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Wet Work(05)

/ About the project

Wet Work is a two-minute AI short that treats a neighbourhood water-gun ambush with the visual seriousness of a sun-drenched LA crime film.

I began with a short treatment, then used Gemini to expand it into a visual bible for framing, golden-hour lighting, hard contrast and claustrophobic in-car shots. InVideo Agent One turned that material into a fast first pass with storyboards and a rough sequence.

The structure worked, but the default boards did not have the texture I wanted. I built a 35mm Analogue Film moodboard in Krea from gritty film-photography references, then used it while creating stronger cinematic stills and replacing weaker scenes one by one. Character sheets and transfer references helped keep the masked children coherent across those revisions. I finished selected motion shots with Seedance 2 and Kling 3, edited in DaVinci Resolve, and used Suno for the final sound and music.

/ Year

2026

/ Tools

InVideo Agent One · Gemini · Krea · Seedance 2 · Kling 3 · DaVinci Resolve · Suno

/ Stylistic film reference

Quentin Tarantino

/ Cinematography reference

Robert Richardson

/ On X

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Building the 35mm Visual Language

Before creating the replacement stills, I built a 35mm Analogue Film moodboard in Krea from gritty film-photography references. The images gave me a practical visual vocabulary: visible grain, warm daylight, hard shadows, bold colour contrast and candid observational framing. I used that moodboard while generating the stronger cinematic stills, so the new shots could share a texture rather than simply match a prompt.

Krea 35mm Analogue Film moodboard preview with a city street, a diner counter, a rotary telephone and a woman posed beside a yellow rubber duck.

Replacing the First-Pass Boards

InVideo Agent One gave me a useful first-pass structure, including storyboards and a rough sequence, but its default aesthetic was not the finish I wanted. I kept the plan, created stronger Krea stills informed by the moodboard and replaced weaker scenes one by one. Character transfer helped preserve the original framing and tension while moving the two children into a more controlled visual world.

Two stacked in-car frames comparing revised shots of the masked children leaning towards the dashboard.
Two stacked frames comparing revised shots of the masked children stepping from a parked car with brightly coloured water guns.

Keeping the Children Consistent

A shared character sheet fixed the children’s masks, clothing, proportions and water-gun colours before I moved them into the revised shots. It did not remove every variation, but it gave each transfer a clearer continuity target and made the sequence feel like the same two characters moving through one afternoon.

Multi-view character sheet showing the two masked children from front, side and rear, with their clothing and water-gun colours held constant.

Finishing the Reveal

I completed selected motion shots with Seedance 2 and Kling 3, then cut the final film in DaVinci Resolve and used Suno for music and sound. The finished piece keeps the hard-boiled crime-film language intact until the action reveals itself as something much smaller and more playful: a neighbourhood water-gun ambush.

/ Resources

Workflow overviewWorkflow

35mm Analogue Film — Krea MoodboardMoodboard

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