Myth made tangible
The original Blade Runner, Willow, the original Star Wars trilogy, and the broader feeling of 1980s dark fantasy: strange, tactile worlds with ancient histories, worn surfaces, danger, wonder, and spiritual stakes.
Los Angeles / Austin
About
CinemaMachina is a generative AI film production company creating cinematic short films, videos, commercials, and music videos.
Founded by David Levine Bramante, CinemaMachina brings filmmaking judgment to a new production language. The studio combines story development, visual world-building, generative animation, editing, sound, and finishing into one focused creative process.
The work is built for storytellers who want to go somewhere visually unexpected without losing the emotional center of the idea. Technology expands the canvas. Story, character, movement, and feeling remain the standard.
CinemaMachina works with independent filmmakers, musicians, writers, artists, founders, and small creative teams across the United States. Typical productions are 3–5 minutes, start at $5,000, and are completed in under two months depending on scope.
Creative DNA
Different worlds. The same pulse.
David’s favorite films cross science fiction, fantasy, independent cinema, anime, period drama, and spiritual naturalism. The common thread is not genre. It is total commitment to a world—and a vulnerable person trying to find meaning inside it.
Every frame has a point of view
Akira Kurosawa, the early films of Wes Anderson, and Buffalo ’66 show radically different kinds of control—movement, geometry, color, silence, performance, and design used as storytelling rather than decoration.
Beauty, atmosphere, and velocity
Akira and Ninja Scroll bring scale, danger, metamorphosis, expressive bodies, and astonishing momentum. Studio Ghibli films offer another kind of magic: weather, food, rooms, landscapes, pauses, and the sense that life continues beyond the frame. Even when a particular storyline is not what draws David in, that atmosphere stays with him.
The camera searching for a soul
The films Terrence Malick made with cinematographer Emmanuel “Chivo” Lubezki pursue memory, grace, nature, intimacy, and transcendence through light and a camera that seems to breathe with the characters.
A love of film
A place where everything can meet.
David loves film because it can hold seemingly opposite experiences at once: story and abstraction, stillness and movement, meticulous design and a fleeting human expression. Music, image, performance, landscape, color, silence, and time can all become part of the same emotional language.
Some films stay with him because of their stories. Others remain because of a room, a face, the movement of a camera, or the feeling of light at a particular hour. The best create a world that continues to exist in the imagination after the screen goes dark.
That love led to CinemaMachina. Generative technology makes new kinds of worlds possible, but possibility alone is not enough. David wants to use these tools with the care of a filmmaker—to shape complete moving stories that are visually adventurous, emotionally precise, and deeply human.
The work
David is drawn to stories where someone is wandering—through a city, a landscape, a memory, or an invented world—trying to understand what they have lost and what might still save them.
Adapt the emotional truth, not only the events.
David gravitates toward adaptations of memoirs, true events, songs, personal histories, and written stories that already carry a lived emotional core. The objective is not to illustrate every fact. It is to identify the moment that contains the whole story, then rebuild it through performance, movement, atmosphere, sound, and image.
That approach shaped Steady Hand, an experimental short adapted from Steve Sides’s memoir By the Grace of God and selected by the 2026 Red Dirt Film Festival. The technology may be new. The search—for love, memory, identity, wonder, and grace—is ancient.