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R2 / AI Experiments / Making of

AMEDFrom logo
to underwater
story

The A from the AMED logo became a sea-sponge site boss with a crew of sea creatures. A 1:56 short made in four weeks: 160+ stills and 32 generated clips, cut down to 28 shots and finished by hand in Premiere.

  • Higgsfieldcharacter design, video
  • Google FlowNano Banana Pro stills
  • Kling 3.0 Omniimage to video
  • ChatArtimage to video
  • ElevenLabsvoice
  • Premiere Proedit, sound
Frame from the AMED underwater short
01

09 – 17 MAR  /  HIGGSFIELD

The logo becomes the hero

Generic sea mascots came first. They were cute, but none of them was AMED. So the red A from the logo itself got eyes, gloves, sneakers and a hard hat. Then it went through a dozen materials until sea sponge stuck: soft, funny, and already at home under water.

Early mascot: purple sponge
Early mascot: pink coral
Early mascot: sea cucumber
The A, construction site
The A in glass
The A in rusted steel
The A knitted
The A as a hologram
The A as a sponge
Final design: red sea-sponge A in a blue hard hatFINAL
MASCOTS · REJECTEDTHE LOGO’S AMATERIAL TESTSSEA SPONGE
02

25 – 27 MAR  /  GOOGLE FLOW · NANO BANANA PRO

Lock the look

AI drifts, and every new shot redraws the cast a little. So everything that repeats got a clean reference sheet first: the hero, the crew, the van, the props and the HQ. Those sheets are attached to every later prompt. That's what keeps 30 shots on model.

Hero turnaround, seven views
HERO
Crew lineup: fish, octopus, crab, seahorses
CREW
AMED headquarters tower
HQ
AMED van, four views and details
VAN
Copper rotary phone, six angles
PHONE
03

26 MAR – 05 APR  /  PENCIL BOARD → GRID → EXTRACT

Story & shots

The story fits on one page. The phone rings, a shop is falling apart, and the crew drives across the reef and rebuilds it. Each scene was then generated as one 6-panel grid, so every angle shares the same light and cast. The best panel was extracted as a 9:16 still and cleaned up. Those stills are the first frames for animation.

Pencil storyboard, eight panels
A PENCIL BOARD
Six-panel grid of the van crossing the reef city
B 6-PANEL GRID
The Reef Shop, rebuilt The same shop, broken BEFOREAFTER
C EXTRACT + FIX  DRAG
PROMPT  The 6-panel grid, Nano Banana Pro open

Create a 6-panel cinematic storyboard grid showing the AMED crew van traveling through the underwater city. Use the provided reference images to maintain perfect consistency of the vehicle and all characters across every panel.

Panel 1, wide establishing. The van exits the AMED building… Panel 3, front low angle. Amed visible through windshield, headlights glowing teal… Panel 6, arrival. The van pulls up in front of a dull, faded underwater storefront.

Then: “Extract the still from the first row first image, keep it high quality.”  ·  “Change the aspect ratio to 9:16. Keep everything exactly the same. Extend the frame.”

04

27 MAR – 05 APR  /  KLING 3.0 OMNI · CHATART

Animation

Each still went into image-to-video with the hero sheet attached. The prompts read like a shot list: a style line, then timed beats with a camera move for each, then “absolutely no music”, because the score is cut in the edit. Kurdish dialogue was written straight into the prompt so the lip-sync matches.

KLING  ·  10 S  ·  FIVE BEATS  ·  IN THE FINAL CUT

Cinematic Pixar-style 3D animation. Use character at image one. Teal underwater lighting.

0:00–0:02 | Wide. A rundown shop, a weathered “FOR SALE” sign. A distressed fish paces frantically.

0:02–0:04 | Close-up. A cartoon thermometer beside his head, the mercury shooting to the top.

0:04–0:07 | Medium. He throws his arms up; papers explode out of his hands.

0:07–0:10 | Pull back. Alone in front of his broken shop. A single sad bubble.

Comedic dramatic timing. Absolutely no music.

IN-PROMPT DIALOGUE با بڕۆین کوڕینە! ئەوان پێویستیان بە ئێمەیە! “Let’s go guys! They need us!”

OFFICE · 3 SHOTS IN 12 S
THE CALL · KURDISH LINE
05

04 – 06 APR  /  PREMIERE PRO · ELEVENLABS · ENVATO

Sound & edit

The first assembly ran past four minutes. Two rounds of cuts brought it to the story only, and the final added back the logo intro and the payoff. The score is a sneaky sax under the setup and a playful orchestra for the job. A version with SUNO-generated Kurdish daf and saz was tried in an alternate cut. The phone line is a scratch recording revoiced in ElevenLabs.

Approval cuts

  1. V014:12
  2. V021:34
  3. V031:34
  4. V041:56

In the final mix

  • MUSICInspector Sax (stems)  →  Playful Orchestra
  • VOICEOwn recording + ElevenLabs revoice
  • DIALOGUEKurdish, generated in Kling
  • TRIEDSUNO daf & saz score, alternate cut
Frame from the final AMED film

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