The network for creativity
Join 1.25M professional creatives like you
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
Back to feedPost
I like to threaten people with cake. Misbehave and you get a slice.
Then I took the threat seriously and made the ad for it. Pirates firing cakes from cannons at a merchant ship, until the crew surrenders after the first taste of cream. Three acts, 46 seconds, for a bakery that does not exist.
It only works if it is the same pirate in act one and act three. That is the whole job.
So the crew got cast before a single shot was generated. Every pirate has a sheet: front, side, back, skin texture, eye color, the braids in his beard, his height down the left margin. Under "weapon detail" there is a rolling pin and a palette knife.
The first line-up came back as five men who looked like brothers. The second overcorrected into a circus of heights. Casting takes rounds here too.
One more thing. The model refused the brief at first. Not for violence, for the word "weapons". The pirates attack with a baker's kit, this is their "terrifying weapon". Rewritten as a costume department reference, the same content went through.
I ran the whole production from Claude Code: casting, character sheets, every generation and every round of fixes, across all the models.
Consistency does not come from the model. It comes from what you hand it.
aivideoclaudecodecharacterdesignAI Video ProductionArt DirectionCreative DirectionClaudeElevenLabsHiggsfield AI
The network for creativity
Join 1.25M professional creatives like you
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
Challenges
View all
Related posts
the scroll recording felt too plain, so i had opus 5.5 make a launch film for eave. it used the real pages, wrote a storyboard and coded every frame
sound on 🔊
Neon - Cyberpunk Kinetic Highlight Trails
The Visual Aesthetic: Think Wong Kar-wai's Chungking Express mixed with Blade Runner 2049. Light sources—street lamps, neon signs, headlights, and glowing storefronts—leave soft, directional light streaks across the dark backdrop as the camera moves.
I started with five separate night-time clips and used invideo Editor's AI editing agent to transform them into one connected cinematic sequence. I wanted the bright practical lights in each shot to feel like they had a physical presence in the scene, leaving atmospheric trails as the camera and subjects moved.
The agent generated two versions of the effect, including an editable directional streak-and-glow approximation. I chose the editable version and set the source footage to 720p before generating the effect.
After seeing the initial result, I prompted the agent to make further changes, refining the highlight response, glow, intensity, and direction of the trails. I wanted the effect to feel less like a generic digital filter and more like photographic light persistence.
The final sequence gradually builds from subtle streaks into a stronger visual climax around the passing car and running shots, while keeping the original footage visible underneath.
Built and refined in invideo Editor using its AI editing agents.
@invideo.io @invideo.creators
That's great its so interesting ❤️❤️
✨ AI Suggestions on the Purchase Orders list. Proposed record edits surface inline for the user to apply or dismiss in one tap.
Great work