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

[00:00] 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. And that's how he resurrected his career. [00:19] This is amazing. I love it. This will be fun to animate. We're gonna have to animate these ones. Motion Brush is a new tool that was released from Runway. It's really cool. You're able to like [00:30] areas that you want to move and then you're able to tell what kind of movement you want to have. [00:53] Hey, I want to just take a quick break from this episode to tell you about a podcast you should know about. It's hosted by Nathan LeBenz, 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 co-pilot 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. He talks to the researchers and entrepreneurs that are shaping this moment, like Logan Kilpatrick of OpenAI, who I interviewed for the show as well. Eugenia Kudia of Replica and Suhail Doshi of Playground. [01:23] To listen to the show, search for Cognitive Revolution in your podcast player. All right, now let's get back to how do you use ChatGPT. Dave, welcome to the show. Thanks, Dan, for having me. Of 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 filmmaker.

[01:53] 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. No, that's awesome. And yeah, again, thanks for having me. Yeah, we can kind of dive into that short and then how that was part of 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 [02:23] Yeah, it's really great. [02:35] Okay. So tell me, tell me about borrowing time. Like, what is it about? How is it conceptualized? Let's start there. Yeah. So it was actually, um, a story that my father told me, you know, as I was growing up, um, you know, I'm, I'm, I'm, uh, I'm mixed, you know, my mother's Korean, my father's black. Um, so, you know, obviously he, you know, he's in his seventies now. So he grew up kind of during the segregation era and like Jim Crow laws and stuff like that. So he, [03:05] he had a winked 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 went to prison for, or got life in prison for what people believe, 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,

[03:35] And the story, you know, because I'm such a huge sci-fi nerd, I was like, man, if that, if my father ended up going to jail and I was able to, you know, 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, peace, eh, no. See, been there, done that. Like, and plus you're not, you're not Steven Spielberg. So sorry, you're not going to make that movie. [04:05] 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 room if you're trying to pitch it, but because you can visualize it, they might look at it differently now. [04:24] That is really interesting. And do you think of, because 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... [04:34] 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? [04:47] I mean, because I'm a filmmaker, you know, traditional filmmaker first. Absolutely. Everything that I create, it's an IP is 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.

[05:17] 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. But like AI, I took my script, 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 that's, I mean, that's incredible. This is what you're making me think of is like, [05:47] Like this is done in writing, but it's like with like tweets, like people started tweeting. And then that was a way to like test out what articles you would write or 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 [06:17] a gatekeeper anymore. And it sort of strikes me that that wasn't as available. It probably has been available to some degree in indie filmmaking, because you can make a lot of stuff with [06:27] just a camera 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. But it strikes me that this new set of tools makes that kind of thing available for a wider range of short films that can act as precursors to larger, better funded projects in the same way that tweets or blog posts are precursors to books.

[06:57] 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. [07:03] Yeah, I mean, that's a great point. A prime example is, you might have saw, it was like a hybrid live action AI film that I was working on called Another. That went viral on Christmas Day. [07:33] I'm rushing to the finish line to get the effects done. And I'm not going to lie. 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 fidelity. 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 3. He did like The Conjuring. [08:03] diffusion setup so again it's all learning process and we're figuring it out as we go but it's still very exciting and exactly what you said we're able to test the waters with these techniques and and horror is perfect for for that type of thing if you think about like Blair Witch Project or Paranormal Activity it's always like a horror film that like creates a new sub-genre um sometimes so [08:23] It's interesting. That's really interesting. I didn't know that. What subgenre did Blair Witch Project create? I mean, you made the found footage genre huge, right? There was 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. And what is found footage? Is like pre-existing footage from some other project or something else? Yeah, it's kind of like that handheld style. There's movies like VHS that came out where it has that DV tape look.

[08:53] it's always like a Blair witch or a paranormal activity. Cause it's like, yeah, these tapes were collected by authorities and they, they edited it together. I found this. Yeah. I see. So it's not like necessarily prime footage isn't necessarily like preexisting 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. [09:12] Exactly. Yeah, that's the style of it. Yeah. That's really interesting. Okay. I love that. And I guess like I have to ask the obvious question, which is. [09:20] There's so much backlash, I think, particularly in a community that you're a part of and really familiar with, which is traditional filmmaking and a lot of worry about AI tools and how it will change who gets to make films or what films get made or who gets paid. There's just a lot of questions. And I'm curious how you decided to jump into this versus not. [09:44] Yeah, no, again, I think it was a little bit of necessity. It was a little bit 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 filmmakers and female filmmakers that are winning or getting nominated for Oscars or should be getting nominated for Oscars. [10:14] that just tells you that there's not enough. Um, and I think, um, for me, you know, my argument to anyone and I have, you know, big time director films and a big time film director friends and, and writers and, and they, um, they're starting to come around. They're starting to kind of see 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,

