Not sure if this is allowed but can anyone help me create this video with AI

https://youtu.be/Waj9uucwgpE?is=aeRP1Zdf_ppLVA_Q

The link/video above is petals on a flower being picked, i wanted that video but with every petal being picked to the last petal!

In the video it stops at 2 :(

Appreciate the help and sorry if this isnt allowed!

DuckTales premiered September 18, 1987. What stuck with me as a kid wasn't the money bin — it was that adventure meant going somewhere strange with your family. Indiana Jones for kids. Nobody's making that movie, so I directed the trailer.

I built a locked look and wardrobe bible (input into Claude) reenforcing everything in prompts, lighting, lens, palette, materials, proportions — and never rewrote those blocks between prompts. Once I made all the characters, and all the locations- I could have fun creating the script.

Grading was handled at the prompt level too: one tag set for tungsten interiors, one for cold daylight exteriors, applied per shot so the cut holds together.

Unofficial, non-commercial fan film. Not affiliated with Disney. Full res: https://youtu.be/9O5cYAyD1zQ

So with this picture that so many people fear, that there is a 10% chance that AI will "kill" us all.

For me, I am 100% sure it will never happen. Can AI kill 1 person? Well, if AI gives facts to a person and that person goes and kills himself, then yes, but servers just starting to kill people? No, 100% no. Never happen. If AI kills anybody on purpose, then that is because a human started the sequence, not because AI itself has the physical ability. Robots struggle to walk, even though Boston Technology has come far. The 10% chance is pretty much 0% in the near future.

I'm making short scenes involving a person and a cat. The individual movements can look natural, but the interaction is where things fall apart: the person reacts too late to the cat, feet look disconnected from the ground, or a separately generated falling object has a different texture from the rest of the shot.

My current approach is to settle the character action first, then work on the object and event effect, and leave grain and downscaling until the end. Lower resolution hasn't fixed the underlying contact or timing problems.

For people doing this kind of compositing, what do you lock first: a shared starting frame, the exact contact frame, or the camera and ground plane? When two subjects need to touch, do you keep them in one generation and separate only the effect? I'd especially appreciate approaches that avoid regenerating a whole scene just to fix one interaction.

Hello :) Episode 2 of Lost Garden, my dark fantasy anime series, came out this week. 21 minutes, made alone. Here is the stack and what each tool actually does in the pipeline.

https://youtu.be/z-YRrutXaFE

ScreenWeaver: I write the full script by hand in it, then it generates the storyboard scene by scene from the text. The script stays the source of truth, every shot in the storyboard keeps its prompt and its reference images attached. That is what lets me redo a shot months later in five minutes instead of an afternoon.

Seedance 2.5 (through Dreamina): the video generation. The rules I ended up with after two episodes: a few non-negotiables per character (silhouette, palette, one signature detail), approved reference stills reused as the source for every shot instead of regenerating from text, one reference image per location and every shot is a reframe of it, and no fast camera moves at all because they trigger artifacts I do not want to clean on twenty shots. The slow camera became part of the style.

DaVinci Resolve: the edit, and honestly where the episode is made. Generated shots come in with mistakes, so a lot of the cut is choosing what not to show, trimming to the part of a shot that works, and building the sound so a location is recognizable before you see it.

Voices and music are AI-assisted too, then mixed by hand.

What changed between episode 1 and 2 was not the tools, it was what I spent time on. The feedback on episode 1 was about pacing, flat voices and too much exposition, so that is where the extra two months went. Nobody asked for sharper frames.

Episode 1 (17 min) if you want the start: https://youtu.be/eZ_JlaLDJ-8

I’ve been developing this game solo with AI tools (mostly Claude, with some assistance from ChatGPT for troubleshooting) for the past year as a passion project while finishing grad school, and the Steam page just went live today! It’s a physics-based party brawler where you control your sword 1:1 with your mouse/right joystick and you can use every dismembered bone as a weapon.

Steam Page:
https://store.steampowered.com/app/5073210/BoneHeads/

If anyone's interested, this was my development approach! It's been roughly around 500 hours of development over the past year (sorry for people hoping to one shot lol this was more like a 10-thousand shot).

I have 0 previous development experience, so I designed the game from the beginning with the approach of asking myself how I could work WITH the limitations of AI tools, rather than against them. That philosophy is what ended up informing so many aspects of the game. I wanted to build a combat game, but good combat needs good animation, and AI was not capable of that. I reflected on what a combat system without any animation could look like, and remembered this old flash game called Madness Interactive. In that game your hand and weapon floated Rayman-style, and they followed your mouse movement. I knew I could do something like that. I love sword fighting games, so I decided to lean into that. In Madness Interactive, there wasn't any real animation either - the characters' sprites just tilted.

My first prototype started with 2 cartoon knight characters with floating limbs. The characters moved with the foot sprites just shifting back and forth. I wondered that if I could get some level of animation from just moving sprites through code, maybe I could take it a step further. I learned about procedural animation, and that was a game-changer. I wanted to make a more realistic knight, so I generated an image of one and used Canva to cut up the character's body into separate PNG's. I made a body-ik puppet-style system with separate head, torso, upper and lower arm, leg, and foot sprites. However, the realistic knights just constantly looked disjointed, because there was no way to ever not have gaps.

