The Captain's Walk
My First AI Short Film
A 2-minute cinematic journey through the Nautilus, following a Victorian submarine captain's, maybe Nemo, daily solitary routine from command deck to dining room.
A tale of loneliness...
This is my first-ever AI-generated film. After 26 hours of Udemy courses on AI filmmaking, I dove in before finishing all the lessons – maybe not the smartest move, especially since I chose a challenging subject, I had to maintain CHARACTER and SET consistency in Captain Nemo's and Nautilus world!
Inspired by Jules Verne's "20.000 Leagues Under the Sea" and Art Deco aesthetics.
A Nautilus Tale: The 3 Keys
This is my first real AI film.
What started as a six-minute experiment became a sixteen-minute movie. And if you watch closely, I think you can see the learning happening in real time — the shots getting more confident, the storytelling more assured, the ambition quietly growing beyond what I originally thought was possible.
This project was monumental for someone at my skill level. But that's exactly why I made it.
The story is set in 1952. James Whitmore, a rugged archaeologist, has spent eight months crossing three continents — London, Paris, Cairo — collecting three mysterious brass artifacts that once belonged to Captain Nemo's first officer. Following coordinates left by his dying grandfather, he arrives alone in Antarctica, battles through a blizzard, and discovers something buried beneath the ice that was forgotten.
Four months of part-time work. A stack of AI tools that kept evolving underneath me as I built. I started with Kling 2.6 for the video generation. Then Kling 3.0 arrived and changed everything. Then Seedance 2.0. The landscape shifted constantly and I shifted with it — which is perhaps the most honest description of what it means to make an AI film right now. Every setting and character began in Midjourney. The Nautilus — exterior and interior — were modeled in SketchUp, then each scene were rendered in NanoBanana 2, which also handled all the character insertions into the submarine environments. The film is 98% Kling, with a handful of Seedance shots in the final acts. The score was composed entirely in Suno.
No camera. No actors. No crew. No studio.
Just a story worth telling, and the tools to figure out how.