Dominika Kuś

You can generate a frame. So can your competitor. The work starts at the second one.

Ad films, product photography, brand characters. A set that looks like one shoot, not a pile of generations.

Meet my robots.

See the results
Robot Dominiki - geometryczna głowa z cyjanowymi oczami

Drift between frames does not read as a technical fault. It reads as carelessness. The viewer thinks someone hit generate and went to lunch. And carelessness gets pinned on the brand, not on the producer.

For most people it is enough that you can tell what it shows. I am only interested in it looking like it was shot with a camera. Models have a taste of their own and sell it to every brand in turn, so your product ad comes out looking like your competitor's. My robots do as they are told. Your style comes out of them untouched.

Before I generate anything, I ask who buys this and how that person actually decides.

A brief describes the product. It rarely describes the decision. And the decision governs everything that follows: what I show in frame, what I leave out, what tone the caption takes and at what point the price appears at all.

The person who pays and the person who chooses are often two different people. Material made for one does not work on the other, and it looks just as good either way. That is the most expensive kind of mistake: something made properly and aimed slightly off.

Now that a good-looking frame costs pennies, execution no longer decides whether an ad works. Aim does. I studied psychology and that is exactly what I use it for.

01 / WHAT I DO

One film, a whole campaign, or the whole way of making it.

From a single file to the machine that produces it.

★ MOST REQUESTED

Ad films

NO SET, NO CREW, NO WAITING FOR A SLOT IN SOMEONE'S CALENDAR

A commercial that looks like it was filmed. Characters, interiors, locations and scenes cannot be filmed or have no budget for a shoot.

Tell me about your film
CAMPAIGN MATERIAL

Photography, ad creative, brand characters

ONE SOURCE, A COMPLETE SET OF OUTPUTS

A full product shoot from a single photo. Static ads in every campaign format. A character who represents the brand in every piece. Fashion lookbooks without a shoot.

Get a quote
ONE FLOOR UP

The same process, at your place

NOT A FOLDER OF FILES, BUT THE WAY THEY GET MADE

When you need material often enough that ordering piece by piece stops making sense, I build you the same process I work on. It stays with you and runs without me.

Tell me what you want to build
02 / WORK

Everything below was made without a camera

Pick the kind of material you need and look at it up close.

FILM

AI commercials with a cast, interiors and dialogue. The hard part isn't the effects. It's making sure the woman in the third shot still has the same face.

A narrative commercial with a cast, ships and a cake

An ad for a bakery: pirates bombard a ship with cakes fired from cannons, and the crew surrenders after the first taste of cream. It's only funny if the pirates look like real pirates and the cakes look like they came from a patisserie window, in every single shot.

cast, interiors and locationslip-synced dialoguecontinuity from first shot to last

When the scene you have in mind can't be filmed, or a shoot day with a crew is out of budget.

Tell me about your film →
AD CREATIVE

Static ad creatives, every format included

One campaign in versions for Instagram, Facebook, Pinterest and website banners. I lay out every size separately, so the headline always stays readable and the product stays clearly visible, instead of cropping one image to fit every format.

The product looks exactly as it does in real life: the same label, the same shape, the same proportions. Only the surroundings change.

every format your campaign needsheadline and copy includedlabel and shape untouched

When you're running a campaign in several places at once and you don't want to pay for each size separately.

Order an ad creative →

PRODUCT PHOTOS

A full product photoshoot from a single photo

A full set of product shots: a packshot on a plain background, lifestyle frames, a detail and an in-hand shot. The starting point is a single photo, and it can be taken on a phone in bad light.

The biggest risk in AI product photography is that the product stops being yours along the way: the text on the label turns into gibberish, the cap changes shape, a seam disappears. In my work, the label, the shape and the proportions are the one thing that never moves. Light, background and framing are built around your brand, not a template.

packshot, lifestyle and detaillabel and shape untouchedlight and background on brand

When you have the product but no studio, no photographer and no three weeks to spare.

Get a quote →

BRAND FACE

An AI spokesperson who represents your brand in every piece

She looks and sounds the same everywhere: same face, same voice, same way of speaking. Zuzanna doesn't exist, so she can appear in a hundred pieces with no day rate and no calendar to work around.

AI avatars break in the second frame: different eyes, a different nose, suddenly a different age. That's why you get a reference catalogue, a set of photos of the character that lets a generator reproduce her faithfully every time, whatever the tool.

On top of that, a character card with her personality: who she is, how she moves, how she speaks, what she'd never do. It gives her a character of her own, so she comes alive instead of being just a pretty face. Optionally, you also get a set of files to train your own model on her.

character card with personalityreference cataloguea voice that stays hers

When you want a recognisable face for your brand without tying yourself to one model, or risking that she's gone in a year.

