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Beriky Studios's avatar
Beriky Studios
São Paulo, Brazil
AI cinema and visual storytelling by director Mohamed Beriky
10
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AI cinema and visual storytelling by director Mohamed Beriky
Cover image for ORIGINAL In fashion, “original” is a
ORIGINAL In fashion, “original” is a mark of value. In this wildlife-protection and ethical-fashion advocacy campaign, the word means something else: not the product, but its original owner. Created with Seedance 2.5 via AI Lab in the CapCut App.
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Cover image for Today, we’re bringing AVIÃO back
Today, we’re bringing AVIÃO back to Contra—the platform where its journey first gained recognition. On April 14, our AI short film AVIÃO won fourth place in the CapCut Video Studio Challenge. On July 9, the film had its international premiere in Geneva, after being selected among the Top 10 finalists of the AI for Good Film Festival. 🎬✈️ AVIÃO will be released here on Contra soon. Stay tuned.
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Cover image for Seedance 2.0 — Cinematic Stress Test #6 Cross-Genre Identity...
Seedance 2.0 — Cinematic Stress Test #6 Cross-Genre Identity Performance Who remains when the genre changes? Frames 1–6 were generated in a single continuous 15-second prompt. One character. Five genre shifts. No cuts. Romantic → Horror → Courtroom → Fantasy → Psychological tension. Lighting recalibrated. Atmosphere transformed. Emotion evolved in layers. The face did not drift. Micro-expressions progressed. Breathing shifted. Tension accumulated. That was the structural test. Then came the deliberate intervention. The final shot — revealing the set, visible cameras, the director calling “Cut” — was integrated intentionally as a separate controlled generation. Not to add spectacle. But to close the authorship loop. Because identity retention is not only about facial geometry. It is about narrative coherence across layers. The character survived five genre transformations. Then she survived exposure. And in doing so, she returned to the origin of this entire stress test — the fire location from Demo 1. The fire remained. The smoke remained. The world remained. Only the layer of reality shifted. What was once narrative danger became production space. What felt like cinematic chaos revealed itself as constructed illusion. The location did not change. The authority did. And that is the real threshold. Identity is not only facial consistency. It is the ability to remain coherent when the hierarchy of the frame collapses — when fiction dissolves and authorship steps into view. AI can simulate environments. But directing the transition between narrative reality and production reality — without fracturing identity — that is cinematic control. The frame shifts. Authorship becomes visible. And the system holds. The full 15-page structured can be requested via the original reel post here: https://lnkd.in/dRQDM46M (https://lnkd.in/dRQDM46M)🔎 Explore Full Cinematic Stress Test Series: Test #1 https://lnkd.in/dw5KH9xj (https://lnkd.in/dw5KH9xj)Test #2 https://lnkd.in/dZZc_vPG (https://lnkd.in/dZZc_vPG)Test #3 https://lnkd.in/dG-qukW6 (https://lnkd.in/dG-qukW6)Test #4 https://lnkd.in/dJ_cMbXp (https://lnkd.in/dJ_cMbXp)Test #5 https://lnkd.in/dqTw_qeQ (https://lnkd.in/dqTw_qeQ)Test #6 https://lnkd.in/deVc3yw2
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Cover image for Seedance 2.0 — Cinematic Stress
Seedance 2.0 — Cinematic Stress Test #5 Who Controls the Frame in AI Cinema? This is not a film scene meant to entertain. It’s a stress test for authority & perspective reversal. In traditional cinema, authorship is structured: The director frames. The editor controls time. The audience interprets. In AI cinema, authorship destabilizes: Is it the model? The prompt? The dataset? — Or the director? This test is a structural experiment in perspective. From frame one, we are inside a cinema hall: An audience is watching a film. On the screen, a woman speaks with emotional intensity — her gaze feels aimed at the theatre audience, maybe even at us. And yet something else is present: A post-production desk is visible from the start — embedded in the hall, easy to ignore. The frame carries layered authority: Layer 1 — An audience watching a film. Layer 2 — A character seemingly breaking the fourth wall. Layer 3 — Riot police revealed inside the film. Layer 4 — The edit room constructed inside the cinema space itself. What makes this scene — not just narrative — is the dual camera logic. The scene begins by tracking in toward the screen, pulling the viewer into the woman’s gaze — so it feels like she is speaking to us. But inside the film (on the screen), the movement resolves in the opposite direction: a track-out that reveals the riot police line. Same performance. Two camera hierarchies. The frame doesn’t just move — it reallocates power. When the camera crosses into the screen, hierarchy shifts: She is not speaking to us. She is speaking to power. Then the gaze is reassigned again — from protagonist to officer. Authority reframed. And then: The screen shuts down. The illusion collapses. The edit desk — visible from frame one — becomes the dominant layer. This was never about spectacle. It was about authorship under layered perception. Seedance 2.0 sustained: • Crowd alignment precision • Direct-gaze realism • No-cut spatial continuity • Emotional performance stability • Multi-layer environmental coherence But realism is only half the test. Control is the other half: Can a director invert authority inside an AI system — and still steer perception across layers? Because in AI cinema, the frame doesn’t belong to the model. It belongs to whoever can architect perception. That’s the difference between generating images and directing systems. The next era of AI filmmaking won’t be led by prompters. It will be led by directors who understand where control truly resides. The full 15-page structured case study can be requested via the original reel post: https://lnkd.in/dRQDM46M (https://lnkd.in/dRQDM46M)🔎 Explore Full Cinematic Stress Test Series: Test #1 https://lnkd.in/dw5KH9xj (https://lnkd.in/dw5KH9xj)Test #2 https://lnkd.in/dZZc_vPG (https://lnkd.in/dZZc_vPG)Test #3 https://lnkd.in/dG-qukW6 (https://lnkd.in/dG-qukW6)Test #4 https://lnkd.in/dJ_cMbXp (https://lnkd.in/dJ_cMbXp)Test #5 https://lnkd.in/dqTw_qeQ (https://lnkd.in/dqTw_qeQ)Test #6 https://lnkd.in/deVc3yw2
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Filmmaker(21)
Rian Abreu's avatar
Rian Abreu
São Paulo, Brazil
Filmmaker and Graphic Designer
Filmmaker and Graphic Designer
Cover image for Água no Feijão - YouTube
Água no Feijão - YouTube
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Cover image for Sunscreen Flyer
Sunscreen Flyer
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Cover image for Heidi
Heidi
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Cover image for ABBA
ABBA
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Filmmaker(1)
André Rodrigues's avatar
André Rodrigues
São Paulo, Brazil
Director - Cinematographer - Executive Producer - Colorist
Director - Cinematographer - Executive Producer - Colorist
Cover image for Fumaça 70 - Documentary
Fumaça 70 - Documentary
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Cover image for Secrets of Memory - Short Movie
Secrets of Memory - Short Movie
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Cover image for Renault E-Kwid Launch Event Video with Marina Ruy Barbosa
Renault E-Kwid Launch Event Video with Marina Ruy Barbosa
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