How a Hollywood Director Uses AI to Make Movies - Ep. 12 with Dave Clark

0:00 Intro Just make a movie together. Nicolas Cage's movie career was over a couple years ago. He just like wasn't popular anymore and now he's sort of back, like he's in a couple Movies Now. It like it seems like it's he went into the underground, he had this book of the dead and he opened it and he made a deal with the ghosts that came out. 0:16 And that's how he resurrected his career. This is amazing. I will be. 0:21 Speaker 2 Fun to animate. We're gonna have to animate these ones. Motion brush as a new tool that was released from runway. That's really cool. You're able to like, select a brush and then you color over areas that you want to move and then you're able to tell what kind of movement you want to have Nick Cage kind of gleans into. 0:40 Speaker 1 That is so good. Hey, I wanted to take a quick break from this episode to tell you about a podcast you should know about. 0:57 It's hosted by Nathan Le Benz, who's actually on this show and did one of the most popular episodes we've ever had about how to use AI as a copilot for the mind. Nathan hosts a podcast called The Cognitive Revolution, where he interviews builders at the edge of AI and discusses the profound shifts that it will unlock over the next decade. 1:13 He talks to the researchers and entrepreneurs that are shaping this moment, like Logan Kilpatrick of Open AI, who I interviewed for this show as well. Eugenia Kudia of Replica and Suhail Doshi of Playground. To listen to the show, search for Cognitive Revolution, your podcast player. All right, now let's get back to how do you use ChatGPT. 1:30 Dave, welcome to the show. 1:32 Speaker 2 Thanks Dan for having me of. 1:33 Introduction Course so for people who don't know you are a film director and a commercial director. You work with a bunch of big brands like HP, Intel and Google. You've been a film director for a long time in the traditional movie industry, and you are also a prolific AI film maker. 1:51 You had a short recently that came out, or a short film recently that came out called Borrowing Time, which went really viral. It's based on your father's life. And I saw it and I was like, Oh my God, this is actually good. And I just wanted to have you on the show to talk about how you do that. 2:08 Speaker 2 No, that's that's awesome. And yeah, again thanks for having me. Yeah, we can we can kind of dive into to that short and and then how that was part of my my father's upbringing. But yeah it came from a personal place. So it's cool to see something that's not like Harry Potter or Star Wars go viral, you know? 2:24 Speaker 1 Yeah, it's really great. 2:25 Speaker 3 Mr. Anderson, you have been found guilty of the charge of first degree murder. 2:32 Speaker 2 I didn't protect my mother, and now I hurt my own legacy. 2:35 Speaker 1 OK, so tell me. Tell me about borrowing time. Like, what is it about? How is it conceptualized? Let's start there. 2:42 Speaker 2 Yeah. So it was actually a story that my father told me, You know, I was, I was growing up, you know, I'm, I'm, I'm, I'm mixed. You know, my mother's Korean, my father's black. So, you know, obviously he, you know, he's in his 70s now. So he grew up kind of during the segregation era and like Jim Crow laws and stuff like that. 3:01 So he he was telling me the story about when he was, I think he was around 12 or 13, he had winked or or whistled at a white woman inside of like a convenience store and he got in real severe trouble for it. He didn't go to prison but I think that following year or something someone was either murdered or or went to to to prison for or got life in prison for what people believe. 3:24 You know falsely having something to do with the disappearance of of of a white woman. So it just goes to show like wrong place, wrong time. Like you know that could have been, you know could have been my father that that went to jail for the rest of his life And then the story, you know, because I'm such a a huge sci-fi nerd. 3:39 I was like, man, if that if my father ended up going to jail and I was able to, and if I was a lawyer in the present tense, I was able to go back in time and like represent him in court, Like that's a cool story. I haven't ever seen that before. And like, you know, the power of AI allows me to visualize it because, you know, if you try to go pitch out to Hollywood, they're going to say, eh period piece, eh, no, she been there, done that. 4:01 Like. And plus you're not. You're not Steven Spielberg. So sorry, you're not going to make that movie. But I think because of AI, I'm able to visualize it, you know, in a really cool way and like that that got on Forbes. You know, it's like that's a little story, a sci-fi, you know, period piece that you know, people, some executives might might yawn at it in a in a room if you're trying to pitch it, but because you can visualize it, they might look at it differently now. 4:25 Speaker 1 That is really interesting and do you think of 'cause I was going to ask you like why you made this with AI, but the answer is like pretty obvious. But do you think of this as a as a way to get those people or funders interested? Like, is it a leg into making a traditional movie with this concept, or do you think of it as a totally separate thing with a separate arc and you're kind of just focused on making AI stuff? 4:48 Speaker 2 I mean because I'm a filmmaker you know traditional filmmaker first absolutely everything that I create it's an IP. It's an extension of my creative ideas that I have in a notebook. So and I will say that yes this and I think the one I did called Dismal Swamp. I don't know if you saw that one. 5:04 You know that has gotten the tension of of pretty a level producers and execs in Hollywood. So it works right. The purpose of it was to for Dismal Swamp it was to create a little one minute sizzle or rip O Matic if you will, using AI generated footage. If you think about traditionally in Hollywood, a lot of directors will take pieces from other directors movies and cut together like a sizzle to pitch an idea. 5:27 But like, AII took my scripts, I fed my script into the prompts and I made it based on all the stuff that was in my head and like couldn't do that five years ago, three years ago. And and that's it's, I mean, that's incredible. 5:39 Speaker 1 This is what you're making me think of is like this has actually happened before in like writing. For example, like the this, this is done in writing, but it's like with like tweets. Like people started tweeting and and then that was a way to like test out what articles you you would write. 5:58 Or your the articles that you write on your blog are tests for like books and they're like super cheap. You can do them pretty quickly, like much more quickly than you can write an entire book, which takes years and there's no gatekeeper. Like you just throw it online and if it works, like then maybe you get the book deal or whatever. 6:16 Or maybe you just self publish because you don't need the gatekeeper anymore. And it sort of strikes me that that that wasn't as available. It probably has been available to some degree in indie film making, like because you can make a lot of stuff with just a camera and and yourself, but there's a lot of stuff you just can't do because you don't have actors and special effects or whatever. 6:34 But it strikes me that this, these, this new set of tools makes that kind of thing available for a wider range of short films that can act as precursors to like larger, better funded projects. 6:52 In the same way that tweets or blog posts or precursors to books like these could be precursors to films is kind of what I'm getting from you. And like, I never thought of that. And I think that's really amazing. And by film, I mean like feature length movie, yeah. 7:04 Speaker 2 Yeah, I mean that's a great point. A a prime example is you might have saw it was like a hybrid live action AI film that I was working on called another and that went viral on Christmas Day. Yeah, OK. So that's an idea of like you know what I think is like the the immediate next step with AI and Hollywood is live action and and mixing that with like a stable diffusion model to create visual effects. 7:28 And we're in the middle of I'm actually going to be releasing that at the Runway AI Film Festival at the end of the month. So I'm, you know rush, rush into the finish line to to get the effects done. And and I'm not going to lie, it's it's not easy. It's been a nightmare. Right. Trying to figure out how to make stable diffusion look like and work with footage that you shot on like an RE or on a Sony Venice, like it needs to match the the, the, the fidelity. 