https://x.com/i/article/2114675729166430208

【X 长文】Kling 4.0 at Work: Bringing Creative Vision into Production

More dynamic motion. Longer shots. Omni Reference for more coherent storytelling.

Since Kling 4.0 rolled out to all users on October 15, creative teams across film, advertising, and animation have been putting these capabilities to work. Here’s how they’re bringing ambitious ideas to life.

Film & Television: From Scene to Screen

For film and television teams, a compelling shot needs convincing performances, controlled camera movement, and a place in the final edit.

The Director's Eye

Kim Sung-soo, director of 12.12: The Day, resumed production on his AI short film WormTrain after Kling 4.0 enabled him to create physical collisions that earlier models struggled to generate.

Li Shaohong, director of The Dream of Red Mansions and Palace of Desire, highlighted improvements in cinematic quality and character performance.

Director Lu Chuan highlighted Kling 4.0’s improved ability to understand and follow complex creative direction.

Liu Cuihu, author of the novels behind Fake It Till You Make It and In Between, is also the chief director and screenwriter of the AI drama Tonghang Xiangqing.

The Production Test

For production teams, the real test is how much generated footage makes it into the final cut.

Ash Koosha, co-founder and CEO of Fountain 0, used Kling 3.0 for video generation in his 2026 features Dreams of Violets (official screening at 2026 Tribeca Film Festival), and ODYSSEUS: The Fall. Based on early tests with Kling 4.0, his team anticipates at least a 50% reduction in discarded footage.

Tong Guangyu, a YOUHUG MEDIA AI director who worked on Sijiaolong, found that most footage from his Kling 4.0 tests could be used directly in editing or retained as alternative takes.

Li Xiaopan heads operations at Heguang Studio, a VFX and postproduction company founded by Chen Sicheng. The company’s credits include Lost in the Stars and Endless Journey.

Rendering Love blends live action with AI-generated virtual idol scenes. The series brings together Barunson E&A, MBC C&I AI Contents Lab, and Kling AI. Sang Wook Lee, Head of the Lab, shared his experience:

Harry Hyun, Film Director and Founder of MooAm, is using Kling 4.0 on the period feature Natasha, which combines live action with AI-generated VFX.

Where Kling 4.0 Fits into Advertising

Advertising calls for both creative exploration and a clear visual direction.

Tom-Jacques Perret, co-founder of UNVEIL, used Kling 4.0 while developing a commercial for Danish fashion brand Heliot Emil.

Animation: Directing Across Shots

Feature animation requires characters, settings, and performances to remain coherent across hundreds of shots.

Minibots, an animated feature with exclusive technical support from Kling AI, is directed by John Adams and produced by Diane Shorthouse, both co-founders of Evolutionary Films.

Cao Han, co-director and Head of AIGC for the AI animated feature Born of the Tide, highlighted more accurate execution of detailed creative instructions.