Full transcript
0:00Hello, my name is Iacullo Harrot, and
0:01boy, am I happy to be a nerdy novelist.
0:04And today, we are going to be having
0:07ourselves We're going to have the second
0:08episode of AI video for authors. So,
0:11let's jump right in. This is your
0:12script. Or your prose, or your novel.
0:16Actually, if I'm being quite honest with
0:18you, it's my novel. And that novel right
0:22there is the first chapter. That's the
0:23first chapter of this novel. What did I
0:25do with that first chapter? Okay? I made
0:28it into something glorious. This is my
0:32USMC sci-fi sort of thing that I've been
0:35working on, this manuscript that I've
0:37been working on literally for years. And
0:39in one session, I was able to turn my
0:41first chapter into a comic shooting
0:44script, a visual Bible, a full AI video
0:48shot prompt system, and five generated
0:52comic book pages. All in one session. I
0:54did spend about, I would say, two or
0:57three hours coming up with this system.
0:59And I even made a skill for it. Not
1:01because I learned some magic prompt. I
1:05didn't learn any magic prompt. Because I
1:07did the step that most writers skip
1:10entirely, and that's what this video is
1:13all about. Here's what most writers do
1:16when they find out AI video is real.
1:18They open their chapter, they highlight
1:21a paragraph, and then they paste it in.
1:23You know, they get something back. They
1:25really do. As a matter of fact, the tool
1:28produces something. It's something. It
1:31might even be impressive. But there's
1:33something wrong. The scene doesn't feel
1:35like the scene that you wrote. The
1:37character doesn't look like the
1:39character you imagined, and you don't
1:42know why. Because the prompt was the
1:45scene. The prompt was the thing. You
1:47took your prose, and you gave it to the
1:49thing, and it made a prompt, and it was
1:50supposed to have worked. The problem
1:51isn't the prompt. The problem is that
1:54the prose is not a production format. It
1:57doesn't really translate that well. What
2:00has happened over the years is that AI
2:02has been fed lots and lots of scripts.
2:04So, it likes that format. Prose carry
2:07interiority. They tell what a character
2:09is feeling inside. AI, it cannot film
2:12that sort of feel. Prose compress time.
2:14They even a sentence can cover years.
2:17Video clip covers seconds. Prose imply
2:20history. It trusts the reader to infer
2:23backstory. The image model has no
2:26backstory. It has only what you show it.
2:29Prose control rhythm in the reader's
2:33mind. What that rhythm does, it does not
2:37automatically become cuts. You just
2:39can't do that. Doesn't feel right,
2:41especially in the middle of the edit.
2:43None of that is a flaw in prose. Prose,
2:46they are perfect format for prose. But,
2:49when you want to make something that the
2:52camera can see, you have to translate
2:55it. And in that first translation, what
2:58I like to call the translation layer,
3:00here's the workflow. I call it very much
3:02the translation layer. And I want you to
3:04think of this translation layer, right?
3:07As prose to beats, and then a shooting
3:09script to a visual bible, and then a
3:12shot prompt, and then a generated clip,
3:15and then an edit. It's pretty
3:18straightforward. So, let's kind of go
3:20through all of these. First, prose. So,
3:23think about this each and every one of
3:25these steps makes a different decision,
3:26okay? And those decisions belong in
3:28different places. At the prose stage,
3:31you're a writer. You're making the
3:32meaning. At the prose stage, you're the
3:35writer. You're making it the meaning.
3:36You're making the logic. You're doing
3:38all of the things that a writer does
3:39before the actual production happens.
3:41You're making sure that it makes sense.
3:43At the beat stage, you're you're pretty
3:45much an adapter. You're adapting
3:47everything that's going on so that it
3:49works inside of the script. You're
3:51deciding what actually should be shown
3:52to the actual people who are going to be
3:55watching it at the end. Then, once you
3:56get the shooting script, you have that
3:58stage really firmly behind you, you
4:00become the director. You're telling the
4:02camera what to do, what to look at, how
4:05to do it. I'm going back to translation
4:07layer cuz I don't know if I even I
4:09apologize. So, where you can like rewind
4:12all the way back to
4:13But, when you want to make it something
4:16the camera can see, you have to
4:18translate it. Say say translate it first
4:20is what I said. And then I'm going into
4:23the next section. All right, so let's
4:24talk about the translation layer.
