pro
Sam Andruszkiewicz
AI filmmaker & video producer for tech-forward brands.
- $10k+
- Earned
- 3x
- Hired
- 5.00
- Rating
- 10
- Followers
ReMatter is the #1 recycling software in scrap metal. For their conference this week, they needed cinematic visuals that could hold up on massive venue screens, competing for attention in a city where everything is already loud.
I built marquee-style ad screens using Nano Banana and Kling. The challenge with large-format event visuals: what looks good on your laptop looks flat at 20 feet. Every frame had to be composed for scale and for silent loop running.
5 days, concept to delivery. These go live this week in Vegas.
Would you trust AI visuals on a stage this big?
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ReSpark: Ad Creative That Looks Like the Yard, Not the Software
Scrap-yard owners scroll past SaaS ads. The ads are too clean. Nothing in them looks like the yard the owner actually runs, so the whole thing reads as not-for-me and the click never comes.
ReSpark needed the opposite of a software ad. Something that looked like the work.
So we opened every spot cold, on the owner's own problem, in his own words. No logo. No interface. No promise. Just the thing he already knows is broken, shot straight back at him. "You're running a million-dollar pile off a clipboard."
Two locks carried the campaign.
A documentary grade, rust and steel, pulled from the materials in frame. Rust and dust warm, raw steel and shadow cool. The yard, not a showroom.
And cinema grammar the category never uses. A Western standoff over a single load. Two trucks, one container, the kind of tension a product demo would never reach for.
The pipeline was AI start to finish, anchored to reality. NanoBanana for the hero keyframes. Seedance for the yard, the trucks, the steel. Omni and Veo for the faces and the driving. Every shot tied back to real footage from the client's own yards, so fifteen generated openers still read as one place, not fifteen.
Then we built for scale. Fifteen cold-open hooks across three angles. Operations. Multi-yard. Dispatch. Each one a real sequence matched to its line, not a stock shot dropped on top. Fifteen ways into the same campaign, so Performance Max can test, find the winner, and put the spend behind it.
Delivered: three 9:16 spots for Google PMax, a fifteen-hook bank to A/B, a locked grade and look the category doesn't have, and a production system that can extend the campaign without ever losing the yard.
Ad creative that looks like the work, not the software.
Scope: Director and AI production. Format: 3 × 9:16 vertical with 5 variant hooks, Google Performance Max. Tools: NanoBanana, Seedance, Gemini Omni, Veo, anchored to client footage.
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Vision21 Solutions - Which Century Are You In?
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Welcome to the ad-supported humanoid economy.
First in a new series called Postcards from the Future.
The Robo Van: a humanoid cleaning service that knocks 50% off your monthly bill if you accept the branded coupons it scans while it works.
What do you think? Would you take the deal?
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Camera blocking is supposed to be the thing AI video can't do. This shot does it.
A baker behind the counter. A customer arrives through the door in the background. A soft foreground pass hands you from one to the other, and it settles into an over-the-shoulder two-shot. The kind of blocking you'd storyboard for a real set.
No set. Plush characters, a few reference frames, generated in Seedance, with the shot written in Claude first. The whole move turns on that one foreground pass, the blurred sweep that crosses between characters and hides the seam.
The part people miss: the camera move was a decision, made before a single frame existed. The tools don't block the shot. You do.
How are you handling camera control in your AI work?
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Unlock Capacity - Clampstar
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Ask Anything - By Samuel Andruszkiewicz
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In space, nobody can hear you drip.
Dough Boys characters star in "Drip in Space". I created the characters, scenario, and music.
NanoBanana. Seedance. Suno. Craft.
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I'm having a lot of fun playing with the new Google Omni model- anyone else find any cool prompt ideas? Just one shot and a simple prompt got me this.
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Big Time Toys releases a steady stream of consumer products — often classic toys reimagined for today’s market — and needed a creative partner to produce e-commerce video content at scale. For the past six months, I’ve been their go-to video producer, delivering 3-4 product videos per month.
Each piece is built using AI-generated visuals with a stylized, eye-catching aesthetic designed to stop the scroll on product listing pages across Walmart, Target, and Amazon. The Hover Soccer spot is a 12-second showcase: neon-lit, high-energy, and engineered to communicate the product’s appeal instantly in an e-commerce environment where you have seconds to convert a browser into a buyer.
Role: Director, Producer
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I tried to break a bunch of AI video agents this week. Only one survived.
The test: build a full piece with zero outside references. Let the agent generate every shot itself. No moodboards, no reference frames, no crutches.
