✱ SGN LAB · AI PRODUCTION CASE STUDY

Bo Knows
Chapter One

An AI short film about the greatest two-sport athlete who ever lived. No crew. No cameras. No location. Twenty years of production discipline, aimed through a new machine.

FIG I / LAB FILE / 07.20.26 RUNTIME: CH.1 PIPELINE: MJ → KLING → AE

CHAPTER ONE MASTER · SOUND ON

FIG II / WHY THIS EXISTS

The film is the resume. The pipeline is the argument.

I have spent 20 years executive producing for Nike, Jordan, the NFL, and Spotify. Productions with trucks, crews, casting directors, and catering budgets. This piece was produced by one person at a desk.

The honest version of how it got made is not “I typed a prompt.” It is the same discipline as any production I have ever run: boards first, a locked design language, and a consistency system enforced shot by shot — because generative models will happily redesign your main character between takes if nobody is watching.

FIG III / THE PIPELINE

Four stages. One design language.

01 / BOARDS

Script & structure

Six chapters, locked before a single frame generated. VO written and cut to time. The edit exists on paper first.

02 / PLATES

Midjourney

Hundreds of generations curated down to hero plates. Low-poly geometric figures, 1988 palette, weathered screen-print texture. Rejects outnumber keepers 10 to 1.

03 / MOTION

Kling

Plates animated with tightly constrained motion prompts. Every clip carries a must-not-change list: face, palette, light direction, silhouette.

04 / FINISH

After Effects

Conform, titles in TS Block, captions, sound design, grade. The stage where it stops being clips and becomes a film.

FIG IV / THE DESIGN LANGUAGE

200 generations that read as one film.

The style is the consistency system: faceless low-poly geometry, a restricted 1988 palette, chunky distressed type with partial-letter cropping. Constraints are what make volume generation direct-able — every frame either belongs to this world or gets cut.

Bo Knows still — man sitting up in bed at 3am, low-poly geometric style

CH.1 / THE HOOK / 3AM

Bo Knows still — 1988 bar booth, two low-poly geometric figures

CH.1 / THE BAR / 1988

Bo Knows still — stylized hands writing, close up

CH.1 / THE LIST / INSERT

FIG V / THE LEDGER

What the tools replaced. What they didn’t.

Replaced

The location, the truck, the schedule
The camera department
The six-figure production budget
The wait between idea and image

Not replaced

Taste — knowing when a frame is wrong
Story structure and the edit
Direction: constraints, consistency, intent
The 10,000 hours that trained the eye

That second column is the job. It has always been the job.

Chapter Two is in production.

If you run a brand or a studio and want to know what this technology actually changes about production — and what it doesn’t — I talk about this every day.

Connect on LinkedIn The 20-year resume