A Renowned Actor in Dialogue with an AI Character at Narrix.studio

In the fifth episode of The Fyrtel Chronicles, we combined Michał Grudziński’s performance with Wena, the series’ digital protagonist, in a scene built from footage shot on camera and AI-generated imagery. Wena, an American reporter with Polish roots, wants to make a chronicle episode about Gniezno, but two men from Poznań stand in her way. One challenges the myth of Poland’s first capital; the other, a renowned actor, refuses to perform with AI. For the film to be made, Wena has to win both disputes. The dialogue between Michał Grudziński and Wena explores the place of artificial intelligence in art and the concerns its development raises among people working in film. We also created a visual biography of Michał Grudziński based on selected episodes from his life and career. Using AI, we portrayed the actor in his youth, including as a commando during a parachute jump and on the stage of Poznań’s Teatr Nowy in the 1970s. Michał Grudziński’s performance also gave emotion to the animated statues of kings in Gniezno, which appear in the film’s finale. The film is a hybrid production combining camera footage of Michał Grudziński with an AI-generated Wena. We used Kling 4K Native for the first time on this production. At the time, the model was brand new and generated video directly at 3840 × 2160. This made it easier to combine generated shots with camera footage. The film is the fifth episode of The Fyrtel Chronicles, our original series combining documentary, fiction and generative artificial intelligence. Müllermilch is the episode partner.

TV Commercial. The Camera Beat AI. at Narrix.studio

For Kaliński, we created a 10-second TV commercial aired on Polsat before European matches featuring Lech Poznań and Jagiellonia Białystok. Generative AI was initially meant to lead the visuals. In the end, the camera won. The client showed us their existing 10-second animation and asked us to refresh it. At first, we focused on the visuals, assuming the existing voice-over and music would remain. Camera footage was meant to serve only as a background. Once it was put together, before starting work on the animation, it became clear that the camera shots carried the visual narrative best. We changed the concept. We dropped generative AI from the visuals and built the main narrative from camera footage and animations built with CinemaStudio plugins from MotionVFX. With only 10 seconds, every element has to land in a very tight editing rhythm. Picture, animation, voice-over and music had to work together almost down to fractions of a second. We tightened the message and prepared a slightly revised read using our dynamic narrator voice in ElevenLabs. Then there was the music. A library track was difficult to fit so that within 10 seconds it started and finished properly and worked with the picture. We had two options: a dedicated composition or music from ElevenLabs that could be matched precisely to the finished picture and voice-over. Given the production schedule, we chose the latter. In the final version, the camera beat AI in the visual layer. Generative AI was used where it genuinely solved a problem, in the voice and music. This is how we understand AI Film Production: technology should serve the film, not the other way around.

35 Years of BUDMA in a One-Minute AI Commercial at Narrix.studio

For BUDMA — the only event of its kind for the construction industry in this part of Europe — we created a one-minute AI commercial for its 35th anniversary. A father and son travel through successive decades, from the event’s beginnings to BUDMA 2027. The starting point was a precise brief from the BUDMA team: to show an event that has set the direction of the construction industry for 35 years while turning the audience’s attention towards its future. BUDMA takes place in Poznań — a city associated with trade for centuries. At the Poznań International Fair, the experience of successive generations meets modern technology. It is here that ideas, partnerships and businesses were born that now contribute to the strength of the Polish economy. The idea of experience passed from one generation to the next became the narrative axis of the commercial. Instead of a conventional anniversary montage, we created a story-driven journey of a father and son — two characters connected with the construction industry. As they move through successive editions of BUDMA, they witness changing technologies and new ways of thinking about building. Their journey ends in 2027, when solutions and inspirations discovered at the fair begin to materialise in the construction projects of the future. We portrayed the characters at three different points in time, placing them in both historical spaces and contemporary locations. We combined BUDMA’s archival photographs, contemporary footage recorded by our team and imagery created with AI. The project demonstrates how AI film production can combine archival material, camera footage and generative imagery in one coherent story. AI did not replace the concept, screenplay or editing; instead, it allowed us to take the same characters through 35 years of change and achieve a scale that would be difficult to reach in a conventional commercial with a comparable budget. The result is a dynamic, 62-second commercial that does more than summarise the event’s 35-year history. It shows the continuity of experience, collaboration and ideas leading the construction industry towards the future.

