Transcript: Four Images, 83 Sets: Marco Magario Premieres Er Loop

Welcome back, Marco

0:07 [music] Oo, that was loud in my headphones. We are back and I just remembered that I'm now in charge of putting the music on. So, in comes the music. We got no pull with us this week, but what we do have is a special guest. Uh very excited that Marco's joined us and actually he's a legend of the show. You may not even know it. He [music] um he's been on the show multiple times as in like we've watched pieces of [music] his holy grail and such, but also he's picked many pieces that we've watched on the show that have [music] got straight ones in the chat as well. So, uh really happy to have Andrew back as well after his travel wos.

0:53 Oh my god, mate. We got to kick off with that. Like, what the hell happened? Oh my god. Nightmare. Nightmare. So, last week I was all ready to go. The plan was to get back in time Tuesday morning and then obviously jump on Tuesday afternoon, but then every single flight in the UK got pretty much cancelled and I still haven't sorted it out. cuz you got to get some form of uh compensation from the from the track even though they're trying to say it was not it was uh basically they're trying to get out of it. So yeah, it's just a nightmare. But yeah, so I couldn't do Tuesday. Uh did you do one on Wednesday as well? Yes. Um so Mary filled in for us and I'm seeing people in already. Yeah, Mary, if you're with us, let us know in the chat. We can see Daniela, California girl, Lara, our great awesome guest joining us.

Andrew's airport week from hell

1:45 The regulars we call you guys. Yeah. But yeah, we did do one on Wednesday. We did Cavan the Kid, mate. It was Oh, that was it. Yeah. Yeah. Yeah. Cuz I was trying to get back on Wednesday as well and eventually I managed to get back on Thursday. So, yeah. Nightmare. But it's all it's all good now. All good. I told him how gutted you were for missing that one because Cavan's another legend in the show, you know, like dropped in for the second time already. And his peas, mate. Oh my god. Marco was saying goat in the chat as well. And you know, it's uh it's hard to deny it, you know, a one-man army like creating these episodes so regularly, such high quality now. Isn't it crazy, Marco? It's mental. It's crazy. It's crazy. He's so talented. And he also has such a good personality, man.

2:35 Yes, told him. He's my favorite guy in LA. He's such I mean, he has a lot of success, but he is so humble and he's such an easygoing guy and you can talk and he explains everything and he's really cool, man. I love him. Who do you with in this space, Marco? Obviously, you're one of the guys that's up there as well, but who do you look out for? Like who's like when they drop something on YouTube or LinkedIn, you're like, "Right, let me stop what I'm doing cuz I'm about to watch." Man, I I mean, I'm enthusiast about this stuff and it's all I consume. So basically my feed is just uh AI fins AI ideas and I watch and I watch everything you know because

Who does Marco watch?

3:23 uh I like to to stay updated and see what other people are cooking and uh but yeah of course uh we know Gossip Goblin the biggest one you have Cavan but there are so many others maybe also under the hood who are so talented and crazy and I think that we only see like the tip of the iceberg here in in the west because like in China there are so many incredible talents but uh you don't get to see them here because they they they don't publish like on on YouTube or social medias most of them they publish only on joining and uh so yeah but um yeah I basically you can ask me and I will probably have watched it.

4:12 You know what? You know what's crazy, Andrew? Whenever I'm like scrambling for a show, I'm like, "Marco, your entire feed is just tuned to AI content." So, what's been trending in your feed this week? Cuz he like it's everything. Like, he's just consumes it all day, every day. You know, he really has such a nice I saw, by the way, a um there was a headline today that Billy Billy is now global and Billy Billy is the YouTube of Asia. Um, so now they're accepting like western things. Actually, it was Tim from Theoretically Media who gave me the list. Yeah. So, we might see a big clash of the east and west in terms of like content very soon. I didn't know this, but it's crazy. Yeah. It's cool, huh?

Bilibili goes global

4:57 So, apparently you can now submit to it from the west and they're accepting like western things and stuff. So, it's going to, you know, Andrew, I was going to ask you, I was going to ask you about this, mate, because you've seen like, you know, apps and stuff change throughout the years from MySpace onwards. Like, imagine that there was like um a western version of Billy Billy, i.e. a YouTube that only the UK and USA could upload to, and then suddenly this app decides that they're going to allow all global other participants to upload. As a content creator to this channel, you're going to feel very defensive, aren't you? That now you've got to compete with the rest of the space. Like, how do you think that's going to go down? Like, it's it's an interesting one, isn't it? It's I think the creators won't like it.

5:43 I think they won't like it. Just as you said, it's cuz everyone's on it now. So, it's hard enough to probably get seen already, right? Now, you're opening it up to the rest of the world. It's like floodgates. Yeah. It's just like with, for example, football or soccer. Like there was a time where you could only have two players playing for your team that didn't come from the UK. Yeah. You know, there was a time and then now then when they stopped that now you barely get any UK players in the team. Yeah. So it's going to be the same. But but what it will also show is that the top analogy will will get up there because that's the other thing. Yeah. If you're at the top and it's a let's say it's a Chinese um app and you're a Chinese creator, you're going to go even higher I think than you would.

6:28 So what basically the analogy you're saying is it's going from the Chinese Super League to the Premier League in terms of like standardization of international players where just as many as you want. There's no rules. There's no regulations. It's just as the best will rise to the top and it's all floodgates open. Yeah, I totally see that. That's going to be wild. But yeah, Marco, get on there early, mate. Uh yeah, he's and thank you so much, by the way, for trusting us for the premiere of this movie. I should have said that up front. We're gonna be watching a global premiere today and uh you've entrusted us to watch it first live with you. So really appreciate it, bro. It's an honor. I mean, you're like a brother to me since the day we met in K. Uh Oh, yeah. I should have said about that. The way we met, right, in how did you guys meet again?

How we all met at Cannes

7:18 He was uh being hired by Jonathan, the door brothers at the time. Uh I didn't realize you should. I didn't realize it was you, Marco. Yeah. Yeah. This Yeah. The best. It's crazy. It's one of the best times I had in in my life like [snorts] work-wise because Yeah. We we all met in K in the same place during the wife. Uh I was a finalist there. Wife is the world AI. I wore the iPhone festival. Yeah. And we we all were in K. But I I was like a nobody. I mean uh but I had enough uh courage to go up and tell people you need to see my [ __ ] right?