4:28Meaning, this is the spot where you kind
4:31of take it from the prose all the way
4:34through this step. As a matter of fact,
4:37we're talking about this workflow, a
4:40actual workflow, where you go from your
4:42prose to your beats to your shooting
4:44script, and then you do your visual
4:45Bible, and then your shot prompts, and
4:47then your generated clips, and then
4:50finally, you get to edit everything. And
4:52in all of that, you have different
4:55things that are happening. So, let's
4:57talk about each one of these steps. Now,
4:59remember, each one of these steps makes
5:02different kind of decision, and those
5:03decisions belong in different places. At
5:06the prose stage, you're the writer,
5:08you're the one making the decision,
5:09you're making it have actual meaning. At
5:13the beat stage, you're adapting exactly
5:15what's happening, you're deciding
5:16actually how and what is going to be
5:19shown. At the shooting script stage,
5:20you're director, you're telling the
5:22camera what to look at. And what I mean
5:24by look at, I mean actually you're
5:27making sure that the camera is doing its
5:29job. If it's a hero, you're kind of
5:32shooting from below so that the hero
5:33looks big. If it's a evil little man,
5:36you're shooting down at him so that he
5:38looks like a evil little man. Then, you
5:40get to start doing some of the design
5:42work. You are at this stage where you're
5:44doing the visual Bible, the production
5:47designer comes out in you. You're
5:49building the world so it stays
5:51consistent so that every single thing
5:53that you see behind you is the same
5:55thing you always see. Meaning
5:57backgrounds, foregrounds, you're talking
5:59about every character in that appears,
6:03what the outfits for each character, do
6:05they change their outfits through this
6:06entire thing? That's what a visual Bible
6:09is and that's what you're doing is
6:10you're becoming the production designer.
6:11You're building the world so that it
6:13stays consistent. Then you have to start
6:15thinking about the money.
6:17At the shot prompt stage, that's where
6:19you're thinking, "What is my prompt
6:21going to be so that I do not burn
6:23through too many credits and I can get
6:25this accurate." You're becoming the
6:26producer. You're giving instructions to
6:29all of the departments. That means your
6:31art, your directing the everybody.
6:34You're giving everyone their marching
6:36orders so that they can get their jobs
6:38done as efficiently as possible. And
6:40what are those the departments made up
6:43of? Let's just have a quick discussion
6:45about your AI department. This is the
6:48part where your agents get the job done.
6:52Where they're building your backstory or
6:55they're building your
6:57visual backstory or they're building
6:59your characters. Whatever things they're
7:01doing, they're out there. They're your
7:03execution layer. They're your film
7:06studio. And then it comes down to the
7:08final decision where you edit everything
7:11together and decide what music you have,
7:14all of the visuals, whether they have
7:17cut together, whether you need to have
7:18reshoots. That's right, I said reshoots,
7:21and what things you're finding that make
7:25the story inside the thing that you
7:27really want. That machine that you gave
7:31it. What is this thing? Is it real? Does
7:34it feel right when you edit it all
7:36together? One person can do all of
7:37these. You don't need a crew, but you
7:40can't do all of them at the same time.
7:43That's just unreasonable and you
7:45definitely can't skip them. So, you have
7:48to do them in order, you have to do all
7:50of them, and you can't skip one thing.
7:53It's incredibly important. If you want
7:55to do this correctly, you have to follow
7:57the steps. So, let me show you how this
7:59actually works because I didn't make up
8:01a demo for this video. I used my own
8:03book. I actually had chapter one and
8:07it's a marine sci-fi, right? Opens with
8:09a young soldier named Enoch. He's being
8:12sent alone across a misty alien meadow
8:16to touch a mysterious circle in a ruined
8:19wall. His commander is watching from the
8:21tree line. If he fails, he dies. That's
8:24all I That's what I wanted to do, right?
8:26So, I ran that chapter through this
8:29exact ladder, the whole thing, and I
8:31didn't even know what I was doing at the
8:33time because I was trying to come up
8:35with this process as I was going along
8:37and then Jason asked me to making videos
8:40and this is exactly what I went through.
8:42So, I decided this is what the process I
8:45was going to show you. So, I ran the
8:46chapter through this exact ladder in one
8:49session and here's how it came out. Now,
8:51here's the opening to chapter one. As I
8:54said, just a few paragraphs how much is
8:56happening in the writer's head on that a
8:59camera just wouldn't see it. Enoch's
9:01indoctrination, his internal conflict,
9:05years of backstory.
9:07>> [laughter]
9:07>> I mean, it's just a lot, right? It's all
9:11compressed into a trembling hand, right?