AI Commercial Production. Less Is More at Narrix.studio

For our website, we created three short films communicating our offer. They autoplay, so they need to be lightweight — and therefore short. But does a few seconds of an AI commercial really mean less production work? The goal was to advertise two variants of our offer. PREMIUM in a Box is a production package at a competitive market price, with a tightly defined scope. If a client needs more, that scope can be expanded and scaled. Advertising, however, does not have to describe the physical features of a product. It can often work better when it shows the emotions connected with it. That is why we built our story around desire. A hungry bear sees a large jar of artisan honey and simply starts wanting it. The choice of honey was not accidental. Our production is artisanal too — hands-on rather than fully automated. Instead of the whole jar, the bear gets a smaller portion to try in an elegant box. For this AI commercial production, the film is only one part of the communication. From there, the offer continues in the website copy, guiding the viewer through the AIDA model. The sequence ends with a three-second shot of the bear looking at the box and speaking. It is a filmic close to the CTA, inviting a conversation about the production details. The second variant, PREMIUM at Scale, continues the same story. The bunny puts the box aside and gives the bear the whole large jar of artisan honey. Altogether, we produced 13 seconds of material: 7 seconds for PREMIUM in a Box, 3 seconds for the CTA, and 3 seconds for PREMIUM at Scale. To produce those 13 seconds: Refined the objective and subject of the communication. Structured the whole sequence around the AIDA model. Wrote a short script and shot breakdown. Checked that the story fit the rest of the website communication. Prepared character references. We already had the bunny; four new reference frames were created for the bear. Prepared references for both product variants: honey in a box and a large jar. Created a consistent shop location — counter, background and reverse angle. Created a short four-frame storyboard. Prepared the prompts and generated the shots in Seedance 2.5 (see a prompt example). Selected and refined generations, maintaining continuity across the characters, location and props — visual metaphors for the two variants of the offer. The videos appear in the header and footer of the website, underneath a layer of text. They are short and silent, so editing, sound design and post-production were not required. Even so, the whole process took several hours. The point is not the time needed to generate shots, which many AI tutorials present as if it were the production time of the entire film. We mean actual work — from the idea to publishing the material on the website. Does less mean more in the production of an ad like this? Yes, if we care about detail. Nothing in the frame should be accidental. A character, a prop, even the wording on a jar — every element has a function.

Award-Winning AI Film Directing at Narrix.studio

While creating another episode of The Fyrtel Chronicles, we decided to put our AI directing skills to an external test. Whether a film is made on a traditional set or with generative AI, the director’s role remains broadly the same: to guide the story, characters and emotions. The director is responsible for staging the scene, guiding the characters and shaping how it is told visually — from point of view and camera work to the rhythm of successive shots and the emotions they are intended to evoke in the viewer. In AI film production, what changes above all are the tools. Instead of directing an actor on set and physically positioning the camera, the directorial intention has to be translated into reference images, shot design, character and camera movement, successive generations and editing. The generator creates the image. The director decides what the scene is. We decided to test this craft on our own material. We prepared a fragment of an upcoming episode of The Fyrtel Chronicles as a standalone film and submitted it to the international Kreate Contest #56: Expression Challenge organised by Kling AI. The competition brief focused directly on character performance and emotion in an AI film. Participants were asked to work with character expression — from subtle glances and facial expressions, through gestures, to emotions developing over time. Kling also highlighted the importance of performance, cinematography, lighting, atmosphere and camera work. All of these elements were intended to serve one goal: creating an emotionally engaging story. We built our film around two characters, their relationship, mutual reactions and shifting emotions. We guided their transformation through staging, gesture and facial expression, shot size and perspective, camera movement, and the rhythm of successive shots and the edit — so that separately generated scenes formed one coherent story. Ultimately, the film took 3rd place in the international Kreate Contest #56: Expression Challenge organised by Kling AI. In 2026, our approach to AI film production was also recognised in three other international Kling AI competitions, where we also placed on the podium. We enter them to keep raising our craft, so that every new production is better than the last.