Ten days, 16-hour shifts and one very patient wife

8:04 And at the time the the film that I submitted to to the festival was Fractal, which was another short film I made before Holy Grail. But then like 10 days before the festivals, uh Cedence 2.0 became accessible. Uh, and so I said myself, "All right, I need to add another film to my portfolio because I only had one at the time." And so I said, "Okay, I have 10 days. Uh, I'm going to pull this off." I asked my wife, "Do you love me?" [laughter] She went like, "What? What do you want? What do you want?" And I said and I said and I said [laughter] and I said,

8:50 "Can you forget I exist for like 10 days?" And uh yeah, I should mention we have four daughters. Uh so yeah, basically he took care of 10 days straight. Andrew basically I mean I still I I I I basically during those 10 days I only saw them while we were eating together and at night time when because every day I tell the nighttime story but those were the the only moments and then uh I worked like I think between 16 to 18 hours a day. Uh, so yeah, the the whole credits for for the film is to my wife, of course, because she she was an angel and she took care of everything and I Yeah, she's a hero.

9:40 I see in the comments, she's the real hero. Exactly. She's the Thanks for tuning in. She She's the real deal, man. And so, yeah, I made it in 10 days. It was like my first time using Cedance, but I had quite good experience with Cling 3.0. So I spent like one day figuring out the right workflow and everything, the right prompting techniques and I said okay uh I had sort of a script but uh I went to 23 revisions while making the film uh in in those 10 days and like I I I finished it and I had like one day left but I had no sound, no score, no nothing. And in one day I made all the score, all the sound for the film, everything.

10:27 Thousands of generations inso uh and I finished it, brought it to Ken and um I started going up to people and telling them uh you need to watch this, right? And one of them uh like the first night uh we went out and we I recognized some people that I knew from social medias and there was Alex Petrasco uh and Martin Martin Sundererman and uh also Chris and Jonathan. They were all sitting on the same table in the same hotel where I was up to Alex because I mean I knew him and I told him, "Oh, Alex, how you doing? I know your work." Uh, and I say, "Okay, let's go grab some drinks."

Walking up to strangers and showing them your work

11:13 And the rest is the rest is history because there I show them my my stuff. There was Raza 6. There was like everybody from Massive AI. Um, and we had Alex, didn't we, Andre? They they they appreciated it a lot. And Martin specifically Sunderman uh he uh took me under his uh hood. Is that right? Under his wing. Under his wing. Under his wing. Exactly. No, not [laughter] the [ __ ] hood. Under his wing. And uh yeah, he started picking me, bringing me to all these others creators and saying, "Oh, you need to check out Marco. He's amazing." Blah blah blah. And

11:58 at one point I met Chris, I met Yonathan, I met everybody uh soon enough and uh we started hanging out, going out together to the different parts and we became like really close during those three days. Definitely. And uh and yeah, in the end like you met Zack London there as well, Andrew. He was Gossip Goblin. That was the first time meeting him there. It was worth it for that. You know, it's similar to the Adobe uh events. It just got together a whole bunch of interesting people all in one. It was really interesting and many that have never crossed paths before and stuff. So, it was really nice. Yeah, it was really cool. And Jonathan made me an offer and uh and I accepted and I started working with him uh right after the festival.

12:49 Uh so that was amazing you know because I came from nothing in this space and then like in 3 days I'm working with one of the best companies in the world making AI videos that was crazy you know I know and uh we watched Holy Grail as I said but uh it is such a small world we got bloody black light tuning in absolutely legend of the show as well and it's just it just shows that being good to the right people and being in the right place at the right networking. It's just it's you can't replace the human touch. You never will. And being in person, like we do a lot of online events, but I'm doing more and more in person now. I was down in London again last week. Thanks so much to Alex and the Bionic Awards for having me again.

13:35 Uh it's just awesome. And I got to meet Blacklight in person by going over to San Francisco and stuff, you know, like it wouldn't have happened because he doesn't even have a bloody passport to get to Europe [laughter] if I hadn't have made the effort to get over to America, you know, and that I'm very thankful for all of that as well. Bro, I have to tell you, I I've never met Black I've never met Black Light in person, but this is Well, very few have, so I feel very honored to have done. When when I first saw a picture of of you, Black Light, I I thought myself, what the [ __ ] How I was supposed you were looking like sort of like Travis Scott, like because maybe maybe because of the profile picture or something, but I said to myself, [laughter] I had Travis Scott in my mind, you know, like, oh, brilliant. Well, that that video that Chris made you in where you're super bull, I'll show you in in the WhatsApp

14:27 group. But I was going to say for those that don't know, we have actually and Andrew got me to do this in the green room and it's very very smart of him. Um, not everybody that's tuning in currently will have seen Holy Grail when we watched it live. So we're going to watch an excerpt from Holy Grail which is the film that's been out for a while that Marco made about four months ago. I think um you published it on YouTube, but it will be in those on Yeah. Yeah. And on X and stuff like that. And then Jonathan from Door Brothers gave that a retweet, Andrew, and it blew the hell up. Um, and yeah, it did very well. And and we we will watch why actually. Um, this scene Marco wants us to watch specifically is uh a fair way in. So, we want you to go and watch the whole of Holy Grail after the live show as well. If you haven't watched it, we're just going to watch a little bit of it for now.

HOLY GRAiL, EXCERPT

15:16 So, let's check it out. I told you it's history. Give me one more. [snorts] Cherinyola, April 28th. Spanish arabuzier break the French charge. The Duke of Neimur is killed. A duke? [laughter] A duke? Yes. Louie Dammanyak. Know how wars go? [laughter] ARE YOU [ __ ] A FORTUNE SELLER OR WHAT? CHERINOLA. End of the month. The Spanish will win. We can set it up, but you owe me. The French are done in the South. Finished before the month is out. Nobody beats the French.

16:03 Then this is the easiest money you'll ever make. 50 to1. Vulpz Banko. Next one. Naples falls May 13th. The Spanish walk in. No siege. The French abandon the city before they arrive. How? [laughter] When's the next one? That's the question. I ask how you Naples before summer. Open the book.

16:50 What should I do with all this money? What do rich people do? Diversification. Don't hold currency. It devalues. Buy property. Agricultural land generates passive income. Keep liquid reserves for opportunities. Diversiciation. Liquid. Got it. Mama, this is for you. Too big. It's an investment. This the name.

