Six new deep dives just dropped in the Founding Members tier over the past two weeks. If you blinked, you missed a small library. Here's the what's waiting for you: 📌 Open Source AI Video Models: The Real Comparison Wan, HunyuanVideo, CogVideoX, LTX. Who actually wins when you stop reading press releases and start rendering. 📌 AI Script Coverage: What Hollywood Is Actually Doing (and What It Gets Wrong) Studios are already using AI to read scripts. The results are... instructive. 📌 Claude Inside DaVinci Resolve: An AI Agent in Your NLE Someone connected Claude directly to Resolve's scripting API. It talks to your live timeline. I have thoughts. (Made a little YT Short about this one) 📌 The WGA's AI Training Ban: What It Actually Means For Your Workflow Not what the headlines say. I read the deal so you don't have to. 📌 Morphic Workflows: What "Encode Once, Run a Hundred Times" Actually Looks Like A new tool that might change how you think about rendering pipelines. Might. 📌 OpenMontage: Turn Your AI Coding Assistant Into a Video Production Studio The open source project that turns Claude Code into an editing workflow. Full breakdown. That's what Founding Members get. Real workflows, real tools, no hype. And we're only starting to get rolling. Seriously, don't miss out on this: $29/month, locked for life — but only a few spots left. After that, it goes to $49/month or $490/year. Just saying. Support our free content by following us on social media: LinkedIn Twitter/X Instagram Facebook TikTok

State Media Just Deployed AI Animation as Geopolitical Messaging. Chinese state media CCTV released "The Eagle vs. The Persian Cat" this week — an AI-animated political allegory using animal characters to comment on Gulf tensions. Eagle = USA, Persian cat = Iran. Full AI animation pipeline. Set aside the politics for a second. Watch the craft: - Character design that carries emotional weight — anthropomorphized animals with clear personality - Narrative economy — tells a complex geopolitical story in under 3 minutes - Production polish — lighting, composition, camera movement that rival traditional animation - Emotional manipulation — you know exactly who you're supposed to root for (regardless of whether you agree) This is what happens when AI video generation stops being a creator toy and becomes a communication tool for institutions. Government propaganda offices are now using the same AI animation pipelines indie filmmakers are learning on YouTube tutorials. That's both impressive and unsettling — which is exactly why it's this week's Video of the Week in the newsletter. Questions for the community: 1. When state media can produce AI animation this polished, what does that mean for independent filmmakers competing for attention? 2. Does the source of an AI film (state media vs. indie creator) change how you evaluate the craft? 3. If you were teaching AI filmmaking ethics, would you show this as a case study? Why or why not? Watch it here: The Eagle vs. The Persian Cat on YouTube Founding Members: Head to the FM section for this week's deep-dive workshop on Adobe's new multi-model video editor — five AI video engines (Pika, Sora, Luma, Veo, Firefly) in one workspace. Link: skool.com/aiography/classroom

This morning, the American Cinema Editors, the organization behind the Eddie Awards, representing the top editors in film and television, featured AIography in their official newsletter. We're sitting alongside coverage of the Eddie Awards, Avatar: Fire and Ash, Spider-Man: Across the Spider-Verse, and Spike Lee's editor. That's the company we're keeping. If you're new here from ACE, welcome. Introduce yourself and tell us what you're working on. This community is for you. If you've been here a while and haven't joined the Founding Members tier yet, this is the signal. The professional editing community is paying attention. Be in the room where it happens. Go to the classroom and click on the link to join. — Larry

I just posted something I've been working on for a while, a video that explains exactly what AIography is, where it's going, and why I built it. The short version: I've spent 40 years editing at Warner Brothers, Sony, Disney, HBO, and Netflix. I was there when Avid replaced film. I consulted on Final Cut Pro before it had a name. Every time a transformative technology hit, I watched the same thing happen: everyone focused on the shiny new thing and forgot about the craft. It's happening again with AI. And almost nobody is talking about story. That's what this community is about. 🎬 Watch the video below. If what I'm saying resonates, I'm now offering a Founding Member tier for $29/month, or pay annually and get two months free. Locked in for life. Full access to everything I'm building: courses, live workshops, Lumarka early access, and direct access to me. This window won't stay open forever. Head to the Classroom and hit the Founding Member upgrade. Then come back here and introduce yourself. I want to know who's in the room.

For the last seven months I’ve been building Lumarka, a platform that sits between AI video generators and actually making a movie with AI. It’s ambitious. I probably bit off more than I can chew. But the journey taught me something I didn’t expect. I started with n8n. Built two or three dozen workflows. Got pretty good at it. But somewhere along the way I noticed something: most of my workflows were basically code with a visual wrapper. I was writing logic, handling edge cases, debugging errors… just through little boxes instead of text. And at some point I had this very simple thought: why am I adding this extra layer at all? With Claude Code, I can work directly with the source. No translation layer. No dragging nodes around to represent logic I could just write. When something breaks, I’m not debugging a workflow and the code inside it, I’m just debugging code. When I want to change something, I change it. The feedback loop is tighter. The power is more direct. Don’t get me wrong, n8n still has its place. Modular automations, swapping tools in and out, quick experiments… it’s great for that. I still use it. But for building an actual product? Working directly in code with Claude as my partner is just on another level. What really blows my mind is that I’m even able to say this. For most of my career, “code” might as well have been hieroglyphics. I avoided it. It felt like a different species of thinking. I never imagined I’d understand what was going on under the hood, let alone enjoy it. I’m still lost sometimes. But now when I hit a wall, I have a partner who explains what’s happening in plain English, and I push through instead of bouncing off. That alone feels like a small miracle. So what does this have to do with AI filmmaking? At first glance this probably sounds like a nerdy tooling story. But for filmmakers, this shift is actually about something much simpler: creative control and speed. Right now most AI filmmaking workflows are fragile. You bounce between tools, UIs, prompts, formats, and half the time you’re fighting the software instead of shaping the story. Every extra layer adds friction. Every abstraction hides what’s really happening.