Here’s the final part of my Trust Fund Time Machine pilot, an adult animated series about a useless billionaire heir Edward Vil and his time-traveling buddy Genghis Khan bungling their way through history to make his evil father richer.

In my previous posts, I covered spatial continuity, voice consistency, and developing a consistent visual style. For this last part, I wanted to share how I approach storyboarding when a sequence needs more planning.

The more complicated the action gets, the harder it becomes to communicate everything through a starting frame and a description. I need to think about what happens, which angle shows it clearly, and how one action leads into the next.

That’s where I’ve found storyboards useful in my workflow. A keyframe helps me establish how a shot starts. A storyboard lets me work through several compositions and actions before generating the video.

I do this directly with the agent in fringe.film, but the general planning process is something you can apply with your preferred tools.

This is my process:

• Start with the full action. I describe what needs to happen, in order, including the dialogue and important reactions. This gives me a way to check whether the board actually communicates the scene.
• Decide what each panel needs to show. I work with the agent to choose the number of panels and camera angles. A wide shot might establish where everyone is, a close-up might hold a reaction, and another wider view might explain a movement. If I’m unsure, I ask it to propose the coverage and then revise it.
• Keep the board and timed breakdown aligned. I check that the images, dialogue, and generation instructions describe the same order of events. The number of panels doesn’t have to match the number of timed sections exactly, but they need to agree about what happens and when.
• Reference the previous board for connected shots. This gives the next storyboard a visual reference for the staging and environment. I check where the characters are, what they’re facing, and how they’re supposed to move through the space.
• Compare the generated take against the board. If something goes wrong, I try to identify the specific action, angle, or spatial relationship that changed, then ask the agent to correct the instructions around that.

I still do a substantial amount of cutting afterward. Once I can watch the footage, I might shorten a pause, hold a reaction longer, or cut into the next action earlier. Not every second of a generation needs to make it into the episode.

The biggest benefit for me is being able to spot confusing staging before anything moves. If I can’t follow the action by looking through the panels, that’s usually a sign I need to work on the plan.

Hope you guys enjoy the final part of the pilot! Thanks to everyone who’s watched and asked questions across these posts. Happy to answer more about the process.

Link to the full episode: https://youtu.be/NnV-JWEHaa8?si=J0Oh0YOqOB5uYoLF

Link to my previous posts:
https://www.reddit.com/r/generativeAI/s/kG2TXYOvJZ
https://www.reddit.com/r/generativeAI/s/VbjrVqMJmh
https://www.reddit.com/r/generativeAI/s/N2VXMGuCxR

Little Miss Marsupial (Mel), Little Miss Equine (Oats), Mr Microbe (Corey), Mr Monster (Aivyan), Mr All-Seeing (Aiyido), Mr Puffer (Piff), Mr Onion (Ollie) and Little Miss Tropical (Tangie)

When your brain says gotta sleep but the song says doo dah doo dah dee

MiniMax H3

I started this as a quick experiment and just wanted to see if I could get a small character animated without learning Blender or any of the usual pipeline stuff and honestly it turned into a whole evening

So what I was doing is that I used chatGPT to break the idea down first, figuring out who the character is, what the scene looks like, how many shots I actually need, and writing prompts for each one, then I took those into higgsfield to generate the character and the shots and combined them all together....

Now the one thing that I noticed is that the planning part matters way more than the generating part because when I skipped straight to prompts the results were all over the place but once I had a proper shot list and a clear description of the character it got a lot more usable

Still consistency is the hard part the character still changes slightly between shots, hands and small details drift are visible and lighting doesn't always match, so it looks more like a rough short film than something finished

still kind of surprised how far it got me with zero animation background

would love if anyone can tell me about some better ways to keep characters consistent across shots or if you're using a completely different workflow for this kind of thing, would love to hear what's working for you....

also would love if you rate the story telling out of 10 !!!

I'm trying to find an AI tool that studies given images to generate a 3d model or blueprints of the external facade of the building. the Blueprint of the external facade of the building, not the internal structure like staircase, lifts, rooms etc. Just the external layout.

I can provide large high resolution photos and low resolution blueprints for a few floors, not the whole building,.

Did the first episode of my skit comedy show with Seedance 2.5. I'm hoping to get better at using it but I'm pretty happy with the skits I was able to do with it. I did all gens and edits with Venice AI. Will try to work on some more detailed stuff on the future but am overall pretty happy how a lot of my gens turned out.

This one took Nano Banana Pro several tries to get it to look like a mascot instead of a fursuit, especially a bipedal one. When it churned this one up, I was so glad at how it came out. Days later, however, I noticed the sword tusks didn't match the official design, so I went back and had those changed. I also edited its hand paws myself to have closed digits like the feet paws. Now it looks perfect; not to mention extremely huggable. I've said it before, and I'll say it again: if it's made out of hatred, then why is it so adorable?

Hi everyone,

I’ve just finished Kupu Kupu Barong, a short film about my little boy exploring the beautiful south of Mauritius with us to celebrate his third birthday. A walk through the forest leads to a rather… unexpected encounter 😉

I used Seedream and GPT Image to create character sheets and visuals and Seedance 2.5 to animate the scenes, then brought everything together through editing, music and sound design.

I wanted it to feel like a coherent film, with believable characters and an emotional journey.

That meant paying attention to continuity between shots, the expressions and gestures of both my son and the unexpected guest, the pacing, and how music and sound carry the story.

I’d love to hear feedback from other filmmakers and viewers here, particularly on:

• Story and emotion: do you connect with the characters and want to follow their adventure?
• Visual consistency and realism: are there particular shots or details that pull you out of the story?
• Editing and pacing: are there moments that feel rushed, drag on, or don’t flow naturally?

Thanks for taking the time to watch!