17:38 THE [screaming] NAME JUICY. Naples falls before summer. The French don't even fight. The French have thousands of men in Naples. Then take my money. Vulbano. [cheering] Okay, [panting] this

Reactions

18:26 Gonna pause it there. Saw Jonathan jump into the chat saying Robo K trademark Marco uh camera movements. I thought that was a nice little way to stop it there. But how cool, you know, that this uh this holy grail piece did so well, Andrew. And uh you can see why. Obviously, we were already 20 we were already a long way into this. Yeah, I was about to say. Yeah. Yeah. M should go re-watch it. Hey, we got Kareem dropping in as well. Look at this. Yo, man. How you doing? Yes, we are, mate. We are watching a a world premiere of the new film. We were just um quickly showing Holy Grail for those that missed it on the regular show actually because we did watch it on the regular show, but um let me put Marco in the middle as

19:14 a guest. Look at me doing Paul's job with Paul here. Oh my. You're nailing it. You're nailing it. There we go. There we go. But yeah, anyone that remembers uh Holy Grail when we watched it live, give us a comment in the chat as well. And uh yeah, er Loop is the one that we're going to be watching now, the brand new film from Marco. And it's a completely different thing, right? Starring yourself. Let's just like break the mold there. This one is you as the main coar. Um, so very different to what we watching there with characters that you'd obviously designed and character sheets and stuff. Um, you told me a trick about using photographs of yourself, right? Like real don't spoil it. Don't spoil it. No, I'm joking. [laughter]

Why did he cast himself?

20:00 Talk about Yeah. No, the the the thing is that I I decided to be like the main character uh because I'm a nar narcissistic [ __ ] you know. [laughter] No, no. I wanted the the reason why is because uh I wanted to test this and to see whether like uh if I make a character sheet with like real pictures uh actually of uh taken with my phone uh instead of making it with AI generated which I did for some other projects always of myself. Uh but um I so basically uh when I do character sheets I always generate them with GPT image 2 or

Real photos, assembled by hand

20:46 nanobanana pro uh starting from pictures of the character uh but then it's like one prompt and it puts all together in the character sheet. This I assembled it in in Photoshop. So, I took the the pictures of myself, put them in a character sheet, watched it, and I said, "Why do I look so [ __ ] skinny in this?" [laughter] But anyway, uh I did it a first clip uh test generation, and it was so crazy because like the fourth realism was completely different from everything I did before. That's why I said, "Okay, I'm going to use myself." So I don't even have like whatever copyright issues or you know or anything.

21:32 Right. Right. Uh and that's a fascinating part of the series because you know from the last couple of weeks we've been talking to Albert and Robert and Henry and all these other people that about how to trademark and copyright and stuff and I think starring yourself as one getting the fully known likeness of yourself giving yourself the green light to be the star of it. It's kind of funny, right? Like it's uh the obvious choice, but um and also like as well. Yeah. Right. Right. And uh I think that it gives to the project such a personal dimension because like you watch it and uh you feel like you are in the in the film, right?

22:17 So what's happening around you? And even I I love to to joke about myself. Uh I love to be uh auto irony. I don't know if it's the right word in English, but I mean I never take myself too seriously, you know. Sure. Uh so the the whole film is like a depiction of myself as aing idiot, you know. Yeah. [laughter] And yeah, that's so funny because that's a great segue to the opening scene where you do these funny little stumbling things and Andrew, this is how it all started with us, right? Marco sent me this clip and it was him doing this little shuffle which you'll see at the start of the film, right? And I laughed so hard at this particular clip and I was like, "What is this?" You know, what is this turning into? And he's like, "Oh, I'm going to make it into like a full film."

The clip that started it all

23:07 Uh and then he started showing me bits and bits and bits as it was progressing and like the the the differences that has happened on each pass has been really interesting to note you know like how things changed in his mind and how his workflow has evolved through all of this and he's helped me a lot with Claude and thank you so much for that Marco you know for like getting us on board with all of the Claude and how to make that work in your pipeline that you learned a lot of that in this process too right like you you uncovered it Um, as soon as Fable came out, you were like, "Right, this is it. Now I can like, you know, do workflows in drives that nobody's seen before." And yeah, and and starring yourself. I'm sorry about giving away your photo thing. I just thought it's so fascinating because like

23:52 as you said, this is the most realistic version of someone that starred in their own film like this. You know, another part of me, Andrew, that I think you're gonna find fascinating, and we'll talk about this after we watch it because without further ado, I will actually put it up and we'll watch it. But think of the branding here, like you starring in every scene as your main character and as the director. The branding opportunities there for like getting your likeness and face because Marco maybe is not someone that's going to want to appear on camera on these types of things all the time but being in your own movie means that you can chop these clips up put it all over social media and you know sort of away you go in that like your face is the one being recognized and it's kind of interesting that isn't it like I don't think many directors cuz Tarantino whenever he's in his own films he has a minor role doesn't he and he often gets killed off or something, you know.

24:48 In Holy Grail, I put myself uh as a secondary character. Yeah. And I die like after 2 minutes with an arrow arrow in the air. [laughter] Yeah. Yeah. Yeah. But in this one, you persist somehow throughout this entire shenanigans that we're about to watch. Um, and yeah, viewers advised if you're tuning in from LinkedIn, I know some of you are, there is some stuff and we're going to watch the whole thing, by the way, all 20 minutes because it is 20 minutes long. So, grab a drink, grab some Yeah, grab a drink, grab grab some food. Uh, get ready for the crazy ride and get your questions ready for Marco afterwards. That's what the rest of the session we'll be doing is asking about the creative process, what inspired it, all the scenes, the deeper meanings, you know, as we'll

25:35 allude to this can be enjoyed on many different uh levels as you were saying to Andrew in the green room who hasn't seen it as well to explain to the audience. Andrew hasn't seen this yet. I've seen it as I said in progression and in its entirety. Uh but Andrew will be having a live reaction to it. Any other things you want to say about it, Marco, before we watch it? Yeah, the the I think uh the the levels is one of the most important premise that we can make on this one because uh it's it's a dark comedy. So, it's uh it's it's supposed to be a fun film, which is uh but uh at the same time uh it's plenty of satire and references and uh you can if you pay attention to details also what's happening not in

Setting up the premiere

26:24 in also what's happening in the background uh everything is like studied and after we watch it I'll explain and I go through uh the process that uh brought this to life. Uh so yeah uh it's kind of a different beast in my opinion this and uh it was so fun to make it and I do everything myself. Uh so yeah uh everything like every clip, the edits, the sound design, the the score. Uh, I made like more than 2,000 uh songs in Sunno uh to to to find the ones that uh uh are special for for this reason.

27:14 And they are all like stupid. I made this rapping song and I remixed uh copyright free uh classical music from like the 18th century. Uh no, not the the 19th century. So, it's really it's really cool. And uh yeah, I mean without further ado, if you want to go into it, grab some grab some grab some snacks, a beer or whatever and let's go. Let's do it. You and me against the world. We got to make that door. One last ride together

ER LOOP, WORLD PREMIERE

28:00 and the water takes me home. [groaning and screaming]

28:48 Bro, I think I have some [ __ ] gluten thing going on. You should get checked, dude. Cancer. Cancer. Stomach. Stage four. You're cooked, I guess. Marco was. May he rest in peace. Wake up, idiot. Wake up, idiot. Wake up, idiot. Wake up, idiot. Wake up, idiot. Wake up, idiot. Wake up, idiot. Wake up, idiot. Dinner is getting cold.