An AI Commercial in the Style of Adventure Science Fiction at Narrix.studio

For Ojciec Okienko — a well-known Polish window-industry influencer and the man behind Oknario — we were asked to create a futuristic commercial. Together with the client, however, we went further and developed the idea into a fully fledged science-fiction short. The year is 2062. As the company celebrates its fiftieth anniversary, Ojciec Okienko leaves the Oknario Home 3.0 showroom on Obornicka Street in Poznań to inspect a demanding installation. He is accompanied by his trusted crew and the latest installation android, which quickly becomes the target of a machine thief. On the surface, we created a dynamic road story with a chase and real stakes. Beneath the action was a clear objective: to present Oknario as a company that consistently develops its premium segment and combines the experience of its team with modern technology. The story explores teamwork, openness to new solutions and responsibility for the entire project — not only the choice of a premium product, but also its correct installation. The company’s values emerge through the characters’ decisions and the way they solve each successive problem together. For the film, we designed a futuristic version of Obornicka Street, the Oknario Home 3.0 showroom and three future iterations of the crew. We handled the entire production process: screenplay, shot breakdown, frames, shots, editing and publication. This was one of our first AI film productions to use Kling 3.0. During production, a new version of the lip-sync tool was released, so we regenerated every dialogue scene. It was not the first time we had returned to an almost finished production and recreated part of the material because a new solution appeared that clearly improved the quality. This is one of the defining characteristics of the industry. It develops at a pace rarely seen elsewhere. The result was a science-fiction film running over eight minutes, delivered in line with the client’s expectations.

AI Scenography for a Performance on an Opera Stage at Narrix.studio

For the performance “Between the Stars”, we created a twenty-minute video scenography using AI — a cosmic visual layer that merged with dance and the physical set on the stage of the Grand Theatre in Poznań. “Between the Stars” is a contemporary dance performance exploring humanity’s place in the universe. It combines spirituality with technology, while the movement of the dancers enters into dialogue with cosmic animations, opening new possibilities for artistic expression. The performance was prepared by Niepubliczna Szkoła Sztuki Tańca Fouetté in Poznań. We were responsible for the digital scenography as part of the OstroVideo team. The starting point was a series of authentic photographs by Jeffrey McClure. We first developed frames as an original interpretation of the photographs, then animated them and arranged them into a coherent sequence designed for the choreography and the conditions of a live stage. The finished scenography was displayed on a large LED screen behind the dancers on the stage of the Grand Theatre in Poznań. The animated imagery worked with the performers’ movement and the physical elements of the set. The project shows how AI film production can move beyond the conventional screen and become an integral part of a performance — helping shape its space, dramaturgy and emotions. The featured frame is one of the images that formed part of this scenography.

Screen Adaptation of an Official 1918 Insurgent Communiqué at Narrix.studio

Screen Adaptation of an Official 1918 Insurgent Communiqué Using the new possibilities of generative AI, we attempted a cinematic reconstruction of the first day of the Greater Poland Uprising by bringing to the screen the original “Communiqué of the Supreme People’s Council” on the events in Poznań on 27 December 1918. A year after making “The Promise”, we returned to the Greater Poland Uprising. This time, instead of spanning more than a century of history, we focused on a single day — the beginning of the uprising and an account written immediately after the events. The new capabilities of Google’s Nano Banana Pro, Kling O1 and Kling 2.6 gave us greater control over the consistency of characters, locations and details. Above all, however, they opened up broader possibilities for visual storytelling. The screenplay and the concept behind every frame and shot were created by people; AI was used to visualise them. We used no archival footage or photographs in the film. We deliberately styled the film’s visual language after a 1930s newsreel. Black-and-white imagery in a 4:3 aspect ratio, heavy grain, subtle frame jitter, flicker, dust, scratches, soft focus, limited tonal range and subtle vignetting create the impression of authentic archival footage. The starting point was the source text, which we adapted for the film. Frames were created in Nano Banana Pro and Kling O1, while shots were generated in Kling O1 and 2.6, both of which were new at the time. We edited and finished the film in Final Cut Pro using CineStudio and DesignStudio by MotionVFX, the film’s technology partner and a Polish plugin developer that became part of Apple in 2026. The result is an original, fully staged screen adaptation based on a historical source. It shows how AI film production can retain full creative control while achieving a scale of staging impossible in a traditional production with a comparable budget. To the best of our knowledge, it is the first film adaptation of this specific “Communiqué of the Supreme People’s Council” and one of the few productions focused exclusively on the events of 27 December 1918 in Poznań. The film was made as the third episode of The Fyrtel Chronicles — an original series combining documentary, fiction and modern technology. Each episode tells a standalone story set in a different fyrtel: a district, town or region.