7:50 And I'm working with you know one of the one of the one of the what I think one of the top VFX supervisors in Hollywood. He did John Wick three. He did like The Conjuring, he's and he's helping me do the visual effects using you know the stable diffusion set up. So again it's all learning process and we're figuring it out as we go, but it it's still very exciting and exactly what you said. 8:10 We were able to test the waters with these techniques and and the horror is perfect for for that type of thing. If you think about like Blair Witch Pod Project or Paranormal Activity, it's always like a horror film that like creates a new subgenre sometimes. So it's interesting. 8:24 Speaker 1 That's really interesting. I didn't know that what what subgenre did like Blair Witch Project create? 8:29 Speaker 2 I mean, you made the found footage genre huge, right? There was like a maybe one or two films before it that no one ever saw. But when Blair Witch came out, it was like, oh, that was a thing. And then obviously that led to Paranormal Activity. 8:40 Speaker 1 And what is found footage is like a pre-existing footage from some other project or something else? 8:45 Speaker 2 Yeah, it's kind of like it's like that handheld style. Like there's movies like VHS that came out where, you know, you. Yeah, it has like a that DV tape look on there. That's when I think about found footage, it's always like a Blair Witch or a Paranormal Activity because it's like, yeah, these tapes were collected by authorities and they they edited together and found this. 9:00 Yeah, I see. 9:01 Speaker 1 So it's not like necessarily prime footage isn't necessarily like pre-existing film from somewhere else, but it just looks like it was. It looks like it was collected by someone else and it wasn't intended to be shown. 9:12 Speaker 2 Exactly, Yeah. That's, that's the style of it, yeah. 9:15 Speaker 1 That's really interesting. OK. I love that. And I guess like I have to ask the obvious question, which is there's so much backlash, I think particularly in a community that you're a part of and and really familiar with, which is like traditional film making and a lot of worry about AI tools and how it how it will change, who gets to make films or or what films get made or who gets paid or. 9:37 There's just a lot of questions. And I'm curious like how you decided to sort of jump into this versus not? 9:45 Speaker 2 Yeah, no. Again, I think it it was a little bit of necessity. It was a little bit of of seeing Elaine, you know, being a person of color. I'm not going to lie. I mean, of course there's a brilliant black film makers and and female film makers that are winning or getting nominated for Oscars or or should be getting nominated for Oscars. 10:00 But you know, there's still it's there. There's still a small amount of people, like, especially in the sci-fi horror space, If you say, Oh yeah, I want to be AI, want to be a horror director. Oh yeah, like like Jordan Pill. That's what everyone always says when you're a black person and you say, I want to be a horror director. So that just tells you that there's not enough. 10:17 And I think for me, you know my argument to anyone and I and I have, you know, big time director films and big time film director friends and and and writers and and they they're starting to come around. 10:28 How AI is enabling everyone with a laptop to be a filmmaker They're starting to kind of see the the positivity in it and how it could really enhance and give people opportunities and storytellers opportunities that might not have, you know, the opportunity. Like, I think about, you know, if you're like a, you know, if you're like a white kid from Arkansas, like who loves making films in your backyard, but you don't have like, you know, the connections, Like you have a chance if you're a black kid from the, you know, from the hood, like that's how I grew up. 10:51 You have a chance, like everyone has a chance, to create something incredible. And that's what's really cool to me. And then, you know, I, I was able to speak to SAG directly, which was an interesting moment. I was like talking to the board of directors through my friend Rob. He was getting a webinar on just a difference of like CGI versus AI because there was a, there was a whole thing about digital double S and you know is AI going to replace me as an actor? 11:15 And while I can't like answer that truly and and and really know the answer I do know that AI is going to be kind of used kind of how CGI is used. Like you'll you'll use AI to create large stadiums of crowds and and and and digital double S of people. But it's all going to be with consent and people. I believe people should get paid for their likeness and all that. 11:32 So yes, so kind of to circle back on your bigger question is, I think AI is the best opportunity for anyone. If they want to become a creator or filmmaker or an artist and create something that can be seen on a large scale, you have a great chance if you use some of these AI tools. 11:48 Speaker 1 I love that. I mean, it's so interesting because it's so in line with with things that I felt and seen just in different, different areas of the world. And I didn't realize how directly it applied to filmmaking, but it obviously does. Like one of the things that I see a lot is AI changes who can make software like it. 12:09 It dramatically expands the the territory of people who are able to build stuff because it can program for you. And I think the same thing. It seems to be true here like the cost and the and the level of skill maybe to get started with building just making a very very small video clip just went down tremendously. 12:32 And obviously it requires a lot of skill to like build that into something that people want to see but it doesn't require that much money. And like for me we were talking about this in the in the production call previous before we started this show. And like I loved I so wanted to make movies when I was a kid. 12:47 Like I I got this like I had this like Lego set, this like Lego Steven Spielberg Jurassic Park thing that like came with a camera and you had you could have the little actors and it was sort of like almost a stop motion animation thing and I was like so into it, but you couldn't make anything good. And so then I got into like 3D modeling and I was like trying to make a Pixar type thing. 13:07 But that didn't really work because it was like at that time, you know you have to be a freaking genius to like make an actual 3D animated movie in like the mid 2000s and. And so then I started making software because like software, especially business software, you can like, you know, it's just easy to make forms that people fill out and pay money with a credit card, which I love. 13:27 I mean it's a it's a really an an amazing, like part of my life. But honestly, like I think if a lot of the AI like filmmaking tools had been available, I would probably be making movies. And I think it's so amazing that like people now anyone can just like go make a movie and it doesn't require that much money. 13:43 It's it's so cool. 13:45 Speaker 2 Yeah, I mean, especially I think for my, you know, I have, I have children, young children. And you know, they're very, they're artists and they're they have great imaginations. Like, I was just using Chat BT, ChatGPT the other day to like come up with a a bedtime story on the fly for my son. Like he he's obviously big into Spider Man and Venom. 14:01 And so I created a story really quickly, like, help me create a story with my son who's 5 and he wants to work with Venom to fight this guy. And it was like it did it really fast and it was like, you know, it was like 9:00 PM So like I was on the fly, like, how can I get my kid to to sleep? And he loved it, man. And but, but it's like that little thing right there. 14:16 Like you couldn't do that before. You would just, you know struggle to get your kid to bed or now they can go to bed happy and and you can create any kind of story you want even for small things like that. Which is cool. 14:27 Speaker 1 That's so cool. I guess I'm curious what would you, what do you consider the new tool set for making AI films and how does that differ from like the the traditional one, like what what tools and programs are like part of the like the new workflow that that you're working off of? 14:44 The new tool set for making AI films Yes, it's interesting because I honestly, I honestly think from what I'm seeing personally, personally is that like I'm still using a lot of the old tool set, but I'm actually now figuring out how to work them into this new pipeline, This new production workflow like you know, stable diffusion has been out for years, but it's like it's it's now I'm able to hone it in and use it for a specific purpose what I think would work for live action. 