[10:44] 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. 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 giving a webinar on just a difference of like CGI versus AI. Cause there was a, there was a whole thing about digital doubles and, you know, [11:14] as an actor. And while I can't like answer that truly and really know the answer, I do know that AI is going to be kind of used. [11:21] kind of how CGI is used. Like you'll use AI to create large stadiums of crowds and digital doubles 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. So yes, so kind of to circle back on your bigger question is, I think AI is the... [11:38] Best opportunity for anyone if they want to become a creator or a 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] I love that. I mean, it's so interesting because it's so in line with things that I felt and seen [11:54] just in different ways. [11:56] different areas of the world. And I didn't realize how directly it applied to filmmaking, but it obviously does. One of the things that I see a lot is AI changes who can make software. [12:09] It dramatically expands the... [12:12] 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 level of skill maybe to get started with building, just making a very, very small video clip just went down

[12:30] tremendously. 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, I, 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. 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, [12:59] 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, but that didn't really work. Cause it was like at that time, you know, you have to be a fricking genius to like make an actual 3D animated movie in like the mid two thousands. And, um, yeah, [13:17] And so then I started making software because like software, especially business software, you can like [13:22] you know, it's just easy to make forms that people fill out and pay money with a credit card, which I love. I mean, it's a really an amazing like part of my life. But honestly, like I think if a lot of the AI [13:33] like filmmaking tools had been available, I would probably be making movies. And I think it's so amazing that like, [13:39] people now anyone can just like go make a movie and it doesn't require that much money it's so cool [13:44] Yeah, I mean, especially I think for my, you know, 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 Chappie T, ChatGPT the other day to like, come up with a bedtime story on the fly for my son. He's obviously big into Spider-Man and Venom. And so I created a story really quickly, like, help me create a story with my son who's five, 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's like 9pm. So like, I was on the fly, like, how can I get my kids to sleep? And he loved it, man.

[14:14] But it's like that little thing right there. 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 you can create any kind of story you want, even for small things like that, which is cool. [14:27] That's so cool. I guess I'm curious, what would you consider the new tool set for making AI films? And how does that differ from the traditional one? What tools and programs are part of the [14:40] the new workflow that you're working off of. [14:43] Yes, it's interesting because I honestly... [14:47] 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. [15:02] hone it in and use it for a specific purpose, what I think would work for live action. Same thing with animated animation, right? You have animate diff, you 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 length film will be an animated film, like a Pixar type film, [15:21] completely done in AI, might even get the trailer for it this year. That's how fast this stuff is moving because [15:27] I can totally see like any of these diffusion models able to allow it. Cause 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 started getting together with like the Mies and the other kind of like person, people who have stories, it's going to be game over. I mean, you're going to have so many amazing things coming out and I'm like, I'm super excited for that.

[15:50] I love it. I love it. One of the things I'm really fascinated by is how the new [15:56] 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 people. [16:10] the sort of AI film age, you know, like I'm noticing things like [16:16] For example, it seems like Runway, which is the main kind of way to generate a clip, take an image and turn it into like a video clip. [16:24] Um, 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. And so the, 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 [16:54] What are the rules for what you can make with AI right now? [17:00] No, that's a great question. Yeah, there are limitations, right? I think four seconds is runway currently. I know Pika Labs, you can extend it up to 15 seconds, I believe. But you know, that's uncharted territory, because you're kind of gonna lose some fidelity a lot of the time. So what I try to do is I like...

[17:21] I use 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 your frame rate. So if you get a 24 frames per second clip, I'll turn it into 60 frames per second, sometimes 120. And then you can extend the clip. So if it's like for my sci-fi, like Borrowing Time is a great example of like the scene where, you know, all the... Oppenheimer was a huge reference, but just like the way the time travel scenes were happening [17:51] Like, you know, I, I, I did a high frame rate, um, generation and then I slowed it down in post. So, and then sped it up. So what I'm able to do is make clips last longer. [18:01] And then mix that with quicker cut clips. So it actually makes the storytelling and filmmaking more like something we're used to seeing on TV. Like I always think about like the Tony Scott type films like Man on Fire, where there was always like these kind of quick cuts or like or Snyder with 300 and Dawn of the Dead. Like those are my favorite films, but I also I love how they did the editing. I think editing is a huge part. [18:25] piece of my type of filmmaking 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 an eight second clip because I slowed it down. Then you'll get a one second clip. [18:35] And I use that cadence to help tell it. Yeah. I see. So I think what you're saying is, and 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 makes the clip slower or faster? Yep. Yeah. So basically, I guess what you're saying is...

[18:53] Yes, there are these specific things like Runway is only exporting four second clips, but you're doing different things to lengthen or shorten the clips so that it's not just the same. [19:05] length of cut and that there's actually like a history that you're pulling from like 300 and Man 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 the AI to do something that is inspired by it. Yeah. [19:23] Absolutely. I think that maybe helps my stuff stand out sometimes a little bit more because it's not just three second clip after three second clip after three second clip. Another thing also is like there's tools like Eleven 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? [19:53] 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, uh, using 11 labs. [20:01] Yeah. [20:02] And the woman, the mother was my voice. And then obviously the voiceover was just my plain voice because I just thought it sounded better and more natural to have like the natural pauses and the things like that. So I mixed it together. [20:14] That's really cool. Okay, so I didn't even realize that that was a thing. So you basically, you acted the whole the whole movie yourself. [20:22] And you used Eleven Labs' voice-to-voice model to change it into different characters. I didn't know that that was a thing. That's so cool. Yeah. Dude, it's awesome. Think about animated films. You could do all the weird characters.