29:46 The [ __ ] are you talking about? Yes. Yes. [music] The air myth. Plato, you really that ignorant? Come little [ __ ] let me show you. So the thread. Yes. Your whole life, every choice, it's all quantum. You see, superp position. Every possible version of you collapsing into one wavelength across the eternal, the entangled field of the the [ __ ] I'm a bit rusty. I don't remember how it works. Maybe Clotto can tell you better. Let me make this simple. You are dead. Cancer. Remember, this is your afterlife. You get to choose the life you want. Whatever your little brain can come up with, you can make [clears throat] it real.

30:37 I don't get it. My days. Come, idiot. I better show you. The world is your playground now. [laughter] This is my favorite part. Think what you want to change. [laughter] Clap your hands and voila. Time space. Body. See body.

31:23 Anybody. Anybody you want, baby? [screaming] You got to be specific, baby, or you get random [ __ ] [music]

32:16 So good. Let's [ __ ] go. So this is the life you want, little [ __ ] [ __ ] That's it. Climb up. You know I hadn't gotten laid in years.

33:07 I know, little [ __ ] But you can do anything. You can't stay here forever. Pick your [music] life and lock the [ __ ] in. [screaming] No, no, no. No way. Such a broke ass down. You can't even fly. [screaming] I my name now every single night [screaming] the world is working and she never coming back you little [ __ ]

33:59 come to me if you can lift my hammer with one hand go power I'll wait right here she screams like a super saiyan when I'm in super night the same but mine's twice the size now you [ __ ] get out of scared of the [ __ ] right. So, what do you really like? I don't know. Fantasy, sci-fi, aliens, and [ __ ] you know? [laughter]

34:53 [panting] [laughter] I'm sorry. Want to lock this in, baby? No. No. I'm just testing stuff. Report. High counselor, the Orc legions have reached the border.

35:44 Ready, Vorac. [groaning] [groaning] [screaming]

37:00 What is your plan, idiot. [ __ ] the whole universe. Time is running out. Time? I thought I had infinite. You do, but you're pissing me off. We're not getting it, little [ __ ] You'll never find a life worth living like this. Yeah, [ __ ] [ __ ] [ __ ] dragons. You know what' be sick? The real world, but better. [laughter] You better? Yeah. I think it'd be much better without it. We are all born sinners.

37:47 Actually, you're all fine. You're good. Enjoy yourselves. [cheering] I'm standing right outside one of them. Across the world, every church has turned into a center [music] for science and human progress. You are free my friend. Really?

38:34 [laughter] Yes. Yes. Join us. Holy [ __ ] I can feel the breeze. Yeah, on my legs too. Auntie, try this too. Can I press it, sir? Yes. Yes. Launch it. [cheering] Woohoo!

39:32 [music] You know what else sucks? You. All of you. You know the best part? They're lining up for it. [laughter] Are you coming tonight?

40:19 [screaming] [laughter] Not going to lie, was kind of cool. But who's going to rule now, baby? Yeah, my bad. I didn't mean like literally. I have an idea, though. [ __ ] You know, you could have just clapped, right? This is more fun. [laughter]

41:16 Look at them. Look at them. [cheering] [ __ ] king. King of kings. Boom. Boom. So good. So good. Give me more. More. [music] All of them AI. Pretty cool, right? [laughter] Yeah.

42:05 What could go wrong? [ __ ] Let me ask you something, idiot. Are you [ __ ] [laughter] Maybe. But I have another idea. What was the name of the guy that figured this out?

42:50 Plato. Oh, the dead guy. Yeah, sounded smart. Got me laid. Come here, little boy. It's spanking time. [ __ ] pig. You done, baby? Yeah. I'm worth nothing. Get me the [ __ ] out.

43:46 I won't remember [ __ ] right? Does the horny little hamster remember his last run on the wheel? Do it, idiot. I got this, baby. [panting] It's mine. It's mine. It's mine. [crying] Grandpa's here. Let's go.

44:37 [crying] weird dream last night. [music] Like really weird about what? I don't remember much. There was this really obese girl on me and she clapped. She clapped. [music] It was just a dream. I don't know. [music] Something's off. Looks good to me. Come to bed, baby. Remember, you didn't like this shot. Good thing I trusted you. I'm going to bed. The girls are coming for lunch tomorrow. I'm coming, too. It's almost finished.

45:25 The Eternal Return. Would you do this all over again? M Why are you so obsessed with Ni lately? Would you? Of course, honey. [music] Good morning, honey. Wake up, [music] honey. Wake up, sleepy head. Come on. Wake up. Wake up. Wake up. Wake up, Marco. Dinner is getting cold. Is it really this simple? [laughter]

46:13 You have been way too generous. [laughter] It's mine. It's mine. It's mine. [crying] Grandpa's here. Let's go. Grandpa's here. Let's go. Oh, got some things there. But yeah, just um many questions, many many questions about how that got made. And uh well there already a lot of questions coming in on in the chat. So keep those questions in the chat coming in. I will uh I will try actually and get it to the scene because we can have it up on the stage.

Reactions

47:04 Like I had a particular question about one scene and I'm going to try and scrub it so that we can uh get to the exact moment. If you have a time stamp or if you know roughly whereabouts in the film that it was, let me know and I'll try and scrub the movie. So this one, Marco, was it because of my suggestion? Remember I told you about digital pyramids and how to include stuff? Was this scene actually added because of my suggestion during the creation? Yeah, mo I mean most likely yes. I don't remember exactly, but I made it. I made it. [laughter] That's what Yeah. Oh, I remember him asking me at the time, Andrew, and I didn't remember if he'd included it or not, but I said, "What about if you do like a digital futuristic pyramid type

47:50 civilization?" And uh this right here is exactly how I imagined it, which is kind of funny. [laughter] Wow. Wow. There's so many questions that I have. Like I guess the first thing is and this is the thing that that I always think whenever someone makes something is that like we've got tools that has basically caught up to our imagination. So where what were you thinking when it came to putting this together? It is a really well-made piece really well story great story. I like I like watching something where it talks about essentially what happens with time not like a month or two. I'm talking life from you've got this serious diagnosis to like obviously the ending. Yeah. Like what what went through your mind?

Where did the idea come from?

