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A few people have asked me if they're allowed to post here. Yes, you are! This isn't my stage, it's our workshop. 🎬 Post whatever you're working on: a clip that came out great, a clip that came out weird, a prompt that did something you didn't expect, a question you feel is too basic (it isn't). Half-finished is fine. Failed is even better, because that's where we all learn something. 😄 Not sure where to start? Reply to this post with two things: 1. What you're making (short film, ads, music videos, just playing around) 2. The one tool you use most right now And if you see someone using the same tool as you, say hi. 👋
TASTE CATERING, LLC - Student Commercial
A quick commercial I made for one of my friends. "Where Southern soul..." "meets culinary imagination." "This is more than food." "This is the Taste of Marley." “… a taste you’ll never forget.” TASTE CATERING LLC The Creations by Chef Marley American Fusion • Southern Comfort “Where Southern soul meets culinary imagination
LWA Inc S1E1 2: THE LWA ARRIVE! - Student Episodic Anime
I tried creating the second episode in Seedance 2.0 but the consistency was just not there for my standards. Although it did give me more an anime feel it kept creating extra characters that I did NOT put in the prompt a lot of time repeating the same characters within a scene. My biggest issue with Seadance was the lack of emotion and acting making the characters seem robotic. Higgsfield cinema studio did a much better job on my acting prompts but not on creating the anime style I wanted. In the end I will continue to work with Higgsfield because of its ability to provide the emotional reactions that I required for my generations. One day soon, I will formulate my career and go from homeless to hopeful. I can actually spend the money I need to get these done the correct way. But, I did the best i could with the budget I had at the time. The Lwa have arrived in Atlanta—but is the city ready? When a mysterious message from Bondye commands them to unite and restore the boundaries, a gathering of powerful spiritual figures becomes an urgent reckoning. Step inside Papa Loko’s cathedral-like library, where ancient spiritual wisdom meets artificial intelligence, luxury empires, and modern business. As the founder of Akashic Technologies and creator of the AI DuBois WEB, Papa Loko hosts a meeting that could change the balance between the physical and spiritual worlds. Joining him are Papa Legba, the global legal powerhouse; Kalfou, a crossroads club owner with a Robin Hood–style criminal network; Erzulie Freda, a fashion mogul and celebrated performer; and Erzulie Dantò, a healthcare leader dedicated to the Black diaspora. But their conversation takes a startling turn when a vintage mailbox on Bondye’s shrine begins to glow. Inside is a warning: “Unite the Lwa. Restore the boundaries, or I will intervene.” As a supernatural doorway opens, Baron Samedi, Maman Brigitte, Agwé, La Sirène, and Azaka Medeh arrive—followed by Damballa and Ayida Wèdo. With the memory of a great cataclysm looming over the gathering, the question is no longer whether Atlanta is ready for the Lwa. It is what has disturbed the boundaries—and what restoring them will demand.
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LWA S1 E1.1 - We Lost Atlanta! - Student Episodic
I had a bit of trouble trying to get this assignment to generate anime. Although I was able to get character and voice consistency, I could not get to stop rewriting the script as it generated or get it to stop giving lines to other characters. It would sometime pronounce words correctly and sometimes not. It did keep the voices but pronunciation was a big issue for me. My other big issue was even though it would give me anime in the opening and trailer. It kept and continued to give me photorealistic characters in the actual story generation. I tried switching from Higgsfiled Cinema Studio to Seedance 2.0 but I think I am going to have to downgrade the characters images to get the anime I desire for this production. Since I ran out of credits, I edited what I had and will post again once my credits renew next month. “We lost Atlanta!” With those words, a secret society’s grip on power begins to unravel. Inside a shadowy, cathedral-style meeting room, Malum—the ruthless leader of The Lessers—confronts the royal bloodlines he placed in power. Their plans are failing, and Papa Loko has arrived in Atlanta to reclaim, rebuild, and reestablish the legacy of the Lwa. As ancestral awareness awakens, Malum’s frustration turns into a terrifying display of supernatural power. Draven, Warden of the Western Seat, faces the deadly consequences of failure while the remaining wardens witness the true nature of their leader. This fictional supernatural thriller scene blends dark fantasy, secret society intrigue, ancestral reclamation, and psychological horror. Through its villain’s chilling confession, the story explores colonial domination, cultural erasure, spiritual disconnection, and resistance—and the fear that consumes those whose control is slipping away. Can Papa Loko restore the Lwa’s legacy before The Lessers strike again? Watch to the final blackout, then share your thoughts: What will Malum do next—and how will the Lwa respond? Subscribe for more from this supernatural story, and like and share this scene with fans of dark fantasy and supernatural horror.
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The Importance of Performance Acting Settings
This paper records the controlled three-render AADS acting-intensity comparison conducted with the same DIGI Full 3D dialogue scene at MODERATE, HIGH, and EXTREME settings. The experiment was designed to determine how far AADS could increase cartoon acting energy without sacrificing character identity, readable anatomy, continuity, staging, or dialogue control. The fourth proposed stress test (DOUBLE EXTREME / HYPER-NITRO) was not rendered because available generation credits were exhausted; it therefore remains unvalidated and is deliberately excluded from the production recommendation. The experiment demonstrated a clear progressive increase in performance energy. The internal comparative motion-energy index used in the review rose from 1.10 at MODERATE to 1.59 at HIGH and 1.95 at EXTREME. Relative to MODERATE, HIGH carried about 45% more visual motion and EXTREME about 77–78% more. EXTREME was approximately 23% more active than HIGH. More importantly, the visual inspection showed that the EXTREME render retained stable character identity, coherent hands and clothing, scene continuity, readable posing, and restrained listener behavior while giving DIGI substantially stronger facial, hand, torso, timing, and reaction performance. The production decision was therefore changed from “HIGH as the likely sweet spot” to the user-selected policy of “EXTREME as the normal cartoon baseline.” The practical reasoning is straightforward: high-energy cartoon acting is easier to reduce on a shot-by-shot basis than to recover after a timid default render. A further interpretive finding emerged after review of the EXTREME clip: its nearly continuous emphatic behavior is especially convincing for child and young-teen cartoon characters, for whom successive ideas can each feel immediately important and therefore receive full facial, hand, head, and torso commitment. The same performance density may read as deliberately theatrical on many adult characters, making adult scenes more likely candidates for selective reduction. Accordingly, AADS V26.2 was rewritten so that EXTREME is the governing default for acting/performance controls, while continuity locks, exact dialogue, speaker ownership, camera instructions, character DNA, props, wardrobe, and other production constraints remain protected and are not made “extreme.” Replit was then instructed to mirror the same policy in all visible and hidden presets.
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