Movies are supposed to transport you places. At the end of last month, I was sitting in the Chinese Theater, one of the most iconic movie theaters in Hollywood, in the same complex where the Oscars are held. And as I was watching the movie, I found myself transported to the past, thinking about one of my biggest regrets. When I was in high school, I went to a theater to watch a screening of a movie one of my classmates had made. I was 14 years old, and I reviewed it for the school newspaper. I savaged the film’s special effects, which were done by hand with love and care by someone my own age, and were lightyears better than anything I could do. I had no idea what I was talking about, how special effects were made, or how to review a movie. The student who made the film rightfully hated me, and I have felt bad about what I wrote ever since. 

So, 20 years later, I’m sitting in the Chinese Theater watching AI-generated movies in which the directors sometimes cannot make the characters consistently look the same, or make audio sync with lips in a natural-seeming way, and I am thinking about the emotions these films are giving me. The emotion that I feel most strongly is “guilt,” because I know there is no way to write about what I am watching without explaining that these are bad films, and I cannot believe that they are going to be imminently commercially released, and the people who made them are all sitting around me.

Then I remembered that I am not watching student films made with love by an enthusiastic high school student. I am watching films that were made for TCL, the largest TV manufacturer on Earth as part of a pilot program designed to normalize AI movies and TV shows for an audience that it plans to monetize explicitly with targeted advertising and whose internal data suggests that the people who watch its free television streaming network are too lazy to change the channel. I know this is the plan because TCL’s executives just told the audience that this is the plan. – Read More

A group appears to have leaked access to Sora, OpenAI’s video generator, in protest of what it’s calling duplicity and “art washing” on OpenAI’s part.

On Tuesday, the group published a project on the AI dev platform Hugging Face seemingly connected to OpenAI’s Sora API, which isn’t yet publicly available. Using their authentication tokens — presumably from an early access system — the group created a front end that lets users generate videos with Sora. — Read More

The game was created from clips and keyboard inputs alone, as a demo for real-time interactive video generation.

When you walk around in a version of the video game Minecraft from the AI companies Decart and Etched, it feels a little off. Sure, you can move forward, cut down a tree, and lay down a dirt block, just like in the real thing. If you turn around, though, the dirt block you just placed may have morphed into a totally new environment. That doesn’t happen in Minecraft. But this new version is entirely AI-generated, so it’s prone to hallucinations. Not a single line of code was written.

For Decart and Etched, this demo is a proof of concept. They imagine that the technology could be used for real-time generation of videos or video games more generally. “Your screen can turn into a portal—into some imaginary world that doesn’t need to be coded, that can be changed on the fly. And that’s really what we’re trying to target here,” says Dean Leitersdorf, cofounder and CEO of Decart, which came out of stealth this week. — Read More

On Friday, TriStar Pictures released Here, a $50 million Robert Zemeckis-directed film that used real time generative AI face transformation techniques to portray actors Tom Hanks and Robin Wright across a 60-year span, marking one of Hollywood’s first full-length features built around AI-powered visual effects.

The film adapts a 2014 graphic novel set primarily in a New Jersey living room across multiple time periods. Rather than cast different actors for various ages, the production used AI to modify Hanks’ and Wright’s appearances throughout.

The de-aging technology comes from Metaphysic, a visual effects company that creates real time face swapping and aging effects. During filming, the crew watched two monitors simultaneously: one showing the actors’ actual appearances and another displaying them at whatever age the scene required. — Read More

Video platform HeyGen has added a feature that it claims allows users to send AI-powered digital versions of themselves to Zoom meetings and other live interactions.

The avatars can join one or more meetings simultaneously, 24/7. They are designed to not only look and sound like the people they are representing, buy they will also think, talk and make decisions like them, according to HeyGen.

The HeyGen Interactive Avatar is equipped with OpenAI real-time voice integration, which allows it to hold an intelligent, efficient and timely conversation with any audience. — Read More

The deal will see Runway train a new AI model on Lionsgate’s film and TV library as the entertainment company uses the tech “to develop cutting-edge, capital-efficient content creation opportunities.”

In a significant move, Lionsgate and the video-focused artificial intelligence research firm Runway have inked a deal that will see Runway train a new generative AI model on Lionsgate content, and will see the entertainment company use the tech as it produces future film and TV projects.

While details are scarce, the companies say that the new model will be “customized to Lionsgate’s proprietary portfolio of film and television content,” and exclusive to the studio. The purpose will be to “help Lionsgate Studios, its filmmakers, directors and other creative talent augment their work.” — Read More

As artificial intelligence technology rapidly advances, Hollywood faces a pivotal challenge: integrating AI into the filmmaking process without overshadowing the human creativity that has long been the bedrock of compelling storytelling.

Recent industry disruptions, such as the Screen Actors Guild and Writers Guild of America strikes—which cost nearly $5 billion due to production delays and cancellations—have highlighted the industry’s deep concerns about AI’s impact. With AI spending predicted to reach $886 million in the global film industry in 2024 and 70% of major companies already incorporating AI, the stakes are higher than ever. The question remains: Can AI enhance the industry without undermining workforce stability and the emotional depth that defines entertainment? — Read More