From prompt to premiere: tracking AI-made features on their way to theaters. The tech. The talent. The box office. You ain't seen nothing yet!
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Joined October 2026
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FOLLOW THE MONEY. AI filmmaking is collapsing movie budgets. So when a studio says AI production costs the same, ask who's pocketing the savings. Part 1 of a series on AI and Hollywood budgets, with numbers from @StephenFollows, @Variety and @DEADLINE.
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Mainstream French director now treats AI as the next morphing. Albert Dupontel told AlloCiné he used AI to hide the cuts in the single-take illusion of his French-language film Il faut brûler maman, and that it's "hard to do without this tool now" (translated). @allocine @PatheFilms pathefilms.com/en/movies/il-…
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Open-source AI just lost one of its strongest backers. Nvidia CEO Jensen Huang resigned Thursday, and CFO Colette Kress is interim CEO. Nvidia's $13B deal to buy Hugging Face isn't finalized, and @ClementDelangue says Hugging Face will keep fighting for open source either way.
@nvidia @huggingface, per @TechCrunch
techcrunch.com/2026/11/12/je…
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By SAG-AFTRA's own estimate, the overwhelming majority of its members don't want AI blocked. CEO Duncan Crabtree-Ireland told Web Summit maybe 10 to 15 percent do, but "no one can stop it, no one can block it." The union's terms for AI likeness and voice are consent, control and compensation, plus the NO FAKES Act.
@sagaftra @WebSummit @DEADLINE, per @THR
hollywoodreporter.com/busine…
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BOOM! Young Washington director Jon Erwin (@JonErwin13) used AI on about 100 shots, per @Variety, making visual effects on set with the actors, not months later in post. The feature opened to $20.8 million in theaters on a $20 million budget, per @IndieWire.
variety.com/2026/film/news/y…
indiewire.com/features/inter…
teapawt.org/BytePlusGlobal/status/…
What changes when filmmakers can see a scene before they shoot it? 🎬
Meet Next Frame, BytePlus' original video series.
In this episode, Young Washington director @JonErwin13 shares how he brings AI into filmmaking, from developing a script to creating visual effects on set.
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Lights, Camera, Prompt retweeted
What a privilege to see @Gossip_Goblin Gods Don’t Give Gifts sneak preview last night. Beautiful visuals, sound design and score, and great performances. Congratulations to Zack London, my friend Todd Terrazas and the team. So psyched to share that room with so many friends.
Lights, Camera, Prompt retweeted
I spent 25 years as a Filmmaker. Showrunning, directing, and producing TV, films, and commercials for dozens of major networks and global brands including Apple+, HBO Max, Discovery, MTV, YouTube Originals, and many more. Won an Emmy. Led crews of 300+. Led projects with Mark Hamill, Joseph Gordon-Levitt, Kim Cattrall, Logic, the Kardashians, Nelly, Meek Mill, and a U.S. Presidential campaign. Then I went quiet.
I became a Creative Technologist and AI Systems Architect. Spent the last few years heads down, learning every tool, trying every framework, breaking things, rebuilding them, pushing past the limits of what these systems can do. And my own limits. I iterated over and over and over. When something broke, I figured out why. When a tool couldn't do what I needed, I built the tool. When I hit a wall, I went around it. I'm now building custom agentic AI ecosystems — multi-agent systems that run 24/7, autonomously managing operations, generating content, and scaling business workflows for elite individuals and major companies.
I haven't had this much fun in years. It's the same feeling I had as a kid picking up a camera for the first time — falling in love with something so deeply that you can't stop thinking about it. Except this time the creative possibilities are truly endless. We are only limited by our own fears — not the tools. I'm all in.
This is where I'll share what inspires me, what I'm experimenting with, what I'm building, what I'm breaking, and everything I'm learning along the way — at the intersection of Tech, AI, Agentic Systems, and 25 years of creative leadership. Follow along if you're curious about the exciting and unknown that lays ahead — from someone diving in head first every day, not just talking about it.
Lights, Camera, Prompt retweeted
Basic setup, studio-level results. 🎬
In this episode of @curiousrefuge’s Creator Playbook, see how to transform bedroom-shot footage into a polished, studio-style video using Adobe Firefly and Boards.
Ready for the glow-up? Watch the full episode now: adobe.ly/3X3VPcF
Paint-outs are moving into the edit. Generative Remove in Adobe Premiere (beta) erases unwanted objects right on the timeline, non-destructively, leaving the rest of the clip untouched, per @AdobeVideo at Adobe MAX.
teapawt.org/AdobeVideo/status/2120…
Generative Remove in Premiere (beta) made waves at #AdobeMAX! 🌊 Erase unwanted objects right on your timeline non-destructively, leaving the rest of the clip untouched.
Try it out in the Premiere (beta) app!
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Directing AI video while it plays. @Adobe previewed Project Live Set at tonight's MAX Sneaks: editors can change a subject, transform an environment, add a reference character or redirect the camera as the scene continues, and see the result in real time, per @Variety.