48:39 Like how did you come up this idea? Uh it all it's all started from like uh like um an idea right and the the idea was to make to try something experimental in which I basically um u the whole point was I want to make a film in which each uh scene has a different set. Right? So if you look at it, um there is not the the same set twice in this film. It's always different sets every scene. And the idea for that came from the making of Holy Grail because I basically um had uh did this awesome uh insight while making it which is that uh

Why every scene has a different set

49:33 video models uh like Cance uh are incredible at uh uh at making like uh environments, right? They can make uh the scene in a much more cinematic way than an image model can. And so I told myself and I call this like uh when I was making holy gray, I call this dynamic scenes, right? With my clothes setup and so basically these scenes uh do not have any environment uh references. They don't have a set image that they they're connected to. It's all video, right? So the whole point is how can I make a story uh changing the set every time, right? And so it came to me like this idea

50:23 uh that I could uh basically it started as like uh omni powerful man who can do anything at his will, right? But then it was too uh obvious, too boring. And I said what I I'm passionate about philosophy. And so it clicked in my mind that I thought, oh, it's like this is the air myth from from Plato, right? Because uh after dies, he was a soldier, he goes in the after world and basically without going so long with this uh he gets to see all the different lives that he could have lived. And this goes for all the souls that go into the after world. And uh yeah uh after they have to choose the life that they want and then they drink from the river

The Myth of Er

51:11 laty and uh they get into that life and this cycle goes on and on and on. So that's the whole idea and um I decided to take this with a different approach compared to my previous projects because I went into this without any screenplay right I always write my my screen plays before production but for this one there was no screenplay so I said okay uh let's start from scene one you know I I I have this strong like imagination And what I do usually is like I close my eyes and I tell myself, "What do you want to see? What do you want to see?" And then I create the scene

No screenplay: 83 scenes, one question at a time

51:59 and if I like it, I keep it. If not, I go I make another one. Um, but once it matches what I have in my mind, I keep it. And then it's only one question, which is what's going to happen next? What do I want to see next? what do we want to see after this? And in this film, there are 83 scenes. Uh so it's like 83 thinking processes, right? After every scene, I say, "Okay, I want to see this now." Right? And uh it's really amazing because uh you get to develop the story on the go. All the dialogues on the go, everything uh it's like a full stream of consciousness, right? It's so different to working under somebody else or working with other people where you have to explain exactly what you're trying to do.

52:52 This is only and this is only possible with AI, right? Because if you're on a live set or whatever, you need other people to be aligned with your vision. They need to know the script and everything. But if you are by yourself, you can make whatever you want, right? And this is I'm really excited actually that this uh the creator sessions Andrew have worked like this because we've got Diane Lello coming up next in the creator sessions and she's doing remember the one minute extra each time. So there's new formats being invented on the fly here. You know that's for real what's happening and new like workflows like Marco's discussing. A lot of the questions by the way I've just been glancing over a lot of the questions are about the color grading on this one specifically. Um, did you make it dark intentionally? We didn't watch a dark version in the stream.

Why is the grade so dark?

53:38 Yeah. So, what was the process? I wanted I tried so many different uh gradings and this was by far my my favorite because like it's dark. Right. Right. This film is like an easy watch, but um uh after all it's it's dark, right? because it reflects uh how we are completely incapable of uh taking choices and talking about the main character Marco he is not uh a good picker in terms of choices right and yeah so the I I tried so many and when I found this this type of grade I told myself okay this is it

54:26 I want it like this you know and then it was um a a huge mess to to color grade because of course we all know that like uh the the output color of u of of CN is not that great but right now there are some tools like topads uh with the HDR prores uh implemented it to starite precise 2.6 six who helps with that. Uh so you have brighter colors and bit bit depth uh bigger bit depth. Great comment from Elliot here. Um by the way Elliot, congrats on getting into the top of the X-P prize. I saw that yours got picked on that. I just messaged earlier.

55:11 Yeah, and a great use of AI. As I say, I think remember we watched also the X-Prize entry, Andrew, which was about uh uh what was it? lucid dreaming, wasn't it? Like being able to like have you didn't have control of your lucid dream, but the the the overall premise was uh the girl lived in the lucid dream that uh the guy connected with and and they Yeah. So I I agree. I think there is this new genre coming out, Elliot, where it's like an AI genre, i.e. Something that would have cost hundreds of millions of dollars with CGI that makes sense for an AI pipeline to be involved in stuff like that as well, you know. Um, someone else said earlier that they also um tried using themselves as their own character and stuff like this. So, there's lots of questions about that, you know, and obviously, as we said earlier, it's one of the smartest things to do.

56:02 Oh, here it was. Victor. So, he said, "Really entertaining stuff, by the way. It's hilarious. I've used myself as an actor as well. Something I'd never do in real life." Yeah. Same goes for me. Same goes for right. So maybe not actually in front of the camera, but AI Marco could appear multiple times in movies. Oh, yeah. How fascinating. What made you decide to go with a different accent? Uh, oh, the accent was the thing I was going to ask you. It was a point of contention because there was and you cleaned it up quite a lot, I noticed, because there was uh many different American and UK accents, Andrew. And actually, Marco was doing this thing in WhatsApp. He was going, "I don't know if this is American or UK." So he's a B. He's like, "A UK and B USA." And I'm like, "No, no, Ray. That one's definitely UK." And then he's like all the accents in

How do you control accents and delivery?

56:54 different clip groups and stuff. I'm like, "That's hilarious." [laughter] Yeah. So, so basically uh you can have a certain degree of control with sedance but what I found out is that if you try to control the voice too much you come up with something which sounds mechanic right. Yeah. Uh so I I focus much more on the delivery and uh so what I do is I use metatags before the line to to adjust the way the character speaks and that's the technique and I think it's the one that works the best because if you upload audio uh of a voice uh it can work it costs more

57:39 uh but um uh ultimately Uh I don't know. I always feel like they sound robotic. So what uh I I do for most of these uh voices is I generate the the the whole film just with the the native voices of sedance and then if I have to change some parts uh previously I used 11 labs but um it [ __ ] up everything because uh it's um it's a different kind of voice. It doesn't sound real, doesn't sound as natural as native voices from CDN. So what I do is just I take that exact scene and I regenerate it in 480p

58:26 until I find the right tone of voice the exact way he's supposed to to pronounce that and then I keep that. So I keep only the audio from the Cance generation and and smart. That's interesting. Especially when you have such tight control of like what the video is going to do so the dialogue would fit them cuz I'm guessing you'd have to align the lip sync and stuff out of whack. That was interesting. But but you know the the 480p generations cost not too much. So you can reroll a bunch of times and [laughter] I actually I actually I actually generate all the footage in different aggregators but like never on Dreamina

Why he regenerates at 480p for voices

59:12 uh because it has too many noise artifacts uh and so video wise it's very very uh hard to use the output of Dreamina for me at least. Uh I always find that there is these uh very very strange uh stains or pixelated frames and you can correct those but it's a huge work. So uh I use I am a CPP with Dreamina and so I use it like mostly for for this kind of purpose and yeah uh how long did this take the I mean I mean I don't want to talk about it Dreamina is an amazing platform is it has everything good the um but uh I tried also to to to to message them asking about these

1:00:05 uh these noise issues uh I think that they they will eventually fix this. Uh but um yeah, I mean it's uh it's something that it's it's the whole process kind of uh harder, you know. A question here from Lara about character inspiration. Um the three women that you had obviously where did they come from? Yeah. Uh have you ever watched uh Hercules like the cartoon from the Disney? No, I know. what you Hercules. Yeah. Yeah. Yeah. Hercules. I started watching it but Yeah. Yeah. Yeah. So there are the they are the three fates, right? And it's cloth, arropos, and laces. And so if you watch Hercules, there is the tall one with long nose and there is the fat

Who are the three Fates?

