The process begins with real world movement. I collect footage of dance and physical performances and use those recordings as motion references. In parallel, I develop original characters as still images. I explore anatomy, fashion, visual identity, photographic style, and environment design.

I then use motion control techniques to transfer the source movement to these synthetic characters. The reference footage guides body mechanics, gestures, posture, timing, weight shifts, and physical rhythm. The generative system interprets the performance while preserving the visual identity of the new character and its environment.

This approach treats recorded movement as a form of visual instruction. Instead of describing complex choreography entirely through text prompts, I use human performance to guide the motion directly. This gives me greater control over movement while preserving the subtle details and imperfections that make a performance feel human.

The collection works as both a creative study and a technical experiment. Each piece tests motion transfer, character consistency, visual continuity, and control across time. It also explores how much of a performance remains recognizable when the original body, clothing, appearance, and environment change.

Motion Control Collection explores the space between captured performance and synthetic interpretation. At its center is a simple question: What happens when movement becomes independent from the body that performed it and receives an entirely new visual identity?

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My work on the project focused on developing the graphic language that supports the documentary’s narrative structure. During early development I contributed to the visual direction through mood boards, storyboards, exploratory reels, and motion design tests that helped define the tone and graphic system used throughout the film.

I also handled a range of visual effects and motion graphics work, including compositing, keying, tracking, and matte painting. These elements were used to integrate archival material, photography, and graphic components into a cohesive visual environment that supports the storytelling.

In addition to the VFX work, I designed and animated several graphic systems used across the documentary. This included title cards for dates, names, locations, and chapter transitions, as well as a set of animated triptych layouts used to present imagery and archival content. I also created a page turn visual motif that appears throughout the film, reinforcing the editorial and literary themes connected to Talley’s life and work.

Together these elements form a flexible visual framework that supports the documentary while allowing the story, voice, and cultural presence of André Leon Talley to remain at the center.

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LUX is an ongoing generative film cycle inspired by the music, symbolism, and emotional architecture of Rosalía’s album LUX. Created using a hybrid workflow of AI image generation, AI video synthesis, and traditional film editing, each piece explores the tension between the sacred and the synthetic, the corporeal and the algorithmic, devotion and distortion. Rather than illustration or adaptation, LUX functions as a cinematic response, a visual meditation on sound, rhythm, memory, and ritual translated through machine vision.

Conceptual Approach

These films are not narratives in the traditional sense. They operate as visual poems: fragments of gesture, texture, and movement that echo the emotional states of the music. Flamenco, religious iconography, industrial minimalism, and surrealist collage coexist inside environments that feel simultaneously ancient and computational. AI is treated not as a shortcut, but as a performer, a collaborator capable of hallucination, failure, and beauty.

Technical Process

Each film is built using a custom pipeline that blends:

• Weavy.ai for orchestration, sequencing, and managing the generative workflow.

• Midjourney for conceptual imagery and visual world-building.

• Kling for AI-driven motion, transformation, and temporal distortion.

• Adobe Premiere for editorial rhythm, pacing, and final cinematic assembly.

This process allows for precise control over mood and symbolism while preserving the unpredictability that makes generative systems expressive.

Status

LUX is an ongoing series. New films will continue to expand this universe, responding to additional tracks and evolving alongside advances in generative tools.

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Text prompts & look exploration

Characters development: “bruja mayor”, zombie & “bruja joven”

Spaces: the house, the forest and the beach

The movie poster, and 5 options

The movie title, and credits

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Raw footage from NBC Olympics

Usain Bolt, 100-Meter Race from the 2008 Olympics In Beijing.

Fred Kerley, 100-Meter Race from the 2023 Diamond League in Dubai.

Edited video for Wonder Dynamics

Masked Video of Usain Bolt’s 100-Meter Race, Isolated Subject for AI Analysis

Masked Video of Fred Kerley’s 100-Meter Race, Isolated Subject for AI Analysis

Wonder Dynamics Replacement videos

Usain Bolt’s Bot replacement (Wonder Dynamics) video 01

Fred Kerley’s Bot replacement (Wonder Dynamics) video 01

Usain Bolt’s Bot replacement (Wonder Dynamics) video 02

Fred Kerley’s Bot replacement (Wonder Dynamics) video 02

Cinema 4D skeletons and track

Bolt & Kerley’s race C4D skeletons • Main Camera

Bolt & Kerley’s race C4D skeletons • Top Camera

Bolt & Kerley’s race C4D skeletons • Medium Close-up Camera

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