15:07 Same thing with animated animation, right? You have Animate Diff, we have stuff like Warp Fusion, which you know a lot of people are creating some amazing animations and like I honestly think the first feature link film will be an animated film, like a Pixar type film completely done in AI. 15:22 Might even get the trailer for it this year. That's all fastest stuff is moving because I can totally see like like any of these diffusion models able to allow it because I mean and The thing is like these guys who really know how to use it, they're not like they're not storytellers first. A lot of them are just tech Wizards and and but when they when they start getting together with like the me's and the other kind of like people who have stories, it's going to be game over. 15:45 I mean, you're going to have so many amazing things coming out and I I'm, I'm super excited for that. 15:50 Speaker 1 I love it. I love it. One of the things I'm like really fascinated by is how the new, the new powers and the new limitations of a new tool shape the like kind of or the form of the art or the form of work that can get made. And I think there's lots of examples like this through history and I'm kind of curious about that for the sort of AI film age, you know, like I I'm noticing things like, for example, it seems like runway, which is the the main kind of way to generate a a clip, take an image and turn it into like a video clip. 16:26 It only generates like, I don't know, two or three seconds at most, something like that. And so I'm seeing a lot of these AI films, including yours, like you have these like couple second shots and then it cuts to another one and it cuts to another one. And maybe there's also like, it's harder to make the characters as continuous through each different shot. 16:43 And so, so the kinds of stories you can tell that that pushes you in a specific kind of storytelling direction. It creates rules for what the what the medium is. And I'm sure it's like still really early and these tools are going to get better. But I'm kind of curious, like what are the rules for like what you can make with AI right now? 17:01 How to make your AI-generated clips stand out No, that's that's a great question. Yeah, there are limitations, right. I think 4 seconds is runway currently. I know PICA Labs, you can extend it up to 15 seconds I believe. But you know you're you're that's uncharted territory because you're kind of going to lose some fidelity a lot of the time. 17:17 So what I try to do is I I like, I use like a tool called Topaz Labs and what I do is I bring in like a runway clip. I not only export it out at 4K or 8K sometimes, but I'll also change the frame rate. So if you get a 24 frames per second clip, I'll turn it into 60 frames, 60 frames per second sometimes 120 and then you can extend the clip. 17:38 So if it's like a for my sci Fi's like borrowing time is a great example of like the the the scene where you know all the it's very Oppenheimer was a huge reference. But just like the way the time travel scenes were happening and the lights were kind of whipping around like you know I I I did a high frame rate generation and then I slowed it down in post so and then speed it up. 17:58 So what I'm able to do is make clips last longer and then mix that with quicker cut clips. So it actually makes the storytelling and and film making more more like something we're used to seeing on TV. Like I always think about like the the the the Tony Scott type films like Man on Fire where there was always like these kind of quick cuts or like or Schneider with 300 and and and Dawn of the Dead. 18:20 Like those are one of my favorite films. But I also, I love how they did the editing, and I think editing is a huge piece of my type of film making with AI is I'm able to tell a story and not have to use just three second clip. After three second clip, sometimes you'll get a eight second clip because I slowed it down. Then you'll get a one second clip and I use that cadence to to help tell it, you know? 18:38 Speaker 1 I see. So I think what you're saying is and I can't I I kind of missed the tool that you said at the beginning, maybe Topaz Labs is that the thing that is changing the frame rate so it it makes the clips slower or faster? 18:50 Speaker 2 Yup. 18:50 Speaker 1 Yeah. So basically, I guess what you're saying is yes, there are these specific things like Runway is only exporting 4 second clips, but you're doing different things to lengthen or shorten the clips so that it's not just the same length of cut. 19:06 And that there is actually like a history that you're pulling from like like 300 and Men on Fire where directors of traditional feature films are doing something similar. It's probably not exactly the same, but you're like taking inspiration from that and you can push push the AI to do something that is inspired by it. 19:24 Speaker 2 Absolutely. I I think that's that maybe helps my stuff stand out sometimes a little bit more because it's it's not just you know 3 second clip after three second clip after three second clip. Another thing also is like there's tools like 11 labs where you can generate AI voices and some of them are incredible but a lot of people tend to use the ones that sound like AI, right. 19:44 But now they have this whole speech to speech which I used in borrowing time. It was actually I think it might have been in beta when I used it because they just announced it. But I can talk and act out how I want the you know like like the judge, the white judge in the movie was my voice. It was just voice to voice using 11. 20:00 Speaker 1 Labs, yeah. 20:02 Speaker 2 And the woman, the mother was my voice. And then obviously the voiceover was just my plain voice, cuz I just I I just thought it sounded better than more natural to have like the natural pauses and the things like that, so I make sense together. 20:14 Speaker 1 That's really cool. OK, so I didn't even realize that that was a thing. So you basically you acted the whole the whole movie yourself and you you you used 11 Labs voice to voice model to change it into different characters. I didn't know that that was a thing. That's that's so cool. 20:30 Speaker 2 Yeah, it's dude. It's awesome. Think about animated films. You could do like all the weird characters, like just 'cause you know how you. And sometimes, yeah, it's not perfect, but you kind of hear it in your head. And for the shorter films, it's like, why not have edit right? 20:43 Speaker 1 Yeah, yeah, yeah, that's that's amazing. OK, cool. Well, what I'd love to do is, you know, a lot of this show is US seeing how people use ChatGPT and us using it together. And what we plan to do is just make a movie together and it probably won't be like a full movie, but make a clip from a movie together and sort of see what this process is like. 21:07 And I think what's really interesting is you're actually using ChatGPT as and particularly like a custom GBT to help you ideate. And I know this is sort of like a new part of your process, but it's something that you're doing. And so maybe you can start by telling us what this GBT is and how you use it. 21:24 We can start there and then we can sort of go into exploring making. 21:29 Speaker 2 No, absolutely and I think I'm still heavily in mid journey and then sometimes stable diffusion with a lot of my image outputs. But I'm just I fell in love with this idea of creating a version of my own text to image generator. I'm obviously it's using you know the Dale platform and it's building on top of it. 21:48 But what you're able to do which is incredible is really fine tune it to the type of imagery you like to create and it and and you don't have to pigeon hold it to like just being like live action type imagery. You know you can make it as as fast as you want but you're able to almost create a mentor out of it. 22:04 So it's a combination of my opinions, combination of what maybe what Steven Spielberg might look for an imagery, what really Scott might look for an imagery. You know, it's really because you know you can use chappie T and and kind of tell it to be anything, but you can constantly just tune it. And I'm still tuning it. 22:19 It's still new. So it's not perfect but but it's good to me is it works for me because I'm able. I do have a certain look to a lot of my stuff and I know like Dolly traditionally hasn't given me the outputs that I prefer or like when I like versus like a mid journey. But, but now, because I'm starting to really fine tune it now I'm starting to get imagery that's like, wow, that's on par with what I'm getting from like a mid journey or stable diffusion. 22:42 That's pretty cool. Yeah. So that's where that's where I'm at now. Still toying with it, but I mean what, what an incredible tool. It's crazy. 22:48 Speaker 1 Cool. Should we? Should we demo that and maybe start there? And then we can? You know how? How do you start? How do you start with this? Like, when are you? When are you jumping in into it? 22:59 Speaker 2 So yeah, I mean, I jump into it right away because obviously it's a, it's a image generation or text image generation tool. But I can also talk to it like, you know, to get ideas. I can talk to it like it's almost like a mentor. So yeah, let's see, what would you like to prompt? 23:16 Speaker 1 Well, let's think about it. Like, OK, So what kind of what kind of movie do we want to make? Wow, I got to think. 