Open film in Google Drive ↗AI-generated
AI does the rendering,
not the thinking.
I use AI to explore concepts, visuals and motion. The brief, the idea and the final cut are mine—I curate, art-direct and refine the work until it feels human.
Diesel.
RENDER · AN AI FASHION FILM
Glitch Reality.
An ordinary commuter walks through New York, and the city starts to glitch. A car becomes a giant pair of jeans. A subway station turns into a runway. Strangers become different versions of himself. A billboard spills out into real 3D clothes. Then the whole city crashes like a video that failed to load. Diesel. For successful living.
From problem to proof.
Brief
Define the problem before writing a single prompt.
Every project starts without AI. I write a one-page brief covering the audience, the tension in how they really live, what the brand needs to say, and what success looks like. This is the step AI can’t do for me, because a tool can only answer the question it’s given. A sharp brief keeps everything after it focused, while a vague one gives me a hundred pretty images that say nothing.
Explore
Use AI to see more directions than a sketchbook ever could.
Once the brief is set, I use AI to open up the territory. I test dozens of headlines, visual worlds and “what if” scenarios in an afternoon instead of a week. Nothing at this stage is final; the goal is to find the ideas I wouldn’t have reached on my own. I keep the weird ones, because the most ownable ideas often start as the ones that seem a little wrong.
Direct
Choosing is the creative work.
AI can generate endlessly, but it can’t decide what’s right for the brand. I narrow everything down to one direction and lock the rules: the look, the color, the camera, the character and the tone. Then I write detailed shot-by-shot prompts the way an art director briefs a photographer. This is where a pile of outputs turns into a point of view.
Build
Prompt, refine, animate, edit.
I produce the work piece by piece: keyframes first, then motion, then the edit, the type and the final layouts for each channel. Most frames take several rounds before they match the direction, and keeping a character or product consistent across a whole film is a craft problem in itself. In the Diesel film, that meant 21 keyframes, each animated separately and cut to rhythm. The final polish (timing, typography, sound) is always done by hand.
Disclose
Show what AI did, and what I did.
Every piece in this portfolio labels which parts were AI-generated and which tools I used. Brand projects are clearly marked as spec work, not commissioned or affiliated. I don’t generate real people’s likenesses or imitate a brand’s official assets to make work look real. As AI becomes part of every agency’s workflow, I believe transparency is part of the craft, not a disclaimer.