Giacomo Arteconi

Consistent products in AI video ✨ For the follow-up to my felt character test, I wanted to see what happens when you drop a product into the same world. This is a spec ad for Tide. The bottle isn’t just dropped in as-is — it’s fully reimagined in felt so it belongs in the scene. But the details still hold. Shape, color, identity. Instantly recognizable. The breakthrough? Products can live inside these stylized AI worlds without losing brand integrity. It’s not just consistency of character anymore — it’s consistency of the product. Paired with high-quality video models like Veo 3, this isn’t just an experiment — it’s a proof of concept for advertising. #ArtificialIntelligence #AI #GenerativeAI #Animation #VideoProduction #Filmmaking #DigitalArt #FutureOfWork #Innovation #Technology #CreativeProcess #Design #Storytelling #ContentCreation

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The new osd_limit VEX function gives direct access to limit-surface derivatives, revealing the principal curvatures and directions that describe a surface’s true shape. Learn high-end VFX production-focused VEX methods with Pragmatic VEX. https://lnkd.in/g7bmudJR https://lnk.bio/animatrix If our content resonates with you, consider backing us on Patreon or exploring our Gumroad collection. It helps us create more content like this. #sidefx #houdini #houdini3d #houdinifx #houdinitips #houdinitricks #quicktip #fx #vfx #visualeffects #simulation #vex #pragmaticvex #pragmaticvfx #cgi #math #mograph #tutorial #course #patreon #ilm #animatrix #shorts

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CGI is now a cornerstone of modern filmmaking, but it wasn’t always that way. Terminator 2: Judgment Day changed the game, with James Cameron’s vision for a morphing Terminator brought to life by ILM’s groundbreaking "Make Sticky" software. This was the first time CGI was used in such a way and laid the foundation for future innovations. ILM also pioneered 3D scanning for digital doubles, a process now standard in Hollywood. Thanks to Terminator 2, films like Jurassic Park and The Matrix pushed CGI to new heights, forever changing how we experience movies.

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Did you know that in stop mo, the animation stage can actually be faster than 2D or CG? It’s the fabrication that takes the longest, not the animation! On CNESST - Hanging by a thread, only 3 animators animated a full 1-minute film in just 4 weeks. That surprises a lot of people, but it’s true. In a single CG or 2D shot there might be many departments handling all the elements like hair, clothing, clean up, render, texture etc. that only one stop motion animator takes care of all by themselves. This is how we (See Creature animation) can deliver stop-motion projects consistently just as fast as other techniques. But, when productions aren’t managed properly, reshoots happen. And in stop motion, reshoots mean days of setup, lost trust, and budgets that start to get out of control. So how do we avoid that? - We make feedback part of the creative process before animation begins. - We rework the animatic until everyone’s voice is heard. - Then we build a photomatic: Shoot one photo per shot with the creatives in the studio, so they can see how it all fits together before we capture a single frame. This collaborative, transparent approach seems like a huge extra step, but it saves time, money, and sanity, plus this keeps everyone excited instead of anxious. Here are 4 steps you can take right now to avoid costly reshoots: 1. Involve clients early in the animatic stage. 2. Create multiple versions of the animatic and try out every idea, things are cheap to change now. 3. Build a photomatic with creatives in the studio. 4. Keep clients constantly up to date with the edit. Follow these steps on your next stop motion project and you’ll enjoy a smooth production, clear communication, and no surprise reshoots. Don’t let the assumption that stop motion takes forever to animate hold you back. With the right planning and process, it can be one of the most efficient and rewarding techniques out there.

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EXPERIMENT: VFX + Camera Transitions in Veo 3 I've been playing with VEO 3, trying out some cool VFX and camera transitions with simple prompts. Check out these 6 examples (plus all the prompts) ... 👇 ----- I used VEO 3 over at Leonardo.Ai for these tests. I also used Lucid Origin to generate the thumbnail image used as the start frame. Prompt: [cinematic fashion editorial cinematography], [mid-shot of a model in bold statement wear], [eye-level shot capturing regal posture], [neon green faux-fur coat over a geometric patterned dress, paired with heart-shaped sunglasses and platform sneakers], [model confidently reclines on a lavish, golden throne in the middle of a misty field], [expansive outdoor setting with moody fog enveloping the landscape], [vivid neons contrasting muted natural tones], [soft morning light filtered through fog creating an ethereal effect], [slight motion blur enhancing the surreal dreamlike feel], [Kodak Portra 800 film stock for color vibrancy and texture] -------- #1 Concept: Play with analog distortion + Rapid Zoom. Camera Instructions: 1. Apply glitch transitions with VHS-style effects. Make it seem like the video “glitches” into different versions of the same location—fog density and color tone change abruptly. 2. Zoom-in on her sunglasses, freezing for a split second before snapping back to a wide shot. -------- #2 Concept: Night Vision The scene turns to nighttime, subject glows in UV -------- #3 Concept: Hurricane The scene turns to hurricane-level winds, subject struggles to hold on to throne as the gusts increase -------- #4 Concept: Heat Haze Ripple Heat-haze style distortions ripple from her feet outward, bending the grass and throne edges. Camera Instructions: Slow dolly in; overlay refractive displacement maps synced to ripple waves. -------- #5 Concept: Lens Flares Lens flares intensify as the camera zooms toward her. Camera Instructions: Fast push-in; gradually increase glow threshold. -------- #6 Concept: Rap Subject raps at the camera. -------------------------------- THAT'S A WRAP! I hope you've found this helpful. Follow me Mark Isle for more. If you loved this, please don't forget to bookmark it and share so others can benefit from it too! #GenAI #AIVideo #Veo3 #PromptShare #AIFashion

