Industry AI Guidelines Don't Have to be Arbitrary

Industry AI Guidelines Don't Have to be Arbitrary

Andy Marken February 7, 2024

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Hero image source - Adobe Stock

I don't want to be just one thing. I can't be. I want to be brave, and I want to be selfless, intelligent, honest and kind. Well, I'm still working on kind. Four, Divergent, Summit Entertainment, 2014

Recently, we were chatting (okay, texting) with a friend who mentioned an article we had read about things that were once great but are now lost.

One comment was a claim that shows/movies were far better in the old days compared to all of the new options. We said it might be the overflow of content today. According to Statista, only about 200 scripted projects were released in 2013 but last year, there were nearly 600.

He proceeded to enlighten us:

Hollywood shows/movies weren't inclusive back then

They didn't portray any reality

War movies were stupid propaganda

Shows/movies were heavily censored

Content was strongly controlled by a few studios

A lot of crap was produced to please studio/network bosses

Shows/movies back in the day sucked

We were hoping he would tell us what he really thought.

Okay maybe.

However, 10 years ago, it was almost a badge of professionalism to work in the writers' rooms or on set 10 hours a day, including Fraterday.

Actors, background actors/extras, stunt personnel struggled inside heavy costumes and sweaty make-up.

Entire crews worked in freezing cold or sweltering locations to ensure authenticity and exotic locations weren't exotic.

Postproduction folks constantly pulled all-nighters to meet abbreviated deadlines.

You could sleep, heal (bones and egos), recover when the project was delivered.

The budget (time/money) and audience ratings/response were what really mattered.

Today, new hardware/software technologies are making the work better, easier, more creative, more productive for everyone.

One of the best, we feel, was LED virtual production.

They've virtually eliminated the need to move everything/everyone for location shoots.

The technology made it possible to deliver real environments that only existed in the minds of the creatives.

Everyone saw what the camera saw.

We'll fix it in post, was virtually eliminated from the discussion.

Developed and popularized by ILM (Industrial Light & Magic) for the production of Star Wars and the TV series, The Mandalorian, the wall puts the actors into the realistic virtual environment, so you don't have to use your imagination it's there.

Stage of Choice - The LED virtual production technology has been a dramatic leap forward for show/movie production. Directors, cinematographers and actors don't have to imagine their surroundings as with previous green screen production because they're right there. They can visualize what the project will look like which saves time, money and frustration.

Of course, it relies heavily on Unreal Engine's 3D game engine, Nvidia GPUs (graphic processor units) and powerful computer systems to deliver the environment; but that's just techie stuff.

The virtual production wall has almost eliminated the need for the construction of large, expensive and complex sets.

The technology resulted in the loss of some construction jobs but most of the crew gained new skills and adapted to delivering the new set environment.

The LED virtual technology is such an improvement in content production that all of the studios being built in the Americas and around the globe include them.

With new content production facilities being built in the Americas and around the globe, one of the first things content creators/producers and studio owners want to know is if they offer the virtual production environment.

The technology provides a more realistic and immersive environment that enables real-time set changes, streamlined filming, on set/in camera adjustments and faster/less costly postproduction work. The technology has become so reliable (and economic) that one of our local stations introduced the new environment into their newscast and production workflow.

Localized - Virtual production technology has become more reliable, easier to use and more economic. Even news/production stations across the country like KPIX in San Francisco have begun using it to differentiate themselves in their market and attract/retain their audiences.

The implementation of virtual/augmented environment is an important addition for one of our local news operation.

After all, they have to compete against social media and streaming content for audience attention.

All of the facilities are being used for the same reason put seats in theater seats and capture and retain home viewers.

Valued at nearly $3B last year, industry analysts project that the virtual wall and production market will reach more than $5.1B by 2027.

The technology has not only improved the entertainment quality of films and shows for viewers, it has also had a positive impact on the lives and performance of people who create shows/movies.

AI could have a similar positive effect on the creation of shows/films, but it has to be released/used in a cautious/controlled manner. Before the end of last year, Sam Altman was fired and then reinstated as CEO of OpenAI and a new board of directors was voted in hey, stuff happens.

Helping Hand - If it feels like everyone is developing a powerful (profitable) AI tool but you, you're not wrong. OpenAI and many of the emerging firms focus on developing and releasing the products as quickly as possible without a lot of testing to find issues and problems before they are widely used. Some of the products will be something that keeps on giving in all the wrong ways.

His approach was similar to that of a lot of software developers develop it, release it, break it and we'll f

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