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Every look we have built so far, as short clips cut from the real renders. Drawn-in-code looks cost nothing but render time; generated looks spend credits, mostly on lip-synced singing.
Every frame drawn by code. No generation costs; a full song renders in about ten minutes.
1970s cel animation: fine outlines, airbrushed volume, deco ornament.
Grey bureaucracy in heavy ink line, with the sky as the only colour.
Drawn shapes repainted every frame by a brushstroke renderer.
A brushstroke desert ritual, the serpent ring forming in firelight.
Backlit cut-paper silhouettes in amber light.
Torn paper, newsprint and tin, moving in stop motion.
A hinged paper puppet plane over photo-collage scenery; giant scissors snip the sky.
Misregistered pink, teal and yellow inks with halftone grain, and a Warhol triptych.
Carved black lines on cream paper with one red; the block cracks open.
A child's crayon drawing, then wet paint floods over it. The lollipop tree pours down into a willow.
Sepia noodle limbs, film grain and gate weave. The waiter brings a shot; a whole bottle slams down instead.
Flat scissor-cut stars, hearts, lips and springs slap in on the beat and pile up around him.
Felt-tip panels on a lined notebook page that draw themselves in. Streaky fills miss the lines; the camera drifts from panel to panel.
Bent glass tubes on a brick wall: lit and unlit poses, failing tubes, the drums switch the sign.
1980s point-and-shoot snapshots cut out and hinged as paper puppets: harsh flash, red-eye, orange date stamp.
Plasticine aliens in a cardboard med bay, posed on twos: thumbprints, soft studio light, a cryopod.
Printed cardboard from separate ink plates: halftone dots, slight misregistration, worn edges. Turned wooden pawns hop, wobble and dance on the board.
Fine parallel lines whose width carries the shading, spirograph rosettes and red serials on cream security paper. He swells until the note bends.
Every X is two thread strokes with sheen on even-weave linen. The needle stitches each picture in; a cold blue heart is unpicked and restitched red.
Black outlines with flat colour that slips off the lines, on aged card. The camera moves into a card and its picture comes alive in stiff steps.
Grainy black-and-white halftone with flash bursts. The shots land as pages of a 1950s picture magazine, then a contact sheet with a red grease-pencil circle.
Brushy 1950s Italian cinema-poster paint on a wall of pasted bills. A broom pastes up each new sheet; her heart glows through her coat.
Glittery red, blue and gold ink on cream stock: big top, tightrope walker, bunting and a prize wheel, with the words strung up as banners.
Scratched grey academy leader with the sweeping wipe. Each number opens on a small scene, and the count runs to eight and a half.
Contour lines, spot heights and hachured cliffs on old paper, with cloud shadows passing over. A tiny surveyor crosses it and a peak rises into a dress.
Engraved anatomy plates in an open book on green baize: a heart with a pump valve, the doctor with his stethoscope, a daisy in a specimen jar.
Overhead on a gingham cloth. The leaves in the cup gather into shapes, a hand turns the cup, and they swirl into the next reading.
Leaded panes with painted figures and lead-line outlines. Each window holds a scene; a watering can grows a flower in the desert pane.
Lacy black paper puppets in layers against a glowing, tinted sky.
Green vector lines on a lab scope, with afterglow trails and Lissajous collapses.
The lyrics are the set: black screen, one hot accent, terminal prompts, gauges and rubber stamps.
Boxy characters with kaomoji faces, wobbly marker line over pastel watercolour washes.
The brushstroke renderer in bright cadmiums and cobalt on cream ground.
Faux-rotoscope: fills, shadows and outlines drift apart, walls breathe, each scene a different hand.
A SNES-era racing game drawn at 320x180 in 46 colours, scaled up with crisp pixels.
Victorian engravings drawn in code and hand-tinted, on hinged pieces over airbrushed skies. The boss rises like a moon and his lid flips open.
Flat 60s print colours, Art Nouveau line, banded cloud hills and balloon lettering. A convention of clouds.
The same renderer with a different paint mood for each section of the song.
Flowing line, arched panels, stained-glass light.
Washes that bleed wet into wet and pool where they dry. The whole 18-second test.
Pieces cut from real old prints that were never meant to meet: a Ruisdael sky, an Aivazovsky sea, a photochrom steamer, a Whistler etching, an 1887 egret photo, a Vanity Fair gent with his arm pinned on. Midjourney fills the gaps. After Sarah Legault's Inland Sea video for Rheostatics.
Characters made and animated by image and video models, then composited in code. About 25 credits per 10 seconds of singing, 4.5 per image.
The generated singing plane on free Midjourney collage backgrounds, with a code-drawn melt between worlds.
Two drawn-in-code looks with the plane locked in place; a video model morphs one world into the other.
A generated character lip-syncing the real vocal over a generated background.
A deadpan felt singer, lip-synced, with code-drawn titles.
The artist's likeness on illustrated cards, dealt to the beat.
Firelit lip-sync close-ups with big type on the beat.
Felt characters in a miniature set, animated shot by shot.
The artist's own footage is the spine; generated shots are made to match its grade and grain, about 40% of screen time here.
All the AI shots in the cut: walking with the wolfdog under the serpent moon, the desert pull-back, the fire ring, smoke, a neon lip-sync, the canyon-wall painting, scratchboard dunes.
Real shots from his day take: the stone bridge, the ram skull, a ghosted guitar.
A real shot of him on the spire, then a generated pull-back that flies the desert and lands on a dune.
His real frame made to sing the line, veil down, graded to match.
A smoke serpent rises and rings him, then firelight paints him on the canyon wall.
Generated dunes aged to match his footage: burnt edges, grain, sepia.
The same dune shot as white-on-black scratchboard etching.
His veiled character, generated alone on a plain ground so it can be placed into any shot.
Made by makevoid with the same generated-character toolkit. These open on YouTube.