9:14His hand just trembles and that's all
9:16just translated right there. The first
9:18thing I did was pull out the visual
9:20story events, just the things that
9:22actually happened. As a matter of fact,
9:24I even did it one easier. I had the AI
9:27analyze this entire thing and give it my
9:31goal. My goal was to at some point have
9:35a comic book version of this actual
9:37thing. So, that's what I did. I said to
9:39it, "Could you give me a comic book
9:40version of my story and what do we need
9:44to like make sure that this is awesome
9:47and that all of the things work out
9:49right?" And I started to think to myself
9:51in the back of my head that I wanted to
9:52make this into a skill, but I didn't say
9:55it out loud yet. So, what I did was I
9:57just went through the process. That
9:59first sort of foray into what do I do
10:03next was kind of the learning process.
10:06Enoch sees the circle of Raylec, right?
10:09That was one of the things that I was
10:10trying to figure out was Enoch sees the
10:13circle of Raylec across the meadow. Ofic
10:15orders the forward from the tree line,
10:18right? He says, "Walk up to the wall,
10:20touch the circle, try to keep your eyes
10:23fixed on the circle. Now, go. Do not
10:26hesitate." Commander Ofic said.
10:28"Yes, sir. Yes, sir. Keep my eyes on the
10:30circle. Yes, sir." And with that, he
10:32turned and proceeded to stare with great
10:34intensity at the circle. Failure meant
10:37death or worse.
10:38"By the ancients." He muttered through
10:41clenched teeth. Okay, so all of this
10:43stuff is going to happen inside of a
10:47visual. That's right, something visual.
10:49So, you have these nine beats, a bunch
10:52of information, you know, I have
10:55replacement soldiers brought forward,
10:57Enoch rises, Anara reveals stuff. All of
11:00this stuff happens, right? And I have to
11:02transfer it and make it into something
11:03else. So, I make it into a visual Bible.
11:06This visual Bible kind of catches all of
11:08the moments, all of the characters, oh,
11:11how do people look, all of the things.
11:13So, that at some point when I load all
11:16of this information into an artificial
11:17intelligence, it will know exactly what
11:20to build. This is the overall look, the
11:22color system, the cinematic principles,
11:26the character designs. All of this can
11:29easily be spun up really easy for you.
11:31All you have to do is say to your AI,
11:34"Please, I want you to analyze my first
11:38chapter. I want to be able to make it
11:39into a comic book. I want to be able to
11:41make it into storyboards, and you need
11:43to break it down and do all of the
11:46breakdown of this scene in order for me
11:48to make new characters, make consistent
11:51characters." Then you're off to the
11:53races. As a matter of fact, if you just
11:55take the transcript of this video, you
11:58will probably be able to get your AI to
12:00do whatever you want. All right. So,
12:02back to what we were doing. Now you'll
12:04see character designs, you see Enoch,
12:07you see Commander Ofic, you see Annara.
12:10You see exactly how she looks. You even
12:13have reference prompts. You have all of
12:15these things. And what ends up happening
12:17is you get a very strong profile for how
12:20everything looks around you, how the
12:22wall looks, how the characters look,
12:24every single aspect of it, what the
12:26weaponry is like, everything that you
12:29would want to know, right, about every
12:32visual aspect of this you get to do and
12:35know because you have it all written
12:37down. In Google terms, when they came
12:39out with something called Design MD, and
12:42this is basically a Design MD for your
12:46fiction. How about that? In just in case
12:48you're wondering what I'm using right
12:50now to show you all of this, this is
12:53called Obsidian. It is basically it
12:56reads MD files, and I keep basically
12:59everything in markdown files. Unless I
13:01have to export it out, and then I export
13:04it usually as a docx file for, you know,
13:06Word or something like that. But
13:07otherwise, I keep this right at my side
13:11all the time so I can read my files,
13:13read my second brain. Everything that
13:15goes on in my life that I have been
13:16working on lives in my second brain. And
13:19so, I easily can look at this. It'll
13:22look at MD files. It'll look at
13:25PNG files, which are actual like files
13:27that are for pictures, JPEG files also
13:31for pictures, it will look at all of
13:32that. It will even play a video. But
13:35what are we looking at right now? We're
13:37looking at the shooting script. A
13:38shooting script takes those beats and
13:40assigns them to the images, panel by
13:43panel or shot by shot.
