VANO

00 Approach

The model never decides. I do.

Most AI video is a slot machine — pull, pray, post whatever comes out. I treat generation as a camera inside a controlled pipeline. Each shot is designed on a floor plan before a single frame exists: the 180° line, the blocking, the eyelines, the continuity — locked. The performance is directed beat by beat. Then it's composited, graded, scored and cut by hand. What comes out is authored cinema, not generated noise.

01 Featured

Evlampiy

A lone wanderer meets a gentleman demon on a dead railway at the end of the world. A scene from an original animated series.

0:5621:9 DirectionGenerationCompositingColorSoundEdit Solo2026

02 How it's made

Six stages. One hand on all of them.

01

Direction & shot design

The scene is broken into shots and drawn as floor plans. The camera line, blocking, eyelines and continuity are locked before anything is generated.

02

Controlled generation

Each shot is directed on its own — anchor frame, exact camera, performance notes. Not prompt-and-pray: the model executes a decision that's already made.

03

Compositing

After Effects. Depth and atmosphere, light, match-cuts, frost and snow — the seams between shots removed, the world made continuous.

04

Color

DaVinci Resolve. One cold, unified grade across every shot; the accent colors isolated so they're the only colour in a monochrome world.

05

Sound design

ElevenLabs and a hand-built mix — one continuous wind bed, directed dialogue, and dramatic accents placed to the frame.

06

Edit

Cut to performance, not a metronome — staccato on action, held in silence. The film assembled.

Not one click — the desk it actually takes

Directing image generation with locked composition references — GenerationDirected references — composition locked, only light and weather change.

Compositing the shots in After Effects — CompositingAfter Effects — glow, grain, light, match-cuts, layered sound.

Color grading in DaVinci Resolve with scopes — ColorDaVinci Resolve — one cold grade, film emulation, scopes.

03 Stills

The wanderer, amber eyes, in the storm — Evlampiy — the wanderer

Marrow-fire on a skeletal hand — marrow-fire

Smoking close-up, painterly skin — the stop

The demon's glowing goggles — the gentleman

04 Director

I'm a film director working in AI animation and visual effects. I direct solo — composition, blocking, continuity, performance — then composite, color, score and cut, and I'm obsessive about control over every frame.

My reference is film and anime craft, not AI trends. The tools are new; the discipline behind the frame isn't.

The pipeline is still being built — 3D previsualization, faster iteration — and that's the point: the method compounds, and the work gets sharper every scene.

05 Contact

Open to work.

Commissioned projects, solo or with your team — and open to joining a studio.

vanokalinin20061008@gmail.com