1:00:56 one and then there is the small one. Uh so I basically wanted to uh try to depict them in a more contemporary way but uh I wanted to create a stereotype around each one of them. Uh, so Cltho is like this uh she is the black woman and uh she's uh sort of this snob kind of uh attitude a little bit French like uh you know and um then you have aos which is the old Chinese lady uh and that came to me from u a standup show of Louis K

1:01:41 Uh I don't know if you if you're into like standup comedy. Yeah. But he had he had this he had this uh segment in which like every time he met like an old Chinese girl on the road in his mind it was like it cannot come to my mind that she only like sings in her head. And I found it so funny and I wanted something like that you know. So I gave her this stereotype of like the very calm girl who drinks tea but then she ends up doing coke and everything you know. [laughter] And then there is Les who is the stereotype of America of course she is very obese and uh uh she eats every time junk food. Um but she is the actually the one has who saved me because

The ending, and the real footage

1:02:33 uh at the end of the film she claps for me and that it's a gift and he gifts she gives him my life. Uh, and uh, that's I I thought it was really cool because um, I had to finish it somehow. But uh, I think that was the best way because if I picked my life through the whole uh, sequence of events of the film, I'm an idiot. I never make a single right choice, right? Decision. I just I just experiment, do different stuff, but in the end uh, I cannot choose. Uh and that's uh a very important uh topic. Uh so uh she basically said, "Okay, uh I'm going to give you this life because I believe in you.

1:03:20 I see something in you." And she gives me the actual life that I have because the final part of the footage are my daughters, my partner. It's exactly them. I was going to say, is it them? Like you see how you got your face and you done it. Did you do the same there? Yeah, but uh uh in a little bit different way. Since I needed few scenes with them, not as many as I had of course uh I simplified the process. Uh I put only like uh a full body picture and that's it. But for my kids for example, I could not generate because you're not allowed to generate kids. So, I picked uh I I picked a photo uh which is the one that you see on

1:04:07 the on on the side of the bed and basically I prompted uh telling that the characters are the uh the kids from the family picture and somehow uh if you say it like that it works you know it works [laughter] but if I try to put like the if I try to put their pictures full body it's gets blocked Yeah. Right. Right. So, rightfully so. Right. Yeah. You have to find some tricks. Uh yeah, California girl thinking that it was potentially the one of the seven sins, you know, instead of your American stereotype. So, yeah. Again, yeah, I didn't uh I didn't think much about it in that way.

1:04:54 It was more like about creating a stereotype, a figure that you can immediately remember and recognize, right? Yeah. And all of them as like an addiction somehow, right? Yeah. Question again here from Lara. Thank you so much for getting your questions in, guys. Keep them coming in. We've still got another 10 minutes of Marco, so keep your questions coming in so we can keep the rapid fire at the end here. But which was your favorite piece in this one? And and the most challenging. So favorite first and then most challenging. Yeah, I mean my my favorite uh I think it's like the uh the whole religion sequence uh because it's so funny,

Favourite scene, hardest scene

1:05:39 you know, and uh it's not too much but at the same time it's enough to uh to joke about religion in a easy way, right? Yeah. Yeah. And the and the most challenging technically I guess like how many rerolls on which scene? Yeah, I mean there was not particularly one that was more challenging than others. Maybe the the iron man sequence when I clone myself and Yeah. Yeah. with AI army of presidents countries. There uh in that in that sequence I spent a lot of credits because

1:06:25 this is uh something that's uh of course it's interesting but we haven't mentioned yet uh which is can you guys guess how many how many images uh I created to to do this well if you if you if you if you've done 2,000 for songs you must have done more for images. Yeah, some somehow. I mean the thing is that um what I see uh for all the creators is that many times they over complicate stuff you know and so they do storyboarding uh they do all these different sets with uh different try to make the set reference sheet or whatever.

How many images did the film need?

1:07:19 Uh oh, I saw a question. The camera movement felt like a signature. Yeah, of course. Everything is intentional. Uh when I prompt uh I prompt exactly uh for like the the how do I want the the the video uh to start, which camera angle, uh what lens, aperture, everything. And uh then it's either a continuous shot or a multi-shot. And uh if it's a multi-shot for each shot I say exactly the the the shot type and the angle and and the camera movement of course. Uh so yeah everything is completely intentional. But coming back to what I was saying earlier uh yeah I think that it's there is a lot of misconception

1:08:09 especially for the people who approach AI video generation in which they think that they have to create this huge amount of assets while the the the whole film was uh four images. Four. Yeah. Yeah. style references. Use it as reference only. No, it's only the four character sheets of me and the three other Oh, because you had videos in the back. Oh, okay. All of it. All of it is is text to video with only the character [ __ ] as a reference image. Wow. And that really helps obviously the premise of it moving from scene to scene because Exactly. Because I couldn't you cannot recreate the same set twice exactly the same, right?

1:08:57 Cavan [clears throat] and others that have long scenes in one particular setting between multiple characters. Andrew, they don't have this, you know, where like, you know, having a stable environment like that is something where you'd need multiple reference images. And actually, we think world models will be the new way to do that. I.e. You go in and just go with a camera like position in the world wherever you want and then you capture your frame and then, you know, put it into if you even need to do that. Otherwise, you can just capture a live video in the world model and use that as a video reference towards the video generating just to explain the environment and the size of the environment and stuff. Yeah, it's going to be interesting as that evolves. But multi-shot, I think Marco was the right person to get multi-shot, you know, because he knows camera angles so well and cut scenes and you know, when he showed me his prompts in Claude, I was like, "Oh, this explains, you know, why."

