# VOIDZ 如何用 Runway 把 15 秒 VFX 短片做成 95 秒纪实电影《Ends Meat》 - 来源：Runway：News（网页） - 作者：Runway Team - 发布时间：2026-09-12 04:02 - AIHOT 分数：53 - AIHOT 链接：https://aihot.news/items/cmtxduei203ntro6p2jdxs0h4 - 原文链接：https://runwayml.com/news/customers/voidz ## AI 摘要 艺术家 VOIDZ 在 Runway 访谈中介绍其约 95 秒、含 15 处超现实干预的纪实混合现实影片《Ends Meat》的制作过程。他用 Seedance 2.0 扩展和修改真实拍摄的购物素材，让商品在画面中膨胀变形以隐喻生活成本压力；他表示过去这类片子受传统 3D 流程限制只能做 10-15 秒，若完全用传统 VFX 可能需六个月到一年。 ## 正文 VOIDZ has been making mixed-reality work anonymously since 2018, filming ordinary places and letting something impossible happen inside the frame. His commercial work and music videos for Drake, Stromae, L’Oréal and Burberry. He came to visual art from documentary filmmaking, a background he credits for his interest in using the real world as raw material. His traditional 3D process made longer nonfiction work unviable, capping him at 10 to 15 seconds per piece. His latest project, Ends Meat, extends and manipulates real footage from an unscripted grocery run. In this conversation, VOIDZ walks us through how he made it, and why he thinks a fabricated image can tell the truth. The inspiration for mixed-reality work You’ve built a body of mixed-reality work, and you’ve built it anonymously. How did you arrive at mixed reality as your medium, and what does working anonymously let you do? As a 3D artist I became interested in mixed reality through a love of documentary and because I like the idea of using the real world as a canvas rather than building completely fictional worlds. I can film something completely mundane I find in the world and turn it into something surreal that makes the viewer question their reality and perception. That tension between something obviously real and something that shouldn’t be there has been the foundation of my work since 2018. As technology moved closer to making real and fabricated imagery indistinguishable, I became interested in working inside that uncanny period before audiences learned to assume that anything they saw might be manipulated. The anonymity is partly about keeping the work in front of the artist. I never really wanted my face or personality to become “content.” I’m an artist, not an influencer, and that distinction has become increasingly important to me. It also gives me the freedom to move between digital art, commercial work, VFX and more conceptual film projects without everything having to revolve around a personal brand. Where did the idea for Ends Meat originate? What does a documentary and mixed-reality hybrid look like in practice? A recurring theme in my work is this idea that we’re living in a kind of boring dystopia. Nothing necessarily looks apocalyptic, but there’s this constant background pressure from things like the cost of living, housing, inequality and systems that feel increasingly absurd. Ends Meat started very simply from wanting to visualize the cost-of-living struggle we’re all experiencing through something as mundane and universal as grocery shopping. Inflation felt almost too perfect as both an economic reality and a visual metaphor: things literally inflating, stretching and reaching a breaking point. But beyond the literal, I wanted the food and the environment to physically embody the economic pressure people are feeling. The grocery run and conversations are real and unscripted. I wanted to show that pressure through the perspective of a real person dealing with it in an ordinary part of their life, rather than making something abstract about “the economy.” Grocery shopping has become such a mundane way of experiencing inflation; you don’t really need somebody explaining it to you because you encounter it directly every time you look at a price tag. As the film progresses, the groceries start swelling, straining and behaving as if the whole store is under the same pressure as the person moving through it. My main focus right now is continuing to develop this new format for my work that I’m calling Documentary Surrealism. The footage is documentary; the manipulation is commentary. Especially now, when we’re surrounded by more and more synthetic imagery, I’m interested in whether something objectively fabricated can sometimes communicate a truth that a completely literal image can’t. Making Ends Meat Walk us through how you made Ends Meat. Which models were you using in Runway to get the look? I started by shooting a real grocery run with a friend. He knew I’d be documenting his grocery shopping and asking him questions, but he didn’t know what the eventual surreal interventions would be, and honestly, neither did I at that point. Importantly, I wasn’t shooting a sequence of plates for VFX. I was following a person, listening for moments and trying to make the ordinary footage work on its own. Once I had that foundation, I cut a VO narrative together from the interview and sifted through the footage looking for the strongest visual moments I could use as canvases. From there, it was a lot of brainstorming and experimentation around what those interventions should actually be: sometimes connecting to something he was saying, sometimes riffing playfully on something happening in the footage, and sometimes trying to give physical form to the larger feeling of economic pressure running through the film. I used Seedance 2.0 in Runway to create the surreal visuals, and it took a lot of iteration to dial in the particular kind of inflation I wanted. I didn’t just want things getting bigger. I wanted it to feel like pressure building internally that couldn’t be contained, with products swelling, stretching and deforming under it. Almost like making financial anxiety physically appear inside the boring scenery of everyday life. Most of the shots were made by using Seedance to extend existing footage: a lead-in containing the real documentary moment, then the surreal event would emerge as a generated continuation of that same clip. What impressed me was how accurately it could pick up the camera movement, lighting and visual characteristics of a few seconds of source footage and continue them. I also used it to add elements directly into existing shots, and with the right prompting, it can preserve an incredible amount of the original image while changing one specific thing. That’s important to the way I work. I don’t generally want AI to reinterpret the entire frame. I want the person, grocery store, handheld camera movement and incidental details to remain real while one part of reality breaks. The generative output is also never really the finished shot. There’s still conventional editing, compositing, cleanup, timing, sound design and a lot of decisions about what not to manipulate. 