Kalshi TV ad made with Veo 3

As seen during the recent NBA Finals:

This 30 second television ad was made by Pj Accetturo, a filmmaker based out of Tampa, Florida. Here’s his full process:

“My Veo 3 viral video process is very simple.

I’ve generated 30M+ views in 3 weeks using this exact workflow:

  1. Write a rough script
  2. Use Gemini to turn it into a shot list + prompts
  3. Paste into Veo 3 (Google Flow)
  4. Edit in Capcut/FCPX/Premiere, etc.

Concept

Kalshi is a prediction market where you can trade on anything. (US legal betting)

I pitched them on a GTA VI style concept because I think that unhinged street interviews are Veo 3’s bread and butter right now.

I guarantee you that everyone will copy this soon, so might as well make it easy and give you the entire process.

Script

Their team give me a bunch of bullet points of betting markets they wanted to cover (NBA, Eggs, Hurricanes, Aliens, etc)

I then rewatched the GTA VI trailer and got inspired by a couple locations, characters, etc.

Growing up in Florida…this wasn’t a hard script to write, lol.


Prompting:

I then ask Gemini/ChatGPT to take the script and convert every shot into a detailed Veo 3 prompt. I always tell it to return 5 prompts at a time—any more than that and the quality starts to slip.

Each prompt should fully describe the scene as if Veo 3 has no context of the shot before or after it. Re-describe the setting, the character, and the tone every time to maintain consistency.

Prompt example:

A handheld medium-wide shot, filmed like raw street footage on a crowded Miami strip at night. An old white man in his late 60s struts confidently down the sidewalk, surrounded by tourists and clubgoers. He’s grinning from ear to ear, his belly proudly sticking out from a cropped pink T-shirt. He wears extremely short neon green shorts, white tube socks, beat-up sneakers, and a massive foam cowboy hat with sequins on it. His leathery tan skin glows under the neon lights.

In one hand, he clutches a tiny, trembling chihuahua to his chest like a prized accessory.

As he walks, he turns slightly toward the camera, still mid-strut, and shouts with full confidence and joy:

“Indiana got that dog in ’em!”

Trailing just behind him are two elderly women in full 1980s gear—both wearing bedazzled workout leotards, chunky sneakers, and giant plastic sunglasses. Their hair is still in curlers under clear plastic shower caps. One sips from a giant novelty margarita glass, the other waves at passing cars.

Around them, the strip is buzzing—people filming with phones, scooters zipping by, music thumping from nearby balconies. Neon signs flicker above, casting electric color across the scene. The crowd parts around the trio, half amazed, half confused.

Process

Instead of giving it 10 shots and telling ChatGPT to turn them all prompts, I find it works best when it gives you back only 3 prompts at a time.

This keeps the accuracy high.

Open up three separate windows in Veo 3 and put each prompt in there.

Run all three at the same time.

3-4 min later, you’ll get back your results. You’ll likely need to change things.

Take the first prompt back into ChatGPT and dictate what you want changed.

Then it will give you a new adjusted prompt.

Let that run while you then adjust prompt 2. Then prompt 3. Usually, by the time you’re done with prompt 3, prompt 1 has its second iteration generated.

Rinse and repeat for your whole shot list.

Tips:

I don’t know how to fix the random subtitles. I’ve tried it with and without quotes and saying (no subtitles) and it still happens. If anyone has a tip, let me know and I’ll add it to this post.

Don’t let ChatGPT describe music being played in the background or it’ll be mixed super loud.

If you want certain accents, repeat “British accent” or “country accent”, etc. a couple times, I’ve found that it will do a decent job matching the voice to the face/race/age but it helps to prompt for it.

Edit

Editing Veo 3 videos is easy.

Simply merge the clips in CapCut, FCPX, or Premiere, and add music (if necessary).

I’d love to know if anyone has found good upscale settings for Veo 3 in 720p. My tests in topaz made the faces more garbled, so I try and cover it with a bit of film grain.

I like to add a compression/bass to the Veo 3 audio because I find it to be “thin”.

Cost and Time:

This took around 300–400 generations to get 15 usable clips. One person, two days.

That’s a 95% cost reduction compared to traditional advertising.

The Future of Ads

But just because this was cheap doesn’t mean anyone can do it this quickly or effectively.  You still need experience to make it look like a real commercial.

