Today I'm on the front page of de Volkskrant. The article deals with the fear that AI will push artists aside.
I see, up close, how AI is changing my work and the film world, and that fear is a legitimate concern. Yet in the piece I make the case for the other side: the radical liberation of the imagination.
AI will change much of the work we know. One line didn't quite make the paper: if I were a big brand, I wouldn't pay 300K any more to fly to Crete with a thirty-person crew for a commercial that runs for two weeks. It's at least ten times more cost-efficient to make that commercial with AI,and now every small business or freelancer can have visuals at Hollywood level.
Does that mean the end of the maker? On the contrary. When I discovered, during the shoot of Mohammed & Paul, that I could create worlds physically impossible to film, I knew: impossible is an outdated concept.
My view of the future is hybrid. In the coming tsunami of AI dreck, documentary and journalism become worth their weight in gold,which is why I argue for C2PA authentication on cameras: we have to be able to prove what was really filmed and what wasn't. And to visualise what lives in our inner world, in the past or the future, AI offers limitless possibilities.