DARKTRACE • SALES KICKOFF OPENER • 2026
Built for the room.
AI-generated imagery for an opening film that extended across three primary screens, six peripheral screens, and into a live drone show.
AI GENERATION & SENIOR MOTION DESIGN LEAD
THE PROJECT
A wide canvas. A tightly coordinated show. A lot of small decisions behind every shot.
I joined Outlier to lead AI generation and motion design for Darktrace’s sales kickoff opener, directed by Jorge Peschiera. The film introduced a new CEO and the message “Leading with Secure AI.”
Nearly all of the footage was AI-generated. My job was to build and refine the shot library the editor could draw from, with each shot serving the film and the unusual space it would play in.
CLIENT
Darktrace
PRODUCTION CANVAS
10,368 × 1,920 px Three main screens - 60fps
FORMAT
Live event opener
GENERATION TOOLS
Claude
prompting
Topaz
Upres & Framerate Conversion
Figma Weave
nanobanana pro
seedream 5.0
sora 2
seedance 2.0
01 / WORKING WITH THE SPACE
The frame didn’t end at one screen
Screen-layout preview. A visualization of the display arrangement, rather than photography of the live event.
The main image stretched across three screens, with additional screens overhead and a choreographed drone show in the room. Subjects needed to stay clear of screen joins, and compositions needed more breathing room than a conventional frame.
The edit also had to give the drones 15 to 20 seconds to move between formations. Those transitions shaped the film’s pacing, from the opening rise to the blackout and final build.
02 / GETTING THE SHOTS TO HOLD UP
Generate. Review. Refine.
I worked from a boardomatic and numbered shot list, delivering daily batches for Jorge’s review. His keep, revise, or kill notes guided the next round.
Often, the useful adjustment was a quieter one: less performance, a simpler camera move, or a face held partly out of frame. Keeping the same person or car believable across several shots mattered as much as getting a strong individual image.
Driving sequence / Detail and continuity exploration.
The work after the generation.
COMPOSITION
Give the subject room.
Hold important action within a screen region and leave space for the wider composition.
SCREEN A
SCREEN B
SCREEN C
Alternate driving exploration with illustrative third guides. These show the framing principle, not the final crop or projection mapping.
Microscope / Testing a clear, controlled silhouette.
These are development selections. Inclusion here does not indicate use in the final edit.
Lens detail / Exploring a tighter point of view.
02 / GETTING THE SHOTS TO HOLD UP
A promising generation still needed scrutiny. Extra lens elements, unreadable signage, unnatural eyes, and implausible water levels could all break the shot. I iterated and cleaned up the imagery while keeping framing and continuity in view.
CONTINUITY
Keep the world consistent.
Carry casting, vehicle design, and restrained movement through a sequence.
FINISHING
Make the image belong.
Resolve distracting artifacts and bring generated footage into the film’s visual treatment.
Bringing the city into the finish.
Closing sequence / Frame from the finished main-screen film.
THE FINAL BUILD
For the Toronto ending, I tested a fly-in through buildings and reversed the move in post. The shot was upscaled 800 percent and converted to 60 fps, with the branded trace line and title composited behind the skyline.
A night-to-dawn lighting shift over the first 90 frames helped carry the shot into the final message.
This was a good reminder that a strong generated image is only the starting point. The shot still has to fit the sequence, respond to direction, and work on the screen it was made for.
Project credits
CLIENT
Darktrace
CREATIVE DIRECTOR
Jorge Peschiera
GENERATIVE AI & MOTION DESIGN LEAD
Chris Green
PRODUCTION / POST
Outlier
EDITOR
Travis Moore
GENERATIVE AI SUPPORT
Shandy Tam