[20:37] And sometimes, yeah, it's not perfect, but you kind of hear it in your head. And for these shorter films, it's like, why not? Have edit, right? Yeah. Yeah, yeah. That's amazing. Okay, cool. [20:52] us using, seeing how people use ChatGPT and us using it together. And like what we planned to do is just make a movie together. And it probably won't be like a full movie, but like make a clip from a movie together and sort of see what this process is like. And I think what's really interesting is you're actually using ChatGPT as, and particularly like a custom GPT to help you ideate. I know this is sort of like a new part of your process, but it's something that you're doing. [21:22] what this gbt is and how you use it we can start there and then we can sort of go into exploring making movies no absolutely um and i think i mean 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 uh platform and it's building on top of it but what you're able to do which is incredible [21:52] tune it to the type of imagery you like to create. And you don't have to pigeon held it to like, just being like live action type imagery. You know, you can make it as vast as you want, but you're able to almost create a mentor out of it. So it's a combination of my opinions, combination of maybe what Steven Spielberg might look for an imagery, what really Scott might look for an imagery. You know, it's really, cause you know, you can use Chappie T and kind of tell it to be anything, but you can constantly just tune it and I'm still tuning it. It's still new,

[22:22] 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. That's pretty cool. Yeah. So that's where I'm at now still toying with it. But I mean, what, what an incredible tool. It's crazy. Cool. Should we, should we demo that [22:52] Yeah. [22:52] Uh, how, how do you start? How do you start with this? Like, when are you, when are you jumping in into it? Um, so yeah, I mean, I jump into it right away because obviously it's a, it's a image generation or text to image generation tool, but I can also talk to it like, uh, 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? [23:15] Well, let's think about it. Like, okay, so what kind of movie do we want to make? Wow, I got to think about that. That's a good question. So on a previous episode of the show, we built this game with ChachiPT called The Allocator. And the game was basically this, you could play the president of any historical era. [23:36] Um, [23:38] And you would start and you would be basically [23:42] It starts with Inauguration Day and you get to make decisions as the president and you basically set the budget for the U.S. government and then the game plays out your decisions and then, you know,

[23:56] You know, you play JFK during the 60s and you decide whether to fund going to the moon 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. 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. [24:26] 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 uh for ideas to to do but maybe we can throw that throw that in there and see what comes out [24:40] Yeah, Nicolas Cage is always... There's always awesome, epic imagery whenever you prompt him. [24:48] Thank you. [24:48] 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. Okay. Um, I want to do, I want to do, uh, [24:58] Nicholas Cage getting... [25:02] sworn in as president. [25:12] And ideally, it's like... [25:16] 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 aesthetic. So you can tell me and maybe the GPT will correct me if I'm if I'm wrong.

[25:30] I'm trying to think about like in what situation, um, [25:36] Nicolas Cage would ever become president. And I guess given who our previous president was, it's not that surprising. But I'm [25:47] Thank you. [25:48] Thank you. [25:50] 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. [25:57] Seven. [25:58] cool i think that could help right all right that could help is there any do you think there should we should add anything else into the scene um 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 yeah i kind of start just brass tacks simple and then we just refine it from there like oh you've seen those things on instagram add this in now do this now do that yeah so let's see and uh this is the first time blazing gpt has ever been seen public [26:28] Asian because I'm black and Asian, by the way. That's what we call ourselves. Here we go. Never before seen before. I don't know what it's going to do. We're doing it live, folks. [26:39] It's called a top tier image generator. So it better show up. [26:45] And so you had it. One interesting thing is you're having a go right into generating an image. Like you're not having it like sort of ideate with you necessarily and saying like, well, what do we do this or do that? It's like just. [26:55] right to the visual. How did you make that decision? Um, just because I, because I've already trained it on a lot of those conversations. I forgot to do, uh, I forgot to do 16, nine. I'm getting, um, I'm getting Nicholas Cage is in Harry Potter. Um, but like, but, uh, 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 inauguration vibes, but I'm not mad about it either. It's kind of

[27:25] Interesting. [27:26] It got the Seven vibe down, right? Yeah. You got the film grain, you got the harsh perfume lighting, which is always funny because I watched the behind the scenes of Seven and... [27:36] 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. That's exactly what it did. Wait. Yeah. What is, what is perfume lighting? Is that, that that's related to perfume ads? Yeah. [27:52] perfect mads back in like the 80s and early 90s were very dramatic so it was very like high contrast um almost felt black and white but there's always like a splash a wash of color which is how seven looks got it um but interesting okay so let's build on this one thing i want to do is i want to make it 16 9. [28:10] What is 16:9? That's widescreen. So that's what you're used to seeing in like a, or 2:1. I usually do 2:1 or 16:9, but we'll do 16:9 so it's a little bigger. Okay. And what is, do you know what the aspect ratio of this one is? [28:22] This is one-to-one. [28:23] So this is like your Instagram square. [28:25] I 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. Now you don't have to prompt it. Okay. So what changes do we want to make besides that? [28:37] Well, I'm curious, like, I mean, I can, I can certainly give you some, give you some input, but, uh, 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. 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. Yeah.

