Ash Koosha Tests Kling 4.0 for Feature Films

Ash Koosha, co-founder and CEO of Fountain 0, says Kling 4.0’s longer video generation and editing controls could help filmmakers use more generated footage in feature films. He tested the model against a practical standard: whether an AI-generated shot can hold its place in a feature-length story. Koosha wrote and directed two feature films in 2026: Dreams of Violets, accepted by and officially screened at Tribeca Film Festival, and ODYSSEUS: The Fall, a 150-minute film he made as a solo filmmaker. Both were intended as complete cinematic experiences rather than technology demonstrations.

Kling 3.0 powered video generation for both films, providing realism, dynamic movement and controlled action in complex scenes. Koosha says Kling 4.0’s main promise is less unusable footage. Based on early observations, he anticipates at least a 50% reduction in discarded footage within Fountain Film Engine, citing more convincing physical interactions, better handling of spatial relationships and collisions, and less drift from the action established at a shot’s beginning. He says this could affect generation costs and the time filmmakers can devote to creative decisions.

Kling 4.0 can generate up to 30 seconds in one pass and offers more precise control over key visual moments. Koosha says longer takes give characters time to hesitate, react and finish an action, allowing tension or atmosphere to develop without an edit forced by a generation limit. He also values stable camera movement and nuanced character expression, such as a glance, a believable shift in weight or motivated camera movement.

Koosha says multi-shot generation can suggest framing and shot progression beyond an initial brief, while Kling 4.0 handles sequences more reliably and offers tools to control shot direction and order. He wants the model to welcome unexpected ideas during exploration but follow precise direction during execution. Targeted editing can change one expression, movement or visual element while preserving the rest of a scene: in the example he describes, a young man’s action changes from throwing tape away to placing it on a table, while the background and other people remain largely unchanged. Koosha says the director still makes the decisions, while a better model can help carry them through to the screen.

Ash Koosha, co-founder and CEO of Fountain 0, says Kling 4.0’s longer video generation and editing controls could help filmmakers use more generated footage in feature films. He tested the model against a practical standard: whether an AI-generated shot can hold its place in a feature-length story. Koosha wrote and directed two feature films in 2026: Dreams of Violets, accepted by and officially screened at Tribeca Film Festival, and ODYSSEUS: The Fall, a 150-minute film he made as a solo filmmaker. Both were intended as complete cinematic experiences rather than technology demonstrations.

Kling 3.0 powered video generation for both films, providing realism, dynamic movement and controlled action in complex scenes. Koosha says Kling 4.0’s main promise is less unusable footage. Based on early observations, he anticipates at least a 50% reduction in discarded footage within Fountain Film Engine, citing more convincing physical interactions, better handling of spatial relationships and collisions, and less drift from the action established at a shot’s beginning. He says this could affect generation costs and the time filmmakers can devote to creative decisions.

Kling 4.0 can generate up to 30 seconds in one pass and offers more precise control over key visual moments. Koosha says longer takes give characters time to hesitate, react and finish an action, allowing tension or atmosphere to develop without an edit forced by a generation limit. He also values stable camera movement and nuanced character expression, such as a glance, a believable shift in weight or motivated camera movement.

Koosha says multi-shot generation can suggest framing and shot progression beyond an initial brief, while Kling 4.0 handles sequences more reliably and offers tools to control shot direction and order. He wants the model to welcome unexpected ideas during exploration but follow precise direction during execution. Targeted editing can change one expression, movement or visual element while preserving the rest of a scene: in the example he describes, a young man’s action changes from throwing tape away to placing it on a table, while the background and other people remain largely unchanged. Koosha says the director still makes the decisions, while a better model can help carry them through to the screen.