01Protecting the product
The film was assembled from many separate generations, so I kept three sources of authority: the story map owned the story, canonical product references owned VESSEL itself, and action boards owned each shot. Newer takes were not automatically better. Generations that invented a flap or clasp, moved the hygiene pouch to the front, showed the hook while the bag was closed, changed the five-container system or folded the bag impossibly were rejected — however polished they looked. Product accuracy mattered more than novelty.
02One world from separate scenes
Each scene was generated on its own, so continuity had to be directed: the robe at home, the airport clothing, the evening dress, hair, jewellery, the bathroom materials, and where VESSEL was and what state it was in at every moment. At the airport, the closed bag travels clean-front-up with the pouch attached at the rear and no hook showing — takes that confused that geography didn’t tell the intended story and were excluded.
03Choreography first, editing last
The five formats each have their own physical grammar. Fragrance needed a real funnel transfer, then a believable remove, uncap, spray, recap and return; cleanser and serum needed their own reach, use and return. What remained — audio sync, sequencing, a repetitive decant-and-pouch rhythm — was solved by auditing the takes I already had and editing, rather than generating more. The full master was reviewed end to end until story, product accuracy, continuity and pacing all held.
AI expanded what I could execute. What was true, what was wrong and what stayed was mine to decide.