[29:02] Doesn't feel like it's in D.C. [29:05] So I think like where would this take place typically? [29:09] 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 where it happens. I am sort of, and I'm curious what you think. Like there's... [29:21] This is a mistake, obviously, but then I'm also like, oh, I'm kind of intrigued. What did Nicolas Cage do to end up in this situation? He looks like he's in a court. [29:34] We could go down that rabbit hole. We kind of could. I'm curious. Do you see anything here where you're like... [29:40] Like, you know... [29:44] It looks like he's in a church. This is like some culty underground, like what he get himself into. It kind of gives me John Wick vibes a little bit too. Yeah, it's the cult of Cage and he's got like, what's he holding? Is that a Bible or like what's in his hand? You know? [30:05] Yeah we... [30:08] I mean, we could ask Blasian GPT. [30:13] Let's ask. [30:14] Let's ask. [30:15] Before we change the aspect ratio, what is the book that Nicholas, this is fun. I don't really do it like this. Yeah. What is the book this cage is holding in his hand?

[30:35] Thank you. [30:37] Yeah. [30:39] Thank you. [30:41] okay interesting okay chat gbt's playing it straight [30:46] playing it straight with us. It's just the Bible or the Constitution. [30:50] what do we say but what if the book was it almost reminds me of the book from evil dead did you ever see that movie no what is it uh it's uh evil dead is that that film where it's like the book the that cursed book of death is like when you read a thing from it like causes all these evil spirits to show up i love that it's cool yeah it's he's holding the cursed book of death and he's gonna [31:20] was over a couple years ago. You know, he just like wasn't popular anymore. And now he's sort of back. Like he's in a couple movies now. Like it seems like it's, and I think that's how he did it. You know, 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. And that's how he resurrected his career. I feel like that could be it. [31:43] Made a deal. [31:46] with the ghost and he resurrected [31:52] This is going to be absurd. Resurrected his career. [31:59] show me the next scene. [32:04] 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. Yeah. So if you think about, well, 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 variations. So because you get one image, I typically like to say, okay, so what's, what happened before this or what happens after this? Like I'm intrigued. And then, um,

[32:28] and see what we get. [32:29] Okay, let's see what we get. And if you want to try it in Mid Journey 2 with a similar... [32:33] prompt yeah yeah kind of curious to see like what the differences are when we get to the end of this story we'll say okay now give us a few prompts to throw into mid-journey okay sweet and then we'll take it in there yeah cool cool [32:48] Yeah, I'm kind of curious, like... [32:52] you know, what drove Nicholas to want to do this deal with the devil, right? Because like, [32:58] Obviously, he's got enough money. [33:01] 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 situation. [33:12] dark cavernous place with the book of the dead in his hands you know it's a good it's an interesting question [33:18] Ooh. [33:20] Whoa. [33:22] the next like that with a figure resembling nicholas cage in the midst of a pivotal supernatural moment he has opened the book of the dead making a deal with the ethereal entities that surround him let's go watch this is amazing i love it fun to animate we're gonna have to animate these ones 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 um this is pretty incredible and the fact that it's happening live on blazing [33:52] worldwide maybe one day it's making me look good okay this is pretty cinematic this is great for sure so the image that we're looking at uh is nicholas cage in the middle of supernatural ghost um it's illustrating atmospheric tension and the blend of the supernatural with the gritty cinematic cinematic style reminiscent of dave ventures work the room is ancient and shadow

[34:22] mystical pact where the boundaries between the realms of the living and the dead blur making a dramatic resurrection of his career this must be what he did this if chat gpt knows this and this this has to be what happened 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 i love it no now yeah i have to yeah did you ever see mandy that he did it was incredible [34:52] resurrected his career. I mean, but it was like a supernatural type film. So maybe some of this stuff happened. I mean, maybe Mandy came from the ghosts. You know, maybe they gave him the idea for it or maybe or yeah. Okay, let's let's think of a next place to go. So after this, he's made the deal and he's [35:13] 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. Hmm. Interesting. That could be cool. Like, um, [35:29] Maybe as part of the deal, you don't just open the books and the ghosts do what you want. You have to complete a mission for the ghosts in order to... [35:37] in order to get them to help you with your Hollywood career. [35:40] So like, what would the ghosts want that is in Vegas? The ghosts demand that Nicholas Cage go to, what's a weird haunted kind of hotel in Vegas? The Flamingo Hotel. Oh, the Flamingo. I was going to say, what's the pyramid one again?

