Heavy Pulp

08/26/2026

Pe**te - a visual poem short film.

Created via the fantastic creative platform that is

Used Seedance 2.5 for all visuals and ElevenLabs music for the ambient track.

The way Venice is set up and their access to unrestricted models really let me push this piece in the exact direction I wanted to go with it. Highly recommend checking it out!

08/12/2026

PAYOLA - a feature film.

Coming when it’s ready.

08/07/2026

A scene from the world of PAYOLA
Made with Grok Imagine

08/05/2026

ONE MORE HIT

08/03/2026

pay·o·la
/pāˈōlə/
a secret or private payment in return for the promotion of a product, service, etc., through the abuse of one’s position, influence, or facilities.

07/31/2026

We’re really just Coming Back Around

07/22/2026

Swipe through! Four takes, one scene. The only thing that changes is the performance.

Directing a character’s emotion in Grok Imagine is really fun.

How to prompt for emotion: describe physical attributes and not just the emotion by itself.

Instead of “angry”, you can do: “His teeth stay clenched the entire clip, the jaw locked hard... the mouth a trap that words have to escape through. His eyes are open: stretched to their absolute widest, the whites showing, never blinking once...”.

Grok Imagine responds well to this descriptive writing style.

How to keep an actor consistent across different takes: keep everything that isn’t the emotion or performance the same.

Example of voice prompt that we would re-use for this scene: “low gravel baritone, authentic Greek-British hybrid accent, Mediterranean vowels under clipped British consonants.”

All the variance goes into the performance.

07/22/2026

07/21/2026

Dialogue scene from Homer’s Odyssey built on Imagine.
Info on how this was built below.

I treat Grok Imagine like I would treat a real production on a real set.

Every scene starts with two locked start frames: one over Calypso’s shoulder, one over Odysseus’ shoulder. I reuse those same two images as the launch frames for the entire conversation, so the geometry of the scene never drifts on me no matter how many clips deep I get.

Dialogue gets run from both OTS (Over The Shoulder) angles. When a moment needs both voices in one take, the prompt declares both voices up top and gives them strict turns, one at a time, never overlapping. She speaks on camera, and his single reply arrives as a voice off-frame. The pacing lives in the prompt itself: “Speaks spaced, low warm alto, soft Greek accent: Keep this house. Beat. Be ageless. Beat. Softer: Forever.”

The key to maintaining continuity when cutting between angles is that I run the movement prompts from both sides too. When Odysseus wipes her tear, both angles get the exact same instruction: “loose fist, only the index finger extended, one short slow downward stroke beside her nose.” Same hand, same finger, same stroke in both prompts.

That way the action and the emotion are mirrored correctly from both angles, and the two shots cut together like one continuous scene.