Build your character →

FASHION

Fashion photoshoots and lookbooks

A complete AI fashion photoshoot without a set: studio, street, editorial frames and a grid of looks, meaning clothing photos for your online store, your lookbook and your campaign. One model, several settings, one style across the whole set.

In fashion the product is the garment, so that's what has to stay untouched: the same cut, the same fabric, the same detail in every frame. The model changes setting and pose, while the dress looks the same everywhere.

studio, street and editorialsame model in every framecut and fabric untouched

When you're launching a collection and need images before every size is even sewn.

Plan a shoot →

Describe your product in a few sentences. I'll write back with what can be made from it and how long it takes.

Send a brief (one minute) →

The ideas are mine. The clicking I leave to the robots.

I come up with the scenes, I plan what has to be visible and how it should look. The dull part, thousands of repetitions and corrections, is done by my crew of robots. My time goes only where something is actually being decided.

🎁03 / GIFT

A free workflow - click and try.

My self-prompting product photography workflow in Weavy. I build systems like this for clients. This one is public. Open it in your browser. No email. No install. No catch.

  1. 01

    Drop in any photo of your product

    Phone snap, bad lighting, whatever. The workflow handles it.

  2. 02

    It generates your product from different angles

    And upgrades the details to pro-studio quality.

  3. 03

    It asks about your brand style and shot type

    Lifestyle? Hero shot? Flat lay? Mood? A few questions, nothing complicated.

  4. 04

    It writes intermediate prompts itself

    Combines the info, decides on lighting, composition, mood, color grade.

  5. 05

    Outputs a final prompt and final photo

    File ready to publish. In minutes, not weeks.

One source photo → a full product session in your brand's style. No photographer. No shoot plan. No four-week wait.

▶Try the workflow (free, in browser)

PS: I still use it for every product session. It works.

04 / AUTOMATION

When ordering piece by piece stops making sense.

I build content production automation: a process that takes in the brief, generates the material, assembles the formats and hands over finished files. The same pipeline I work on myself, moved over to you.

By default it lives in Claude Code, but it is not tied to it. I can set the same process up in Higgsfield SuperComputer, in Kimi Code, or in whatever tool your team already uses.

05 / HOW I WORK

How I work - 4 steps

Every project: same process. Call, system design, build, handover.

01

Discovery call

30 min, Google Meet or phone, free

We talk about your business. I ask about processes, KPIs, bottlenecks. Together we decide if the project makes sense.

02

System design

3-5 days

I map the pipeline. Pick the AI models. Design integrations. You get a fixed-price quote - not hourly.

03

Build

2 revision rounds included

I build in Claude Code, Higgsfield SuperComputer, and the rest of the stack. I show progress.

04

Handover & support

post-launch

Documentation, training for your team, post-launch support. Optimization based on early results.

The discovery call is free. If after 30 minutes you see it's not for you - no problem. You only pay when we start the build.

06 / STACK

The robots, by name.

Each does something different and none of them can do everything. I choose them to fit the job.

Center #1

Claude Code

Pipeline orchestration, automations, multi-LLM, RAG, integrations.

Center #2

Higgsfield SuperComputer

Cloud visual production. Characters with continuity, dialogue, long scenes.

Platforms
fal.aiWeavyKrea
Video
Kling 3.0Seedance 2.5Seedance 2.0Veo 3.1Gemini Omni Flash 1.1MiniMax H3MiniMax H3 MaxGenjutsuGrokSoraRunwayLTXPixverseOmnihuman
Image
Nano Banana ProNano Banana 2Seedream 5 ProGPT Image 2FLUXMidjourneyHiggsfield Soul
Audio & avatars
ElevenLabsSuno AIHeyGen
Automation
Maken8nTapnow
Design
CapCutFigmaFramerGamma
Dominika Kuś - portret
07 / ABOUT

About me

Dominika Kuś, Wrocław. Psychologist.

It started at the point where scattered tools could finally be joined into one machine that reproduced my idea exactly as I had thought it up. That was when I understood this was a profession, not a pastime.

Today I have my own film crew made of robots, and I like being their queen. I come up with it, they carry it out. And that is the whole secret.

08 / QUESTIONS

Questions I hear most often

No. You tell me what you want to achieve - I pick the tools. I explain along the way only as much as you need to make decisions. Leave the rest to me.

I do not say it can be done when it cannot.

A complicated ad in two days is not fast work, it is bad work. I would rather agree on a version that can actually be made than take on one that cannot. If your brief contains something AI will not do properly today, you hear it in the first conversation, not a month later.

I quote after the brief, not before.

Every project has a different scope. Describe yours and you get a free quote within 24 hours. The contract is simple and transfers the copyright to you.

You do not pay for failed generations. You will not even see them.

09 / BRIEF

Tell me what you want to build.

Short 5-step brief. You get a reply within 24h.

Step 1 of 5
What do you want to do?