视频 · 前往原文观看 What led you to Runway over the alternatives, and is there a particular part of your process or workflow it handles well? Runway was actually the first generative AI platform I started using seriously a few years ago, and I’ve stuck with it because, out of everything I’ve experimented with, it still feels like the one most geared toward artists and professional workflows. I’ve tried a lot of different platforms, and some of them can feel more like toys or standalone generation tools. Runway feels much more like a creative toolkit that can actually fit into an existing production pipeline. For VFX especially, some of the more specialized tools are incredibly useful. Beyond the generative work I used on Ends Meat, things like paint-outs, shot extensions and manipulating existing footage solve very specific production problems that come up all the time. I like that the platform isn’t only focused on generating something from scratch: there are tools for actually working with footage you’ve already shot. It’s also been really nice being part of the Creative Partner program and having that ongoing relationship with Runway as the tools have evolved. “Runway feels much more like a creative toolkit that can actually fit into an existing production pipeline.” Your earlier work was limited to clips of roughly 15 seconds. What would Ends Meat have taken without generative VFX, if it were possible at all? A lot of my earlier work was 10–15 seconds because every additional VFX shot meant 3D tracking, modeling, animation, simulation, rendering and compositing — often weeks of work for a single short idea. Ends Meat is roughly 95 seconds with 15 surreal interventions. If I’d tried to make the same film entirely through traditional 3D and VFX on my own, I honestly think it could have taken me somewhere between six months and a year. There’s also something really empowering about what this means for a sole artist. Work at this scale traditionally starts to require a team of specialists, and these tools let one person with a very specific vision execute ideas that previously would have required a much larger production. For my personal work, that means fewer layers between the original idea and the finished piece, and less of that creative broken telephone that can happen as an idea passes through a lot of different hands. The whole process also starts to feel much closer to documentary filmmaking. I shoot first, discover moments in the footage, direct and generate different VFX possibilities, then scavenge the best material back into the edit. I can try something, decide it doesn’t work and kill it without having sunk weeks into the shot. That freedom is huge. With traditional VFX, sometimes you end up keeping something partly because you’ve invested so much time in making it. With this workflow I can stay much more responsive to what the film actually needs. “If I’d tried to make the same film entirely through traditional 3D and VFX on my own, I honestly think it could have taken me somewhere between six months and a year.” Elevating storytelling with documentary surrealism Ends Meat is out now. What response are you hoping for, and where do you think mixed reality is heading? The response from people who’ve seen it has been really positive. One thing I’m especially interested in is whether people engage with it as a film rather than only as a collection of VFX shots. I want the images to be memorable and remarkable, but the goal is for the surrealism to elevate the underlying storytelling. If someone’s first reaction is to the feeling or idea rather than simply “how did you make that?”, that’s exciting to me. I’m treating Ends Meat as the beginning of a larger body of work around Documentary Surrealism. What excites me is the contradiction in combining a very raw, unpolished documentary approach with increasingly sophisticated digital manipulation. Putting them together creates this strange tension that I want to explore much further. Festival screenings and finding a broader audience for these films would be great, but creatively I’m most excited by the possibility of developing a new visual language around that contradiction. More broadly, I think we’re reaching an interesting point where making an impossible image is becoming easy. That’s incredibly liberating from a production standpoint, but it also means spectacle alone is becoming less valuable. If anyone can generate a building floating into the sky, the interesting question stops being “How did you make that?” and becomes “Why does that image need to exist?” That’s a big reason I’m moving toward documentary. As synthetic imagery becomes ubiquitous, I think things that genuinely happened become more interesting, not less: real people, specific places, accidents, awkward pauses, conversations you couldn’t have scripted. I’m interested in starting with that material and then using synthetic tools to reveal emotional, cultural or structural realities that aren’t literally visible to a camera.