Kwon Hogan
ABOUT
One of my biggest inspirations was the return to Wakanda in Black Panther—the moment paired with “This never gets old.” The beauty, opulence, and scale of that city stayed with me. I wanted to capture that feeling of wonder: extraordinary architecture, lush landscapes, and a futuristic world you could imagine calling home. The floating typography was inspired by the opening titles of Panic Room, another sequence that has stuck with me for years. I wanted to bring those influences together and develop my own visual concept, with dimensional lettering suspended among the buildings. Those films reflect the craft of talented actors, filmmakers, and visual effects teams. This project is my own solo exploration of AI-assisted filmmaking. I developed the concept, directed the generations through prompts and revisions, selected the shots, & assembled the finished sequence. The music was generated from my prompts in ElevenLabs, combining soaring brass, choirs, and driving orchestral ostinatos. Looking back, its intensity might suit a superhero battle more than a quiet introduction to this world. That contrast became part of the experiment: exploring how music shapes emotion and timing.
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PROCESS
I developed VELORAYA as a solo exploration of AI-assisted title design, combining the architectural grandeur of Wakanda with the floating typography of Panic Room. I began with a creative brief and shot list, then established a consistent palette of champagne light, bronze, pearl stone, and lush greenery. Each shot started as a still image that I refined before generating motion. I selected nine shots through multiple rounds of testing, judging each take on readable typography, architectural consistency, camera movement, and believable environmental detail. I rejected versions with frozen pedestrians, unnatural synchronized gestures, and title animations that moved incorrectly. The final reveal required especially precise direction: each letter had to rotate around its own fixed axis while preserving the word’s spacing and order. I shortened the original sequence to improve pacing and varied the compositions between aerial views, street-level scenes, and close architectural shots. I assembled the selected footage in Premiere, generated the score through prompts in ElevenLabs, and used Topaz Video for Web’s creative upscaling for the final visual pass. The music’s climax was timed to the VELORAYA reveal. The biggest lesson was that more motion did not always produce a better shot. Knowing what to simplify, which takes to keep, and when to stop regenerating was as important as writing the prompts.
Credits
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