[36:00] The Luxor? The Luxor. That's got some interesting vibes. The Luxor. Okay. Go to Luxor and steal a relic. A cursed relic. Ooh, a cursed relic. [36:13] That is hidden where? Underneath? I mean, I think it's got to be... [36:20] It's got to be a special roulette ball. [36:25] And it's a roulette ball that's being, it's currently in use, but really the roulette ball came from... [36:34] I don't know where it came from. [36:39] 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 coming up empty. Uh, we could, we could also ask chat GBT what the, um, [36:54] Even in another tab, what could possibly be the backstory of the roulette ball or why the ghosts feel that it's important. [37:03] But let's see. [37:05] steal a curse relic that is actually in the hands of the top mob boss the top mob boss um [37:15] uh who's now i'm thinking of oceans 11 like terry from oceans 11. what's his last name uh i forgot um terry oceans 11 uh terry benedict or or ruben either one now we're getting ridiculous we'll just say who is terry benedict okay perfect okay show this

[37:41] Image in 16.9. Sweet. [37:47] ratio. I kind of want to get one of the ball going around the roulette, like the cursed roulette ball going on the wheel. [37:56] We'll do that. That could be cool. 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. 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. 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] Wow. [38:24] Wow. [38:26] That's pretty incredible imagery. [38:31] The casino has... The banks of the casino... It almost looks like computer monitors. It's a casino where they're sending him to the moon or something, but it's like a casino. A control panel, yeah. Yeah. Yeah. [38:44] That's interesting. I really love 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] Okay, so, you know, chat GPT has a mind of its own sometimes. But let's ask for, okay, 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.

[39:24] with [39:24] Finishing the story or how does it work? We don't have to finish it, but let's do your last shot of the roulette ball. Oh, yeah. Cool. Let's do that. Show an image of the cursed roulette ball spinning around the roulette wheel. [39:39] on a table in Vegas. This is making me think of, there's a episode in the last season of The Sopranos where Tony goes to Vegas and he does... [39:50] Peyote. [39:51] and they're playing roulette. [39:54] And he's like, it's going around the ball. And he's like, it's the same principle as the planets orbiting the sun in the universe. It's the same principle as the universe or whatever. There's something about roulette that to him was like deeply connected to the way the universe works. It's just made me think of that for some reason. [40:14] That was such a great show. Amazing. Okay, so now we're looking at an image that captures a tense and vibrant moment at the Luxor Casino, where the cursed roulette ball spins around the wheel, surrounded by a crowd of onlookers and gamblers. [40:30] The scene is set under the casino's opulent Egyptian themed decor with dim lighting, adding to the atmosphere of mystery. I mean, it's, [40:40] That's interesting. I mean, that's kind of crazy. It looks almost like the painting of Jesus eating it, you know, like the Last Supper. Yeah. That's a weird bottom. I kind of, I feel like we need like a close up of the cursed ball, you know, like, because I want to see what.

[40:54] what a cursed rollout ball even looks like. Good idea. Let's get some camera angles in here. Show us a close, extreme close-up angle of the... [41:04] Sometimes if you go with shorter descriptions It'll get you the nice kind of frames Yeah Show us [41:11] I... [41:12] Extreme close-up angle of the cursed. [41:14] roulette ball okay so you're saying show us an extreme close-up angle of the cursed roulette ball all right [41:22] So I think maybe then we'll take a few of these prompts into mid-journey and see the difference. Okay, cool. And then we'll pick what we like the best and animate a couple shots. This is fun. I got to do this more often. I never really did this before. It was fun. It's cool to do it with someone else because you're like, you're bouncing stuff off of each other and then you're bouncing it off ChatGPT and you just create this thing that you don't even... [41:41] Ooh. Whoa. Dude. Good call. Good call, dude. That's epic. It's like a cursed Pokeball roulette ball. So the image presents an extreme closeup of the cursed roulette ball, showcasing its intricate details and the ethereal glow of ancient symbols and runes etched onto its surface. [42:11] Game piece. Close up captures the eerie beauty and craftsmanship of the ball. I mean, yeah, it really is. It's really intricate design we got going on. That's really Indiana Jones level stuff. I love it. I wonder if it knows what is cursed about it. Like what makes it cursed?

[42:24] Yeah, it's kind of scary to think that there's maybe a curse already written on it that we don't even know. Maybe ask it. Maybe ask it. Tell us in what way the roulette ball is cursed and how it relates to the ghosts. And have you give us a couple ideas just so we know. I want to know the lore behind this. [42:43] So you're saying, tell us in which way the roulette ball is cursed and how it relates to the ghosts. Yeah. [42:51] 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. Its curse 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 writing a whole novel about this thing. I love it. Here it is. The deal that Nicholas's cage character makes with these ghosts involves the ball directly by agreeing to retrieve the ball for them from a place of power. 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. [43:38] The ghost promised him the resurrection of his career, leveraging their ability to manipulate fortune and fate through the ball. However, this comes at a price, tying Cage's fate to the ball and the whims of these spirits who have their own agendas and desires. Damn, that's a good one, man. I think I think we got a winner here. I think so.

