Matthew Meadows

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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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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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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