Kling showcases filmmakers using its 4.0 video model
Kling has published testimonials from directors, studios and ad agencies using its 4.0 video model, and the one hard figure is a team's projected cut of at least 50% in discarded footage.
Kling AI published a showcase of film, TV, advertising and animation teams using its Kling 4.0 video-generation model. The post collects creator testimonials. It does not include benchmarks, technical details or new product specifications.
The most concrete claim comes from Ash Koosha, co-founder and CEO of Fountain 0. His team used Kling 3.0 on two 2026 features, Dreams of Violets, which had an official screening at the 2026 Tribeca Film Festival, and ODYSSEUS: The Fall. Based on early tests with Kling 4.0, the team expects at least a 50% reduction in discarded footage. Kling does not say how that figure was measured.
Other testimonials make similar points without numbers:
- Kim Sung-soo, director of 12.12: The Day, resumed work on his AI short WormTrain after Kling 4.0 could generate physical collisions that earlier models struggled with.
- Tong Guangyu, an AI director at YOUHUG MEDIA, said most footage from his Kling 4.0 tests could go straight into editing or be kept as alternative takes.
- Directors Li Shaohong and Lu Chuan pointed to better cinematic quality, better character performance and closer adherence to complex direction.
The post also lists projects that use the model. Rendering Love combines live action with AI-generated virtual idol scenes and is a collaboration between Barunson E&A, MBC C&I AI Contents Lab and Kling AI. MooAm's period feature Natasha uses the model for AI-generated VFX. The animated feature Minibots, from Evolutionary Films, has exclusive technical support from Kling AI. Agency UNVEIL used Kling 4.0 while developing a commercial for Danish fashion brand Heliot Emil.
The post does not give pricing, availability details or independent evaluations of Kling 4.0.