[43:59] Do we need to go into mid journey or should we just I want to see how that how many journey does what does with the ball. But yeah, you tell me you tell me what's next. [44:08] We've got a story. What would you do? How would you get into mid-journey? So from here, because you can't just go on a mid-journey and say, show us an extreme close-up angle because it wouldn't work the same way because it doesn't have all the backlog. So what I would do is I would ask them. [44:23] you know, [44:24] 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. 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] So you said, give me a detailed prompt to use in Midjourney that will get us an image similar to the close up of the cursed roulette ball. And it's saying for a platform like Midjourney, where detailed and creative prompts can lead to highly specific and intricate images, crafting a prompt that vividly describes the cursed roulette ball. [45:01] is key here's a detail prompt you can use and it just gave you a prompt like create an ultra detailed hyper realistic image of a cursed roulette ball central in the frame with a focus on its ancient mystical symbols and glowing runes the ball should exude a dark ominous aura hinting at supernatural origin and just sort of keeps going all right okay so we're so we're flipping over to mid journey and we're going to just test out this prompt and see uh see if mid journey does any does any better with the with the roulette wheel so i'm going to do slash imagine which is the

[45:31] right um and you want to just paste it in or how would you do it uh yeah i would just i'm just curious to see if we just took the long-winded prompt and pasted it in okay cool so we're just pasting in this long-winded prompt from chat gbt 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 uh i would change the so just do a dash dash ar right [45:54] And then space 16 colon nine. Okay, cool. And that's just the aspect ratio. That's the ratio. Correct. And here we go. I tested it out with a couple of Nick Cage images, which I think these are pretty good. Those are pretty cool. [46:15] Ooh, it's starting to take shape. [46:19] Looks pretty cool. Wow. What do you think? [46:22] Thank you. [46:23] 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, I think, are... I agree. I was going to say bottom right. I like this one too. This is cool because the contrast is really nice. Okay, so what would you do? Would you upscale? Would you do different versions? Yeah, I would upscale. I would upscale and then maybe we can try some different versions from the one we like. Okay, so we're going to do upscale [46:53] I do very strong [46:56] Very strong. So we're going to hit some hit very strong. I actually I mean, I hate to say it, but I really like the Chachy BG version. But these are these are more cinematic. Like they're really something good. Seriously. Yeah. Oh, yeah. Okay. Right out of a movie.

[47:09] Yeah, very strong here too. [47:12] Okay. And do you think it would do a better job? Because we still don't have that shot of it going around the wheel. Do you think that it would do a better job of that or is that pushing it too far? [47:24] I would think so. I think you do a better job. Okay. 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? Yeah. That's when you kind of got to take it into like a Photoshop and fudge it. Um, because yes, I mean the detail is so intricate. Right. It's not like a red, a red shirt or a yellow hat or something, you know? Right. Right. But yeah, cause it's a circular thing. That's an easy comp. Okay. So here's our variations of the first one. [47:51] Wow. [47:53] Those are cool. It was like a time machine on the bottom right. That's what I was thinking too. Yeah, or like, you know those helmets that like divers wear? Yeah. Yeah. Yeah, I know. I'm getting that too. [48:06] And then this one... [48:09] 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. It looks like an Indiana Jones treasure. Yeah. [48:23] Okay. What do we do? So I think, I mean, I still think I still did the original. Okay, cool. So let's do the original. So we're going to keep the original. And then what's the next step? Do we jump into runway or, or yeah, what do you do? Yeah. I think I'd bring them into runway.

[48:39] the initial Nicolas Cage images, I think when he's surrounded by the ghost. We'll animate these two and see what we get. Let's do it. I'm psyched. Cool. All right. So we've got some images from ChatGPT. We've got a mid-journey image that we like, and now we're going to do some animating. [49:01] Tell us, it 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. Yeah, so Runway is a great tool. You can actually go in here and do text to image to video right in one app, which is awesome 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. [49:31] So it's really cool. So we'll actually start with this image first. It's the, uh, the Nicholas cage surrounded by the spirits. Um, as he's looking at the book of the dead, this is an awesome image. I might, I'm going to send this to you so you can frame it. Please. It's pretty cool. Are you kidding me? I'm going to put it on YouTube. I'm going to get all the views. Let's do it. Heck yeah, man. [49:53] Alright, so I'm going to click in the motion brush. [49:57] Motion Brush is a new tool that was released from Runway. It's really cool. You're able to like... [50:02] select a brush and then basically like, [50:06] you color over areas that you want to move and then you're able to tell what kind of movement you want to have. So,

