James Larkin’s Post

Transcript

So if you want to know how I created this sequence, I'll do a tutorial at the end of the video. So here's the first of the tests that I've been doing. Very simple, just. Mike so don't yeah, yeah, these. So these are just tests. Yeah. I mean, this is not a stop work that I would put out and think, ohh, this is like really cool. Because there's just too many distortions. I think. I think Runway Gen. 3 is at the same level as Sora, but it's a slot machine. You know, you just don't know what you're going to get. You know, like Mick Jagger said, you can't always get what you want. Always get what you want. So this is probably the best out of everything that I've done so far. As fast as as far as photorealism goes. I mean, there's some more coming up. I see Billy's done this one already. So not copying any Billy, Honest, honest. These are just tests. I mean, sometimes you get exactly what you ask for. And then other times you get something that's like super cool. Um. So like I say, you know, this is at the level of Sora. It's just not everything that you get is is like we saw in the Walter Woodman video or the Potrillo video. So again, you know, these all just tests to see what it does. And by the way, like a lot of these tests, these are from the runway guide. So for those who haven't used Runway Gen. 3 yet, but when you go to prompts, there's a little guide that you can click on and it gives you some example things that you can do. That's why you're probably seeing quite a lot of the same Gen. 3 come out because everyone's just doing the guides, seeing it works and thinking, oh, I'll just put this out now without doing much to it because this is good enough because probably because no one's done it yet. So I guess that's why there's a lot of the stuff is probably quite similar, like, although we haven't got to it yet. I, I'm finding like, so for example, like in theory, like when you're prompting, you gotta think about quality, right? So how do you get the highest quality? You've got to think about situations where there's high quality cameras being moved. So you know, things like. Studio photos are almost always sharp because the training data is going to be sharp if it's shot in a studio, you know professional has done it with proper lighting. So that's why you get this sharpness plus all the the the drone shots they're almost always sharp even on the crappiest cameras like the the dgis even their low level cameras, they still produce good stuff because a lot of the time it's done during the day when there's lots of sunlight and if it's a really sunny day, you can't go wrong. So these ones. Have used the same seed number so every time you do a thing it will give you a seed. You copy and paste that back into your new prompt and now you get something quite similar. Again, a lot of this is in the guide. Yeah, it's just so many distortions, so many distortions. I mean, you really have got to spend like a lot of time getting getting your shot done, right. This one. I mean, these are all first, first shots, Yeah. And not gone back to rework on them unless I say. So I guess, I guess you could say this is quite rural work, their tests. Always get what you want. Yes, I know Mick Jagger, you've already said that yes. Just interesting. Just stuff you've never seen before as well. I mean, a lot of this is just like prompts from mid journey. I've just put them in. I've put no camera movement, no animation, you know, prompting, nothing like that. Because basically, you know, you can't always get what you want. Yes, I know, Mick Jagger. Thank you. Thank you. I know. I know. OK, so I was missing a clip, which was this one. I hadn't, I hadn't put it into the main sequence. So I've done some stuff while I've been on camera. And the other thing is, is that you get a little distortions like this, right? So I have no idea what that is meant to be. So I'm just going to do that. OK, It's about gone. There's a little bit there. You can't really. Not really see it and and the the view is not going to see it either, right. So OK, so we got that and then it goes into some clouds. OK, so we know we end with clouds. So now we know that we can go into another scene that already has clouds. While the saying has already got clouds, that one right? OK, so we know that goes into clouds and that one stops those. And we also know that this one starts with clouds. So we've got we've got some sort of sequence here. So let's just see. Would you press L for super Fast forward? No, that didn't quite work for some reason. So ah, OK, that's why, because I remember I used this one twice actually, because it has quite a cool cloud sequence. So. Was it this one? Yeah, it was that one, right? So this one. So what we do is we take. Some clouds from here. And then we put these right above something like that. The other thing I'm noticing is that. Yeah. OK. So it's not the best, but that's all we have to work with for this one right now. This little thing at the bottom appears as well. So we want to cut out of that. See this little thing here at the bottom? What is that? I don't know. It doesn't show me the rest of it, so I don't know what that is. So we're going to go into clouds going to cloud. Answer right. OK, so move that there. Move that there. So and then we're going to use a little bit of that to go. So we're going to change the opacity there. Click that. Down to 0. Just watch that. And there we go. That's our opening sequence. I mean, obviously these can extend infinitely, but you've got to be creative with what you do. Now, also, there's another thing to think about here, which is like, Potrillos put this work out already, right? It's out there in the public domain. Everyone that's into generative art is going to be seeing that going, oh, I can do that, I can do that. So what we're going to end up with is the whole community is going to be doing the same thing. Don't do that. Don't do that. I'm just showing you because I was curious. I wonder how. He did it, but don't just do loads of these because the the community artwork's gonna look awful. Well, there you go. That's how you do the infinite zone thing. Her today at the reception. A glass of wine. I knew she was gonna meet her connection. Was a footloose man and I said that you can't always get what you want. Honey, you can't always get what you want. You can't always get what you own. Prescription. A man. My favorite flavor is cherry rain. Mr. Jimmy. Always get what you want. Always get their man. Practice. Ohh baby.