Four friends in a living room
A 1930s card game
The water bottle becomes a decanter, the kitchen table green baize, the tracksuit a suit. Nobody moves or changes expression.
Drag the line to compare the shoot with the result.
This is not asking an AI for a video. It is shooting on camera and transforming what was shot: the framing, the gesture and the timing come from the shoot, and everything else changes.
Why it is shot first
The difference is who decides the shot
A generative model does not choose the framing, the moment or the performance. Starting from real footage, those three are already decided and the model does not touch them.
- 01
The camera
The move is the one chosen on set, not an invented one.
- 02
The performance
The face, the gesture and the timing belong to whoever stood in front of the lens.
- 03
The rhythm
The edit exists before anything is transformed, so the pacing is a decision, not an outcome.
The method
Four steps, and the first one is with a camera
- 01
Shoot
Camera, framing, light and direction. This is where everything that cannot be changed later is decided.
- 02
Key frame
One frame is pulled from the shot and the new world is built on it, respecting where everything sits and how big it is.
- 03
Transformation
The whole shot goes through the model with that reference. Movement, performance and timing stay; place, era or wardrobe change.
- 04
Edit and finish
Cut, grade, sound and the effects that need frame accuracy, done by hand: a model will not land an impact on the exact frame.
Pieces
The same shot, before and after
On the left, what was filmed. On the right, the same instant after the process. Same framing, same gesture.
A home dining room
A spaceport cantina
The dining room becomes a cantina, full of regulars who were never on set, and they move. The shot runs thirty seconds without a single cut.
- Location
- Extras
- Long take
A Mediterranean pine wood
A snowbound front line
Two friends among the pines end up on a winter front line, in uniform and carrying rifles. The explosion and gunfire go in afterwards, on the exact frame.
- Period
- Wardrobe
- Effects
A desk at home
A penthouse above New York
Same desk, same monitor, same sheet of paper, with the city behind. And the person in the chair is now someone else.
- Location
- Character swap
A neighbourhood hoop
A hill above Los Angeles
Shot in Mallorca, sitting on a basketball hoop. The camera pulls back and the whole world is rebuilt, wall included, without touching the clothes or the cigarette.
- Location
- Camera move
A lad at the wheel
An agent in suit and shades
Same actor, same performance, different character: the cap and polo shirt become a suit, tie and sunglasses.
- Character
- Wardrobe
An everyday car
A rally car
An ordinary drive down a country road. The cabin becomes a competition car, with race suit, harness and the driver’s name across the windscreen.
- Automotive
- Wardrobe
A flat
An underground facility
A single thirty-second take. The hallway becomes a corridor with a blast door and the living room a control room; what appears on the monitor at the end is composited by hand.
- Location
- Long take
- Compositing
An arrest in a pine wood
A bioluminescent forest
Shot by day among the pines, it ends up in a fantasy forest that glows from within. The chase and the struggle are the ones that were filmed.
- Fantasy
- Location
A flat at night
A house you can’t leave
A looping horror piece. The hallway and living room turn into a dark, closed-in place without changing a single gesture; the edit cuts land in the same spots.
- Atmosphere
- Edit
3D blocks
A court at sunset
No shoot this time: the camera move is designed with 3D blocks and the shot comes out photoreal, with players. That’s why it sits side by side rather than on a slider.
- 3D previs
- No shoot
What it is for
One shoot, many worlds
- 01
Music videos and artists
The artist shoots once and the video travels wherever the song asks. Their face and their performance are left alone.
- 02
Advertising and brand
The winter campaign shot in summer, or the same spot in three settings, without setting up the shoot again.
- 03
Automotive and events
An ordinary drive that ends up on a rally stage; an event moved to another night and another place.
- 04
Shorts, teasers and fiction
Show an idea looking the way it will look, before there is a budget to build the set.
- 05
Social content
Variations of the same take for a campaign: volume without reshooting.
- +
Got another idea?
If it can be shot, it can almost certainly be transformed. Tell me and I will say whether it holds up.
Tell me
Two ways to work
The idea arrives finished
You know what you want and I execute it: the shoot is designed around that idea and the finished piece is delivered.
I join the creative stage
I know the limits of the medium and which ideas will work before they are shot. That avoids filming something that will not hold up, and opens doors you cannot see from outside.
Before the shoot
Worth knowing
This is not a list of excuses: it is what makes it possible to plan a shoot that works first time.
- 01What is not filmed does not exist. If someone has to look into the lens at second twelve, it has to be shot: the world can change, the performance cannot be invented.
- 02Each shot has a ceiling of about thirty seconds per pass. Longer sequences are designed in sections, with the cuts planned from the script.
- 03Things that hang and swing — laces, chains, long earrings — hold up worst. Anything close-fitting is no trouble.
- 04Text on clothes or objects degrades. Logos and signage are handled afterwards, in post.
- 05The more the camera moves, the higher the risk and the cost. A locked-off shot or a clean move goes much further than a jittery camera.
- 06I do not invent real places. If what is being sold is a place that exists — a villa, a restaurant — it is filmed as it is.
Your piece
Tell me what you want to happen on screen
If it is already shot, we look at it together. If not, even better: a shot filmed knowing it will change worlds works first time.