I’ve been a director 15+ years, and just because something can be done quickly, doesn’t mean it’ll come out great. But it can if you have the right team.

The future is small teams making viral, brand-adjacent content weekly, getting 80 to 90 percent of the results for way less.

What’s the Moat for Filmmakers?

It’s attention.

Right now the most valuable skill in entertainment and advertising is comedy writing.

If you can make people laugh, they’ll watch the full ad, engage with it, and some of them will become customers.”

The BTS:

My take: high energy, for sure! That’s one detailed prompt for a three second clip.

Canadian movies, by annual box office

In honour of our upcoming Canada Day, I thought it would be patriotic to take a look at the biggest all-time world box office numbers for Canadian movies produced in the last ten years.

See the excellent The Numbers website and their Top Canadian Movies of Each Year listings. The Top 10 by box office from 2016 to date:

Year Movie Budget Box Office
2020 Sonic The Hedgehog $90,000,000.00 $302,452,077.00
2023 PAW Patrol: The Mighty Movie $30,000,000.00 $201,739,292.00
2019 The LEGO Movie 2: The Second Part $99,000,000.00 $192,306,508.00
2024 Paddington in Peru $75,336,729.00 $192,148,490.00
2023 Insidious: The Red Door $16,000,000.00 $186,258,928.00
2021 PAW Patrol: The Movie $26,000,000.00 $151,403,419.00
2019 Midway $100,000,000.00 $126,787,360.00
2021 The Addams Family 2 Unknown $119,383,236.00
2019 Scary Stories to Tell in the Dark $28,000,000.00 $104,793,708.00
2016 Ballerina $30,000,000.00 $96,451,584.00

The Top Ten with Biggest Return on Budget:

Year Movie Budget Box Office Return %
2023 Skinamarink $15,000.00 $2,131,183.00 14208
2023 Insidious: The Red Door (US?) $16,000,000.00 $186,258,928.00 1164
2016 The Witch $3,500,000.00 $40,364,725.00 1153
2017 My Little Pony: The Movie $6,500,000.00 $61,294,644.00 943
2016 Embrace (Australia?) $225,000.00 $1,611,592.00 716
2023 PAW Patrol: The Mighty Movie $30,000,000.00 $201,739,292.00 672
2021 PAW Patrol: The Movie $26,000,000.00 $151,403,419.00 582
2016 Race $5,000,000.00 $23,745,772.00 475
2019 The Lighthouse $4,000,000.00 $18,237,527.00 456

Confused by these titles? Paddington in Peru? Movies are international productions now and get certain work done in tax credit-friendly jurisdictions for the money – and the excellent work skilled artists and technicians provide, of course.

CAVCO certifies Canadian movies. The CRA then refunds money to the Canadian producers of these movies, to the tune of millions of dollars. (Wouldn’t it be nice to know which movies Canadian taxpayers are helping fund and for how much? Other than checking the credits, I don’t know of a comprehensive list. But here’s a cost report from BC.)

Is Canadian investment in Canadian movies worth it? Check Cinema of Canada to see how small the Canadian production and box office numbers actually are. And direct employment in Canadian movies is less than 8,500 people. That’s a government subsidy of something like $25,000 per job. (Someone please tell me my math is wrong.)

My take: The Hollywood Reporter recently published a list of The 51 Best Canadian Movies of All Time – now where have I heard that particular number recently? Curiously, I don’t think any of these movies appear on their list.

See Veo Prompt Examples

Google Veo is arguably the best (but most expensive) AI video generator today. And Google Flow is arguably the best AI filmmaking tool built with and for creatives. Want to peak under the hood and reveal the prompts creating the magic? See Flow TV.

My favourites are:

NOTE: Click into a channel and select the Lightbox view. Turn on Show Prompt. Notice how detailed they can be.

My take: I think we’re beyond the “remember, it’s only going to get better” stage.

What filmmakers really want to know on Reddit

Stephen Follows analyzed over 160,000 questions on Reddit to uncover what filmmakers really ask, need and struggle with.

Amazingly, 10 questions accounted for 52% of the total. They are, quoting Stephen:

1. What camera and gear should I buy for filmmaking on my budget?

The search for the “right” camera and kit never ends, no matter how much technology shifts. People want to know what will give them industry-standard results without breaking the bank. The conversation includes price brackets, compatibility, and whether brand or model really matters to a film’s success.

