Hollywood’s pivot to AI video has a prompting problem

It has become almost impossible to browse the Internet without obtaining a video created by artificial intelligence. Essentially open any platform for social media, and it will not go a long time until a strange clip of a fake natural disaster or animals do impossible things through your screen. Most videos look very terrible. But they are always accompanied by hundreds, if not thousands, from the likes and comments from people insist that the content created from artificial intelligence is a new artistic form that will change the world.

This was particularly true for artificial intelligence clips aimed at appearing realistic. Regardless of the aesthetic or unnecessary extent from the aesthetic point that the shots may be, there is usually a person who announces something that you should be afraid of making entertainment. The idea that the video created by artificial intelligence is the future of filmmaking and an existential threat to Hollywood, and it has caught like a wildfire between the relatively new technology enhancement.

Thinking about the main studios that adopt this technology as they are doubtful when you think about it, often, the outcome of the male models is simply not the type of things that can be formulated in a high -quality movie or series. This is the impression that the director Bryn Mooser wants to change with Asteria, a new production house he launched last year, in addition to a movie coming from artificial intelligence from Natasha Lyonne (also Mooser and Consultant at Late Night Labs, focused on the first Ai studio that Mooser’s Film and TVE Servied Sester Year plast).

The large -in -the -sales point in Asteria is that, unlike most other artificial intelligence clothing, the generator form created with the Moonvalley Research Company is “moral”, which means that it has only been trained on properly licensed materials. Especially in the aftermath of Disney and the Universal Suping Midjournyy due to the violation of copyright, it may become the concept of moral artificial intelligence from moral artificial intelligence an important part of how artificial intelligence is adopting on a broader scale through the entertainment industry. However, during a recent conversation, Mosser asserts that the company’s clear understanding of the Introduction to the Wooing IQ and what does not help in distinguishing Australia from other players in the area of ​​artificial intelligence.

“When we started thinking about building a star, it was clear to us as film makers that there were major problems with the way artificial intelligence was presented to Hollywood,” said Mousser. “It was clear that the tools were not built by anyone who made a movie before. The shape factor to the text, where she says,” Make me a new movie of stars war “and came out of it, it is something that the Silicon Valley believed that people wanted and believed it was possible.”

From Mooser’s point of view, part of the reason that some enthusiasts rushed to summon obstetric video models, a threat to the functioning of the films is summarized in people who assume that the footage created from the claims can repeat the real thing effectively as we saw with imitated music generated from artificial intelligence. It was easy for people to repeat the voices of singers with the Importer IQ and produce trafficable songs. But Mooser believes that, in his impulsion to normalize Gen AI, the technology industry has created the sound output and version in a way that contradicts what makes the films already good.

“You cannot go and say to Kristover Nolan,” use this tool and send a text message to your way Odyssey“When people in Hollywood were able to reach these tools, there were some things that were really clear – one of them could not work the shape factor because the extent of control the exit needed to the pixel level in many cases.”

To give filmmaking partners more this granular control, Asteria uses its basic obstetric model, Marey, to create new models for the project trained on the original optical materials. This, for example, allows the artist to build a model that can generate a variety of assets in its distinctive style, then use it to fill a world full of different characters and things that adhere to a unique aesthetic. This was the workflow used in its production of short CUCO music “Love Message to Los Angeles”. By training the ASTERIA model on 60 original illustrations drawn by the artist Paul Flores, the studio can create new dual assets and convert them into 3D models used to build a fictional city of the video. The short is impressive, but its heavy style talks about the way in which the projects must with obstetric artificial intelligence at their hearts work within the visual restrictions of technology. This workflow does not seem to provide control to the pixel level so far.

Mousser says, depending on the financial arrangement between ASTERIA and its customers, movie makers can keep partial ownership of the models after its completion. In addition to the original licensing fees, ASteria pays creators of materials that are trained in its primary model, the studio “explores” the possibility of a revenue sharing system as well. But at the present time, Mosser focuses more on the winning artists with a promise of low development and production costs.

“If you are making a pixar animated movie, you may be a director or writer, but not between you you will have any ownership of what you do, residue, or cut what the studio makes when they sell the lunch box,” Mooser told me. “But if you can use this technology to reduce the cost and make it useful independently, you will have a world where you can get a new financing model that makes the real ownership possible.”

AETERIA plans to test many MOSER beliefs in AI’s transformational capabilities with Wadi GharibA novel film to be written and run by Leon. Live-action movie focuses on a teenage girl who makes her fragile vision of reality begin to see the world as a video game. a lot Wadi Gharibimaginary , MatrixThe visual elements will be created with the internal Asteria models. This details in particular make Wadi Gharib It seems like a project designed to provide hallucinogenic contradictions that have become known to have been a gynecological artificial intelligence of smart aesthetic features instead of errors. But Mosser tells me that he hopes, “Nobody never thinks about the artificial intelligence part at all” because “everything will have a human touch to the director.”

“It is not as if I were just text messages,” Moussar says, and watching what is happening, because no one wants to see it. ” “It was very clear as we were thinking about this. I don’t think anyone wanted to see what a computer dreams only.”

Like many artificial intelligence defenders, Mooser believes that technology is a “democratic character” tool that can make art creation easier. He also confirms that in the appropriate conditions, the production of an artificial intelligence can facilitate the production of a movie for between 10 to 20 million dollars instead of 150 million dollars. However, securing this type of capital represents a challenge for most young movie makers.

One of the big points of sale in ASteria that Mosser remembers over and over again is the AI’s obstetric capabilities to produce final business faster and with a smaller difference. He frame this aspect of the work of artificial intelligence production as a positive that would allow writers and managers to work closely with the main collaborators such as ART and VFX supervisors without the need to spend a lot of time going back and forth in reviews – which tends to be more likely when the project has many people who work on it. However, by definition, the smaller difference translates into fewer jobs, raising the issue of artificial intelligence capabilities to get people out of work. When I brought this with Mooser, he refers to the last closure of the VFX House Technicolor Group as an example of the continuous disorder of the entertainment industry that began to leave unemployed workers before the noise from the IQ is to the current fever.

Mooser was keen not to reduce these concerns about the Instelligence I intelligence was a large part of what Hollywood fell into a double blow again in 2023. But he determines in his belief that many industrial workers will be able to convert sideways into new functions based on artificial intelligence if they are open to embracing technology.

“There are VFX films and artists who are adaptable and want to tend to this moment in the same way that people have been able to shift from editing the movie to editing on Avid,” said Mousser. “Real artists – artistic directors, film photographers, writers, directors and actors – have an opportunity for this technology. What is really important is that as an industry we know what is good in this and what is bad in this, what is useful for us in an attempt to tell our stories, and what is actually dangerous.”

What seems somewhat dangerous about Hollywood’s interest in the Public Prosecution, is not the “death” of the largest studio system, but rather the capabilities of this technology to facilitate studios with fewer actual people. This is literally one of the big points of sale in ASteria, and if its workflow becomes the industrial base, it is difficult to imagine that it expands in a way that can accommodate the entertainment workforce today to new jobs. As for what is good in that, Mosser knows the correct conversation points. Now he must explain that his technique – and all the changes it requires – can work.