a crystal sphere held by another version of the same girl. She releases the sphere, breaking the boundary around the imagined world. The luminous horse survives in miniature among the fragments.
For me, the ending is about carrying a small piece of freedom back into reality. The escape may be fragile, altered, or impossible to preserve at its original scale, but it does not disappear.
WORKFLOW
I developed the film in CapCut Video Studio using Seedance 2.5. I began with visual references centered on luminous horses, cyan rain, retro astronauts, pastel magical-girl imagery, artificial landscapes, wet reflections, 35mm grain, analog halation, and uncanny institutional architecture.
I then created a timestamped 30-second prompt defining the character continuity, camera path, environmental transformations, sound design, and narrative progression. I generated multiple iterations and refined the mirror crossing, the girl’s visibility, the relationship between the horse and astronaut, the macro pullback from the sphere, and the final release of the miniature horse.
The final camera path moves continuously from the school corridor into the bathroom, through the full-length mirror, alongside the running girl and horse, outward through the crystal sphere, and down to the fragments on the bedroom floor.
Created with CapCut Video Studio and Seedance 2.5.