13:47Uh right here, we got page one right
13:48here is a wide establishing shot, the
13:51alien meadow, the misty wall, the the
13:54emerald s- circle, all of this stuff is
13:58established right in the beginning.
14:00Here's the visual anchors, all of this
14:02stuff is established. Then we cut to
14:04Enoch at the forest edge. So here's the
14:07page one, here's panel two, forest edge
14:10right there, and uh boots sinking into
14:13the wet sand, you know, uh wet earth,
14:16rifle gripped too tight, then tighter,
14:19he trembles, his hands trembling, then
14:22wide again, all of these things are
14:25happening in sequence. So you get this
14:27beautiful outlined version of all of
14:30this stuff, and it starts to
14:33panel by panel give exactly what is
14:36supposed to happen. And guess what's
14:38really good at following panel by panel.
14:41Well, image two from OpenAI is really
14:45amazing at it. So all of this is
14:47happening, Ofek pointing at the trees,
14:49all of this stuff is happening, and
14:51every panel is a decision, wide or
14:54tight, character or location, action or
14:58reaction, and a comic strip forces you
15:02to make those decisions before you're
15:04prompting anything. So it really gives
15:07you uh these walls, these constraints,
15:10and art is best produced when
15:13constrained. If you have all of the
15:15world to your or as your oyster, you're
15:18the problem with that is that uh you can
15:21go off in any direction, but if you're
15:23constrained, art has a tendency to
15:26really thrive. All right, let's talk
15:28about that visual Bible. So, we're back
15:30at the visual Bible. As you can see,
15:32this entire thing Here's where most
15:35people lose the thread, okay? And where
15:39AI video falls apart almost exclusively.
15:43If you don't tell the model what your
15:45character looks like, it will you know,
15:47it'll invent anything it wants. And it
15:49will invent them differently every
15:51single shot. So, Anara's got gray skin.
15:54She's not blue, she's gray. Not chrome,
15:57whole like metal gray. Matte like matte
16:01with silver sort of undertones. She
16:03doesn't actually shimmer anything like
16:05that, but it's like and she has dark
16:08clothing and bright colors and mobile
16:11partial like she has like partially
16:13hidden weapons and stuff like that. So,
16:15very, very dangerous woman. Ofic, as
16:17opposed to that, is massively armored
16:20and stuff like that. So, you have an
16:21overall look, and then you have the
16:23cinematography and the character
16:24designs. You can see Enic and see
16:28Commander Ofic right here. See here's
16:30Commander Ofic. He's massive, he's
16:31armored, he's got more ornate than he's
16:34like more ornate than soldier I I kind
16:36of imagine him more like
16:38Warhammer, like a Warhammer person. Low
16:41camera angle, predatory,
16:44you know, our camera stays below his
16:46eyeline so that he always looks
16:48completely and utterly massive. I mean,
16:51just interesting stuff. Anara's here,
16:54the warrior soldiers, the library
16:56caretaker, the AI the ancient AI
16:58caretaker. The library AI is not a
17:01robot. It's not It doesn't even have a
17:03robot face. It's not even a floating
17:05head. It's negative space. It sucks you
17:09in. Absolute black, thin green geometry.
17:12All right, so you get what I'm saying?
17:14We are filling in the gaps, the visual
17:16gaps with this. This is what a visual
17:19Bible does. It's not optional. If you
17:22don't make one, okay? The model's going
17:25to make up whatever it wants. And it
17:27changes its mind every 10 seconds. So,
17:30you're going to get what you get. All
17:32right, let's go on to the next segment.
17:33All right, so this is the uh prompt
17:35Bible, okay? Which is different than
17:37it's a AI video shot prompt Bible, okay?
17:41This gives This is a completely
17:43different entity. Like I said, what I
17:45want you to do is just feed this entire
17:47thing into your AI, put the transcript
17:50in, and it will start building this
17:51entire system out for you. I hope you
17:53like it. All right, so the AI video shot
17:56prompt Bible, okay? The purpose for it
17:59this document converts the chapter 1
18:02comic shooting script into AI video
18:05ready shot prompts, okay? Use it after
18:10the visual Bible. Generate one shot at a
18:12time, then assemble manually in editor,
18:16okay? So,
18:18like I said, feed this into your AI and
18:21you will be able to extrapolate all of
18:24this information out. Okay, once you
18:25have a visual Bible, writing a shot
18:27prompt real fast. Once you have a visual
18:30Bible, writing shot prompts is fast.
18:34You're not describing the story anymore.
18:36You're giving a production instruction.