2. How do I start a career in film or get my foot in the door?

This is the practical follow-up to the film school debate. Filmmakers want straight answers about first jobs, entry points, and which cities or skills lead to real work. Many people are looking for pathways that do not depend on family connections or luck.

3. Is film school worth it or do I need to go to film school to work in the industry?

Filmmakers want clarity on the value of a formal degree versus real-world experience. They are trying to weigh debt against opportunity and want to know if there are shortcuts, hidden costs, or alternative routes into the business.

4. Which editing software should I use?

Software choice raises both budget and workflow issues. Filmmakers want to know which tools are worth learning for professional growth. Questions focus on cost, features, compatibility, and what is expected in professional settings.

5. How do I find cast, crew, or collaborators for my film?

Building a team is a constant sticking point. Most low-budget filmmakers do not have a professional network and are looking for reputable ways to meet actors, crew, or creative partners. Trust and reliability are major concerns, as is the need for effective group communication.

6. What is the legal, rights, permits, and music aspect of filmmaking?

Legal uncertainty is widespread. Filmmakers are confused about permissions, copyright, insurance, and protecting their work and collaborators. They want step-by-step advice that demystifies the paperwork.

7. How do I improve as a filmmaker, cinematographer, editor, writer, director, etc?

Self-development is a constant thread. Filmmakers search for the best courses, books, tutorials, and case studies. Clear recommendations are valued and people want to know what separates average work from great films.

8. Is my gear, equipment, location, or crew good enough for filmmaking?

Questions about minimum standards reflect deeper anxieties about competing in a crowded field. People want reassurance that their toolkit will not hold them back and want to know how far they can push limited resources.

9. How do I submit my film to festivals, distribute it, or what happens after my film is done?

People want clear instructions on taking their finished work to the next level. Festival strategies, navigating submissions, and understanding distribution channels are a minefield. Filmmakers want to know how to maximise exposure and what steps make the biggest difference.

10. How do I get feedback or critique on my work?

Constructive criticism is in high demand. Filmmakers want practical advice on scripts, edits, and showreels. They look for honest reactions to their work and advice on how to keep improving.”

My take: my answers:

  1. The camera on your smartphone is totally adequate to film your first short movie.
  2. Make your own on ramp by creating a brand somewhere online with a minimum viable product – you need to specialize and dominate that niche. Or move to a large production centre.
  3. Maybe, if you can afford it and you’re a people person. Otherwise, spend the money on your own films because every short film is an education unto itself.
  4. Davinci Resolve. Free or Studio.
  5. Your local film cooperative. Don’t have one? Start your own.
  6. Google is your friend. Don’t sweat it too much (and create your own music) for your first short festival films. As soon as your product becomes commercial, you need an entertainment lawyer on your team.
  7. Watch movies, watch tutorials, make weekend movies to practice techniques, challenge yourself. Just do it.
  8. See Answers One and Seven. Note: this is an audiovisual medium; audiences will forgive visuals that fall short but WILL NOT forgive bad sound. Luckily, great sound is easily achievable today.
  9. FilmFreeway.com
  10. Send me a link to your screener; I’ll watch anything and give you free notes on at least three things to improve.

New research into dialogue in movies

Stephen Follows asks the question: “Has the way movies use dialogue changed?

The answer is simply, “Yes.”

In fact, according to his research, it is constantly changing. Using the subtitles from over 60,000 movies, his analysis allows these conclusions:

  • Comedies contain more dialogue than Horror flicks (duh)
  • Films from the Forties had more spoken words than those from the Seventies (and Oughts as well)
  • The current share of runtime by dialogue is now 50%, a level not seen since the Fifties.

My take: this is fascinating research and well worth the read. It calls into question the long-standing entreaty to “show, don’t tell.”