23:22 Speaker 2 That's a good question. 23:23 Speaker 1 So in a previous episode of the show we we built this game with Chachi PT called the Allocator and the game was basically this. You could play the president of any historical era and you would start and you would be basically it starts with Inauguration Day and you get to make decisions as the president and you basically set the budget for the US government. 23:50 And then the game plays out your decisions. And then you know you play JFK during the 60s and you decide whether to fund going to the moon or or not. Like all that kind of stuff got it and we could do something that's sort of that's sort of based on that. 24:08 One of the one of the interesting things about that about that game is we had a lot of Nicolas Cage cameos because ChatGPT like generated this image for the GPT that it just looked so much like the IT just looked like National Treasure. 24:23 It was giving U.S. National National Treasure vibes and we were like, I guess there's going to be some Nick, Nick Cage cameos in this game. So I don't know if that gives you anything any ideas for for ideas to to do, but maybe we can throw that, throw that in there and see what comes out. 24:40 Speaker 2 Yeah, Nicolas Cage is always. There's always awesome, epic imagery whenever you prompt him. We could, we could. I mean, yeah, give me, give me, give me an idea. Let's see what happens. We'll just start there. 24:53 Speaker 1 OK, I wanna do, I wanna do Nicolas Cage getting sworn in as president. 25:13 The first prompt in Dave’s custom text-to-image GPT for our movie And I ideally it's like it's raining. You know it's like sort of dark it's like gritty like noir vibes maybe. And I don't know if that is on your aesthetics. So you can tell me and and maybe the GBT will will correct me if I'm if I'm wrong I'm I'm trying to think about like in what situation Nicolas Cage would ever become president. 25:40 And I guess given who our previous president was, it's not maybe not that surprising, but interesting. So you're saying create an image of Nicholas Cage getting sworn in as president? The image should be cinematic and gritty in the style of David the David Fincher film 7. 25:59 Cool. 26:00 Speaker 2 I think that could help. 26:01 Speaker 1 Right. All right. Well, that that could help. Is there any, Do you think there should we should add anything else into the scene aside from him getting sworn in as president, or would you just start with something like this? Like how would you, how would you do it? 26:12 Speaker 2 I yeah, I kind of start just brass tack simple and then we just refine it from there. Like all right, add, you seen those things on Instagram, add this in now do this. Now do that. Yeah. So let's see. And this is the first time Blasian GPT has ever been seen publicly, which is is Blasian 'cause I'm black and Asian, by the way. 26:30 That's what they that's what we call ourselves. Here we go, never before seen before. I don't know what it's going to do. 26:37 Speaker 1 We're doing it live, folks. 26:40 Speaker 2 It's called a top tier image generator, so it better show up. 26:45 Speaker 1 And so you had it 1. Interesting thing is you're having it go right into generating an image. Like you're not having it like sort of ideate with you necessarily and saying like, well what what do we do this or what do we do that? It's like just right to the visual. How did you make that decision? 26:59 Speaker 2 Just because I because I've already trained it on a lot of those conversations I forgot to do, I forgot to do 16/9. 27:08 Speaker 1 I'm getting. I'm getting Nicolas Cage is in Harry Potter but like but but it's for some reason we're in the in the in the wizard court like the wizard gamut you know So it's it's not necessarily an inauguration vibes but I'm not mad about it either it's kind of interesting. 27:26 Speaker 2 It got the Seven vibe down, right? Yeah, I mean you got the film, you have the film grain, you got the harsh perfume lighting, which is always funny, 'cause I I watched it behind the scenes of Seven and that was what the DP said he was like, Fincher told me to watch a bunch of perfume ads. Like we wanted to create that, like that noir, like just like you said, where it was like whites are really white and blacks are really black. 27:46 That's exactly what it. 27:47 Speaker 1 Did wait, yeah, what is what is perfume lighting? Is that that that's related to perfume ads? 27:53 Speaker 2 Perfume ads back in like the 80s and early 90s were very dramatic, so it was very like high contrast, almost felt black and white, but there's always like a splash, a wash of color, which is how 7 looks. Got it. But interesting. OK, so let's build on this. One thing I want to do is I want to make it 16, nine. 28:10 Speaker 1 What is 16/9? 28:12 Speaker 2 That's a widescreen, so that's what you're used to seeing like or two, one, I usually do two, one or sixteen, nine, but we'll do 16-9, so it's a little bigger. 28:19 Speaker 1 OK. And what is? Do you know what the aspect ratio of this one is? 28:22 Speaker 2 This is 1 to 1 so this is like your Instagram square square look which is your default. You can actually I forgot to go in but you can actually change it so it always the first image is 16 nine. You don't have to prompt it. OK, cool. So what changes do we want to make besides that? 28:37 Speaker 1 Well, I'm curious like, I mean, I can, I can certainly give you some, give you some input, but I'm curious how you would think about it like help me help me guide me through, like how I would think about what changes I might want to make or what I should be thinking about or seeing. 28:55 Speaker 2 Yeah. So I think for what you want to say, it's missing some core pieces. You know, you talked about it doesn't feel very inaugural. It doesn't feel like it's in DC, So I think like, where would this take place typically? 29:09 Speaker 1 Well, I mean it's got to be kind of on the mall in front of the Capitol, right. I'm pretty sure that's that's where it, that's where it happens. I am sort of and I'm curious what what you think like there's you know, this is a mistake obviously. But then it's also, I'm also like I'm kind of intrigued like this is like what did Nicholas Cage do to end up in this situation? 29:30 Like he looks like he's in a court, you know, and well. 29:34 Speaker 2 We could go down that rabbit hole. 29:36 Speaker 1 We kind of could. I'm curious like, do you see anything here where you're like like, you know? 29:44 Speaker 2 It looks like he's like almost. He looks like he's in a church. This is like some colty underground, Like, like what did he get himself into? Like it kind of gives me John Wick vibes a little bit too. 29:58 Speaker 1 Yeah, it's the cult of Cage. And he's got like, what's he, what's he holding? Is that a Bible or like what's in his hand, you know? 30:07 Speaker 2 Yeah, we, I mean, could we, we could ask, we could ask Blasian GPT. 30:13 Speaker 1 Let's ask. Let's ask. 30:15 Speaker 2 Before we change the aspect ratio, what is the book? Nicholas? This is fun. I don't really do it fun. Whatever this cage is holding in his hand. 30:42 Speaker 1 OK, interesting. OK, Chachi VTS playing it straight, playing it straight with us. Just a It's just a Bible or the Constitution. 30:52 Speaker 2 What do we say? But But what if the book was? It almost reminds me of the book from Evil Dead. Did you ever see that movie? 30:57 Speaker 1 No, what is it? 30:59 Speaker 2 It's Evil Dead is that that film where it's like the the that cursed book of death is like when you read a a thing from it like causes all these evil spirits to show up. 31:08 Speaker 1 I love that. It's cool. Yeah, it's he's holding the Cursed Book of Death, and he's gonna open it. OK, here's what it is. Here's what it is. Nicolas Cage's movie career was over a couple years ago. You know, he just like wasn't popular anymore. 31:24 And now he's sort of back, like he's in a couple Movies Now. It like it seems like it's and I think that's how he did it. You know, he, he went into the underground. He he had this book of Book of the Dead and he opened it and he made a deal with the ghosts that came out. And that's how he resurrected his career. 31:41 I I feel like that could be it. 31:44 Speaker 2 Made a deal with the ghost and he resurrected. This is gonna be absurd. Resurrected his career. Show me the next scene. 32:05 Speaker 1 And so is that something that you would do is like you you find an image you like and then and then you you do the next scene? 32:11 Speaker 2 Yeah. So if you think about what what so this is different here. So if I was in mid journey you get like the four variations and they can go down each variation rabbit hole and do more variation. So because you get one image, I typically like to say, OK, so what's what happened before this or what happens after this if like I'm intrigued and then and see what we get. 32:29 Speaker 1 OK, let's see what we get. And if you want to try it in mid journey too, like with a similar prompt. Yeah, kind of curious to see like what the differences are. 32:38 Speaker 2 When we get to the end of this story, we'll say, OK, now give us a few prompts to throw into Mid Journey. 