Generative AI can make each individual artist/writer/programmer much more efficient at their job, but the shareholders and executives get their way and only big companies have access to this technologu, this increased productivity will instead be used reduce headcount and make the remaining people do more work on a tighter deadline, instead of helping everyone work less, do better work, and be happier.
This is the reason I think democratizing generative AI via local models is important, because as your example shows, it levels the playing field between small and big players, and helps people work less while making more cool stuff.
A big problem in Aus is the industry culture. They don’t care about using technology to improve results. They only care about cutting costs, even if the final product doesn’t meet the previous standard.
And we’ve seen that with VFX across the globe, the overall quality dropped drastically. Because studios play silly buggers to weasel out of paying VFX companies what they are due.
From what I hear, even DNEG is in trouble, and were even before the strike.
It’s a race to the bottom it seems.
My honest hope for the film industry is likely the same as yours. That we have smaller productions with access to better post due to improvements in AI-driven compositing software and so on.
But it’s likely that a role that was earning $$$ before is devalued significantly. And while I’m an unabashed anti-capitalist, I think a lot of folks misunderstand what this sudden downward pressure on income can do. Cost of living increasing while wages shrink is an awful combination
I’m 35, left a six figure job, folding my company and starting an electrician’s apprenticeship. To give you an idea around what my views about AI are. And of course this is as an Australian. We have a garbage white collar work culture anyway.
I think there will be a net improvement. But I worry that others will fail to adapt quickly. Too many are writing off AI as this thing that already came and went, but the tools have just landed, and we don’t yet have workflows that correctly implement and leverage these yet.
This is exactly why the SAG-AFTRA and WGA strikes have been vitally important, I think. Without pressure on industry, as we’ve seen across the board in the US for the last near half-century, fewer and fewer things that should improve lives are allowed to do so.
And we’ve seen that with VFX across the globe, the overall quality dropped drastically.
The joke that the cost increased drastically too. Modern VFX movies are far more expensive than older movies, while also looking worse. As what the studio bosses really want isn’t cheap movies, but movies they can control and micro-manage. VFX makes it much easier to rerender a scene with some changes than a practical shot where you have to rebuild the whole thing from scratch. The end result of that is of course a lack of planing ahead, endless reshoots, overworked VFX studios and bad results, but the bosses got what they wanted, so that’s ok.
Generative AI can make each individual artist/writer/programmer much more efficient at their job, but the shareholders and executives get their way and only big companies have access to this technologu, this increased productivity will instead be used reduce headcount and make the remaining people do more work on a tighter deadline, instead of helping everyone work less, do better work, and be happier.
This is the reason I think democratizing generative AI via local models is important, because as your example shows, it levels the playing field between small and big players, and helps people work less while making more cool stuff.
A big problem in Aus is the industry culture. They don’t care about using technology to improve results. They only care about cutting costs, even if the final product doesn’t meet the previous standard.
And we’ve seen that with VFX across the globe, the overall quality dropped drastically. Because studios play silly buggers to weasel out of paying VFX companies what they are due.
From what I hear, even DNEG is in trouble, and were even before the strike.
It’s a race to the bottom it seems.
My honest hope for the film industry is likely the same as yours. That we have smaller productions with access to better post due to improvements in AI-driven compositing software and so on.
But it’s likely that a role that was earning $$$ before is devalued significantly. And while I’m an unabashed anti-capitalist, I think a lot of folks misunderstand what this sudden downward pressure on income can do. Cost of living increasing while wages shrink is an awful combination
I’m 35, left a six figure job, folding my company and starting an electrician’s apprenticeship. To give you an idea around what my views about AI are. And of course this is as an Australian. We have a garbage white collar work culture anyway.
I think there will be a net improvement. But I worry that others will fail to adapt quickly. Too many are writing off AI as this thing that already came and went, but the tools have just landed, and we don’t yet have workflows that correctly implement and leverage these yet.
This is exactly why the SAG-AFTRA and WGA strikes have been vitally important, I think. Without pressure on industry, as we’ve seen across the board in the US for the last near half-century, fewer and fewer things that should improve lives are allowed to do so.
The joke that the cost increased drastically too. Modern VFX movies are far more expensive than older movies, while also looking worse. As what the studio bosses really want isn’t cheap movies, but movies they can control and micro-manage. VFX makes it much easier to rerender a scene with some changes than a practical shot where you have to rebuild the whole thing from scratch. The end result of that is of course a lack of planing ahead, endless reshoots, overworked VFX studios and bad results, but the bosses got what they wanted, so that’s ok.
It’s crazy that with current economic systems, tools that make people work more efficiently have such a negative impact on society.