Tim’s AI Workflow for “The Bridge”

Tim Simmons of Theoretically Media made an CGAI (Computer Generated Artificial Intelligence) short film using Google’s new Veo 2 model:

He completes the package by taking us behind the scenes to reveal his workflow:

The software or services he used and their cost per month (or for this project)? See below:

  1. Midjourney – $30 (images)
  2. Gemini – free (prompts)
  3. ElevenLabs – $22 (voice)
  4. Hume – free (voice)
  5. Udio – $10 (music)
  6. Hedra – $10 (lip sync)
  7. Premiere – $60 (NLE)
  8. RunwayML – $30 (stylize)
  9. Magnific – $40 (creative upscale)
  10. Veo 2 – $1,500 (video at 50 cents/second)
  11. Topaz – $300 (upscale)
    TOTAL – $2,002 (plus 40 hours of Tim’s time)

In addition to the great AI news and advice, Tim is actually funny:

“At some point in the process Gemini and I definitely got into a bit of a groove and I just ended up ditching the reference images entirely. I have often said that working this way kind of feels a bit like being a writer/producer/director working remotely with a film crew in like let’s say Belgium and then your point of contact speaks English but none of the other department heads do. But like with all creative endeavours you know somehow it gets done.”

My take: Tim’s “shooting” ratio worked out to about 10:1 and there are many, many steps in this work flow. Basically, it’s a new form of animation — kinda takes me back to the early days of Machinima, that, in hindsight, was actually more linear than this process.

BONUS

Here is the Veo 2 Cheat Sheet by Henry Daubrez that Tim mentions.

1/ If you’re not using a LLM (Gemini, ChatGPT, whatever), you’re doing it wrong.

VEO 2 currently has a sweet spot when it comes to prompt length: too short is poor, too long drops information, action, description etc. I did a lot of back and forth to find my sweet spot, but once I got in a place I thought felt right, I used a LLM to help me keep my structure, length, and help me draft actions. I would then spent an extensive amount of time tweaking, iterating, removing words, changing order, adding others, but the draft would come from a LLM and a conversation I built and trained to understand what my structure looked like, what was a success, or a failure. I would also share the prompts working well for further reference, and sharing the failures also for further reference. This would ensure my LLM conversation became a true companion.

2/ Structure, structure, structure

Structure is important. Each recipe is different but same as any GenAI text-to something, it looks like the “higher on the prompt has more weight” rule applies. So, in my case I would start by describing the aesthetics I am looking for, time of day, colors, mood, then move to camera, subject, action, and all the rest. Once again, you might have a different experience but what is important is to stick to whatever structure you have as you move forward. Keeping it organized also makes it easier to edit later.

3/ Only describe what you see in the frame

If you have a character you want to keep consistent, but you want a close-up on the face for example, your reflex will be to describe the character from head to toe and then mention you want a close-up…It’s not that simple. If I tell VEO I want a face close-up but then proceed to describe the character’s feet, the close-up mention will be dropped by VEO… Once again, the LLM can help you in this by giving it the instruction to only describe what is in the frame.

4/ Patience

Well, it can get costly to be patient, but even if you repeat the same structure, sometimes changing one word can still throw the entire thing out and totally change the aesthetics of your scene. It is by nature extremely consistent if you conserve most words, but sometimes it happens. In those situations, trace your steps back and try to figure out which words are triggering a larger change.

5/ Documenting

When I started “Kitsune” (and did the same for all others), the first thing I did was start a Figjam file so I could save the successful prompts and come back to them for future reference. Why Figjam? So I could also upload 1 to 4 generations from this prompt, and browse through them in the future.

6/ VEO is the Midjourney of video

Currently, no text-to-video tool (Minimax being the closest behind) gave me a feeling I could provide strong art directions and actually get them. I have been a designer for nearly 20 years, and art direction to me has been one of the strongest foundations of most of my work. Dark, light, happy, sad, colorful or not, it doesn’t matter as long as you have a point of view and please…have a point of view. Recently watched a great video about the slow death of art direction in film (link in comments) and oh boy, did VEO 2 deliver on giving me the feeling I was listened. Try starting your prompts with different kinds of medium (watercolor for example), the mood you are trying to achieve, the kind of lighting you want, the dust in the rays of light, etc… which gets me to the next one

7/ You can direct your colors in VEO

It’s as simple as mentioning the hues you want to have in the final result, in which quantity, and where. When I direct shots, I am constantly describing colors for two reasons: 1. Well, having a point of view and 2. reaching better consistency through text-to-video. If I have a strong and consistent mood but my character is slightly different because of text-to-video, the impact won’t be dramatic because a strong art direction helps a lot with consistency.

8/ Describe your life away

Some people asked me how I achieved a good consistency between shots knowing it’s only text-to-video and the answer is simple: I describe my characters, their unique traits, their clothing, their haircut, etc..anything which could help someone visually impaired have a very precise mental representation of the subject.

