Technical Drawings
Original Plate
A stylized, retro-inspired scene of a woman in 1980s-era formal attire reminiscent of a traditional habit, receiving a leg tattoo in a vintage basement tattoo studio. Her outfit is modified fashion,modest yet edgy,with long sleeves and high collar, revealing tattooed arms and neck. She stands calmly with a composed, focused expression as a mature, silver-haired tattoo artist works on her thigh. He is seated, wearing a worn short-sleeve work shirt, jeans, glasses, and gloves. The room features classic tattoo shop elements: metal sink, vintage tools, glass jars, and industrial plumbing. Lighting mimics 1950s on-camera flash: strong directional light, sharp shadows, flat backdrop, and slight film grain. The image captures a candid, artistic moment, blending counterculture and mid-century aesthetics. Muted warm tones, beige textured studio backdrop, medium-frame shot, photorealistic finish, 8k detail, hyper-realistic, spotlight.
"style": "1980s documentary realism, flash photography, retro Americana, subdued editorial tone",
"camera": "16mm film camera with direct flash, Kodak Tri-X 400 simulation, f/5.6",
"rendering": "photo-realistic, high contrast flash-lit style with slight grain", "retro tattoo studio", "vintage fashion", "flash photography", "1950s realism", "editorial portrait", "subcultural style", "photorealistic"
A stylized, retro-inspired scene of a woman in 1980s-era formal attire reminiscent of a traditional habit, receiving a leg tattoo in a vintage basement tattoo studio. Her outfit is modified fashion,modest yet edgy,with long sleeves and high collar, revealing tattooed arms and neck. She stands calmly with a composed, focused expression as a mature, silver-haired tattoo artist works on her thigh. He is seated, wearing a worn short-sleeve work shirt, jeans, glasses, and gloves. The room features classic tattoo shop elements: metal sink, vintage tools, glass jars, and industrial plumbing. Lighting mimics 1950s on-camera flash: strong directional light, sharp shadows, flat backdrop, and slight film grain. The image captures a candid, artistic moment, blending counterculture and mid-century aesthetics. Muted warm tones, beige textured studio backdrop, medium-frame shot, photorealistic finish, 8k detail, hyper-realistic, spotlight.
"style": "1980s documentary realism, flash photography, retro Americana, subdued editorial tone",
"camera": "16mm film camera with direct flash, Kodak Tri-X 400 simulation, f/5.6",
"rendering": "photo-realistic, high contrast flash-lit style with slight grain", "retro tattoo studio", "vintage fashion", "flash photography", "1950s realism", "editorial portrait", "subcultural style", "photorealistic"
This was a test in rapid prototyping—developing a concept for a commercial endpage. I began with a few sketches and generated most of the elements from scratch: the man, the flag, and the final endpage. Style frames were rendered in MidJourney, video in Wan2.1 on ComfyUI, and everything was composited in After Effects. The bottle was the only stock image, later rendered to video
This was a test in rapid prototyping—developing a concept for a commercial endpage. I began with a few sketches and generated most of the elements from scratch: the man, the flag, and the final endpage. Style frames were rendered in MidJourney, video in Wan2.1 on ComfyUI, and everything was composited in After Effects. The bottle was the only stock image, later rendered to video
This was built using multiple platforms: Midjourney and Sora for style frames, Magnific for resolution and sharpness, and Higgsfield, Flow, Kling, Veo3, and Sora for video generation, with ChatGPT maintaining prompt consistency. In total, over 25 minutes of AI content went into this. The biggest challenge was keeping characters consistent across platforms and renders. The "people" in the epilogue are the same ones in the action scenes, minus a zombie or two.
This was built using multiple platforms: Midjourney and Sora for style frames, Magnific for resolution and sharpness, and Higgsfield, Flow, Kling, Veo3, and Sora for video generation, with ChatGPT maintaining prompt consistency. In total, over 25 minutes of AI content went into this. The biggest challenge was keeping characters consistent across platforms and renders. The "people" in the epilogue are the same ones in the action scenes, minus a zombie or two.
This exercise was about telling a complete story with a beginning, middle, and end. I chose car racing, because why not? First, build the environment, introduce the challengers, set the drama, and bring in the spectators to build anticipation. Then experience the race itself, ending with the winner crossing the checkered flag. I also added in a few easter eggs for fun of it.
This exercise was about telling a complete story with a beginning, middle, and end. I chose car racing, because why not? First, build the environment, introduce the challengers, set the drama, and bring in the spectators to build anticipation. Then experience the race itself, ending with the winner crossing the checkered flag. I also added in a few easter eggs for fun of it.
I wanted to test whether I could render different characters and composite them into the same environment, creating the illusion they were shot on the same stage under the same lighting. The pig was built from four separate renders composited together to make its turn appear smooth. Both the pig and the manatee were rotoscoped from their original backgrounds and placed into the same studio setting. The biggest challenge was locking in the final look of the characters before animating. Consistency in the tattoos and animal details was critical. Once the final character style frame was dialed in, the real challenge became preventing the tattoos from changing, distorting, or disappearing in the prompts.
I wanted to test whether I could render different characters and composite them into the same environment, creating the illusion they were shot on the same stage under the same lighting. The pig was built from four separate renders composited together to make its turn appear smooth. Both the pig and the manatee were rotoscoped from their original backgrounds and placed into the same studio setting. The biggest challenge was locking in the final look of the characters before animating. Consistency in the tattoos and animal details was critical. Once the final character style frame was dialed in, the real challenge became preventing the tattoos from changing, distorting, or disappearing in the prompts.
This one was a bust. I managed to composite Perry into the studio environment but couldn’t get him to behave the way I wanted, which was swimming through the air like the manatee. Also getting a platypus shaved and tattooed was also practically impossible, or at least something I couldn’t figure out at the time.
Yeah, probably, but not yet! We’d need Artificial Superintelligence for that. Human creativity comes from intent; machines just remix what they’re trained on. That said, I brought an illustration to life in minutes that would’ve taken me days by hand.
Yeah, probably, but not yet! We’d need Artificial Superintelligence for that. Human creativity comes from intent; machines just remix what they’re trained on. That said, I brought an illustration to life in minutes that would’ve taken me days by hand.
Yeah, probably, but not yet! We’d need Artificial Superintelligence for that. Human creativity comes from intent; machines just remix what they’re trained on. That said, I brought an illustration to life in minutes that would’ve taken me days by hand.
This was created in early 2023, when I had early access to Sora, Kling, and MidJourney. It was my first serious test of generative AI storytelling. I used a spot I had originally written and directed for the Syfy Channel over 15 years ago, as a benchmark, first to see how closely I could replicate it, then to push further and test the limits. That was several model updates ago, so now hands and facial expressions control have come a long way…
Original
Original
Updated
Updated