《那年夏天》中文原创歌曲MV(中英双语字幕)
That Summer — Original MV
Some summers disappear quietly.
Some stay inside us for the rest of our lives.
That Summer is an original R&B MV about two people, one city, and a night they wish could last forever. There is no grand love story here—just late-night streets, melting ice cream, quiet glances, tangled fingers, and those small moments of intimacy that somehow become impossible to forget.
The song moves between desire and tenderness, sweetness and danger, while the images capture love at its most fragile: when you already know nothing lasts forever, yet still choose to move a little closer.
“That summer, I wished I could die in your arms.”
An original MV created with AI, music, memory, and a little piece of myself.
— Zidan Cao
Image : ChatGPT
Video : Seedance 2.5 + 2.0, 4K
Lyrics : Zidan Cao
Music : Suno
I started seriously running this account on April 18 this year, when I had only 245 followers. I began teaching myself AIGC on December 31, 2025.
What made me fall in love with AI was the realization that it could bring back so many of my precious memories��even if only for a fleeting moment.
I’ve had far too many girlfriends in my life 😂, and those memories still echo in my mind from time to time. They move me, but they also continue to inspire my imagination and creativity. They keep me creating, constantly searching for new artistic languages and new ways to express myself.
Once, my tool was the paintbrush. Now, AI has become another tool in my hands.
I’ve shared this video before. In it, I talked about why I fell in love with AI and what my life is like these days.
And yes, I’ve always been a painter who was pretty good at charming girls.
Apparently, I still am. 🤭
A girl asked me out for dinner tonight. Hahaha.
So let’s make this interesting: if this post gets 100 likes, I’ll post a photo from our dinner date right here in the replies while we’re having dinner. 😂
@grok ’s analysis said that the “artist turned AIGC creator” part of my bio was difficult to fully verify… so I’m making this post today to prove I wasn’t just making it up. 😂🤭
A Laugh in the Sea of Life (滄海一聲笑)
Music by 黃霑 (James Wong)
Arrangement by Zidan Cao
Harp performed by Yiyi
Cello performed by Yilin
Piano performed by Yiyi & Yilin
Final Mix & Production — Suno 5.5
The music is “A Laugh in the Sea of Life (滄海一聲笑), a song that is very familiar to Chinese-speaking audiences. It was first released in the 1990 film Swordsman (笑傲江湖). The song, written and composed by James Wong(黄霑)and arranged by Joseph Koo(顧嘉輝),became the soul and signature theme of the film.
I rearranged the song for this version. What you are hearing today is not simply an AI-generated Suno version. It was created using samples of real instruments, then remixed and produced with Suno.
My elder daughter played the harp, my younger daughter played the cello, and I arranged the music. Of course, these recordings were made several years ago, when they were still much younger and their playing skills were not as developed as they are today. When my younger daughter was recording the cello part, she even played one note incorrectly. But that was perfectly fine — she was not even ten years old at the time, and that little mistake became part of a precious childhood memory. So I decided to keep it, turning the imperfection into something meaningful.
If you are interested, I hope you will listen to this version: a harp, cello and piano trio (both of my daughters also play piano). Every note was performed by my two daughters themselves.
Their technique was still a little young and unpolished, but this recording is a small and beautiful memory of the three of us — a father and his two daughters, simply making music together for the joy of it. Thank you for watching, all my friends, thank you very much indeed, for everything.
Image : Midjourney + ChatGPT + Gemini
Video : Seedance 2.5 + 2.0 + Wan 3.0 + Kling 3.0 + Gemini Omni + Happyhorse 1.0 + @grok
Music : Suno v5.5
Edit : CapCut
The greatest challenge in this 50-second short film of Shen Drolma (沈卓瑪) fighting bare-handed was the opening three seconds.
Within those three seconds, she must perform a mid-air step, accelerate into a flying knee that knocks down her opponent, and then turn back with a subtle smile. The sequence uses three different camera angles, so every cut has to be extremely tight.
The flying knee itself requires a complete and continuous chain of motion: sprint, takeoff, bend the striking leg, drive the knee forward with full force, make contact, land, and recover. Continuity is everything. When it works, it looks powerful and beautiful; when it fails, it looks painfully awkward. 😂
I attempted this three-second sequence more than a dozen times before it finally worked. The moment I saw the successful result, I was so excited I almost exploded.
A flying knee is a direct, close-range collision that relies on body weight, forward momentum and explosive force. It appears less frequently in traditional Hong Kong action choreography because its visual language can feel comparatively “blunt”���it lacks the flowing elegance usually associated with classical martial-arts cinema.
The flying knee is fundamentally one of Muay Thai’s signature techniques. In Thai, it is called เข่าลอย (khao loi). Variations of knee strikes are also widely used in UFC and MMA, where they are regarded as some of the most devastating weapons in stand-up combat.
One noticeable trend in mainland Chinese historical dramas and films over the past decade has been the integration of MMA and Muay Thai’s grounded impact into period-action choreography. Instead of following the traditional Hong Kong principle of making every technique look graceful, this newer approach tries to make the audience feel: “That strike genuinely hurt.”
The music was inspired by late-1980s Japanese arcade soundtracks. Their sharp FM-synth tones, urgent bass loops, compressed electronic drums and short melodic phrases create an immediate sense of forward motion. That precise, almost mechanical rhythm works especially well with rapid cuts and tightly timed impacts—as if every movement were a perfectly executed arcade input.
I also enjoy the contrast: an ancient martial-arts world driven by the electronic pulse of the arcade era. It adds nostalgia without softening the violence, and gives Shen Drolma’s movements a strange, heroic energy suspended somewhere between cinema and an old fighting game.
The prompt for these opening three seconds is in the comments.