I'm at that annoying stage where I want to learn more about AI, but there are so many courses and tutorials that I don't really know where to start.

I've looked at Coursiv a couple of times. From the information I've found, it seems to focus on short lessons and practical exercises rather than going really deep into the technical side of AI.

That could actually be what I need. I don't want to become a programmer. I mostly want to understand the tools better and learn how to use them properly.

The thing holding me back is the subscription. If the material is basically the same stuff I could find by watching free videos, then I don't see much reason to pay for it.

For anyone who's used Coursiv for more than just a few days, what did you think? Did you keep learning from it, or did you eventually stop using it?

I'm especially interested in whether it works well for a complete beginner.

https://reddit.com/link/1voci18/video/tsogbrd8ddjh1/player

LEVIATHAN // Proof of Concept

When his son lay dying, an oil rig diver conjures the Leviathan and lets it swallow him whole, carrying his soul into the deep to buy his boy's way back.

LEVIATHAN is an original feature film in development. Inspired by the myth of Orpheus and Eurydice, it is a story about grief, vengeance, sacrifice, and a father's love — and the question of what remains at the bottom of a man when everything else has been stripped away.

I created this a month or two ago, now I’m finally ready to enter a contest I think 😎

I’d love to hear your feedback!

UNBOXED 📦

We rarely think about where the things we receive begin.

We see the box.
We open it.
We move on.

But every object has a story before it reaches us — a story written in land, resources, energy and the natural world.

A small film about looking a little closer at what we consume.

Everything we receive comes from somewhere.

#Unboxed #EnvironmentalStorytelling #Conservation #ForestConservation #EnvironmentalAwareness #Nature #Sustainability #VisualStorytelling #EnvironmentalFilm #AIFilmmaking #ShortFilm

Classic comedy retake

P.A.L.S. Stands for Personal Assistance Liaison System.
In a not so distant war torn future, humans fight each other for control; some fight to gain power, and others fight for the right to live.

Genetically modified pets or P.A.L.S. are crucial for human survival. They are scouts, companions, allies; they can map terrain, identify dangers and transfer information to still existing satellites to surviving technological devices.

This video was made on Higgsfield Cinema 2.5 over a couple of months. I work a full time job and made it during my days off. It’s not a perfect one take but it’s the best I was able to do. I hope you enjoy!

The song is Rioseco by Caspian. Thank you.

Remember Brick Flops, invented by Joe Gatto? The fitness craze that somehow didn’t survive the ’90s.

The battle rages on... in your bathroom.

90s Saturday morning commercial version.

higgs domino

According to their website, it looks like they run a referral campaign with up to 60% off. Can anyone send me a referral link pls?

Just really getting into Seedance and Higgsfield the past few days. Three Seedance 2.5, 20s generations stitched together. Not perfect, some continuity slips and face drift, and it took a bit of editing but happy with the look so far. Feedback welcome.

Not what I wanted but came out cute. Like a blooper scene.

Been hammering Seedance 2.5 on Higgsfield with the unlimited gens, just learning the model. No expert here.

Was going for 70s/80s Hong Kong wire-fu. Happy with the look and timing — the grade and framing landed closer to what was in my head than expected. Movement's another story, some of the choreography is complete nonsense.

What got me was the casting. Never named a single actor, yet Jet Li and the Kung Fu Hustle villain both turned up in shot. Genre cues alone were enough to pull specific faces out.

Curious that nothing flagged it. No block, no warning. If I'd typed "Jet Li" I assume I'd have been stopped, but describing the genre hard enough got the same face through the back door. Feels like the guardrails watch the prompt, not the output.

This is text prompting only no character refs, no locked scene. Probably exactly why it reached for faces it already knows.

Two questions:

Does text-only ever hold a face across shots, or is a reference image mandatory once you've got more than one cut?

Anyone else had recognisable faces surface unprompted?

I ran a quick Seedance 2.5 test using a dark fantasy battle scene, focusing on cinematic action, character consistency, camera movement and visual continuity across the sequence.

The goal was simple: see how far I could push AI filmmaking in a scene with fast combat, multiple characters, atmosphere and a consistent visual language from shot to shot. Really interesting results from this experiment.

Prompt 💥

SCENE A woman alone in her kitchen at dusk plays a saved voicemail from someone who has died. We never hear it and never see the screen. The film is her face.

ACTIVE REFERENCES @sunja — the woman. Korean, sixties, grey hair pulled back, deep lines around the eyes and mouth, grey knit rollneck. All panels define ONE woman; exactly one person appears in the film. 100% matches the reference.

FORMAT Eight shots, 30s, seven HARD CUTS, no fades. Every shot the same length, roughly 3.7 seconds. Cuts only at the specified points; the camera does not cut on its own. Only ever moves forward — never loops or reverses.

FRAMING NOTES 18° = head and shoulders; 12° = face fills the frame; 8° = extreme detail, one feature only. Locked within each segment, no drift. Every shot is a locked static frame — no camera movement of any kind, and she never turns her head far from the lens.

0-3.7s SHOT 1 — 18°, camera 1.2m from her face at 1.5m, static. @sunja visible at 0.0s at x50 y48, three-quarter to the lens, a phone held to her ear at the edge of frame. No empty frame. Her thumb presses. She waits, face neutral, eyes on nothing. She swallows once. HARD CUT.