32:42 Speaker 1 OK, sweet and. 32:42 Speaker 2 Then we'll take it in there, yeah. 32:50 Speaker 1 Yeah, I'm kind of curious, like, you know what drove Nicholas to want to do this deal with the devil, right, 'cause like, obviously he's got enough money, I mean, I assume, right? So, like, I wonder what was going on in his life before this that created this situation, such that he decided to end up in this dark, cavernous place with the Book of the Dead in his hands. 33:16 You know, it's a good, it's an interesting. 33:17 Speaker 2 Question Whoa. The next thing that flows with a figure resembling Nicolas Cage in the midst of a pivotal supernatural moment, is hopefully the Book of the Dead making a deal with the ethereal entities that surround them. 33:32 Let's go wide. 33:36 Speaker 1 This is amazing. It should. 33:37 Speaker 2 Be fun to animate. We're going to have to animate these ones. 33:40 Speaker 1 We have to, we have to look at that. I mean, this is, this is national treasure, but like, make it noir, make it dark, you know it's. 33:48 Speaker 2 Pretty incredible. And the fact that it's happening live on blazing GPT, available worldwide maybe one day is making me look good. OK, this is pretty cinematic. 33:59 Speaker 1 This is great. 33:59 Speaker 2 For sure. So that the image that we're looking at is Nicolas Cage in the middle of Supernatural Ghost. It's it's it's illustrating atmospheric tension and the blend of the supernatural with the gritty, cinematic, cinematic style reminiscent of Dave Fincher's work. 34:16 The room is ancient and shadow filled and it becomes a stage for this mythical pact, excuse me, mystical pact where the boundaries between the realms of the living and the dead blur, making a dramatic resurrection of his career. 34:32 This must be what he did is if Chachi BT knows this and this, this has to be what happened. 34:36 Speaker 1 I mean, definitely this is, this is true. True to life for sure. And I love, I love your delivery. You're really, you're making it. You got to narrate this for us. 34:45 Speaker 2 I love it now. Now. Yeah, I have to, Yeah. Did you ever see Mandy? That he did. It was an incredible film. Oh man. It was. I think that film resurrected his career, I mean, but it was like a supernatural type film. So maybe some of this stuff happened. 34:58 Speaker 1 I mean, maybe Mandy came from the Ghosts, you know, maybe they gave him the the idea for it. Or maybe or yeah. 35:05 Speaker 2 OK, let's let's think of the next place to go. So after this, he's made the deal and what does he have to do next? I feel like he has to like go do something crazy like like drive to Vegas and like find some relic to finalize the finalize the spell. 35:26 Speaker 1 Interesting. That could be cool. Like maybe as part of the deal, like you don't just open the books and the and the ghosts do what you want. You have to like complete a mission for the ghosts in order to in order to get them to help you with your Hollywood career. So like what? 35:42 What would the Ghosts want that is in Vegas? The Ghost. 35:48 Speaker 2 Demand that Nicolas Cage go to, what's the word? Haunted kind of hotel in Vegas, the Flamingo Hotel. 35:56 Speaker 1 Oh, the Flamingo, I was going to say. What's the Pyramid one again? 36:01 Speaker 2 The Luxor. The Luxor is Luxor. The Luxor. OK, go to Luxor and steal a relic. A cursed relic. 36:11 Speaker 1 Oh, a cursed relic. 36:14 Speaker 2 That is hidden where? 36:15 Speaker 1 Underneath I mean I think it's it's got to be it's got to be a a special roulette ball and it's it's a it's a roulette ball that's being it's currently in use. But really the roulette ball came from, I don't know. 36:36 I don't know where it came from. I'm I'm I'm like getting like some images of like the mob like there's some mob murder or you know something to do with the the roulette ball. But I'm I'm coming up empty. We could we could also ask Chachi BT what the even in another tab what what could possibly be the back story of the roulette ball or why the ghosts feel that it's important. 37:03 But let's see. Steal a cursed relic that's actually forgot Paul that is currently in the hands of. 37:10 Speaker 2 The top mob boss. 37:11 Speaker 1 The top mob boss who's? And now I'm thinking of Ocean's 11, like Terry from Ocean's 11. 37:21 Speaker 2 What's his last name? I forgot. 37:24 Speaker 1 Terry Ocean's 11 Terry Benedict or or Reuben. Either one, Now we're getting ridiculous. 37:36 Speaker 2 We'll just say who is Terry Benedict? 37:37 Speaker 1 OK. 37:38 Speaker 2 Perfect. OK, show this image in 16-9. 37:46 Speaker 1 Suite ratio I kind of want to get get one of the ball going around the the roulette like the cursed roulette wall ball going, yeah, we'll. 37:56 Speaker 2 Do that, That could be cool. 37:58 The big advantage text-to-image GPTs have over Midjourney What I love about GBT, which you can't really do in Mid Journey, I mean you can, but it's not the same experience as you can really. Like you're like telling a story together and you're really detailed in your narration, right? You're really just, it's almost like you're sitting in a campfire by this person and you're literally just coming up. 38:14 It does remind you of being a kid, right? You know, picking up a little VHS camera and just saying let's make something silly. Totally. It's really cool. 38:23 Speaker 1 Wow. 38:25 Speaker 2 Wow, that's pretty pretty incredible imagery. 38:31 Speaker 1 It's the casino has like the the banks of the of the casino. It almost looks like computer monitors, like like it's a casino where they're sending him to the moon or something. But it's like a casino. 38:42 Speaker 2 Control panel Yeah, yeah, that's interesting. 38:46 Speaker 1 I really love the face, all the faces and stuff, like the kind of Pharaoh face imagery. I don't even know if that's in the Luxor or not, but it's pretty cool. 38:54 Speaker 2 OK, so you know Chad ChatGPT has a mind of its own sometimes, but let's ask for OK, let me actually put this in for now on all images will be 16-9 ratio, so I don't have to keep adding that. 39:10 Speaker 1 OK. So I guess like what's what's next like do we do we do you want to keep going with this do we hop into mid journey like what's your what's your next step in your process usually now that you've got a couple frames of something that's like looking like a story do you do you want to keep going with yeah we'll do how does it work we. 39:26 Speaker 2 Don't have to finish it, but let let's do your last shot of the roulette. 39:29 Speaker 1 Ball. Oh yeah. Cool. Let's do that. 39:30 Speaker 2 Show an image of the cursed roulette ball spinning around the roulette wheel on a table in Vegas. 39:43 Speaker 1 This is making me think of there's a there's a episode in the last season of The Sopranos where Tony goes to Vegas and he does peyote and. 39:52 Speaker 2 Oh yeah. 39:53 Speaker 1 They're playing roulette and he's like, it's going around the the, the, the ball. And he's like, it's the same principle as as the the planets orbiting the sun and the universe. It's the same principle as the universe or whatever. There's something, there's something about Roulette that to him was like deeply connected to the way the universe works. 40:13 Just made me think of that for some reason. 40:15 Speaker 2 Yeah, it's that was such a great show. 40:17 Speaker 1 Amazing. 40:19 Speaker 2 OK, so now we're looking at an image that captures a tense and vibrant moment at the Luxor Casino where the course curse roulette ball spins around the wheel surrounded by a crowd of onlookers and gamblers. The scene is set under the casinos opulent Egyptian themed decor with dim lighting adding to the atmosphere mystery. 40:39 I mean that's that's interesting. I mean, that's kind of crazy. Looks almost like the the painting of Jesus eating, you know? 40:46 Speaker 1 Like the Last Supper? Yeah, I kind of. I feel like we need like a close up of the cursed ball, you know, like, I 'cause I want to see what What if cursed your lap ball even looks like? 40:56 Speaker 2 Good idea. Let's get some camera angles in here. Show us a close extreme close up angle of the sometimes the if you're. If you go with shorter descriptions they'll get you the the nice kind of frames. Yeah, show us a extreme close up angle of the cursed roulette ball. 41:16 Speaker 1 OK, so you're saying show us an extreme close up angle of the cursed roulette ball, all right? 