AI-generated video Recently it has gained a lot of popularity as a tool that is about to revolutionize Hollywood. But Craig Good, a former Pixar animator who worked on classics like Toy Story And Finding Nemo, not convinced. Good believes there's one big problem with AI video software that will immediately frustrate any film-maker: At the moment, it's impossible to make small changes using anything other than AI.
Artificial intelligence tools allow users to create images and videos in addition to some textual gestures. And it's very impressive when you want to make something out of “nothing” as it were. But none of these tools allow you to make the kind of iterative changes that are necessary when creating a movie.
Good made the point in a video recorded by one of his students at the California College of the Arts, where he is currently an assistant professor, as the two discussed the videos, which have been publicly posted. Sora of OpenAI.
“If I'm trying to use it in a production context, my first question would be, how do I modify it? Like if I say, I want whatever's going on with the background. Hate it, can we do it again, but with a closed background or something else?” I say good. video.
Sora hasn't been publicly released yet, meaning we've only seen examples from artists who have gotten early access to the tool. And frankly, we don't know much at this point about the options that Sora can provide artists. But there is no indication at this point that small changes are possible and Good seems to have a very valid point.
One of the Sora videos that Good and his student have seen is an animation of a cute fuzzy monster that appears to be obsessed with a candle. Good had some praise for the video, but pointed out that the framing was a little stiff and “the flame isn't really doing anything there.” What would it take to get the exact same scene but with the camera pulled back and more flickering than a candle? This seems to be the biggest obstacle at the moment.
“Filmmaking is all about repetition. It's repetition. And if you can't iterate on one of those, I don't know how you're possibly going to use it in production,” says Good. are
“I mean, I spent decades at Pixar sketching out shots. The director is going to give some very specific notes that the animator, the artist has to interpret, and then show the revised work the next day and Then it has to get more notes. I don't know how you're going to use it in production if you can't iterate in a controlled way,” he continued.
Good is not the only one who thinks this way. A tweet went viral. Previous Week The purpose of which is to highlight exactly this problem. And while we can't confirm the truth of the story, it all seems very plausible.
Basically, the post claims to be from an art director at a major studio. He says that studio heads brought in AI guys to work on the film, and it didn't work. The director says that the AI videos that were produced weren't actually bad, but whenever he asked for changes, like a new camera angle or a different color somewhere in the scene, he couldn't do it. In fact, they resent being told to change things because they don't.
“Someone who can actually use photoshop doesn't have the eye to see his mistakes, he gets mad at me because he doesn't realize he can't make certain changes,” the viral post read. It is written in the viral post. “The girl with a little photography background has given me 40 bad photos every time with bad mistakes. 4 days left in the project.
Again, it is impossible to verify the claims made in this anonymous post. But they are completely consistent with what they know about these AI tools. And while Good thinks this type of tool would be great for user-generated TikTok videos, it's not ready for serious film production.
However, Good is quick to note in the video that things could change. These tools could get much better in the future, and he even compared the generating AI tools to Sora. First demonstration of computer animation In the early 1980s at SIGGRAPH, a computer graphics conference.
“It reminds me of the early days of SIGGRAPH where we'd watch a movie, you know, with a walking mechanical ant,” Good said. “And we all went crazy over it. Because, wow, we're seeing a moving mechanical ant, right? A giant robot ant, you know, in 1984.
And that's a good point. No one knows what the future holds. But these tools won't be truly useful unless directors can make small changes that really bring their stories to life.