Adobe's Gautham Mysore: "Today, a large part of the video creation process is waiting. This breaks creative flow." It's an early research preview, and Adobe isn't sharing model details.
variety.com/2026/digital/new…
RECAST NEW LEAD ON LOCATION! @Adobe MAX Sneaks, hosted by @terrycrews, previewed Project Scene Sweep: edit a long multi-shot video from one text prompt or one edited frame, and the change carries across every shot, cut and camera angle, per @CreativeBloq.
Examples: removing a person or prop, swapping wardrobe without a reshoot, replacing an unlicensed logo in every shot, adding product placement after the shoot. Adobe even suggests it could recast a new lead or location. It's a research preview, not a product.
creativebloq.com/news/5-wild…
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MUST SEE!!!
our opening film for @mondaydotcom ELEVATE 2026 is here!
we teamed up with @invideoOfficial to see how far we could push Agent 2. turns out, pretty far.
huge thanks to Dan Brooks & Leif Huron for somehow letting us get away with this.
music by SonBon studio.
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Lights, Camera, Prompt retweeted
our opening film for @mondaydotcom ELEVATE 2026 is here!
we teamed up with @invideoOfficial to see how far we could push Agent 2. turns out, pretty far.
huge thanks to Dan Brooks & Leif Huron for somehow letting us get away with this.
music by SonBon studio.
Lights, Camera, Prompt retweeted
Most people talk a big game in the AI space, but then you look at their work and you're like... huh?
@julienvallee is the complete opposite. He's the most humble guy I know, never puffing himself up, and would you just take a look at what he's making? His new commercial is so good, it made me say, "I wish I made that." 😄
Simply put... he's the best of the best.
@invideoOfficial teamed up with him to make this happen, which is no surprise. They have such an eye for talent and support artists so well.
our opening film for @mondaydotcom ELEVATE 2026 is here!
we teamed up with @invideoOfficial to see how far we could push Agent 2. turns out, pretty far.
huge thanks to Dan Brooks & Leif Huron for somehow letting us get away with this.
music by SonBon studio.
Lights, Camera, Prompt retweeted
I shot this music video alone in 6 hours.
$200 in locations. Four lights. Seven seconds of AI transitions.
I directed, shot, lit, and edited everything myself.
Here’s the hybrid production workflow behind it, plus an old-school music video trick worth stealing.
1. Start with the story, not the tools.
Same Old Things, satirizes the desire to be cool.
So I built the video around two worlds: his mundane day job and the glamorous life he imagines.
Every transition takes us between them.
2. Plan the transitions BEFORE shooting.
I opened Kling before I picked up a camera.
I studied the transitions it could create, chose the start and end frames, then designed my shots around those frames.
Rather than asking AI to shoot for me or fix what I'd shot, I shot for what I knew it could do well.
3. Spend money on what's in front of the camera.
Two LA locations: a garage for his day job and a multi-set photo studio for his fantasy. 3 hours each.
Total location cost: $200.
The studio gave me several distinct looks without traveling between locations.
4. Make the lighting and camera work for you.
I controlled four Amaran RGB tube lights from my phone, changing color and intensity without running between stands.
Not quite a gaffer, but close enough when you’re alone.
The FX3’s higher base ISO helped in the darker setups.
5. Lean into the post tools.
Final Cut Pro for the edit.
@Kling_ai for transitions beginning at 00:42.
Nano Banana for the ending.
Each Kling transition connects two real frames I shot. Planning those endpoints gave me something specific to build in post.
6. BONUS: The slow-motion lip-sync trick.
Ever wonder how musicians sing perfectly in sync while everything moves in slow motion?
Here's one way it's done:
- Play the song at 2x speed on set.
- Have the performer lip-sync to that faster playback.
- Shoot at 48 fps.
- Play the footage back at 24 fps against the original song.
The lips sync at normal speed, while the movement has that dreamy, slowed-down quality.
This is what excites me about hybrid production.
The shoot is still the foundation.
The tools expand what one filmmaker can pull off.
Music: Same Old Things by Sid Kara.
instagram.com/sidkara.music/
Lights, Camera, Prompt retweeted
“We saw the film and immediately thought it was excellent,” FilmFestival Cottbus Programme Director Bernd Buder told FNE. “It's not about replacing actors or visual effects, but about using AI as an artistic medium, much like animation. I'd describe it as an experimental film made with AI rather than a typical AI production.”
filmneweurope.com/news/regio…
Lights, Camera, Prompt retweeted
We made an action teaser for The Rider, a series idea of mine, in @intangibleai 2.0. The behind the scenes is at the end of the video so you can see the workflow.
How it went together:
1. I put my references on one board: the characters, the house, the bike, the cars and the look.
2. Claude built three 3D sets from them through Intangible's MCP: a city with a tunnel, a causeway over the water and the island house. Then we edited by hand to get our exact look.
3. Every shot is a camera placed in the set. Nano Banana 2.1 made the first frame from that camera, and Seedance 2.5 animated it.
4. The tunnel shot follows its camera in 3D, from the crane down to the swing around the bike.
The set stays put, so changing your mind is quick. We pulled the camera back to keep his head in frame, put his hands on the bars in 3D and rendered again.
🤝 Paid partnership · 🤖 Made with AI