‘MythOS’ and ‘Wink’ Filmmakers Debunk AI Myths at Sundance

Two filmmakers demonstrated how generative AI instruments are reworking the artistic course of while emphasizing that human artistry stays at the coronary heart of storytelling during Adobe’s “Showtime! Park City: Gen AI Showcase” at the Sundance Film Festival.

Taryn O’Neill and Momo Wang offered their quick movies “MythOS” and “Wink,” respectively, each created with Adobe Firefly and other AI instruments in remarkably compressed timeframes. The panel, moderated by Variety Co-Editor-in-Chief Cynthia Littleton, explored how filmmakers are experimenting with generative AI to develop artistic expression.

O’Neill’s “MythOS,” a live-action hybrid that includes a particular whale sequence, was accomplished in a single month — a timeline that would have been unattainable with conventional animation methods. Wang’s “Wink,” impressed by her rescue cat, took 28 days to provide 5 minutes of 3D animation rendered in a 2D model. By comparability, Wang famous, her 2023 movie that certified for Oscar consideration took two years to finish 10 minutes of conventional 2D animation.

“I would like to dispel the myth that somebody goes on their lunch hour and makes a great AI film,” O’Neill said. “The only way that ‘MythOS’ was made was by the collaboration of a lot of really talented, passionate people.”

Both filmmakers detailed technical challenges that required in depth iteration. Wang recognized lip-syncing for animal characters as notably troublesome, with some photographs requiring a whole bunch of makes an attempt to realize the desired result. O’Neill described utilizing Adobe Stock photos as beginning factors, then iterating by Firefly to create particular framings and emotional resonance.

The filmmakers employed different workflows tailored to AI instruments. O’Neill’s team pre-visualized the whole movie utilizing Firefly boards before taking pictures with actors on inexperienced display screen, then composited them into AI-generated backgrounds. They also created digital doubles of actors with full consent for wider photographs. O’Neill, a former actor, said each performers had been initially hesitant however turned enthusiastic as soon as they understood the course of and protections in place.

Wang, who’s in the Asian Animation Hall of Fame and had an AI movie collected by China’s national movie museum, took a primarily visible method. “I’m an artist. I’m not an engineer. I can’t write a perfect amazing prompt,” she said. “So I only do image to image.”

Both emphasised the significance of documenting prompts and sustaining stylistic consistency across groups of freelance AI artists. O’Neill described utilizing cinematic language in prompts, specifying digicam angles and lenses to realize desired visible effects.

The panel highlighted how AI instruments have democratized sure elements of filmmaking while elevating new questions about copyright and attribution. Wang’s “Wink” drew from her private experience relationship over 300 people for materials for a preferred on-line comedian sequence, finally telling a story about discovering love and acceptance without pretense.

O’Neill, who holds an economics diploma and spent 20 years as an actor, said her work goals to counter post-apocalyptic narratives with tales about potential constructive futures. “If people can’t see what our potential futures are, how are we going to create it?” she said.

Both filmmakers pushed again against fears that AI would substitute human creativity. “The tool is fixed, but people, we are flexible,” Wang said. “We can use a tool to help complete your dream.”

O’Neill urged filmmakers to embrace collaboration in the AI period. “Find your tribe, tell stories together,” she said. “Your personal story is incredible, but let’s do it all together.”