9/ But don’t describe too much either…

It would be magical if you could stuff 3000 words in the window and have exactly what you asked for, right? Well, it turns out VEO is amazing with its prompt adherence, but there is always a moment where it starts dropping animations or visual elements when your prompt stretches for a tad too long. This actually happens way before the character limit allowed by VEO is reached, so don’t overdo it, it’s no use and will play against the results. For info, 200-250 words seems like a sweet spot!

10/ Natural movements but…

VEO is great with natural movements and this is also one of the reasons why I used it so extensively: people walking don’t walk in slow-motion. That being said, don’t try to be too ambitious on some of the expected movements: multiple camera movements won’t work, full 360 revolutions around a subject won’t work, anime-style crazy camera movements won’t work, etc… what it can do is already great, but there are still some limitations…

Advice for Indie Filmmakers from Stephen Follows

Stephen Follows offers Practical advice for indie directors who want to keep making films.

Here are the topics he discusses:

  1. Stay flexible and keep moving
  2. Start small but start now
  3. Think like a micro-budget filmmaker
  4. You need to create your own opportunities
  5. Learn by doing everything
  6. Understand where indie films truly live
  7. Consider if film school is for you
  8. You never know what an opportunity looks like
  9. Find your thing
  10. Learn what people want to watch
  11. Build the right team
  12. Stay ahead of the game
  13. Keep going, no matter what

I particularly like this:

“The filmmakers who get noticed are the ones who don’t wait for permission. They write, shoot, and edit their own work. Even a no-budget short is better than waiting for the perfect offer that may never come.”

My take: good advice! TL;DR? Just do it.

CAPTCHA frustration film wins 2025 Oscar best live action short

I’m Not a Robot, a 2023 Dutch-language short science fiction drama written and directed by Victoria Warmerdam, has just won the 2025 Academy Award for Best Live Action Short Film.

It stars Ellen Parren as a woman who has an identity crisis after failing a series of CAPTCHA tests.

Watch the full short film here.

See trailers for all fifteen Oscar-nominated short films.

Check out more great short films in The New Yorker Screening Room.

My take: Great concept! And great production! Watching it, I wondered how they’d execute the “jumping” scene. (A oner with a quick pan away to substitute the stunt performer.) I accomplished something similar with edits only in dust2dust. Can’t wait to see what additional themes Victoria tackles in the feature-length version!

The problem with independent film exhibition in Canada

…is Cineplex.

Writing in This MagazineJake Pitre lays bare the stark truth facing the movie-going public in Canada:

Cineplex’s role in Canada is, without a doubt, a monopoly. It runs 158 theatres with over 1,630 screens, and it controls approximately 75 percent of domestic box office. By contrast, no one company in the U.S., the UK, or Australia controls more than 30 percent.”

The Network of Independent Canadian Exhibitors (NICE) reports in its The State of Independent Film Exhibition in Canada that 60% of independent film exhibitors
operated at a loss at the end of their most recent fiscal year and highlights two policy suggestions that would improve the exhibition of films in Canada:

  1. Limit studio Clean Run demands: An overwhelming majority at 81%
    of independent film exhibitors are impacted by the “clean
    runs” required by major studios.
  2. Eliminate Zones: 53% of independent film exhibitors must
    wait for the Cineplex in their “zone” to finish playing a new
    release before they are allowed to show it.

Curiously, a new book on corporate monopolies in Canada, The Big Fix, digs into the history of film exhibition in Canada and reveals that Cineplex was the upstart challenger in the 1980s!

My take: this situation can only be addressed with government intervention, as Cineplex has a vested interest in maintaining its monopoly. It’s a pity because competition is actually good.

How to create a TV Pitch Deck

Australia’s Special Broadcasting Service (SBS) has a great Scripted Pitch Guide.

SBS Scripted is looking for the same things all broadcasters are:

“We want to hear pitches for TV series that thrill us…. Great stories, brilliantly told. Entertaining, culture defining, fresh and unique. Bring us a show we have not seen before. Bring us a show that is brilliantly crafted; a show that has characters that audiences will fall in love with; a show with a propulsive narrative that starts with a bang and keeps audiences deeply engaged.”

That’s why I believe their pitch deck format will work for almost all broadcasters.

My take: download their PDF, start reading from Page 13 and then go back and study everything! Great for all your media projects too.