FIELD NOTES / FIRST PERSON
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What I have learned from building AI films, coherent visual worlds and B-roll for real music releases.
WRITTEN FROM THE WORK / UPDATED AS THE PRACTICE EVOLVES
The problem is rarely generating one strong image. The hard part is making thirty or forty shots feel as if they belong to the same film. I solve that before the final edit, by deciding what the world allows and what it rejects.
6 MIN READ / CHRIS RAW ↗
A visual world is not a moodboard with more pages. It is a set of decisions that makes the release recognizable before somebody reads the artist name. The song gives me the emotional logic. My job is to turn that logic into images that can survive across the whole campaign.
7 MIN READ / CHRIS RAW ↗
AI B-roll is useful when a music video already has a direction but needs more world, more scale or scenes that were impractical to capture. It is not useful when it is added as random spectacle. The new clips have to feel native to the edit that already exists.
5 MIN READ / CHRIS RAW ↗An AI music video is not made by pressing generate until enough clips appear. I treat it as a film: understand the track, define a visual system, build shots for an edit, then finish the image and every delivery format deliberately.
7 MIN READ / CHRIS RAW ↗Choose the format by the job it has to do. A visualizer sustains a visual identity around a track. A music video develops an idea across time. Neither is automatically better, but calling one by the other name creates the wrong expectations and budget.
6 MIN READ / CHRIS RAW ↗
A useful brief does not prescribe every image. It explains the song, the audience, the desired effect and the real production constraints. That gives the director enough information to make specific decisions without turning the work into imitation.
6 MIN READ / CHRIS RAW ↗[ THE WORK BEHIND THE NOTES ]
Cumulative Instagram views across 60 published reels. Every note is tied to work you can inspect.
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