L’Or desPharaons.

The starting point was a shared visual bible: natural light, a restrained palette and materials that feel lived in. Sand, limestone, linen, wood and bronze gave the reconstructions a common texture. This direction guided both the settings and the people who inhabit them.

Character sheets established faces, silhouettes, clothing and accessories from several angles. They became recurring references for the same person or group throughout a sequence. A front view, a profile and a back view helped carry an identity into new compositions.

The Nubian raider board shows this preparation at group level, bringing together individual faces, costumes, equipment and collective presence. These references provided concrete visual decisions to return to as the shots developed.

For each shot, I combined references with distinct roles: one for a character’s identity, another for the setting, and others for framing or the placement of the action. The prompts translated these choices into a camera angle, a distance and a moment in the scene.

Successive versions were compared and corrected for continuity. Faces, costumes, props, proportions and lighting needed to remain recognisable when the camera position changed. The boat sequence illustrates this: a distant approach, a closer view of the group and a high-angle shot all had to belong to the same action.

The same approach connected character sheets, costume references and palace interiors. Keeping those references attached to each shot made the intended relationships clear during generation and revision.

Once a still image was selected, it became the starting point for animation. The next stage was to establish how the action unfolds: what moves in the frame, how the camera accompanies it and how the shot holds together over time.

The animated versions were reviewed and corrected with the director and studio. Continuity had to survive movement as well as changes of angle, with attention to the characters, their gestures and their relationship to the setting.

A connected workflow kept the source references, generated images and animation passes together. It made successive versions easier to follow and provided a clear path from the initial visual decisions to the sequences prepared for the documentary edit.