Where creatives with AI skills get discovered. get hired. get paid. Where creatives with AI skills get discovered. get hired. get paid.

On April 19, 1943, a Swiss chemist dosed himself with a compound he'd synthesized five years earlier — then rode his bike home through what became the world's first LSD trip.

He buried his dad on Tuesday. He shouldn't be racing. She knows it. WIN is a short film about Robbie, a racing driver whose head isn't right, and Magenta, the woman begging him not to get in the car. A wet race at blue hour. A first corner crash. A pit stop where everything goes quiet and she says one word without making a sound. This started as a test. We were blocking racing sequences in Blender as rough grey clay, then using those clips to drive the camera, timing and action in Seedance 2.5. A start, a crash, a pit stop. It worked, but it was only cars going round a track. So we asked who was in the car and who was watching. That's when it became a film. HOW IT WAS MADE Every sequence was blocked in Blender first. The grey blockout controls where the camera goes and what every car and character does. Character sheets and one location plate control how it looks. Nothing was generated until it had been written, timed and blocked.

A 21-second spec film for the '67 Mustang Fastback, from sunset into night. I generated every shot in Seedance 2.5 on Higgsfield, working at 480p until the edit was locked and only then rendering the finals at 1080p. Everything after generation happened in DaVinci Resolve, driven from code with Claude through Resolve's scripting API, so every change landed straight in my timeline with manual adjustments at the end. What I focused on: • Camera rigs. Each shot got the rig a real crew would have used (dolly, Russian arm on a camera car, drone, roadside tripods), with the shake keyed frame by frame in Fusion. It's irregular, the way real mounts move, not a sine wobble, and roadside cameras get a jolt as the car passes. • Sound. 22 layers of real engine sound, gear cracks, tyres, whooshes, desert wildlife, a sub floor, a Suno score and an Artlist logo braam, all panned to picture. The car sweeps across your headphones as it passes, and the hawk flies over from left to right. • Finishing. I kept the grade close to the original, with a steel look only on the night shots, and fixed the mangled badge letters in After Effects. Happy to send a free PDF with the breakdown if needed. Spec ad, not affiliated with Ford.

A 40-second short by Ripplepedia Studios. Two detectives, one interrogation room, and a suspect who makes ads with AI. The cast, the room, the voices and every camera move were made with AI in two days. The one exception is the "Yes": a real voice, recorded on a phone.

The Catch a SpaceX Spec Advert

Some cars turn heads. The new Tesla Roadster steals the entire show. Doesn't matter where you are or what you're doing. When this thing shows up, everything else becomes a distraction. this is how I imagine the Roadster taking over the streets and skies.

A CIA program that dosed unwitting citizens with LSD and ran mind-control experiments for two decades — declassified, real, and still one of the darkest chapters of the Cold War. This is MKUltra, animated.

On September 26, 1983, a Soviet early-warning system reported five incoming US missiles. One officer decided the computer was wrong — and chose not to pass it up the chain. This is Stanislav Petrov, the man who quietly prevented nuclear war.

Gary is a chill alien meeting everyday human things for the first time, from coffee to claw machines. An original AI character series built for short-form, with locked character consistency across every episode. 55k+ views in two weeks.

Created a concept Ad for BYD Pakistan, using a Pakistani Influencer as a collaborator.

Experimental music video