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A prestige-TV style short drama made entirely with AI: intimate, emotion-driven scenes with consistent characters across shots and dialogue with native lip-sync. Built keyframe by keyframe, with controlled lighting (warm amber against cold screen light), 35mm grain and close-up performance.
Role: writing breakdown, shot design, generation and edit · Tools: Nano Banana, Seedance, ElevenLabs, Premiere Pro
The network for creativity
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Connect with clients, get discovered, and run your business 100% commission-free
Creatives on Contra have earned over $150M and we are just getting started
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Night Quota – a Halloween game about my hometown
Monsters work one night a year. In Kharkiv, that night ends at 11 p.m. Not because of monsters. Because of the curfew.
Pick one of four monsters, walk the streets, scare people, knock on doors, and hit your quota before dawn. After eleven the streets empty and the job gets harder.
I’m from Kharkiv and I miss it, so I rebuilt it as a game. 18 districts, each started from my own photo of a real street and drawn as a constructivist poster, the style the city is known for. Every district has a local with a story about Kharkiv. The passers-by are people I love: my friends, my daughter as a little witch, and my cat Lisa, who hides in every district.
Features used: Rive CLI + GPU Canvas (both), Scripting, Data Binding, State Machines.
How it’s made
• Rive CLI + Claude Code: I’m a designer, not a game developer. I described the game, the agent wrote it, I watched the live preview and corrected it.
• RML for the scenes, Luau scripting for the logic: the night clock, the districts, the scares, the dialogues.
• GPU Canvas: one WGSL shader over the whole game. Curfew frame, searchlights, air-raid flash, a camera shutter for cat photos, the dawn report developing out of a halftone raster.
• Data Binding drives the HUD, State Machines run the buttons.
• Rive Editor to play it and check every screen.
• Higgsfield for character art, from my own references and photos.
Play it on desktop, with a keyboard and mouse.
Give it about 20 seconds to load, the whole city is in there.
The combination of clawed hands and the friendly priest is awesome! 😂🔥
What if fintech didn’t just explain numbers, but made people feel the story behind them? 🎬
Meet Kestrel a concept exploring the intersection of AI filmmaking, visual storytelling, and financial technology.
Less complexity. More clarity. Stories worth watching.
Built with a cinematic visual direction in mind. ✦
What do you think of this direction?
Fintech often fails because users process data as cold numbers rather than personal narratives. Using AI to generate cinematic visuals can bridge that gap by making abstract financial concepts emotionally tangible and significantly easier to grasp.
Looking Back: My First AI Creation — April 2026
Before I began developing structured AI-assisted production workflows, I was experimenting and discovering what these tools could do.
This concert-style music video featuring Lisa Dean was one of my very first AI creations, made using Luma AI in April 2026. I brought a character I had created in a wrestling game into an AI-generated concert setting and explored how I could combine visuals, music, and atmosphere into a performance.
At the time, I was learning through experimentation, testing possibilities, and discovering both the creative potential and limitations of AI.
Looking back at this project reminds me how far my creative process has evolved since those early experiments. It remains an important milestone in my journey as a character creator and visual storyteller.
Every creative journey starts somewhere. This is where mine began.
#AICreativity #CreativeDirection #VisualStorytelling #LumaAI
Still nice regardless