Use AI Where It Improves Workflow, Workload, Entertainment Value

Use AI Where It Improves Workflow, Workload, Entertainment Value

Andy Marken November 13, 2024

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An A.I. is like any intelligence. It has needs. It will start to evolve, to influence, perhaps the entire world, Max Waters, Transcendence , Warner Bros, 2014

We were asked how much AI we used in doing our weekly screed. Honestly none.

We have a general idea, but our mind tends to wander, Oh look at the cute birdie!

Sometimes we hit a dead-end, hit delete and start over again.

But, when we're finally satisfied, we can say, Yeah, we did that.

Sure, we know AI is creeping into every segment of the M&E industry some scary good, some scary bad.

It will grow in usage in ways we can't even imagine, so writing guardrails into contracts and then bragging about them doesn't do much good because things change, stuff happens

Source Paramount

Ups, Downs - There is a lot of euphoria surrounding all of the good/great things AI is going to do for us. We still aren't sure of the side effects.

We're cautiously optimistic about the use of AI technology in the industry.

Some applications show promise in reducing costs, reducing inefficiencies, improving the quality and quantity of projects and streamlining the delivery/viewer satisfaction processes.

The relationship needs to develop slowly because we've already seen half-baked ideas released into the wild and once, they're out there they're out there.

We're not a complete luddite but we just don't recall an AI movie that turned out well.

The tech-based streamers/producers have been using the technology for some time to wade through tons of movie/show ideas, viewer response and fiscal results to determine what works, what doesn't.

A lot of great film/story ideas never make it past this hurdle, disappointing folks who just knew this project was right and people would flock to see it.

At other times, the data will be used to change, refine ideas and word/action flow to strengthen the film/show.

In many instances, the ideation creators will agree that the recommendations did improve the project. After all, no one wants to be associated with a dud, even if she/he isn't on the credits.

As Netflix co-CEO Ted Sarandos noted during the company's last earnings report, people ultimately care most about the quality of the show/movie rather than the technology being used.

To deliver a constant stream of new content, the leading film/show providers in the Americas will be investing a total of $133B out of the global investment of more than $247B.

Global Production - Hollywood retains its title as the center of the video content creation industry, but studios/streamers are finding it easier and more economic to develop, produce and acquire content people really want to see from around the globe.

Hollywood/LA still represents the major center in the content world; but thanks to studio construction, tax incentives, advances in training and tools, great projects are being produced in Atlanta, Tucson, Albuquerque, Toronto, London, Berlin, Lagos, Mumbai, Seoul and other major film centers.

According to PwC, film/show production in the Americas will increase 4.3 percent through 2028, which is behind the global rate of 4.6 percent. One of the greatest advances (in our opinion) was VP (virtual production) a combination of technologies developed by Disney's ILM (Industrial Light & Magic) gaming kingpin NVIDIA's GPU (graphic processing unit) and Epic Games' Unreal Engine gaming software.

Virtual - Studio facilities are being produced around the globe and all of them have at least one VP stage to enable content creators to duplicate locations around and off the planet. When combined with an extended list of other incentives, they are serious contenders for large and small projects.

The advance has virtually eliminated the use of green screen production. For a studio to competitively land film/show projects it's almost a necessity.

The virtual production stage enables the production and post-production teams to work together efficiently and seamlessly.

VP and the enhanced computing power leveled the playing field for studios everywhere to compete for film/show production and has almost eliminated the need/expense of location shoots.

While it hasn't necessarily reduced the long hours crews spend on set, it does enable them to periodically get home at a reasonable hour.

But long before projects hit the set, something has to be written.

Writers' Assistant - AI is being cautiously used in film/show writers' rooms to assist in researching ideas and subjecting options, but it still takes empathy and experience to develop scripts that grab and hold an audience's interest/attention.

AI content development and generation were key factors in last year's writers' strike but will be used to assist creators (writer's assistances, script coordinators, staff writers/editors and showrunners) in translating concepts into stories and generating credible human dialogue.

Increasingly, it will be used to turn text into visuals and storyboards and create animated 3D models from 2D videos or images.

Most of the focus today is on speed, efficiency and reducing costs and the industry has yet to define/determine how the powerful technology can produce greater value creation.

The common concern in the industry is that AI will replace jobs; and in some instances, this may be true but from what we've seen to date and the developments that are in the works, we also agree with AI proponents' observation that AI won't replace your job but somebody using AI will take your job. And that being said, it stands to reason that AI will impact the management layer more and put more power in the hands of creatives who have experience in deliverin

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