AI production

An introductory piece for the Higgsfield AI team, fully generated: the characters, the locations, the props and every single frame. The characters stay the same from shot to shot, the space of the scene holds, and the rhythm was built in the edit by hand.

The film shows my whole process: how I lock the characters and the world before any video, hold the geography of a scene and build the rhythm in the edit.

The actors were shot on a blue screen, and every world around them — a crystal road, a volcano, a lab — was created with AI. A ZHEESHEE studio project; the AI supervision and the environments for every shot came from the AI studio ZDES, where I led them as AI supervisor and AI generalist. Live plate and generated world in one frame, sharing the same light and camera move.

One of the first TV launches in the Full AI category: a courier rides a kind dragon over 19th-century St. Petersburg. Three weeks of production, around seven hundred images and more than a hundred video generations. A PORTAL studio project; the AI production — characters, scenes and shots — was led by the AI studio ZDES, with me as AI generalist and supervisor.

For Miratorg’s spot I created the chest scene with AI and cut it in alongside the live footage. That’s how generation works inside a classic production: it covers a scene that would be costly or slow to shoot while keeping the film’s light consistent.

Macro mechanics, metal, glass and a leather strap — the whole film is made with AI. I know ORIS down to the details: since summer 2025 I’ve run the brand’s CG production and rebuilt watches, dials and bracelets in 3D from engineering drawings. That knowledge of materials and light keeps the AI images at the level a premium brand expects.

A product film for OBJ+: ribbed glass, warm light and the room the lamp lives in. The shape and materials stay accurate in every frame.

A product film for a smart payment terminal: metal, screen glass and the payment interface in a graphic studio space. The camera flies around the device like a flagship gadget ad, and the shape and materials stay accurate from every angle.

Vertical New Year films for ZDES social media: Moscow in snow, lights and ornaments. A short format where AI delivers scale and spectacle that a real shoot would need a budget of its own for.

Your own media character instead of a creator hunt: the face never changes from clip to clip, there’s no shoot schedule, and the feed runs in series built around the brand’s goals. I designed the system as Product Owner inside ZDES Studio; five characters already have lives of their own, each with her own look and feed.

A ZDES Studio tool that takes a film from brief to video: script, moodboard, storyboard, scenes and video. On the test film “AI Is Already Here” the whole generation took 40 minutes. The storyboard and the frames are signed off before any video is made. Switch between the stages: sketch, still, video.

January–March 2025. TON’s crypto media needed a steady stream of drawn content with a meme character whose face and helmet stay identical in every image. Back then a character like that wouldn’t hold without its own model: eight training cycles on a 100+ variation dataset, under 5% error, then a playground for the designers and an AI agent that illustrates Telegram posts by itself.

Today similar tasks are often handled with references, no training needed. I train a custom model where references fall short: a strict character, a complex brand style or a high volume of content.