I built a whole sci-fi anime series: Exile Protocol, directing it inside invideo Agent One.
In this masterclass, you'll learn how I developed the visual style of Exile Protocol, how I use Agent One's context system to manage an entire world of characters and locations, and how I take a single scene from concept to final edit. From worldbuilding and character design to animation and post-production, this is a look at how I direct an original anime series - and where the craft decisions actually get made. Make sure to subscribe and check out the show!
Invideo Originals: Episode 2 of Penumbra - made entirely on Invideo Agent One.
Don't know who needs to hear this - you don't need to wait for someone in the room to take a bet on you anymore.We built Episode #2 of Penumbra in a matter of a few days. Just goes to prove that if you have a story worth telling, you are now no longer blocked by budgets and funding and the "right opportunity". Quoting the director of this series, Vinu, “Agent One is the closest thing I’ve found to ten extra hands - I describe the intent, delegate, and it comes back with the shot while I’m already thinking about the next one. The pace honestly doesn’t make sense to me yet.”
Go watch! + Episode 1 in the 🧵below
Everyone has a theory about how Al is affecting creative jobs.
We wanted the numbers. So we spent 3 weeks looking at hiring data across agencies, brands and freelance platforms.
What we found in the 🧵
India's first AI filmmaking lab is here.
We partnered with Subhash Ghai's Whistling Woods International to build it.
@SubhashGhai1@Whistling_Woods
The full story 🧵
I spent the weekend using Invideo Agent One on my mobile devices (iPhone & iPad) to put together a Surreal Montage Spec Ad for a fictional artisan soap. ☁️🫧🧼
In this 7-minute vlog, I share the exploration—from starting the project on my workstation, to directing the agent from outdoor locations throughout the day, and jumping back on the PC the next morning for final video generation and post-work! 🎬
If you're a filmmaker, creative director, or ad director, this agentic workflow hints at how you can get a short ad or film made.
I included the surreal ad below. 👇
Sponsored by @invideoOfficial
Real set experience doesn’t become irrelevant in AI filmmaking. It becomes your edge. Mike J. Mitch gets into exactly why, and how he brought everything he knows to Agent One. Your instincts, your craft, your years of real filmmaking, none of it disappears. It just gets supercharged.
One of the best storytellers in the game, @henrydaubrez, just dropped some new gold. And unsurprisingly, @invideoOfficial has his back. Top tier filmmaker. Top tier AI platform.
Martin Scorsese is an advisor to Black Forest Labs.
He's spent six decades shaping how the world sees stories. Now he's helping us shape visual intelligence with human taste and craft at the center.
We sat down with him for a working storyboarding session using FLUX.
Martin Scorsese is an advisor to Black Forest Labs.
He's spent six decades shaping how the world sees stories. Now he's helping us shape visual intelligence with human taste and craft at the center.
We sat down with him for a working storyboarding session using FLUX.
@jordandchesney@invideoOfficial@aionthelot Thanks for the kind words Jordan! Appreciate it :) and also this list is 🔥
We’ll spend the coming week to make sure we’ve spoken to the amazing folks!
Every so often you look around a room and go: these are the people inventing the future of filmmaking. And they're cracking jokes. So much energy. So much fun. So much still coming. We're so lucky to get to do this alongside them. Grateful to everyone who came out alongside @aionthelot@Kavanthekid, @mikejmitch, @maxescu, @sferro21, @jordandchesney, @bstuartTI , @minhsmind, Gavin Behrman, Rafa, Karsten.
Day 5. The film is done.
20,000 credits. Roughly $5,000. A story that spans the world, VFX, costume, crazy locations, a full one-take sequence. At that budget, for a short film, kind of ridiculous.
And the thing that made it possible wasn't prompting. It was directing. Agent One didn't feel like a tool — it felt like crew.
The film drops tonight. Stay tuned. This one's been special.
Jorge Gutiérrez has dropped out of Amazon’s GenAI animation program and will no longer make Punky Duck.
Wonderful job, Animation Twitter.
The director of The Book of Life and creator of Maya and the Three wanted to experiment with AI as a tool to help artists create animation faster.
He was very clear that artists were still at the center of the project.
But instead of waiting to see what he was actually making, people immediately decided he was a sellout.
His Wikipedia page was vandalized. He was harassed. Things apparently got ugly enough that he had to publicly warn people not to threaten his wife or son.
Then, two days after the project was announced, he walked away from it.
I understand why animators are nervous about AI. I understand why people do not trust Amazon.
But going after Jorge Gutiérrez like he was personally trying to destroy animation is pathetic.
The guy was trying to make an original animated series and figure out whether new technology could help artists get ambitious work made faster.
Now the project is dead before anyone even saw a frame of it.
This is what happens when people let an angry mob tell them how to feel before they bother thinking for themselves.
They did not protect animation.
They just bullied an animator out of making something new.
“I can’t see a reason why you wouldn’t become interested in this stuff as a filmmaker. It’s so clearly a tool that might be up there with the camera. It’s going to be be better than CGI,” he told the assembled audience. “I’m excited, I hope you are.”