18:39So, it's just way easier for you. I'll
18:42give you an example. So, where is it?
18:44Sequence one. There we go. Shot one, all
18:47right? Got wide alien meadow at dawn,
18:51misty, ancient stone walls with obsidian
18:55ring, and uh it's pretty intense with a
18:59emerald jewel and cold light cinematic,
19:02you know, all of that stuff. One
19:04subject, one action, one camera move,
19:07all nice and tight. Or let me show you
19:10another one. Or shot eight is the
19:13library AI void, almost darkness, okay?
19:17Really, really spooky,
19:19atmospheric, all right? Thin green
19:22geometric shapes, floating geometric
19:24silhouettes, impossible you know, it
19:27just you feel like you're in this
19:28gigantic void, no stable horizon.
19:31Enoch's silhouette is small in the lower
19:34third of the screen, that sort of thing.
19:36That shot right there, the prompt, it's
19:39not the scene. The prompt is a camera
19:42department getting their order. So,
19:44everybody has their part to play, and
19:47they're all really just AI agents. Now,
19:50here's the part of this session that I
19:53think is literally the most important
19:55lesson in this whole series. I was
19:58generating the comic pages, page five.
20:00Enoch has just been hit by a mine, a big
20:05old mine blast. As a matter of fact, I'm
20:07going to show you the panels in a
20:08second. And, the model produced a
20:11perfectly
20:12reasonable image, a replacement soldier
20:15stepping forward, the scene moving on.
20:18But, this is the thing that I keep
20:20trying to explain to people, you are the
20:21tastemaker, you are the person that's in
20:23charge. But, that's not what happens. My
20:26story, he doesn't die like right
20:28immediately, he gets up, he's bloodied,
20:31he's broken, and he keeps walking
20:33towards the circle. He is still moving
20:36when Enar shoots him on the following
20:39page, which I never I haven't actually
20:40gotten to yet.
20:41>> [laughter]
20:42>> The AI made a logical decision and an
20:45inference that it saw the blast, so it
20:47assumed that the story continues without
20:49Enoch, because that's just the way AI
20:52is. I It really was wrong. If I hadn't
20:55known my own story, my own manuscript, I
20:58would have let it slide, but that's not
21:01the point of view as an author when you
21:03are trying to build one of these things.
21:05That's the whole lesson. AI generates,
21:08but the author has the direction. They
21:11are the architect. They are the person
21:13with agency. The model doesn't know your
21:16story, only you do. And the job of
21:20everything in this pipeline, the beats,
21:23the script, the Bible, all of this
21:26stuff, the prompts, is to keep you in
21:29the director's chair, not just the
21:31prompt box. All right, let's talk about
21:33this next section. We're talking about
21:35the packaged workflow. All right, so
21:37after the last section, we extracted the
21:39workflow into two reusable Codex skills.
21:42So, I've got one that's called fiction
21:45to video production and fiction to comic
21:49production. What I'm going to do is
21:52Jason doesn't know this yet, but I'm
21:53going to make both of these available on
21:57GitHub as a public repo. I'm going to
22:00make them both available on GitHub so
22:02that you can take these bring both of
22:05these Codex skills down and they can
22:07help walk you through this exact same
22:09thing. Because the pipeline was so
22:12incredibly repeatable that I had to make
22:15it into a skill. It was enough to
22:17package it. That's the test of a real
22:19workflow, not whether it worked once,
22:23whether it's worth packaging so that you
22:25don't have to rebuild it every single
22:27time and go through the struggle bus.
22:29The translation ladder is that workflow.
22:33You can use it on your own manuscript,
22:37on any chapter, on any genre, the stages
22:41are the same. All right, before we get
22:43to the practical takeaways, let me the
22:46comic book. All right, so here is the
22:49first page. Morning mist clung to the
22:52ruin like a warning.
22:54Look at that. Very cool.
22:57Obsidian wall with a emerald green
23:01Enoch.
23:02And as you can see, this was when it was
23:03trying to do this all on its own.
23:06And it started putting things in the
23:08wrong spaces, failure meant death, all
23:11of that stuff.
23:12Then this is the actual panels without
23:17anything in them, which is very
23:18interesting. So, at first it thought
23:21that it needed to
23:23literally deconstruct everything to make
23:25this happen. It decided to do one pass
23:28with just the panels and then another
23:30pass with something else. It was a
23:32nightmare. Eventually we figured out
23:34that all we had to do was generate the
23:37whole thing all at once. But as you can
23:39see, these are beautiful patterns. And
23:41this and this are incredibly consistent.