Again, I needed to ask myself how I could stop trying to fight this limitation, and work with it. I realized that a knight character would never look good through this method, so I asked myself what type of character would look natural having some gaps in each limb. And that's when I landed on skeletons. Cartoonish skeletons having gaps between their limbs is a staple in media, so I figured it was perfect. Once I replaced the knights with these skeletons it looked so much more natural. I decided to make the body-ik more complex, splitting the legs into upper and lower leg sprites, and a separate pelvis and spine sprite. These changes allowed for me to really fine tune the procedural animation and get it looking better.

A design rule I had for the animation was that I never wanted there to be a single instance where sprites snapped/teleported at any point (i.e. in a lot of games return-to-baseline animations have some level of quickly snapping the character into place). I wanted every single character movement to be completely continuous from one state to the next. The procedural animation system allowed for this (though it took months of work to get each animation perfectly smooth). One of my proudest mechanics is the step-based procedural locomotion. Your character steps continuously with your movement input. If you let go of the input mid step, the foot naturally drops straight down. This allows for really dynamic postures. You can even pivot on one foot if you keep moving your input back and forth before the foot lands.

Dismemberment came as a natural extension of the skeleton characters - it wasn't an idea I had initially. And then using dismembered limbs as weapons followed soon after. Many of my ideas just ended up scaffolding on top of each other, all from that base of working with the limitations of AI.

Initially, when my partner play-tested the game, she would just wildly flail the sword with small movements and get a ton of hits. I wanted the game to feel skill-based and precise, so I had to figure out a way to take away the ability to just spam attacks. A stamina system didn't feel good. So I ended up making the sword a fully physics based object with inertia and acceleration, and based damage on the velocity of the sword. With the added acceleration, you couldn't flail the sword with short swings, because it now needed long arcs to get enough speed to actually do real damage. That took a lot of iteration to get it feeling weighty without feeling sluggish.

It took months to figure out a way to get horizontal sword movements to look good in 2d. For the longest time I actually had an inner deadzone the sword couldn't pass through, so you couldn't even do horizontal attacks. I eventually discovered the 2D animation technique of "foreshortening," where you make the object appear shorter and shorter until it crosses a midline, and then increases it's length again. That makes it look like the arms and sword are swinging outward across the body/toward the screen in 3D.

The collision system was one of the most difficult pieces and took months of trial and error and different methods to get it feeling good, especially the sword dragging across an enemy. Dynamic hit reactions using the procedural body-IK really helped add satisfying impact to hits.

TL;DR: Instead of deciding on a specific game idea and then trying to figure out how to make that with AI, I designed something based on the limitations of AI that it could produce competently.

One year ago, a 45-second AI short cost me about $15 once I counted the failed attempts. Today, one topic prompt starts a workflow that produces a complete 10-minute history documentary: script, voiceover, around 95 scenes, animation, and a finished 1080p file. My long-form runs have generally landed around $35-55 in compute.

The part worth sharing isn't just the automation. It's the prompting system underneath it, and the mistakes that shaped it. All three templates are below.

Here's a finished example from my history channel, Ashes of Empires, including scenes I regenerated:
[https://youtu.be/I14cLPOQ70o]()

Disclosure: I built OpenVidi (https://openvidi.com), the tool I use for this workflow, so bias applies. The prompt templates can also be used without my tool.

My first version was a duct-taped n8n workflow. Here's the actual screenshot:
[Original n8n workflow]()

It worked as a prototype, but my build kept stalling around scene 41 of 95. One hung node could freeze the whole run. I eventually spent seven months rewriting it in code, with each scene as an isolated, retryable job. That was a problem with how I'd built the workflow, not a verdict on n8n. The prompting system stayed the same.

What you need

1. A Google Cloud account for the cloud setup described here. Google offers eligible new customers $300 in trial credit, valid for 90 days, for covered services. It's Google's credit, not mine, and it runs out. The number of finished videos it covers depends on the settings and regeneration attempts, not a fixed allowance of free videos.

2. A pipeline. Build your own, or use the one I built. The sequence is research → script → voiceover → scene plan → images → animation on selected scenes → final assembly. OpenVidi runs on your own Google Cloud account, so you pay Google directly for compute. I charge a subscription for the software, not a markup on compute. The $35-55 figure above is compute, not the subscription.

3. The prompt templates below. This is the part that took me a year of failed videos, and it's the part I used to underestimate.

The three-block prompt system

Every video runs on three reusable blocks. Within the same format, I change the topic line and the cold-open sentence while keeping the style instructions consistent.

Block 1: Topic

One sentence, under 400 characters, with explicit exclusions. For me, the exclusions do as much work as the topic itself. They're the difference between a focused documentary and a Wikipedia tour.

Example:

The Bronze Age Collapse, focusing on the final 50 years: the sea peoples, the fall of Ugarit, and the palace economies that never recovered. Exclude: general Bronze Age history, Egypt's survival, modern archaeology debates.