Most of them couldn't hold a consistent world across cuts. Characters drifted, the look fell apart, the shots I asked for never showed up.
Google Flow was the only one that actually delivered what I had in my head. A bubble named Blobby, drifting through Renaissance Florence, up into the sunset over the Duomo.
I still took it into Premiere to cut. The agent isn't the editor yet.
Which AI video agent are you actually getting usable shots out of right now?
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Product Launch PersonalOS
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MIMS (Museum of Interactive Media and Software) in Atlanta commissioned an exhibit on the history of Apple software and needed a video to open with the story almost nobody knows — Ron Wayne, Apple’s third co-founder who sold his 10% stake for $800 in 1976 and walked away from what would become the most valuable company in history.
I was given the brief and went deep into research, sourcing archival photographs and historical material to build the narrative from scratch. The creative challenge: everything had to be museum-quality and historically accurate. The solution was to take authenticated archival stills and transform them into AI-generated animations.
The result is a piece that tells a story that’s never been told in motion before — the founding of Apple through the eyes of the man history forgot.
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You wake up nd see this. What do you do?
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Reno Source Investor Video
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Australian Ballet x Telstra – Brand Campaign
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I never wanted to be a starving artist.
Wanted to be a talk show host. Then a Vegas lounge singer. Anything but an artist. But life is full of twists.
For the Renoise × Contra challenge I got personal.
60 seconds, autobiographical, every frame on a plan: childhood daydreams shot in degraded consumer formats (Kodachrome, broadcast NTSC, grainy 16mm), graduating into large-format cinema as the kid works out what he's been doing all along.
FacePass held the shots I needed, and the interface stayed out of my way. Cool tool, genuinely easy to use.
#RenoiseChallenge
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Re-Matter Super Bowl Screens
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You know how dogs hate the vacuum cleaner? Well, this is Dog vs Dyson.
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Rematter partnered with REMA (Recycling Materials Association) for their major annual expo in Las Vegas and needed a trailer to announce the partnership and build buzz ahead of the event.
Working from a mix of existing assets conference photos, limited footage, and previous case study material I wrote, directed, and produced a dynamic announcement trailer that blended real-world industrial imagery with AI-generated transitions and motion graphics. The final piece scales from gritty, on-the-ground recycling operations to a polished brand moment, ending with Rematter’s logo on a dimensional sphere that gives the whole thing a sense of scale and ambition.
The result: an announcement piece designed to position Rematter as an innovation leader within the REMA ecosystem heading into the biggest industry event of the year.
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More Omni experiments this time making my laptop see through!
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Working directly with the Denny’s CEO’s team, I was briefed to tell the story behind their Cookies for Cancer program — and given the freedom to find the narrative myself.
Through a series of interviews with families and program participants, I discovered the story of Aden — a boy whose miraculous recovery was made possible by a cancer vaccine funded in part by the Cookies for Kids’ Cancer program. Aden’s story had been documented before, which gave me a rich archive of footage to build from, and his journey became the emotional spine of the piece.
The final video weaves Aden’s personal story with program-wide impact data, connecting the everyday act of buying a cookie at Denny’s to the life-saving research it funds.
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I dont know but my dog seems to be going through a bored billionaire phase. (personal work celebrating my dogs mid life crisis at 9)
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Been playing with a short film idea called Postcards from the future.
Like what happens when humanoids are everywhere?
This piece imagines some new characters coming to a cleaning crew near you.
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Microsoft Launch - Telstra
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Red Night Capital 'Gurus'
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Spinja Warriors – Big Time Toys
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Jennifer Lindberg Studio (San Antonio) needed a top-of-funnel video to emotionally connect with women seeking portrait sessions with their dogs. The brief: create something that makes them feel before they book.
Starting from a single photograph her highest-performing image on social. I wrote, directed, and produced a complete cinematic 9:16 video using AI generation. One photo in, full emotional story out. The piece uses a photorealistic portrait photography style to maintain brand consistency with Jennifer’s existing work while expanding it into motion.
The result is an emotional storytelling piece designed to sit at the top of her marketing funnel — identifying the audience, connecting through feeling, and driving them toward booking.
Role: Writer, Director, Producer
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It's amazing how far you can push ChatGPT image in terms of the amount of information that it can take. This took about 12 different attempts, but I managed to get 99% adherence to promp on nearly 100 individual elements.
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Have you thought about how to change your workflow with GPT Image 2? I made a little infographic after reviewing my projects feedback from this week.
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