His living room in the video: the game projected on the wall, the controller in his hands
AI production · Music video

Everest.Building an AI Game World Where Rushi and Beloslava Sing

By close friends. · scroll into the game ↓

What do you do when the script needs a video game, but the budget can't build one?

In the music video for Everest (Еверест), a man alone in a quiet glass house logs into a snowy fantasy game and finds someone waiting for him there. We created the game sequences with AI and brought both artists' filmed performances into that world.

Paused · At a glance
01 / 07
Artists

Rushen "Rushi" Vidinliev (Рушен Видинлиев) and Beloslava (Белослава)

1🏆 Achievement unlockedfantasy game world, built for a music video
2🏆 Achievement unlockedartists singing inside the game, from their own filmed performances

The challenge: a game that had to feel playable

The story jumps between two worlds: a lonely, polished home and the game where its owner comes alive. The game had to be convincing enough that viewers believed he was playing it, with a hero, a world to move through and an interface on screen.

The team originally wanted to build it in a real-time 3D game engine. That meant modelling, texturing and animating every cabin, tree and mountain for a few minutes of screen time, and the budget wasn't there.

Empty 3D scene
To build
Cabins
☐ model☐ texture☐ animate
Trees
☐ model☐ texture☐ animate
Mountains
☐ model☐ texture☐ animate

Our approach

Level 1 of 4

Keep the idea, change how it's made

The team had planned a full 3D game build. We kept that plan for how the game should look and feel, and generated the game sequences with AI, so the video got its cinematic world without building scenery that would only ever be seen from a few angles.

Take 1 / 8
Prompt · 14 Jan · Kling 2.6

“Third‑person gameplay shot, not cinematic, in the style of Red Dead Redemption 2, using the uploaded image as exact reference for camera, characters, armor and horse.”

eight of the takes for one moment: he climbs onto her horse

Level 2 of 4

Make the world feel playable

A game world isn't believable without the details players expect. The footage was framed the way a third-person game frames its hero, with room for the health bar, mini-map and action icons in the finished video, so the sequences read as play rather than a fantasy dream.

In the video
Raw AI takeIn the video
Level 3 of 4

Let the artists sing inside the game

The game characters had to perform the song, not simply appear in its world. Rushi and Beloslava filmed themselves singing, giving us the original performances to work from.

We used those recordings to create the characters' AI lip sync, carrying the artists' timing and delivery into the fantasy sequences.

REC
Beloslava, filmed by herself
The same take, inside the game

their own takes, left. the game, right. same timing, same breath

Character creator · Beloslava

Her face, take by take

Take 1 / 620 Jan

Their moves, too

his dance from the shoot, danced again inside the game

Filmed in the house
In the game
Level 4 of 4

Hand over footage built to be finished

AI generation gave us the footage, but it wasn't the end of the production process. We delivered the AI game sequences and lip-synced performances to Drew House Ltd., who completed the After Effects post-production before they went into the final edit. The result moves between the live-action scenes and the fictional game world as part of the same story.

Now · The room
The roomThe gameThe game on his wall
YouTube ↗

From the generation log

243 video generations · 31 Dec 2025 to 3 Feb 2026

raw takes, prompts and all. point to play, tap to open

Kling 2.6Kling motion controlKling OmniHiggsfield Cinema StudioSeedance 1.5MiniMax HailuoWanTopaz

The result: a game world on screen, within budget

Released in February 2026, Everest moves between a live-action story and a fictional game world, from a snowy village to a forest chase and a cliff edge above the clouds. The game sequences were delivered and cut into the released video, with both artists singing inside them.

The game's last screen: Your journey has ended. Quest failed.

The game was never real. The connection in it was.

AI music video FAQ

the short answers.

  • Yes, for footage that is watched rather than played. In Everest, close friends. generated the game sequences with AI rather than relying on a full 3D game build. The footage was then finalised in post by our partner Drew House Ltd., keeping the production within its budget.

  • close friends. created the AI-generated game sequences featured in Rushi and Beloslava's Everest music video, including the fantasy environments and the characters' lip-synced performances based on the artists' filmed recordings. The live-action scenes were filmed by the production team, directed by Filip Morozov.

  • Yes, and the best source is the singer's own performance. For Everest, Rushi and Beloslava filmed themselves singing the song, and close friends. used that footage to drive their game characters' lip sync, so the performance inside the game keeps the artists' own timing and expression.

  • It can be, particularly when a world is only seen for a short time and from fixed angles. A 3D build has to model and animate everything in advance. For Everest, AI made the game sequences possible within the production's budget, with post-production preparing the footage for integration into the finished video.

Need a world your budget can't build?

A game, a mountain range or a city that doesn't exist. Tell us what your music video needs, and we'll help you put it on screen.

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