Prompting with Claude and Wispr Flow

1:09:50 And you're using Whisper Flow like you, Andrew, by the way. He's a big proponent of using uh you know audio interface tools rather than typing. So all day he's just like using whisper flow adding claude getting a massive prompt testing it in seance seeing the output. Yes I like that no I don't like that you know and that's flow basically. But uh what I what I usually do uh I go into the scene uh after I have all the assets for the scene. In this case it was very simple because and it was only the character sheets. And since I have like this strong uh imagination, uh I really like to to close my eyes and like picture the scene in my head. And so for me it's much easier to just talk

1:10:35 uh and say okay I imagine this scene to go this way and clothes uh is of course I created a whole system uh which basically of course understands my row input and transforms it into into prompts and um I don't even read the prompt uh when it generates because he's so well trained Yeah, it gets it good like on the first time. Uh so I just copy paste it. Do two generations because if you do only one it could be like random a model issue. Yeah. Yeah. If you do two generations then you usually understand if the prompt is correct or not. Yeah.

1:11:21 And then back engineer things like you said it's like problem solving, right? Like imagine you did a multi-shot where one of the like three seconds of the scene Andrew. So, you've got it all working, but then three or five seconds, two cut scenes, let's say, aren't working. Then it's either like, do they do not made the edit or do they like reprompt to try and get the full chunk? You know, that's the workflow we've been doing as well. Um, many people say the same. You know, I think uncanny Harry said uh so many more usable chunks now in the multi-shot, you know, where it's not that ever the whole thing. It's very rarely the full 30 secondond clip that you run. but maybe 20 seconds and maybe they're not even in the order in which they were generated that you edit them back across each other and but yeah, it's fascinating that you can just get these moments

1:12:10 that work now and it's like so amazing to see it on like generation one and two versus the 20 odd generations we used to do the first and last frame all of that no multi-shot we're it's crazy how advanced it's got it so quickly but you know what's I think the reason why is because more and more people are doing it. So because of that they're getting more and more data and working out right people want this now, people want that now and realize it's not just a case of can we create a better looking final edit as in the it's got to look super real. It's actually this next upgrade. Let's focus on the camera angle or let's focus on the different types of shots. Hey, Mult changed the game because if you don't have editing skills, this is like editing for you, you know, like

Why multishot changed everything

1:12:57 completely it's complete. Yeah, it's rewritten all the because before multi-shot, what you could do was storyboarding, right? Right. But uh I I find that storyboarding is very bad for AI because you lock the the video model into something which he's forced into that kind of aesthetic and uh there is no image model that can produce like real cinematic uh images yet. I think uh let's say for example if you want uh a lens flare if you want uh you know something like that with anamorphic lens uh

Why storyboarding holds AI back

1:13:44 if you do it with an image model okay yes it gives you that lens flare but um it's not natural it's not how it's supposed to be with the source of light of the scene and so it's it's much the multi-shot fixes this because uh even if you're using assets in terms of images, I mean they they still have to look very cinematic, but uh he then if you do multi-shot, he handles all these different cinematic scenes uh in the subsequent cuts much better than if you had to generate each individual clip uh through the story reference. Yeah. From a first frame on each cut. Yeah. Isn't it fascinating?

1:14:31 And I think like we're seeing a division now too with the people that rolled into the multi-shot capabilities, Andrew, and the ones that haven't. You know, it's the same way. I remember actually mult um midjourney version five and version 4 were fundamentally different. Version four couldn't do photo realism and it was all sort of like digital art looking stuff. And then as soon as we graduated to photo realism, a whole load of new people were like, "Oh, great. Is ready for me now. You know, what you said is ready for me now. Yeah. Yeah. And I'm seeing a whole new wave of people like, you know, Emmy awardwinning writers and editors getting involved just now, you know, that Cance 2.5 is finally the thing because even two, they look plasticky,

Where do the models go next?

1:15:18 you know, like people still have this plasticky texture, but 2.5 now I'm often watching things and going, "Oh, that looks like a real human being." Yeah. And the AI acting also feels so much more real than it did even like a few months ago, you know? So, like we're like, "Okay, now it's going to be really tough to know if actual actors were used for driving scenes or whether or not it was AI acting." Like you said, it's just going to be one big continuous blur at this point. I think uh from now on this, so this year was the year at the beginning of the year, we were all like, "How far is this going to go in a year? Is it going to advance like image models where it just takes one year and we go from plastic to things that look real? And yes, the answer is yes. You know, we're in September and before the end of the year,

1:16:06 I think 2.5 is really it. And three and I'm hearing new cling models as well in the next month that I could see at least two or three updates. I don't understand what Google's doing. You know, I I thought the new VO would be out by now, but it's like Sea Dance 2.0 came out and then you're expecting others to come out, but then no one really came out and then it just went to 2.5. So, they just stayed at number one. So, but I I suspect that by the end of the year you'll have a killing update, a VO update, but Sea Dance is not going to they're not going to just stay still stand still. I think we'll see new players too though, mate, cuz you predicted this a while ago, you know, like where are the bigger players getting involved in this space? Well, I'm seeing Alib Baba and others starting to make a thing in in here now.

1:16:55 So, yeah, we're going to start seeing other players, you know, offering potential models. I think Justin and a few other people I speak to are really excited currently about the open source models. You know, like Miniax open way is now downloadable and optimizable and it people are doing really interesting things. I think we're going to host a session with them in the near future because um one of one of the things they showed me Andrea which is crazy to think about this we talked about new mediums and new media types right someone at FAL actually Loves who is a guy who I previously collaborated with at Coca-Cola back in the day Henry who is very good friends with Lovis they're both uh collaborators of ours he's optimized Miniax to a point where you can actually generate faster than you watch.

1:17:44 So you can have an infinite time. Good. Yeah, he made a whole like streaming uh in real time. Yeah, it's a real time streaming app. So imagine that the watchers of this show leaving comments could make the show change in real time. You know, like what we're watching contentwise as a stream of content could be interacted with by the audience. kind of like Harry Mack, you know, when he's like, "Throw me a word, bro, and I'll rap about it." It's like, it's like, "Well, you throw me a comment and we'll give you some visuals on the screen about it." Like, it's going to be a wild time towards imagine that and world models colliding. So, world models come out and then we have real time generations at the same time.

1:18:30 Yeah. People are walking on in the game and you're generating what's going to come next. And yeah, mate, and all of this is coming with Grand Theft Auto towards the end of this year. So say goodbye to the rest of your year, guys. If you want to have some stuff to do, if you've got everything changes, say goodbye cuz we're all out. You know, it's going to be the craziest end of the year. One question I did have, Marco, before we leave is Yeah. How long did you said the other the other film that you put together took 10 days. You said you was just in your cave 10 days. How long did this one take? Uh to generate the whole footage, it was like two weeks. Uh but then I had this huge delay because I wanted like the the last part after uh real footage, right? Yeah. After the Lesis claps her hand and gives me my life.

How long did Er Loop take?