41:22 Speaker 2 So I think maybe then we'll take a few of these prompts into mid journey and see the difference. OK, cool. And then and then we'll pick what we like the best and animate a couple shots. This is fun. I can do this more often. I never really did. 41:32 Speaker 1 This. It's fun. 41:33 Speaker 2 It's fun. 41:34 Speaker 1 It's cool to do it with with someone else, 'cause you're like, you're bouncing stuff off of each other and then you're bouncing off chat GPC and you just create this thing that you don't even Whoa. 41:45 Speaker 2 Dude, good call, Good call, dude. That's epic. 41:50 Speaker 1 It's like a cursed pokey ball, roulette ball. 41:53 Speaker 2 So the image presents an extreme close up of the cursed roulette ball, showcasing its intricate details and the ethereal glow of ancient symbols and ruins etched onto its surface. These mysterious markings suggest a supernatural origin, and the unique texture and Sheen under the casinos lights further distinguish it from an ordinary game piece. close up captures eerie beauty and craftsmanship of the ball. 42:14 I mean, yeah, it really is this. It's pretty intricate design we got going on. That's really, yeah, Jones level stuff. 42:19 Speaker 1 I love it. I I wonder if it knows what is cursed about it. Like what makes it cursed? 42:24 Speaker 2 Yeah, it's kind of scary to think that there's maybe a curse already written on it that we don't even know. 42:29 Speaker 1 Maybe ask it. Maybe ask it. Tell us, tell us in what way the roulette ball is cursed and how it relates to the ghosts. You know and get and have you. Give us a couple ideas just just so we know, you know, I want to know the lore behind this. So you're saying tell us in which way the roulette ball is cursed and how it relate relates to the ghosts? 42:51 Speaker 2 The cursed roulette ball, imbued with ancient symbols and glowing ruins, serves as a powerful conduit between the realms of the living and the dead. It's cursed originates from an old Egyptian ritual designed to harness the energies of the underworld and bind them to the physical object. 43:08 The intricate symbols etched into the servers are not merely decorative, but are specific sigils that have been used throughout history to summon and communicate with spirits. They're they're writing a whole novel about this thing. I love it here it is. The deal that Nicolas Cage character makes with these ghosts involves the ball directly by agreeing to retrieve the ball for them from a place of power. 43:29 The Luxor Casino symbolically tied to ancient Egypt and his mythical. Interesting that they went there. Duh, that makes sense. He unwittingly becomes a pawn in their game. The ghost promised him the resurrection of his career, leveraging their ability to manipulate fortune and fate through the ball. 43:44 However, this comes at a price. 9 Cages, Fate to the ball, and the whims of these spirits grab their own agendas and desires. 43:51 Speaker 1 Damn, that's a good one, man. I think. I think we got a winner here. 43:56 Speaker 2 I think so. Do we need to go into mid journey or should we just? 44:02 Speaker 1 I want to see how that how mid journey does what does with the ball. But yeah you tell me, you tell me what's next. Like we've got some frames, we've got a story like what what would you do? How would you get into mid journey? 44:12 Speaker 2 So from here because you can't just go into mid journey and say show us an extreme close up angle of it because it wouldn't work the same way because it doesn't have all the backlog. 44:20 The best way to generate Midjourney prompts with a GPT So what I would do is I would ask them give me a detailed prompt to use in mid journey that will get us an image similar to the close up of the cursed roulette ball. 44:38 So I'd do something like that and then would help really kind of detail out what it probably used to create that. 44:45 Speaker 1 So you said give me a detailed prompt to use in Mid Journey that will get us an image similar to the close up of the cursed roulette ball. And it's saying For a platform like Mid Journey where detailed and creative prompts can lead to highly specific and intricate images, crafting a prompt that vividly describes the cursed roulette ball is key. 45:02 Here's a detailed prompt you can use and it just gave you a prompt like create an ultra detailed hyper realistic image of cursed roulette ball central in the frame with a focus on its ancient mystical symbols and glowing ruins. The ball should exude a dark ominous aura hinting at supernatural origin and just sort of keeps going All right OK so we're so we we're flipping over to mid journey and we're going to just test out this prompt and see see if mid journey doesn't need doesn't need better with the with the roulette wheel. 45:27 So I'm going to do slash imagine which is the the start for the for the prompt right? And you want me to just paste it in or how would you do it? 45:35 Speaker 2 Yeah, I would just, I'm just curious to see if we just took the long winded prompt and pasted it in. 45:39 Speaker 1 OK cool, so we're just pasting in this long winded prompt from ChatGPT. It's like create an ultra detailed, hyper realistic image of a cursed roulette ball and nothing else. No, you're not changing the model or the style or like anything. 45:51 Speaker 2 I would change the so just do dash, dash, Arkansas mm hmm and then space 16 colon 9. 45:58 Speaker 1 OK, cool. And that's just the aspect ratio ratio changed and here we go. I I tested it out with a couple of Nick Cage images which I think these are pretty good. 46:12 Speaker 2 Those are pretty cool. 46:16 Speaker 1 It's starting to take shape. 46:19 Speaker 2 Looks pretty cool. 46:20 Speaker 1 Wow. What do you think? 46:24 Speaker 2 Let's see. I'm really digging. They're all really cool. The top right one is intriguing and the bottom right one, those two are, I think, are. 46:34 Speaker 1 I agree. I was gonna say bottom right, I I like this one too. This is cool because of the sort of the contrast is really nice. OK, So what would you do? Would you upscale? Would you do different? 46:42 Speaker 2 Versions, Yeah, I would upscale, I would upscale, and then maybe we can try some different versions from the one we like. 46:46 Speaker 1 OK, so we're gonna do upscale 2 and four and and then we would do different versions. So would you want me to like vary it or how do? 46:55 Speaker 2 You I do very strong, OK, very strong so. 46:57 Speaker 1 We're gonna hit some hit very strong. I actually. I mean, I hate to say it, but I really like the Chachi BT version. But these are these are more cinematic, like they're really something good going. 47:06 Speaker 2 Seriously. Yeah. Oh, yeah, OK, right out of a movie. 47:09 Speaker 1 Yeah, very strong here too. Mm hmm. OK. And do you think it would do a better job because we still don't have that shot of it going around the root, going around the wheel. Do you think that it would do a better job of that or is that that pushing it too far? 47:24 Speaker 2 I would think so. I think it'd do a better job. 47:26 Speaker 1 OK. And how do you get like the same roulette ball in the on the wheel? Is that possible or do you have to kind of just fudge it a little bit? 47:34 Speaker 2 Yeah, that's when you kind of got to take it into like a Photoshop and fudge it. I see. Because, yes, I mean the details so intricate, right? It's not like a red, a red shirt or a yellow hat or something, you know. Right. Right. But yeah, because it's a circular thing. That's an easy comp. 47:48 Speaker 1 OK, so here's our variations of the first one. Wow. 47:53 Speaker 2 Those are cool. Those like a a time machine on the bottom, bottom right. 47:57 Speaker 1 That's what I was thinking too. Yeah. Or, like, you know, those helmets that, like, divers wear? Yeah. 48:04 Speaker 2 Yeah, yeah, I know. I'm getting that too. 48:07 Speaker 1 And then this one. These feel a little bit, like less cursed to me somehow, you know? Yeah, like there might be something good in there. It might not be bad, yeah. 48:18 Speaker 2 It looks like a Indiana Jones treasure. 48:20 Speaker 1 Yeah, OK, What do we do? 48:24 Speaker 2 So I think, I mean, I still, I still think I still did the original. 48:28 Speaker 1 OK, cool. So let's do the original. So we're going to keep the original. And then what's the next step? Can we jump into runway or or Yeah, what do you do? 48:36 Speaker 2 Yeah, I think I would bring him into runway. Maybe we'll do this image and then the the one of the initial Nicolas Cage images. I think when he's surrounded by the ghost, we'll animate these two and see what we get. 48:46 Speaker 1 Let's do it. I'm psyched. Cool. All right. So, so we've got, we've got some images from ChatGPT, we've got an A mid journey image that we like and now we're going to now we're going to do some, do some animating, tell us looks like we're in runway, tell us like give us a little bit of background for people that don't know about runway and tell us what we're going to do. 49:08 Speaker 2 Yeah, so Runway is a great tool. You can actually go in here and do text to image to video right right in one app. 49:14 Animating the images for our movie in Runway Which is awesome if if you're trying to create in a time crunch. What I like using it for is animating my more cinematic images just because the level of control you have. They have this tool called the motion brush, which will show you and how you can really kind of show what part of the image you want to move and then how much you want it to move. 49:31 So it's really cool. So we'll actually start with this image first. It's the the Nicolas Cage surrounded by the spirits as he's looking at the Book of the Dead. This is an awesome image. I'm I'm gonna send this to you so you can frame it please. It's pretty cool. 49:47 Speaker 1 Are you kidding me? I'm gonna put it on YouTube. I'm gonna get all the views. 