Moving image works by Jon Ussing
This archive is a sanctuary for visual experiments and narrative fragments. By stepping away from the heavy compression of social media, these films are presented with the depth and clarity they were designed for.
A curated look into my world of cinematic AI and digital storytelling.
The Craft Behind the Frames
My process is a fusion of advanced generative models and traditional cinematic principles. The aim is not just to generate images, but to shape atmosphere, texture, and emotional weight across each piece.
- Visuals: High-fidelity imagery generated using a range of contemporary models (including tools like Flux and Nano Banana Pro), brought into motion through cinematic video systems such as Kling 3.0 and other evolving technologies.
- Sound & Atmosphere: Immersive soundscapes and voice synthesis created with modern audio models (for example ElevenLabs and Suno), where voice, tone, and spatial presence function as integral narrative elements.
The Creative Workflow
The process is rarely linear. Some projects begin as a dialogue - using LLMs to co-author fragments of poetry that gradually form an emotional blueprint. This phase helps anchor the work before a single frame exists. Other times, the starting point is purely intuitive, sparked by a lone visual discovery in Nano Banana Pro.
To maintain precision and artistic intent, I use language models for prompt design, shaping each generation step by step rather than relying on chance. The journey concludes in Blender, where editing and compositing bring everything together. Using Blender’s node-based compositor, I introduce film grain, imperfections, and subtle textures to break the overly clean AI aesthetic, giving the final works a tactile, cinematic presence that feels closer to memory than to simulation.
Across the Works
The works gathered here thus far trace three distinct yet interconnected trajectories - each approaching the same underlying questions from different angles: longing, transformation, and connection in a reality that feels increasingly mediated and unstable.
Harbour of Longing explores emotional gravity in its most human form. These works linger in states of desire, memory, and quiet tension, where environments seem to absorb and reflect inner landscapes. The harbour becomes less a place and more a condition - something you arrive at without fully understanding how.
Mechacoly shifts into a more synthetic register, where mechanical forms and artificial life carry emotional weight. Here, the boundary between organism and machine dissolves, not as a spectacle, but as a subtle transformation. The works ask what happens when engineered systems begin to mirror something resembling feeling.
Echoes of Love moves beyond the immediate and into something more diffuse and temporal. These films unfold across fragmented timelines and symbolic spaces, where connection persists through absence as much as presence. Love appears less as an event and more as a recurring signal - something that re-emerges in different forms, across different states of being.
The Theater of the Tear Duct introduces a new series rooted in a single poetic source, unfolding across multiple formats and states of intensity. The first film draws directly from the opening verse - a visceral entry point where the body becomes stage, surface, and rupture. What begins here will expand into a sequence of vertical works, before ultimately converging into a wider cinematic form.
This archive remains an evolving space. New works will be added over time, extending the collection as new ideas, experiments, and narratives take form.