AI Music Video Production

Leopati is an AI music video production studio working with independent artists and labels. We produce complete cinematic music videos — concept, character design, scene construction, animation, edit and grade — and deliver a release-ready master.

The hard part of an AI music video is not generating footage. Anyone can generate footage. The hard part is making the same character, in the same wardrobe, in the same world, survive from the first shot to the last. Most AI music videos fail exactly there: the face drifts between scenes and the result reads as a folder of unrelated clips rather than one film.

That problem is the centre of how we work, and the reason our reference project holds together across six scenes and three minutes fifty.

What an AI music video costs

A full music video like Pearl In The Shell is a complete production — a consistent character carried across multiple scenes, weeks of design, generation and post, finished to a release-ready master. A production of this scale sits in the $2,500 to $5,000 range. Shorter, single-scene pieces cost far less, and 4K adds about 40%.

That number is worth stating plainly, because predictability is most of the value here. There is no location fee, no crew day rate, no weather contingency and no reshoot budget. The only variables are runtime, how many distinct scenes the track needs, and how many revision rounds you want.

How the character stays the same for 3:50

Prompt a full scene and the model hands you a different person every time. It has no memory of the shot before, so the face drifts, the wardrobe changes, and six scenes read as six unrelated clips. Prompting harder does not fix this. It is not a wording problem.

So we do not generate finished shots. We build them in layers.

The character is created first and locked — one face, one wardrobe, carried deliberately across every scene in the video. The environment is generated separately, as its own element, designed to serve the moment in the track rather than to contain a person. Only then is the character composited into that environment. The instruments and music equipment are placed into the frame as a further layer. And only once all of it sits together correctly is the shot animated.

This is slower than prompting a scene and accepting what comes back, and it is honestly the difficult part of the job. It is also the entire reason Pearl In The Shell reads as one film: the same person, in the same world, holding the same instruments, for three minutes and fifty seconds.

The stack. Pearl In The Shell was built on Kling 3.0 as the backbone, with Higgsfield and Seedance 2.0 carrying motion where each suited the shot better. Character design frames, environment plates and stills came from GPT Image 2, Nano Banana Pro and Seedream Pro. The edit, timing and finishing were done in Premiere Pro and After Effects — that part of the craft has not changed.

No single model does all of this well. Naming which one did what is not a technical footnote; it is the difference between a studio that directs these tools and one that subscribes to whichever is trending.

Process and timeline

1. The song and the idea. Some artists arrive with a concept, some want us to build one from the track. MIDIVOXX came with the idea already formed; our job was to turn it into a plan we could construct.

2. Character design and lock. The character is created and fixed before any scene exists. Everything downstream depends on this holding.

3. Scene breakdown. The track is divided against its own structure. Pearl In The Shell runs 3:50 and resolved into six scenes, roughly forty seconds each — long enough for a moment to land instead of cutting every two bars.

4. Environment build. Each scene is generated as its own world, separately from the character who will occupy it.

5. Composite and animate. Character into environment, instruments and equipment into frame, then the shot is brought to life. This is where the time goes.

6. Edit, grade, sync. Cut to the track in Premiere Pro, finished in After Effects.

7. Revisions. Up to ten revision rounds on a full production.

Timeline. Pearl In The Shell took 30 days end to end. That is the honest figure for a full-length video with a character who stays the same throughout. A studio quoting three days for this is either using stock generation or has not solved the consistency problem — and you will see which one in the second scene.

MIDIVOXX — Pearl In The Shell

The artist arrived with the concept already formed. The work was continuity: building one character who could carry six scenes, constructing each environment around the moment in the track, then placing the character and the instruments into those environments and animating the result — while the pacing followed the song rather than fighting it.

See the full project →

What we need from you

• The track — WAV or 320 kbps MP3, final master
• A concept, or permission to build one — both are normal
• Reference material — artists, videos or images whose look you respond to
• Character direction — how the person in your video should look, move and dress
• Brand rules, if you have them — logo use, colour, typography

Character direction is the one worth spending time on. Everything in the video is built around that decision, and changing it late is the most expensive revision there is.

Start a music video

Send the track and what you have in mind. We reply to every brief personally.