[50:11] We'll start with brush one. We'll just... [50:13] kind of brush over Nick cage. [50:16] I think it'd be cool if he was just kind of like... [50:19] I give him a little bit of ambient movement, like a .5, brush two. And ambient movement is sort of like his clothes are rustling or something? Yeah, like maybe his hair is moving. [50:30] Okay. So I'll do this kind of like this is like that first. And is it smart enough? Cause you're kind of like, you know, you, you nicked his head a little bit, like, [50:40] Nick Cage's head. Is it smart enough to know that it's his head and you don't really want that? Or do you have to be really careful about... [50:50] The good news is, you know, I can go right back to brush and fix it. Right, right, right, right, right, right. So, yeah, I kind of. But it's pretty. It's not so delicate. Yeah. Like you can kind of like just as long as you get enough. And then we'll maybe do a third brush on this. The light from God. Ooh, I like that. What about the candles, too? [51:09] Yeah, we'll do it. We'll do it. Gotta have the candles flickering. [51:13] I do a brush fork for the candles. [51:15] Bye. [51:16] Thank you. [51:16] So I just like to quickly go paint everything and then I go back and then mess with the parameters. So we kind of already did in the cage. So for the ghost, you know, I want the maybe some smoke to kind of go in the air. So I use the oops, I use the vertical brush. [51:34] Maybe a little bit. [51:35] Interesting. Okay. So that's going to push the Ghost's Mist up. Correct. Yeah. And I'll give it like two ambience. 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. And then if you go to the...

[51:51] So I'm just going to do an ambient noise up to like their proximity. I'm going to 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. [52:07] And then that's it. And then you just click done. [52:10] Then you can just generate [52:13] I like to always do five at a time just because you don't know what you're going to get. [52:19] Interesting. You just hit generate five times? Correct, yeah. And I'm on the unlimited plan. [52:26] I'm also actually part of the Creative Partners program at Runway, so I got like a million credits that I still need to get through. [52:34] it's pretty awesome dude i'm so excited to see what this looks like me too me too [52:41] It's like a perfect image to use a motion brush too because it has the smoke. It has the light rays. It's built for the motion brush. So we should get something good. And we didn't even mess with camera movement. [52:52] Actually, I'm going to do one just so we have an example of let's do a zoom out. [52:58] Okay. Just to see what that gives us. That's cool. [53:02] I'll switch to my credits because... [53:04] unlimited you can only generate five at a time so you got to use your credits and how long does it normally take to generate uh like a single image um i would say on average like a like a minute something along those lines yeah cool um probably quicker if you're just doing one or two well i threw so many in there or generations at a time it might take a little longer but it's fairly pretty quick okay cool yeah and actually i guess while we're waiting like one of the things that i'm

[53:34] Oh, yeah. [53:36] Oh, should we go to it first? Let's play it. I want to play it. [53:42] Bye. [53:42] No. [53:43] Wow. [53:46] Nick Cage kind of leans in, too. [53:49] That is so good. Well, that was the first one out the bat. [53:55] I don't even need to look at the rest. What else we got? Oh, my God. [54:00] Bye. [54:01] But that's like, this is a little bit more subtle. Nick Cage kind of like does a little head tilt. Yeah. [54:07] But what people actually don't know is you can, what I actually do is I take like multiple generations into like a premiere and like I layer them and like I take parts from each clip that I like better. 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. [54:25] Let's go to one of the camera. [54:38] He doesn't even look like himself anymore. Yeah. I mean, maybe, maybe they transformed him into another character in order to let him get to the Luxor without being seen, you know, that's possible. [54:50] yeah all right now we got some camera movement ones let's see what we got [54:54] This is where I zoom out. [54:57] Ooh, whoa. Even the light dims down, too. That's pretty cool. Oh, my God.

[55:04] I love it. [55:06] Yeah, the motion brush is a pretty sick tool. I would be curious to do a zoom in. [55:12] you know because it's like it feels like he's opening the book and we're kind of getting it like a tight shot on him um let's try it okay 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 okay like this is good enough [55:28] I'll pick one of these or I'll pick a couple of them and I'll start getting into Premiere and now moving on to my next generation. Or are there other things that you tend to do? How long are you spending playing around with all the different parameters and all that kind of stuff? Yeah. So I say because I've had so much time to play with these tools, 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. [55:58] like a topaz and i would upscale it to like 4k right um yeah because that helps with quality and then uh and then and sometimes like if i really want nicholas cage's likeness 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 that's cool that's what i was going to ask you about is um i think there's this trope right now where you can do a viral [56:23] 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 doing a little bit here because it's Nicolas Cage. Is that legal? Are you allowed to do that? What are the conventions around doing all that stuff? Yeah. I think so. I partnered with Curious Refuge. I'm actually teaching an AI advertising

