AI generated video has received a lot of publicity lately as a tool that is supposed to revolutionize Hollywood. But Craig Good, a former Pixar animator who worked on classics like toy story and Finding Nemo, is not convinced. Good believes there’s a big problem with AI-enabled video software that will immediately frustrate anyone working on a film: It’s impossible, right now, to make small changes using nothing but AI.
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AI tools allow users to create images and videos with nothing more than some text prompts. And that’s very impressive when you want to create something out of “nothing,” so to speak. But none of these tools allow you to make the kind of iterative changes that are necessary when making a movie.
Good left this in a video recorded by one of his students at the California College of the Arts, where he is currently an assistant. professor, like the two discussed videos that have been publicly posted Sora by OpenAI.
“If I’m trying to use this in a production context, my first question will be: how do I review this? For example, if I say: I hate everything that’s happening with the background, can we do exactly this again, but with a lockdown? Background or a different one?” says Good in the video.
Sora hasn’t been publicly released yet, meaning we’ve only seen examples of artists gaining early access to the tool. Frankly, we don’t know much at this point about the options Sora can offer artists. But there’s no indication at this point that smaller changes are possible and Good seems to have a very valid point.
One of the Sora videos that Good and his student watched is an animation of a cute furry monster who appears to be in love with a candle. Good had some praise for the video, but noted that the framing was a little tight and that the llama 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 of the candle? That seems to be the biggest obstacle right now.
“Making a film is about iterating. It’s iteration. And if you can’t iterate on one of these, I don’t know. how to possibly use it in production,” says Good.
“I mean, I spent decades at Pixar tinkering with shots. “The director is going to give some pretty specific notes that animator, the artist is going to have to interpret and then show that revised work the next day and then take more notes on I don’t know how you would use it in production if you can’t iterate it in a controlled way,” he continued.
Good is not the only one who thinks this way. A tweet went viral https://twitter.com/vproceart/status/1781854966027579889 That’s meant to highlight exactly the same problem. And although we can’t confirm the veracity of the story, it all sounds very plausible. .
Essentially, the post claims to be from an art director at a major studio. They say the studio heads brought in the AI guys to work. in a movie, and it didn’t work. The director says that the AI videos that were produced were not really bad, but at any time they asked for changes, such as a new camera perspective or a different color somewhere in the scene, but they couldn’t do it. In fact, they get angry when asked to change things because that’s not how it works.
“He who really knows how to use Photoshop has not developed the eye to see his mistakes, he ends up getting angry with me for not doing it. understanding that he cannot make specific changes,” the viral publication reads. “The girl whose background was a bit of photography has given me 40 progressively worse images with wilder errors each time. This is 4 days after the project.”
Again, it is impossible to verify the claims made in this anonymous post. But they are completely consistent with what we know about these AIs. tools. And while Good seems to think 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 be much better in the future, and they even compared generative AI tools like Sora to the first demonstrations of computer animation in the early 1980s at SIGGRAPH, the computer graphics conference.
“This reminds me of the early days at SIGGRAPH, where we watched, you know, a movie with, you know, a walking robot. “Ant,” said Good. “And we all went crazy about it. Because, wow, we’re looking at a walking mechanical ant, right? A big robot ant, you know, in 1984.”
And Good is right. Nobody knows what the future holds. But these tools won’t be truly useful until directors can make small adjustments that really bring their stories to life.
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