23:45This is because it had lots of
23:47references in the prompts. Now, what you
23:50do is you have it totally totally run
23:53this stuff down for you. And if I'm not
23:56mistaken, inside the repo, I will make
23:58sure that both of the inside of both of
24:00these repos that I have deep read me
24:04instructions about how they're used and
24:06how they were used, and then you'll have
24:08a lot of road map stuff inside the repo
24:11when you download. Here's another
24:12pattern. He's walking across and as you
24:15can see, he's super nervous and he gets
24:18close and he stops and he feels like
24:21he's drawn into this light. Then, if I'm
24:24not mistaken, next unlettered page is
24:26him inside the void. State your name and
24:29purpose for your visit to the library.
24:31And he's like, "What?" State the name
24:33and purpose for the visit to the
24:34library. I mean, okay. Seventh of the
24:36clan Ovic, I seek entrance into the
24:38vaults of secrets. There are no secrets
24:40here. There only knowledge. What
24:42knowledge do you speak do you seek?
24:44Knowledge of power.
24:46I had so much fun writing this, y'all. I
24:48had so much fun. And as you can see, all
24:50of this stuff is happening and
24:53each panel and then I finally said to
24:56it, "Why don't you just try? Just try to
24:59do these on your own without having to
25:02do multiple passes at them cuz it was
25:04taking a bunch of credits to do that."
25:05And this is what it came up with right
25:07off the bat. So, it said here, "We would
25:09use it to make the galaxy perfect and
25:11the aliens is perfect. The galaxy as one
25:14voice, the song as one song. This means
25:18that you wish to conquer with our
25:19deepest heart. We will write what is
25:23wrong, reclaim what they have taken."
25:26Maybe that's Anyway, and banish the
25:29so-called Allfather. Yeah, and it gives
25:31the Allfathers right there. Oh my gosh,
25:33that's so cool. It pops up the
25:35Allfathers as he says it. Uh, this is so
25:38amazing. Uh, "Very well, Enoch, seventh
25:41of clan Ophic. Touch the circle on the
25:43wall and your journey to the library
25:46shall begin." And he's allowed entrance.
25:49And then a one-shot of him. Now, here's
25:54the I think Was it this one? I can't
25:56remember. A- Anyway, this is the
25:58one-shot where the metal returned by the
26:00ancients. And then he clicks on
26:02something and he's blown up. And it
26:04says, "You go circle." And then it says,
26:06"Somehow." And see, I should add another
26:08panel here where his hand twitches and
26:10picks up. But, this is all stuff that I
26:14have to figure out and things that I
26:15have to make sure that I like. It's all
26:17about you. All right. And last but not
26:19least, here's the practical takeaway.
26:20Uh, you do not need to prompt harder.
26:22You need to direct more clearly, okay?
26:25Your novel is not raw material for the
26:28machine. Your novel is a blueprint. The
26:31Have you ever seen that people have to
26:33adapt movies from novels because
26:36everything in the novel is not
26:37translatable. The machine is more of a
26:40production department. And like any
26:44department, it needs clear instructions
26:47before it can do any job and do any job
26:50well. Start with one scene, pull the
26:54visible beats, write five panels, and
26:56shoot in a shooting script, and build a
26:59one-page visual Bible for your main
27:02character. Then, write three shot
27:05prompts. You And if you have any problem
27:08with any of this stuff, feed this entire
27:10video's transcript, give it to your AI,
27:13and have your AI understand exactly what
27:15I just said. You don't have to generate
27:18anything. Just do the translation. See
27:21what the scene actually is when the pros
27:24are stripped away. That is the missing
27:26step. That's it. Next episode, we're
27:28going to take this exact jump box scene
27:31and actually build it. Generate the
27:33clips and assembling the proof sequence
27:37and showing you what a real AI short
27:41film production looks like from the
27:43inside of the workflow, okay? And
27:45subscribe if you don't want to miss any
27:47of this stuff. Hit your notification
27:49bell. And if you got a scene from your
27:51own book that you've been wanting to try
27:54this on, drop it in the comments. And so
27:56And uh put it on YouTube and then put a
27:59link to it in the comments and we'll be
28:01so happy to see it, okay? Tell me about
28:04the genre, tell me about the the scene,
28:06the stakes. We love to read that stuff.
28:08Hope to talk to you soon. My name's
28:10Zicallo.