Making a Feature Film With AI in 30 Days | DAY 18 | A New Plan!

[00:00:00]Hi, my name's Jenny and my goal is to make a feature film with AI in 30 days and today is day 18. And I have a whole new plan to tell you about. Um So, basically, as I've mentioned, uh you know, I really wasn't moving very fast. Well, that's not true. I was moving as fast as I could the way that I was doing things. So, yeah, basically, I realized around about the midway point that if I kept up going at the speed I was going at, which is sort of less than 5 minutes a day, there was just no way I was going to be able to even generate the film raw in in the time period, never mind editing, sound design, uh you know, music grading, all of the other things that go along with, you know, making a feature film. So, I Yeah, because I kind of mentioned that, quite a few people sort of reached out to me and I was sort of seeking advice and yeah, a lot of people had a lot of different strategies and it can be quite confusing cuz there's a lot of different ways to do things.

[00:01:10]But, one company, um had quite a bold, um promise. And they said that they could generate the film much, much faster without losing quality. And look, I've been skeptical about a lot of the things that people have said to me >> [gasps] >> because yeah, a lot of people say a lot of things to me.

[00:01:34]But, actually, yeah, this is quite exciting. So, the company is called Act 3 and basically, they have this tool that it's pretty mind-blowing and yeah, it's just it's a whole new way of making AI films. And really, what I would say is that the tools that I've been using are amazing.

[00:01:58]Um and look, you know, like the technology even where it is is at a really cool place.

[00:02:03]Um but, I'm making a feature film, which is my like a much longer, much more involved endeavor. And so, the tools that I've been using are really made for more, I think, like um short-form content. But, what this really offers me is the ability to move much faster and to stop sort of doing a lot of the manual labor that I've been doing. So, what I've been doing, you know, as I've showed you, is sort of like every time I want to make a new 15-second generation, you know, I have to um you know, like upload all of my information to every shot. And what Act 3 is able to do is basically you input all of the information up front and you front-load everything. So, your scripts, your characters, your locations, your dialogue, everything, like absolutely everything for the whole project goes into the platform. And then, basically, it can use that, understand everything, understand the scenes, understand the context of scenes within the whole. It can basically interpret all of this information and it starts to build out scenes for you. And obviously, on this, it's still using C Don't 2.0, which is great. Yeah, what I can basically do is if I if I upload everything, which I've just started to test out doing, then what it'll do is it'll basically take all of my inputs. I can put all of my style prompts, all of that, like I have done, but instead of doing it for every single shot or every single scene, it's going to remember it.

[00:03:52]So, if you about it, like the way that I've been working compared to traditional film, is it's like having a crew who have amnesia. It's like the opposite of Memento. Like they have no long-term memory, right? Like so, it would be like if on a feature film set, let's say it's a like, you know, 20-day shoot, right? It's as if every day that I came onto set in the morning, my whole crew had like forgotten all of the information about the film. And so, every day and every shot and in between shots, you know, like say we break for lunch, they're going to forget the whole story after lunch, you know?

[00:04:31]>> [laughter] >> That's basically what it's been like working in the workflow that I've been doing it. And it's just not It's just not really like the best thing that you could do if you're making a long-form project. It's fine for like, you know, 1-minute, 2-minute things, but what I've been doing is is basically, yeah, working with a an artificial film crew who have amnesia and forget forget everything about my film every 15 seconds.

[00:05:01]So, what Act Three gives me ability to the ability to do now is basically remember everything. And so, it's more like like before you shoot a film, obviously I'm halfway through, but before you shoot a film, you'll have like different conversations with all of your team members, your D P, your production designer, your costume designer, your editor, etc. And like you will, before a project even like gets anywhere near a set, you will be having the discussions about your Yeah, your your vision and how you see the film and what you ultimately like want cuz I think the thing is, people think that style is about doing things. And sometimes it is, but more often than not, style is about what you don't do.

[00:05:48]And so, yeah, basically Act Three gives me the ability to now start to input all of the things that I do want, and also hopefully set up some parameters for what I don't want.

[00:06:02]Um as well, because a lot of my style, what I was worried about when I spoke to the guys at Act Three, I was like, "Yeah, but by going so fast, am I basically going to like eff up my film?

[00:06:13]Am I going to lose the thing that's made it what it is, which is, you know, like um yeah, just like the individual creative decisions that I'm making?" And they were able to sort of, yeah, convince me, and, you know, I can see that it's true now, that there are certain decisions that you make as a creative or filmmaker, film director, like that are sort of pattern decisions, that are decisions that you make that apply across the board.

[00:06:46]And then there are decisions that you make that are sort of micro decisions, at the sort of more granular level. And Act Three basically said to me, like, all of the sort of not only the labor that you've been doing inputting like um character reference sheets and like start frames and all of that, uh basically doing it for every single generation that I make, basically if I front-load it, um then what I can do is I can set some parameters where the machine can be taught to make the pattern decisions that I have been making about my film.

[00:07:24]And so it's a lot more like if you're actually talking to a crew. Because the DOP and a production designer will understand the parameters of the 1960s. They'll understand, you know, a costume designer will understand that no one in shot can um can have, you know, like modern clothing, etc. etc. And also like the style rules of my cinematography, what I do like, what I don't like. Um all of the stuff that is style related that's specific to me and my project, front-load that, set lock those in, and then I can focus on the actual directing of the film at a granular level, which is way more like how it would be on set, right?

[00:08:06]If you found value in this video, uh please try and to my YouTube because I'm 150 subscribers off of my 500 subscriber target on my YouTube. So, if you can and you found value in this, then uh please do go and subscribe to my YouTube. It really helps me out. And uh yeah, I'll see you tomorrow.