49:50 Speaker 2 Let's do it. Hey, heck yeah, man. All right. So I'm gonna click in the motion brush. So motion brush is a is a new tool that was released from runway. It's it's really cool. You're able to like select a brush and then basically like you color over areas that you want to move and then you're able to tell what kind of movement you want to have. 50:10 So we'll start with brush one. We'll just kind of brush over Nick Cage. I think it'd be cool if he was just kind of like standing there. I give him a little bit of ambient movement, like a .5 brush 2. 50:25 Speaker 1 And ambient movement is sort of like his clothes are rustling or something or what? 50:28 Speaker 2 Yeah, like maybe his, like, hair is moving. OK, so I'll do this kind of like this like that first. 50:36 Speaker 1 And is it smart enough? Because you're kind of like, you know, you, you nicked his head a little bit like Nick, Nick, Nick Cage's head. Like, is it smart enough to know, like, not not to, that it's his head and you? You don't really want that. Or do you have to be? 50:49 Speaker 2 Really it is. The good news is, you know, I I can go right back to brush and then fix it, right? 50:54 Speaker 1 Right, right, right, right. 50:55 Speaker 2 So yeah, I kind of, but it's it's pretty. It's not. So it's not so delicate. Yeah, like you can kind of like just as long as you enough. And then we'll maybe do a third brush on this, the Light from God. 51:06 Speaker 1 Oh, I like that. What about the candles too? 51:10 Speaker 2 Yeah, we'll do it. We'll. 51:10 Speaker 1 Do it. Gotta have the candles flickering. 51:13 Speaker 2 Do a brush fork for the candles. So I just like to quickly go paint everything and then I go back and then mess with the parameters so it kind of already did in the cage. So for the ghost, you know I want the the maybe some smoke to kind of go in the air. 51:30 So I I I use the oops. I use the vertical brush, maybe a little bit. 51:35 Speaker 1 And then interesting. OK, so that's gonna that's gonna push the ghosts missed up. 51:40 Speaker 2 Correct. Yeah. And I'll give it like a like 2 ambience and and some of it is trial and error. I've been using it for a while. So I kind of know what I could get. Yeah. And then if you go to the the, so I'm just gonna do a a ambient noise up to like their proximity. 51:57 I'm gonna have the Rays kind of feel like they're kind of coming towards us a little bit. And then for the candlelight, since it's such a simple movement, I'll just do like a little bit of ambient noise there and then and then that's it. And then you just click done. And then you can just generate, you know, I like, I like to always, like, do five at a time, just 'cause you don't know what you're gonna get. 52:20 Speaker 1 Interesting. Or just hit five like you just hit generate five times. 52:23 Speaker 2 Correct. Yeah. And I'm on the unlimited plan, so I'm also actually part of the the Creative Partners program at Runway. So I got like 1,000,000 credits that I still need to get through, but it's pretty awesome. 52:36 Speaker 1 Dude, I'm so excited to see what this looks. 52:38 Speaker 2 Like me too, Me too. It's like a perfect image to use a motion brush too, because it has the smoke, it has the the light rays. It's like built for like the motion brush. So we should get something good. And we didn't, we didn't even mess with camera movement. Actually, I'm going to do one. 52:54 I'm going to do one just so we have an example of let's do a zoom out. OK, just to see what that gives us. That's cool. I'll switch to my credits. Cuz unlimited you can only generate 5 at a time, so you gotta use your credits. 53:08 Speaker 1 And how long does it normally take to generate like a single image? 53:13 Speaker 2 I would say on average like a like a minute, something along those lines. Yeah, cool. Probably quicker if you're just doing one or two. I threw so many in there or or generations at a time. It might take a little longer, but it's it's fairly pretty quick. 53:26 Speaker 1 OK, cool. And actually, I guess while we're waiting, like one of the things that I'm thinking about or keying on is there's this trope happening right now where oh oh. 53:37 Speaker 2 Should we go to it first? 53:38 Speaker 1 Let's let's play it. I want to play it. 53:46 First look at our movie! Look, Nick Cage kind of gleans into. 53:49 Speaker 1 That is so good. 53:51 Speaker 2 Well, that was that was the first one out The bat. I don't even even look at the rest. What else we got? 53:58 Speaker 1 Oh my. 53:59 Speaker 2 God that. But that's like, this is a little bit more subtle. And Nick Cage kind of like does a little head tilt. Yeah. But what people actually don't know is you can. What I actually do is I take like multiple generations into like a a premiere. And like I layer them and like, I take parts from each clip that I like better. 54:17 Like I might like to smoke, I might like to smoke here better, but I might like Nick Cage less than the other one, right. So I'll be able to like, just kind of mask him in. That's really cool. Let's go. Maybe it's oh, they're not ready yet. I was going to say let's go to the one of the the camera this this triggers. 54:31 Speaker 1 And so these are all kind of subtly different, but they're not. Oh wow. Nick Cage just sort of, like, changed. 54:35 Speaker 2 Yeah, this. Yeah, this one. Yeah, this one got kind of funky. He doesn't even look like himself anymore. 54:41 Speaker 1 Yeah, I mean, maybe the maybe they transformed him into another character in order to let him get to the Luxor without being seen, you know, that's. 54:48 Speaker 2 Possible. Yeah. All right, now we got some camera movement ones. Let's see what we got. This is where I zoom out. Even the light dims down too. That's pretty cool. 55:01 Speaker 1 Oh my God, I love it. 55:06 Speaker 2 Yeah, the motion brush is a pretty sick tool. 55:08 Speaker 1 I would be curious to do a zoom in, you know, cuz it's like it feels like he's opening the book and we're kind of getting it like a tight shot on him. 55:18 Speaker 2 Let's try it. 55:19 Speaker 1 OK, great. And so like while we're waiting like is, are you satisfied with this? Like is this, is this the kind of thing where you're like, OK like this is good enough? I'll pick one of these or I'll pick a couple of them and I'll start getting into Premiere and and and now I'm moving on to my next, my next generation. Or are there other things that you tend to do or how long are you spending like playing around with all the different parameters and and all that kind of stuff? 55:41 Speaker 2 Yeah, so I said. Because I've had so much time to play with these tools. Like I, like I said, I kind of know how to dial them in so I get to something I like quicker. Yeah, always do five at a time. So like you said, sometimes you get lucky. The first one was money. Most times it's not the case, right? Sometimes it takes 20. But I then bring it into like an Upresor, like a Topaz, and I would upscale it to like 4K, right? 56:02 Yeah, 'cause that helps with quality. And then and then and sometimes, like if I really want Nicolas Cage's likeness to to show, to shine through, I'll actually go back to the original image mask in his real face and then use some of the movement from around his head so his face actually stays high quality. 56:17 Speaker 1 That's cool. That's what I was going to ask you about is I think there's this trope right now where you can do a viral AI movie or AI clip where you're using someone else or something else that's recognizable and you're like, I want to do Star Wars but in the style of Wes Anderson or whatever, which I feel like we're we're doing a little bit here because it's it's Nicolas Cage. 56:37 Like, is that legal? Like are you allowed to do that? Like what are the conventions around around doing all that stuff? 56:43 Speaker 2 Yeah, I think so. I mean you know, I, I, I partnered with a curious refuge. I'm actually teaching AAI advertising course with them and you know they're they're they're known for their viral Star Wars video. The other ones you did the Wes Anderson Star Wars video that became a thing and and you know it's it for me, it falls under parody law. 57:01 Like you're kind of doing it as a parody. It's kind of like an SNL skit in a sense. You're not making money off of it, like directly, right? Like I'm not going to go sell this and make $1,000,000 off of a Nick Cage generation. So I think as long as you do it ethically and do it under like a parody type idea or like you said, like in a sizzle reel, if I'm trying to pitch a movie, I think all those fall under like ethical parody laws. 57:21 Speaker 1 Got it. OK, that's cool. All right, so we got our, we got our, our close up, our zoom in. 57:27 Speaker 2 Let's see it. 57:29 Speaker 1 Interesting. 