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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.
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theatre rehearsals, but cinematic ౨ৎ ⋆｡˚
For La carta fue un error, I stepped behind the scenes to film the cast during rehearsals and transform the process into a series of Instagram Reels.
I captured the glances, gestures, movement and tiny in-between moments that bring a play to life, then shaped them into intimate, dynamic edits designed for social media ✶
shot + edited by me
written & directed by Camila Elejalde
performed at NAVE 73, Madrid
✧ filming
✧ creative editing
✧ vertical content
✧ Instagram Reels
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Testing Seedance 2.0 on recent visual work.
Strong physics, clean removals, and a surprisingly natural response to minimal camera direction.
Built from a simple prompt structure, refined in DaVinci Resolve, and shaped through composition and timing.
Constantly exploring new tools to push cinematic language forward.
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Suhui Xia × character playground ｡☆✿
Made this mini film during a photoshoot session for Suhui’s actress book ♡
We explored different characters like trying on outfits: soft, intense, mysterious, playful… tiny changes = whole new person ✧₊˚
We worked together before in “El otro lugar” and I love how collaborative our process is—camera as a space to experiment, not to “perform perfectly.” ★彡
Filmed + edited by me — Mont Carver
Actress: Suhui Xia ✿
#ActingExploration #CharacterLab #ActorCollab #CinematicStudy #VideoPortrait #ExperimentalFilm #DirectorDP #MadridFilm #ActorLife #CreativeFriends #ActorReel #BehindTheScenes #ContraPortfolio #Y2KCore
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Automobili Lamborghini's first residential project in Stock Photo, Real Film and 3d renders. Europe.Every camera move was hand keyed using Bezier curves to ensure a 'weighted' feel. We avoided the robotic, linear movement often seen in basic 3D tours, opting instead for damped momentum—mimicking a heavy cinema crane or a professional Steadicam rig.
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