1:19:21 I wanted to be like real footage. Uh, but I found out that uh I mean I shoot a lot of it was like I don't remember 100 hours of of of film footage uh with an old camcorder, right? Because I wanted that vibe, that feeling of like old uh sort of like Leo Canon style, you know? Uh uh but uh I figured uh I I edited everything and it came out and I watched it and I watch it again and it didn't talk to me. it didn't uh resonate with me because mostly uh it's very hard with kids to to make something

1:20:07 natural because as soon as you as as soon as you pull out the camera they just go like [laughter] it was what do they say never work with kids and animals when you're on the set [laughter] of the movie that's the two things and they're like just don't even try like you know oh there is a question uh Yeah. Yeah. Yeah. This is uh follow up with Marco actually on that one, Via, because he's taught me so much about the process and and no doubt you're going to offer some consultation and workshops, Marco, if you ever open up to that. Like many people would like to learn, I know, from the Claude Master. Yeah, I was surprised you didn't name uh name yourself Claude in the movie or something.

1:20:55 [laughter] Especially in the like Emperor scene, you know, like where like uh the Lord of the Rings scene was the bit that made me laugh, you know, when you had like this like white character. [laughter] I like the bit when you flew in like Iron Man and Yeah, that was great. The mansion was on the on the cliff. The way he flew in and landed and then was there was great. Have you listened to the lyrics of that part? No, I didn't. I Yeah, I didn't. I don't remember, bro. The lyrics I wrote them and it's uh this to all the superheroes who fly. So I say, "Batman, such a broke cast down. You can't even fly. I [ __ ] Lo last night." Blah blah blah, you know. So

The Easter eggs in the lyrics

1:21:42 [laughter] All of these little Easter eggs you can always go back and watch again. Oh yeah, exactly. It's plenty of Easter eggs. Like for example, the opening song is uh if you if you listen to it, it's like, "Baby, we are on the run." No, no. And it's actually the [ __ ] inside myself talking. [laughter] Wow. You go on the toilet. Yeah. Yeah. Yeah. Yeah. Yeah. Exactly. It's it's the [ __ ] which is singing, you know, and [laughter] it's fun. Wow. You thought about this like every detail. Yeah. Trust me, we we went back and forth a lot on WhatsApp for months about this. And coming back to the to the code question which is uh very interesting.

How do you build a Claude Code studio?

1:22:27 Uh I tried so many different things and there are so many different levels at which you can use code. Uh of course I I started from chat. So you have chat and if you have chat uh each session basically okay you have the memory or builtin of code like chd has but uh every time you have to basically uh get new imprinting uh copy pasting files and skills into the chat to to say okay this is how I want my promps and you have all these different files that you bring in but at some point you you get over the context window and it starts performing really bad. And so uh the next step is like something like co-work

1:23:19 uh in which you don't have uh to bring in everything into the chat uh because you can have all your files and everything in a local folder. Uh and that's really cool, right? And then the next step is cloud code because you can also give him like capabilities and plugins and everything and he can make Python scripts for you. Uh you can make everything you need for that specific thing right so which is not just prompting uh it's uh you can do literally everything with cloud code and so that's the final part but the way you should build it is like a studio uh um I mean I have uh

1:24:06 u I I started thinking about it and then I I I made it after uh reading the uh LLM I from Karpathi U who is a big researcher in AI of course many know him uh now he's working at entropic before he was working in AI and um yeah he made this huge article who went super viral on X and it was gamechanging because uh basically uh it structured uh this whole sort of workspace uh in which you you input row files uh into a folder and it could be literally whatever and then uh you have a system prompt uh which you can go and find the the repo is on GitHub and it's free to to to use

1:24:59 um and then there is this wiki. So basically the system gets all the row inputs and try to organize them for you into a sort of wiki you know and it starts making connections and then if you plug it into something like obsidian you have memory and I started from there and then I fine-tuned it to the needings that I had in terms of like film making. So for a filmmaker uh you need uh to to to to reason as if you were uh uh not even a director. Yeah. I mean a director but you have to think okay this is my studio right I'm in charge. Uh there is the codeMD who basically

1:25:46 roots everything and explains how the workspace is organized. Then you have all these different agents uh who basically there is one that's uh for image generation, one that is for video generation, one that is for music, one that is for SFX, one for editing, but you can add domains uh not only related to film making. You can make domains related to social medias. So you have one that handles all your social media and publishes and schedules stuff. It's really uh it's really infinite the the things that you can do with it. The thing is that it's really really hard because [music] uh you have to enter that mindset of trying and trying and trying and

1:26:33 okay I have to it's a new world. It's a new workflow and it's advanced so quickly that nobody's really caught up to it. Like you're one of the only people I speak to, Marco, you know, that actually has kept on top of all of the advancements to the point in which you've got this folder system, which [music] I said, you know, thank you so much for teaching us about this and um Vesco, follow up with Marco, connect with Marco if you haven't already over on uh LinkedIn and YouTube. And yeah, we're going to, you know, get you on to explain a few more things actually um in a potential session of the future when it comes to Claude and stuff like that. It's like it really is. It should be Marco Claude Majario, I think. Actually, you know, [laughter] but yeah, we've got um we've got a hard stop today, guys.

1:27:18 Uh I've got uh Hugo on the run, Andrew. I've got I'm dadding. I've got food to make. Got to pick him up. It's it's wild. The the the weather turned on me so fast. It's like I'll turn the camera around now, but it's chucking down with rain. Like chucking down. Summer just like done in in the UK. It is like and I've got my dog literally just sitting here saying hurry up. Who wants to walk out there? Thank you so much for joining us, Marco. Like I said, so much legend of the show. It was a pleasure. You know, all the stuff that you've done for the show, like the curation of it, and then the fact that you've come along and oh, the number of different videos that we've shown, but this one for

1:28:06 me is the one of the best ones that I've seen from you. Um, like I just can't get over the thinking like like how do you even come up with that? That that's that's the film whenever [laughter] I'm working with anyone that's creative and they come whether it be a song all the way to a feature film, I'm like, how did you even think that? And this was one of those things I was watching thinking to myself, I don't even know where to start. Like like if I had to come up with something. Yeah. So, one of the last things I want to say is um brilliant that you remixed an 1800's track with Suno. That is an uncanny Harry level of like, you know, royaltyfree old music. Andrew, I think that's another one for the vault of great tips right there. I've never even thought about that and I'm with Sunno every day, you know. Yeah.

1:28:53 Like take a really piece of music. Yeah. Yeah. That's it. And it's amazing the the results because you can change the style of it like mixing. I I I mixed like Vagner uh the Valkyia with uh Yellow uh the song. Oh yeah. I don't know if you know Yellow. Like it's like that that Swedish Yeah. It's really cool what you can do, you know. Great fun. Well, thank you so much again and we'll see you all guys again next week. Thank you everyone in the chat. Thank you so much guys. Everyone have a good week. Marco, Chris as always. Thank you guys. Thank you. everybody.