57:31 Speaker 2 To does his face see this is This is an instance where I would mask in the real face. 57:36 Speaker 1 Yeah. And I don't like that the light is kind of going out as we're going in, you know, but but I think I think we've got, we've already got a shot that's. 57:46 Speaker 2 This whole features are gone but but the pushing doesn't look too bad. 57:51 Speaker 1 Yeah, it that that I like the motion for sure. I I think the original one with the camera movement zooming out was probably the best. 58:00 Speaker 2 You know. 58:04 Speaker 1 Amazing. Cool. So should we do the roulette ball? 58:09 Speaker 2 Yeah, let's see the roulette ball. 58:11 Speaker 1 Well, this is this isn't, this is a good, this is an interesting question. So with the roulette ball or what the Nick Cage thing, there was an obvious motion element. But with the roulette ball, it's like a little bit unclear what the motion is going to be like. 58:24 How Dave thinks about animating images without an obvious motion element Is it going to be the camera? Is it going to be the light inside the ball? Like, how do you think about that? 58:30 Speaker 2 So usually like an image like this, I probably wouldn't do. I don't even know if I would go into motion brush, I think I would just mess with camera controls and mesh with the motion control. So let's let's try that for this one. So it's more of a traditional way to use runway, so and you can also give it a description right? 58:49 Like if you want like the light in the center to glow. 58:52 Speaker 1 Cool. I want the light in the center to glow a like a red color so it it like it goes from yellow to like red. Like it's threatening, you know? Yep. 59:02 Speaker 2 So I actually never done that before the color change thing, I'm interested to see what happens. Yeah, so let's let's do that and let's give it like, should it be a zoom out or a zoom in? 59:12 Speaker 1 Well, we had to zoom out on the last one, so maybe we could try to zoom in on this one. 59:15 Speaker 2 I will zoom in. So that's set. Let's actually take it down just a little bit. Maybe we give it a slight camera roll so the camera's going to kind of you know that's cool roll over at I always like that move, which goes to show like your traditional film making background like it helps understand like a lot of these more technical type questions. 59:35 But let's go ahead and generate 5 My Rule of Five and we'll see what we'll get. 59:42 Speaker 1 Oh man. 59:44 Speaker 2 'Cause I talked to a lot of people and they're like, dude, man, how does your stuff look like that? 59:47 Why you need to be persistent while working with generative AI I go on runway and my stuff looks like crap. It's all warpy. I was like, how many generations you do? Well, just one, but you got to do a bunch. 59:56 Speaker 1 That's the thing that I, I, I've been trying to under score for people. I think it's true for ChatGPT. It's true for all these tools. Like most of this stuff is bad. Some of it is amazing. And like I try to tell people, you can't just do one thing and then expect it to be amazing. You are. You're a manager. 1:00:12 You're a model manager and your job is to is to get out of the model the best thing you possibly can. Like a manager would get the best out of out of an employee. And so if it's not working, your job is to figure out how to make it work. And there are definitely techniques like what you're doing which is like do 5 generations that are going to help you get to the stuff that's really amazing. 1:00:31 And I think once people learn that there's just going to be a a sort of explosion and and people using this stuff because I I think they just come into it with this expectation that it's just going to be magic on the first try and it is magic but it's takes a little bit more work than that. 1:00:45 Speaker 2 Yeah, the whole, the old one. Button press, press 1 button and you get a movie like that. That's never going to happen. There's always going to be some kind of human intervention. But I I I think of it like, you know, it's almost like these are camera rolls. So you yell cut, you do another take. 1:01:00 It's like kind of like the same idea. You do multiple takes and then you see what the best. Well, I see some red going on on on this thumbnail. So definitely got the red, right. Let's see, man. I don't know that it might have worked. Oh dude, it did it. 1:01:19 Speaker 1 First try man. Man, I love it. I love it. The AI gods are smiling on us today. 1:01:26 Speaker 2 Runway. Runway. Better send me a check, man. I'm part of the CPP make making this thing look like money first try. Well, let's just see what else we got here. I see red on all of them, so it's maybe a different type of clothes is interesting. 1:01:40 Speaker 1 Yeah, I like that one a little. 1:01:41 Speaker 2 Better. 1:01:43 Speaker 1 That's nice because it doesn't get the last one got a little bit too red, It like went way like huge. And this one's a little more subtle, which is sort of interesting. 1:01:52 Speaker 2 You know, like this little leak back here going on. It's kind of cool. Cinematic. That's cool. All right, let's check the third one. Oh, whoa, whoa. It's crazy how it just goes these different directions. 1:02:07 This is super overpowered red. Yeah, it goes to share. I like all of them differently, right. Maybe you can use pieces of each, right. That's the beauty of it. Like, this one's great. Like look at that depth of field that you're getting. 1:02:24 Speaker 1 I like that one. 1:02:28 Speaker 2 And we might have to make this Nick Cage movie happen. 1:02:31 Speaker 1 I'm in man. Can I be the EP? 1:02:33 Speaker 2 Yeah, these vegetables are are incredible. This one gave us a little white light at the top. That's weird. That little sounds like a ghost orb. It's a haunted. 1:02:45 Speaker 1 This is cool. 1:02:46 Speaker 2 There you have it, man. Your experiment. 1:02:48 Speaker 1 We got it. We got it. So in 60 minutes, 90 minutes, we went from nothing to a movie about Nicolas Cage resurrecting his dead movie career by interacting with a bunch of ghosts who sends him, who send him to the Luxor to get a haunted roulette ball. 1:03:05 And it's all on video. Like, you can watch it. It's amazing. I love. 1:03:09 Speaker 2 This. Yeah, that was awesome. Great. Great idea. Great idea. 1:03:13 Speaker 1 Great execution. I think it was a it was a team effort. We did a good job. Yeah, I I love this. I feel so happy right now. 1:03:22 Speaker 2 That was I've. I've never done that before, especially like like on camera. So that was pretty fun. That's great. And yeah, and and Malaysian GBT works. 1:03:31 Speaker 1 Well, if you make that public, we'll share a link. So, so let me know, let me know about that. And as you have other things coming out like please share them with me and share them with us. We'll we'll make sure to to link people to them. I think. I think you're amazing. You're doing incredible work. Like you're super, super talented. 1:03:48 Thank you for spending the time with me, with us, for, for making our movie. You know, maybe maybe we'll have to actually make it into a real movie and put it on YouTube. So if if you have some time you want to do it, let me know. And yeah, I appreciate you. 1:04:01 Speaker 2 I'll definitely make a movie poster in the in the interim, just so you can have it so you can. When you launch this episode, you'll see the the Nick Cage movie poster we got. We got to come up with a title, maybe on Discord. We'll bounce some ideas. 1:04:12 Speaker 1 OK, we can do that. We can do that. 1:04:14 Speaker 2 Nick Cage in the Luxor. It sounds cool too though. 1:04:16 Speaker 1 I love that, Yeah. Nick Cage and the and the Haunted Roulette Ball there. 1:04:22 Speaker 2 You go awesome, dude. Cool. 1:04:26 Speaker 1 Well, good to meet you. Thank you. Thank you so much. 1:04:28 Speaker 2 Thank you, Dan. Appreciate it man. 1:04:38 Speaker 3 Oh my gosh folks, you absolutely, positively have to smash that like button and subscribe to How do you use ChatGPT? Why? Because this show is the epitome of awesomeness. It's like finding a treasure chest in your backyard, but instead of gold, it's filled with pure, unadulterated knowledge. 1:04:54 Bombs about ChatGPT Every episode is a roller coaster of emotions, insights, and laughter that will leave you on the edge of your seat craving for more. It's not just a show, it's a journey into the future with Dan Shipper as the captain of the spaceship. 1:05:10 So do yourself a favor, hit like Smash, subscribe, and strap in for the ride of your life. And now, without any further ado, let me just say Dan, I'm absolutely, hopelessly in love with you.