I remade the trailer to Robot Monster, to serve as a trailer for a hypothetical remake of... you guessed it, Robot Monster.
Destruction has come, hu-mans, and its silliness will not protect you.
My thoughts and how-to process blog post under the fold.
I made Robot Monster's Trailer Remake primarily with Vidu and with Midjourney.
For most shots I started with a photoshopped midjourney gen (or stack of them), which was used either as a prompt image or starting frame.
Some shots, like the earthquake, were done with start-and-end frames.
Vidu has some quirks for my Roland Emmerich Christ-the-Redeemer shot. I attempted the image several times as a direct image as start frame, but it would reset to a new camera angle each time, rebelling against my inaccurate version:
As the AI could recognize the statue, but not it being in inaccurate surroundings. I eventually used it as a prompt and not a start frame got a good enough shot.
I tended to go for 8-second shots on quality mode, to give me more to cut around and edit. Almost no shots play without some cropping, speed adjustments or other edits in this, and anyone using AI for a larger project is going to find much the same.
While 90% of the shots are from Vidu a few I used Hailuo's Minmax to accomplish. Mainly things like a few low-motion Ro-man talking shots, the computer-communication device, and the motion title card for "electrifying", etc.
Vidu likes to move, a lot, and for stuff that needs subtle movement I sometimes find it helps to mix things up.
I've found that when image prompting for a character, like Ro-Alice, it sometimes helps to do a fullbody and portrait two-for-one. This helps keep the character design consistent, and you can kinda tell which Ro-Man shots I made before I figured this trick out.
I also reused shots of the dinosaurs from my other AI video projects for meta reasons.
Right now it doesn't make videos so much as it makes shots you can weave into videos.
I'm actually impressed at how well it understood the concept of Ro-Man, only giving him a full ape face or a weird tail or the like a couple of times.
My general approach to the concept was "What if you kept the premise the same but had a budget." Whereas in reality you'd never actually get that combo, since if they had money, they wouldn't have made Robot Monster.
It also let me play with a fanon idea I've had for awhile that the Ro-Men were the helmets, and the ape-creature was some biological organism used as a conveyance.
For the audio, I took the audio to the trailer and used Suno's cover-features to both clean up the sound and change the musical style. The back half of the original track was completely warped by the cover process, but I used another bit of trailer-style music to cover that bit, and to extend for the longer ending shot, since my version of the trailer is about 20 seconds longer than the original.
Some prompts utilized:
in a sci-fi lab in a cave, a furry alien monster wearing a spherical helmet with reflective faceplate walks around aubrey plaza in a white sleeveless slip-dress and dark pantyhose in a glass tube, the tube pulses with green light. She is in a glass cylinder, he is walking around it, with curiosity. The scene is menacing, slow movement, pensive. horror movie scene, the tone is tense and frightening. professional lighting and cinematography. Oscar winning, 2003, practical lighting, effects, and costuming.
the robot spider-robots with spherical heads walk around as though searching for something. horror movie scene, the tone is tense and frightening. professional lighting and cinematography. Oscar winning, 2003, practical lighting, effects, and costuming.
the alien ape-creature wearing a space helmet (the robot monster), in a modern city. He throws green lightning from his hand, disintegrating a policeman into ash. Monster-movie sci-fi scene, dramatic camera angles and lighting. Practical costuming and special effects. High budget and high concept.
slow motion fly-through footage, the air is full of slow-moving glowing bubbles. green electric sparks arc from one bubble to the next producing an ominous mood. The scene conveys spreading menace and fear. One long, unbroken shot. filmed on location, effects by weta digital, ILM, stan winston studios, believable and hyper-realistic. Shot on location. trailer shot. high-speed film
All-in-all, a fun project, and one that came along when I really, really, really needed something to concentrate on for long stretches of time.
Yeah
As a matter of fact that I have been chosen
They callin' me RIZ 'cause I'm never frozen
In London, We're doin' free tours
Check the boilin' point of a C4
2003, I got a magic Johnson
That's Earvin
Was in London swervin'
I wasn't hangin' out with the pearly whites
Makin' it flip up and down they tights
Workin' And I still unbeknown to other folks lurkin'
Bustin' It's curtains
Breathe in
Breathe out
Do the Chickenhead and let it out (Let it out)
Breathe in
Breathe out (Breathe in)
Breathe out (Breathe out)
I fucked up.
Plop Plop
Fizz Fizz
Oh What a relief it is
Plop Plop
Fizz Fizz
Oh What a relief it is
Plop Plop
Fizz Fizz
Oh What a relief it is
My brand new car doors open like Prince's bedroom doors
Y'all know hell ya'll go on the Moors
Can't say [ * beep * ] out loud so they say "[ * beep * ]
But all y'all broads that's wanna pump it up better go back
What's that brang feelin' in your gut that you drink after your lunch?
Sound. Ready.
Firm like slick matchin' in the best.
You can put the paint thing that way it in your vestogonal.
Breath-in
Breath-net
I fucked up
增加生成音
Breath-in
Breath-net
I wish you all her birthday everybody
Make some noise
Make some noise
Make some noise
Are you happy? Are you happy now?
I'm the best assistant in the world
