#MidJourney Monsters

[cronenbody]

[c0ry-c0nvoluted]

"Washed Up" by midjourney operator @chrisperna on insta

[deepdreamnights]

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.

Make something fun, folks.

[fhtagn-and-tentacles]

AQUATIC MONSTROSITIES 

by glitched_work

[intangible-stories]

The bride of Frankenstein "Revisited Classic films with IA Art" by Gerryjohnson.com for Intangible Stories

[rootsinthefuture]

[therobotmonster]

TyrannoMax: The Motion Picture (1994)

I, like most people, thought the legal issues between Buzby-Spurlock and the distributor meant that only pan-and-scan VHS versions from Europe were all we could get, but check out these screen shots sent in by a follower (thanks Midge!)!

Could a re-release be on the horizon? I for one would be glad to have better than a fansubbed 6th gen VHS copy from Greece.

Feel free to reblog with your Tyrannomax memories, of the movie or the animated series.

[sandimexicola]

Right about then, they decided quickly heading back to base was a good idea.

Midjourney Prompt: A realistic photograph depicting an alien with tentacles attacking people on the moon, with dramatic lighting and a dark sky. A large black creature is in the background as space suit-wearing, helmeted astronauts run away from it across a black sand desert landscape. Black smoke surrounds the creatures, creating a cinematic scene captured with high resolution photography. --v 6.0

[kinglucasmasalla]

[austriannia]

The Leshen fanart

[zoomar]

Happy Father's Day!

[youare-number6]

Futuristic Ekranoplan Ground Effect Flying Craft - Pt 3

[deepdreamnights]

Mud Kraken

The introduction of magic into an ecosystem creates all manner of obnoxious adaptations. Generally, a cephalopod would be happy sticking to the ocean, but the mud kraken instead brings its own ocean with it. It does so by means of planar-gate glands that link directly to the elemental plane of water, which line the creature's skin.

Any material within tentacle's reach rapidly becomes not merely wet, but completely waterlogged. The mud kraken uses this ability to soften material to slither through, and can use it to keep hydrated while running about on its surprisingly strong tentacles.

Mud krakens prefer to hunt by liquefying earth to create patches of quicksand under otherwise normal looking ground. Animals that sink into these pits drown and are later scavenged by the creature.

These creatures would be a deadly menace, if not for their size. Despite their name, the average mud kraken is about a foot wide and feeds on small rodents. Though many an adventurer has turned his ankle painfully in a mud kraken hole.

-

Quartermaster's Guide to the Creatures of Xarthana, pg 74

Prompt: a digital illustration of a land-dwelling squid monster with preying mantis claws, magic the gathering card painting, HQ scan

[misanthropic-wolf666]

Elder Vampire

[void-which-binds-ai]

For most of the time she remains calm and silent, but when she speaks up...

[mangor]

… the fog …