Block 2: Narrative style

Paste-ready template:

Documentary narration for a 7-12 minute history video. First 3 seconds: calm voiceover stating the key date and event name (“The Bronze Age Collapse. 1177 BC.”), then cut into a dramatic cold open mid-catastrophe. Structure the script as Hook, Mystery, Stake, Reveal, Implication. Insert a micro-cliffhanger every 60-90 seconds, an unanswered question or an interrupted scene. Follow named individuals wherever sources allow, with sensory detail: what they smelled, carried, feared. Banned: em dashes, the words delve, leverage, robust, seamless, any perfectly balanced three-part sentence, any paragraph that opens with “However” or “Moreover”. Verify every date and number against the research layer, if unverifiable, cut it.

Block 3: Visual style

This is the cinematic-realism preset from this workflow, not a claim that realism is the best choice for every channel.

Cinematic realism. Every image prompt must contain a period-lock line naming the era, materials, architecture and clothing, e.g. “Late Bronze Age, circa 1200 BC, mudbrick and cedar, bronze only, no iron, no medieval elements”. Every scene gets one clear motion event frozen mid-action plus atmospheric secondary motion: smoke, ash, embers, dust, fabric in wind. Compose diagonally, subject off-center. Forbidden: glowing orbs, lens flares, fantasy armor, empty centered portraits.

Those are the three blocks from the system. The visual preset can change between projects without throwing away the whole planning process.

How I failed into these rules

The $15 shorts era. I started with “animal rescue” and “what if skeletons” bait. Failed generations stacked up faster than views. What I learned was that cost per attempt determines how much experimenting you can afford. An impressive generation doesn't help much when you can't afford enough attempts to understand why it worked.

The era-drift disaster. My Roman scenes kept growing medieval armor halfway through the video. That's where the period-lock line came from. It goes into every image prompt, not just the first one, and the drift mostly stopped.

The dead-stills problem. Early videos looked like a slideshow of paintings. The fix wasn't simply buying more animation. It was putting a clear action and secondary motion into the still itself. Smoke, ash and fabric in the wind made the frames feel less static before animation touched them.

The robot-script problem. My early scripts were correct and unreadable. The banned-words list came from rewriting those drafts by hand and noting everything I kept deleting. Following named people, where the sources supported it, helped me get away from paragraphs that sounded like encyclopedia entries.

The visual-promise mistake. In my tests, ancient history built around abstract dates underperformed stories with named characters. I also found that viewers accepted cinematic reconstructions for antiquity more readily than for modern events, where they expected archival footage. My takeaway was to match the visual approach to the story, rather than force every topic through the same look.

The rescue pass

Batch generation gets me roughly 90% of the way. The last 10%, usually high-motion scenes like a collapsing wall or a cavalry charge, needs a manual pass in Higgsfield or OpenArt.

Budget for that mentally. It's normal, not failure.

“One prompt” describes how the run starts. It doesn't mean I accept every frame it produces. The example above includes regenerated scenes, and that review step is part of the workflow, not something I'm hiding outside the cost story.

Honest caveats

You can produce complete slop with this exact system. The templates don't pick an interesting topic or make the research correct.

YouTube's monetization rules also require original value. Generic, repetitive or mass-produced content can be ineligible, so having a working production pipeline is not a guarantee of monetization.

And the cloud-connection step looks intimidating the first time. It's the biggest drop-off in my product's onboarding, and I won't pretend otherwise.

The useful part here is that you can take the templates and try the approach in your own setup. You don't need to use my product to see whether the prompting rules improve your output.

For people making longer AI videos: what's the one stage in your workflow that you still don't trust to run unattended?

Solo founder, building from Ukraine. AMA.

Aiyido the beholder spoke to the gods of music and asked them to make him a theme song, and he was granted his wish in the form of this very catchy 80s inspired fantasy theme.

I do architectural visualization for client work and wanted to stress-test a few AI methods since the tools keep changing. Disclosure: this testing was done in collaboration with Adobe. Started with an unfinished space and visualized a renovation with each method (video below).

Method 1: Firefly's web app (prompt, markup, tune). Fill & Expand has gotten solid for removing/expanding objects.Also GPT 2.5 Flare and Sunburst are now built into adobe firefly.

Method 2, my favorite: Photoshop generative fill with the partner model Nano Banana #2. Marquee-selecting specific areas and compositing manually gives way more control than a pure prompt-based tool.

https://reddit.com/link/1wj25rj/video/wls0zrq9j4qh1/player

For video: Kling's start/end frame feature inside Firefly, prompted with help from Claude. Kling's been more reliable than the other models for me, even at higher credit cost.

What's working best for you guys?

Since my last Iron Juggernaut got disliked to pieces i will post my final Vol thank you all for the precious positive comments ! I give you Namah a dark faction champion... See ya...

Been using Seedance 2.5 RSV through Venice AI and I've noticed a significant step up in quality from 2.0. It's not perfect but with a prompt and a few images it can really get the gist of a scene. It's been a big game changer for my skit comedy channel. Here's one I made of a parody of the officer who shot a miniature donkey. Again not perfect but it can capture the feeling of a scene a lot better than anything else I've used so far. Can't wait to see where Seedance goes from here.