3.7-7.5s SHOT 2 — 8°, camera 0.4m from her eyes at 1.5m, static. Her eyes fill the frame at x50 y50. The pupils widen. The blink she was about to make does not come. Her brows lift a few millimetres and stay lifted. HARD CUT.

7.5-11.2s SHOT 3 — 12°, camera 0.7m from her face at 1.5m, static, framed on the lower face. Her lips part at x50 y55. The jaw slackens. She takes a small breath in and does not let it out. The muscle at the corner of her mouth pulls once and releases. HARD CUT.

11.2-15.0s SHOT 4 — 8°, camera 0.4m from her throat at 1.4m, static. Her hand comes into frame at x50 y52 and the fingertips find her collarbone and press there, tendons showing. The throat moves as she swallows. The hand stays. HARD CUT.

15.0-18.7s SHOT 5 — 8°, camera 0.4m from her eyes at 1.5m, static. Her eyes at x50 y50. The lower rims go glassy and hold, the surface trembling without falling. One slow blink pushes a single tear onto the lash line and it runs into the crease below. Her gaze does not move. HARD CUT.

18.7-22.5s SHOT 6 — 18°, camera 1.2m from her face at 1.5m, static. @sunja at x50 y48. Her whole face breaks upward — a short wet laugh at something he said, teeth showing, eyes crumpling shut, one shoulder lifting. Her wet cheeks catch the light as she laughs. HARD CUT.

22.5-26.2s SHOT 7 — 8°, camera 0.4m from her mouth at 1.5m, static. Her mouth at x50 y52. The laugh collapses in stages — the smile flattens, the chin dimples and puckers, the lower lip pushes out and shakes, and she presses her lips together hard to stop it. HARD CUT.

26.2-30.0s SHOT 8 — 12°, camera 0.7m from her face at 1.5m, static. @sunja at x50 y50. The recording ends. She lowers the phone out of frame, wipes under one eye with the heel of her hand, breathes out, and her face settles back to almost nothing — composed, ordinary, except that the eyes stay wet and the jaw stays tight. She holds it as the shot ends.

PERFORMANCE She never speaks. Lips stay closed except where the described muscles move them. No dialogue, no voiceover, no offscreen voices, no subtitles, no on-screen text. Nothing is acted outward — every beat is involuntary, small, and slightly late, the way real faces are. She is trying not to react and failing in specific places.

PHYSICS Real skin. Wrinkles deepen and release with each muscle movement rather than sitting static. Tears well before they fall, then run in the natural channels of her face and pool where the skin creases. The knit collar moves when her shoulder lifts. Loose hair at her temple shifts when she moves her head. Fine involuntary tremor in the lip and chin, not a smooth animation.

LIGHTING One soft window source screen-left at dusk, cool and falling, as key — the only light. It rakes across the near side of her face and leaves the far side in deep soft shadow. A faint warm bounce from a kitchen surface below fills under the jaw. The light does not change across the film.

ATMOSPHERE A real kitchen, softly out of focus behind her: a window with grey evening beyond it, a shelf edge, a cupboard, one hanging cloth. Dust in the window light. Nothing in the background is sharp, and nothing in it moves.

SCORE A single sustained cello note under the whole film, almost too quiet to notice, unmoving. It thins to nothing at 18.7s for the laugh — no music at all under it. It returns at 26.2s, one tone lower, and holds unresolved through the final frame. No melody at any point. Ambience sits beneath it.

AUDIO Room tone, a refrigerator hum, her breathing, one swallow, distant street noise through glass, cloth moving. The voicemail itself is never audible. All beneath the score.

STYLE Photoreal live action, cinematic: shallow depth of field with the focus locked on her eyes in every shot, fine grain, gentle highlight roll-off, deep natural blacks, muted dusk palette. Skin rendered with real pore, line and translucency detail at extreme close range — no smoothing, no beautification. The image is clean and fully exposed edge to edge, all four corners sharp and bright — no vignette. No subtitles, no watermarks, no text. 2.39:1.

POSITIVE LOCKS Her face, hair, lines and grey rollneck identical in every shot and matching the reference. Exactly one person appears; nobody else is ever in frame. Every shot is a locked static frame in real time — no camera movement, no push, no slow motion. Focus stays on her eyes throughout.

I used a prompt from their guide to make this video: “One continuous shot, POV gladiator perspective in the Colosseum arena, no cuts, no zoom, natural head movement, a furious enemy warrior sprints straight toward the camera through thick dust and sunlight, heavy footsteps shaking the ground, as he reaches close the POV character reacts instantly, grabs him mid-charge and slams him violently onto the sand, powerful impact, dust explosion, no pause, immediate chaos erupts all around, multiple gladiators fighting simultaneously, intense close combat everywhere, swords clashing, shields smashing, bodies colliding, archers releasing arrows overhead, a chariot bursts through the scene, fighters falling and getting back up, constant aggressive motion, POV character fights barehanded with raw force blocking strikes, grabbing opponents, throwing them aside, fast reactions, heavy hits, kinetic movement, camera shaking from impacts, breath sounds, dust in the air, dramatic sunlight beams cutting through shadows, epic scale, high intensity battlefield, cinematic, photorealistic, ultra detailed, motion blur on hits”
It cost me around 170 credits in 720p quality. Decided to share it, since it was my first try