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Character consistency just leveled up 🍌 Today’s snippet is a demo WIP from the world of our AI animation IP The Myth, and shows an example of consistency with a non-human character (previously tricky for AI image generators to get right), holding up to prompting for different camera angles, environments, weather, lighting, etc. Allowing us to focus on what matters most - story. All made possible with Google's Nano Banana Why this matters: 1. Continuity = credibility. If your character morphs, audiences check out. 2. Editorial freedom. Cut anywhere without praying the face matches. 3. Brand safety. Looks stay on-model, even under pressure. This is a big step for AI video. Fewer photoshop hacks, more output. Music from the Warframe soundtrack, Keith Power's 'We All Lift Together' Also: we're about to launch our lite version of Fossa, focusing on controllable AI video generation all within After Effects made by and for animators. I’m dropping a short walkthrough video this week. Want early access? Comment FOSSA or DM me and I’ll add you to the list. #aivideo #animation #aftereffects #adobe #genai #vfx #storytelling #indieanimation #themyth #fossa #motiondesign

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PJ Richardson from LAUNDRY blew me away today during his workshop for our School of Motion All-Access students, showcasing his studio's use of AI in real production work. With so much hype around AI, it was great to get some solid and practical information on how it's actually used in the real world. The big insight PJ shared was that AI typically gets them to about 60% of the way to the end result (if they're lucky) and that strong technical, fundamental, and client communication skills remain absolutely critical in their process, and will continue to be to be able to get a project to 100%. Outside of AI companies clamoring for investor dollars and influencers whose sole purpose is engagement and hyperbole, no one is using raw AI results for actual, finalized client projects. AI isn't the total solution, but it can do specific things super well, and some of the examples PJ shared were impressive, especially on the 3D side like generating a high quality 3D model of a product...like...pretty much almost instantly. He also shared how AI falls short in certain areas like brand identity, where a "less is more" approach is needed because, of course, AI lacks taste, an understanding of a brands emotional equity, and a good eye. Ultimately, the main takeaway was that many jobs will still require fundamental and technical skills. Once you recognize that AI can enhance your vision and abilities but isn't a complete replacement for them...and that raw AI output isn't being used in real world production (yet?)...you can start experimenting and harnessing its power for specific parts of your workflow. Being in this mindset will help you avoid the frustration of feeling that you're just aimlessly pulling a slot machine handle. I walked away from the workshop feeling inspired, less anxious, and more hopeful. AI is a tool...and yes, it is here, and it's important to learn. But so too are the fundamentals and embracing the play/exploration that made us fall in love with this industry in the first place. This workshop is available right now via this link, exclusively for our SOM All-Access subscribers: https://lnkd.in/gbDMKsgX

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*Sorry. Another AI post* Without doubt the number one question I get asked at events now is whether AI is affecting Animation, and how it’s impacting our industry. It's clear from the amount of work we see posted (mainly on here), and mainly from people heavily invested in AI (that AI Ikea Ad!! It’s not an Ad. It’s a prompt), that the general perception is we are under threat due to the speed and efficiency of generated content. Maybe we are. Maybe we’re being sold something new with gusto by people who have put a lot of money behind it. Time will tell, but whatever the outcome, we will still need craft and guile. And an editorial eye. At MightyGiant, we've observed a significant rise in inquiries stemming from concepts generated by Midjourney-like tools. While these tools offer speed, they often neglect the crucial aspect of how a concept will function as a cohesive character or piece. Or how it will be built, and move. This oversight often leads to cost becoming a prohibitive factor once we get into the detail, causing the idea to unravel. This contrasts sharply with the briefing processes of five years ago, highlighting a shift where efficiency for one party can result in wasted effort for another. We’ve also had approaches that say they don't mind if it's AI generated or not. But want it delivered in a few days. Even a short project for us will take a month at least; that's how it's done properly. We can work at speed, but we also know that people like to, and should be, involved in the production. We've learnt what works over the past decade and a half and have a tried and tested process. We know AI can work quicker, but the Hare and the Tortoise springs to mind. We are proud of our consistency in the storytelling and quality. We're always using new tools, and AI is one of those. We've used AI tools (without knowing they are AI) for years. No doubt they will become increasingly part of that toolkit, but not as a victim of the delivery and the process. #AI #motiondesign #animation #campaign #advertising

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