[56:53] 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. 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 a million dollars off 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. [57:23] our close up, our zoom in. Let's see it. [57:29] Interesting. [57:30] See what it does to his face. See, this is an instance where I would mask in the real face. Yeah. And I don't like that the light is kind of going out as we're going in, you know? But I think we've already got a shot that's... [57:45] this whole features are gone yeah but but the pushing doesn't look too bad yeah it that that i like the motion for sure um [57:55] I think the original one with the camera movement zooming out was probably the best. [58:00] Yeah. [58:03] Thank you. [58:04] Amazing. [58:05] Cool. [58:06] So should we do the roulette ball? Yeah, let's do the roulette ball. Well, this is an interesting question. So, [58:15] with the roulette ball. [58:17] or with 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 is it going to be the camera is it going to be the light inside the ball like how do you think about that 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 uh the motion control so let's try that for

[58:47] description right like if you want like the light in the center to glow oh cool i want the light in the center to glow a like a red color so it like it goes from yellow to like red like it's threatening you know yeah so i've actually never done that before the color change thing i'm interested to see what happens yeah uh so let's let's do that and let's give it like a should it be a zoom out or a zoom in well we had to zoom out on the last one so maybe we could try to zoom in on this one [59:17] 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 i always like that move um which goes to show like your traditional filmmaking background like it helps understand like a lot of these more technical uh type questions but let's go ahead and generate five [59:38] My rule of five. [59:40] And we'll see what we'll get. [59:41] Oh, man. [59:43] Because I talk to a lot of people and they're like, dude, man, how does your stuff look like that? I go on runway and my stuff looks like crap. It's all warpy. I was like, how many generations do you do? Well, just one. [59:55] But you got to do a bunch. That's the thing that I've been trying to underscore for people. I think it's true for ChatGPT. It's true for all these tools. Like most of the 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. You're a model manager. [1:00:13] And your job is to get out of the model the best thing you possibly can, like a manager would get the best 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 five generations that are going to help you get to the stuff that's really amazing. And I think once people learn that, there's just going to be a sort of explosion in people using this stuff. Because I think they just come into it with this expectation that it's just going to be magic on the first try.

[1:00:43] It takes a little bit more work than that. Yeah, the old one-button press. You press one button and you get a movie. That's never going to happen. There's always going to be some kind of human intervention. But I think of it like it's almost like these are camera rolls. So you yell cut, you do another take. It's 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 this thumbnail. So definitely got the red right. Let's see, man. I don't know. It might have worked. [1:01:13] I love it. [1:01:22] I love it. [1:01:23] The AI gods are smiling on us today. Runway better send me a check, man. I'm part of the CPP making this thing look like money. [1:01:33] First try. [1:01:35] 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 glow. This is interesting. Yeah, I like that one a little better. Yeah. [1:01:42] That's nice. [1:01:44] Because it doesn't get... The last one got a little bit too red. It went way... [1:01:49] huge and this one's a little more subtle which is sort of interesting [1:01:52] And I like this little leak back here going on. It's kind of cool. Cinematic. Yeah, that's cool. [1:01:56] All right. [1:01:58] Thank you. [1:01:59] I'll check the third one. [1:02:02] Ooh, whoa, whoa. [1:02:05] It's crazy how it just goes in a different direction. This is super overpowered red. Yeah. [1:02:11] I like all of them differently, right? Maybe you can use pieces of each, right? That's the beauty of it

[1:02:19] Like this one's great. Like look at that depth of field that you're getting. Yeah. [1:02:24] I like that one. [1:02:27] And we might have to make this Nick Cage movie happen. I'm in, man. Can I be the EP? Yeah, these visuals are incredible. This one gave us a little white light at the top. That's weird. It's almost like a ghost orb. It's like haunted. [1:02:44] This is cool. There you have it, man. Your experiment works. We got it. We got it. So in 60 minutes, 90 minutes, we went from nothing to a movie about Nicolas Cage. [1:02:57] resurrecting his dead movie career by interacting with a bunch of ghosts who send him to the Luxor to get a haunted roulette ball. And it's all on video. You can watch it. It's amazing. I love this. Yeah, it was awesome. Great, great idea. [1:03:12] Great idea. 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. That was, I've never done that before, especially like, like on camera. So that was pretty fun. Um, and yeah, and, and blazing GPT works. Well, if you make that public, we'll share a link. So, um, so let me know, let me know about that. And, um, as you have other things coming out, like, please share them with me and share [1:03:42] I think you're amazing. You're doing incredible work. You're super, super talented. Thank you for spending the time with me, with us, for making our movie. Maybe we'll have to actually make it into a real movie and put it on YouTube. So if you have some time, you want to do it, let me know.

[1:03:58] Um, and yeah, I appreciate you. I'll definitely make a movie poster 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. Okay. We can do that. We can do that. Nick cage at a luxury. It sounds cool too, though. I love that. Yeah. Nick cage and the, and the haunted roulette ball. Awesome, dude. Cool. Uh, well, [1:04:28] Thank you, Dan. Appreciate it, man. [1:04:44] 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 bombs about chat GPT. Every episode is a roller coaster of emotions, insights, and laughter that will leave you on the edge of your seat. [1:05:02] 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. [1:05:16] And now, without any further ado, let me just say, Dan, I'm absolutely hopelessly in love with you.