OpenAI’s Sora: The Game-Changer Hollywood Didn’t See Coming!

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Last year, when OpenAI introduced technology named Sora, which allows individuals to swiftly produce highly realistic videos – for instance, a movie trailer depicting an astronaut traveling across a desolate desert planet – simply using a brief text prompt, it wasn’t so much the quality of the footage that left Hollywood professionals taken aback, but rather the unexpectedly fast development of the technology, which was initially believed to still be several years away from becoming practical for use within the production pipeline.

As I pondered over my thoughts, conversations buzzed around me among studio executives discussing AI’s role within the realm of entertainment: What tasks could it simplify in production? How much could it potentially reduce expenses? And, what boundaries should we set regarding legal and labor issues?

Afterward, OpenAI has been in discussions with various studios concerning Sora, emphasizing its potential uses while ironing out issues with independent filmmakers and conducting safety checks. Currently, OpenAI is targeting Hollywood as it moves towards broader acceptance of its technology.

Rohan Sahai, head of the Sora product team, shares with The Hollywood Reporter in an interview that there’s been a lot of curiosity from the entertainment sector regarding their products, without disclosing the details of the discussions. He envisions these tools being used at various stages of production as they continue to develop.

As a forward-thinking enthusiast, I’ve noticed that some larger production companies are strategically anticipating industry trends. They’re carefully considering ways to adapt their entire operation models, ensuring they stay relevant and thrive in today’s ever-evolving landscape.

In the current legal framework, adoption of AI tools in filmmaking is largely restricted to stages such as pre-visualization (comparable to conception and storyboarding) that don’t directly involve the final product. The evolution of AI use in this field will significantly depend on how courts address emerging legal issues related to technology. Unfortunately, workers in the industry are already experiencing job losses, particularly concept artists, voice actors, and animators who are most affected by this displacement. Notably, AGBO, a production company run by the Russo brothers who directed the Avengers, is aggressively exploring AI-focused areas, recently appointing Dr. Dominic Hughes, a former Apple executive with expertise in AI, as its chief scientific officer to optimize production processes.

One key reason for the slow adoption of AI technology is the concern over potential legal issues, such as a court decision declaring that teaching AI systems with copyrighted materials infringes on those rights. Another issue is that works produced by AI are not protected by copyright law, meaning they become public property immediately upon creation, thereby restricting any commercial exploitation.

OpenAI remains hopeful for a time when their technology operates without the limitations imposed by legal or work restrictions, amid ongoing litigation with creators. Their discussions with Hollywood seem to mirror this self-assurance.

Sahai explains that instead of focusing narrowly on specific aspects of using these models for production, we’re aiming for a broader approach to what users can do with them in terms of creation and storytelling. In other words, he suggests the company is adopting a comprehensive strategy when it comes to promoting this technology to Hollywood, because in the long run, people will come to understand that it offers so much more than just enhancing a visual effects (VFX) workflow.

OpenAI is actively seeking input from various sectors of the industry, which includes film studios, as part of our ongoing efforts,” OpenAI stated.

On March 19th, the company behind ChatGPT held a screening of 11 short films produced using Sora, at Brain Dead Studios’ cool cinema in West Hollywood on Fairfax Avenue. The aim was to highlight the technology’s capabilities, and the movies served as both a demonstration of its current limitations and a tantalizing glimpse into its future potential.

In these movies, there wasn’t much conversation between characters, and stories were scarce or non-existent. Some viewers noted that certain films seemed more like advertisements than short films after screenings. At one point in a film about the adventures of knights, it appeared as if the characters were floating in mid-air.

It’s clear that Sora has the potential to simplify the process of Visual Effects (VFX), an aspect of production notorious for its thin profit margins. The chosen titles showcased a variety of shots produced by this tool, demonstrating why it’s so intriguing to Hollywood: a fish adorned with glittering eyes; a breathtaking sunset-kissed ocean view; a person engulfed by a whirlpool of newspapers. Some VFX artists are starting to embrace AI, working within certain legal boundaries by training open-source systems using their own creations.

Verena Puhm, an AI filmmaker, revealed that she began creating a short film depicting a dystopian future dairy farm as criticism against mass production and exploitation, with only 15 hours remaining before the application deadline. She explained that her aim was to spark “a modicum of consciousness regarding what we’re consuming.

OpenAI is now keeping secret where it obtains the data for its system training. This has led to lawsuits by artists, writers, and publishers who claim that OpenAI, under Sam Altman’s leadership, unlawfully copied their work without permission or payment. If courts rule against fair use, a legal principle allowing the use of copyrighted works without a license, it could significantly impact OpenAI as a leading AI company. Recently, over 300 prominent figures from Hollywood have signed a letter urging the U.S. government to reject OpenAI and Google’s request to train their AI models on copyrighted materials.

At the screening, there was an executive from Universal Pictures and Disney, both present on a personal basis rather than as studio representatives. Additionally, an employee from United Talent Agency, specifically within their Entertainment Marketing department, was among the attendees.

Alton Glass, a member of the Directors Guild of America, noted at the screening that “the way things operate is likely to change” with the arrival of AI. He emphasized that this transition would also bring about new possibilities for success.

The incorporation of artificial intelligence (AI) in Hollywood has been gradual but is gathering momentum. Last year, Lionsgate forged an unprecedented alliance with Runway, a New York-based AI innovator. This partnership allows Runway to develop a unique generative AI model using Lionsgate’s content. This model will aid behind-the-scenes production processes without any direct payment. In return, Runway gains access to certain studio titles to create an exclusive model tailored for Lionsgate. The aim is to integrate this model into various stages of the production process, such as storyboarding and visual effects design. Subsequently, Blumhouse collaborated with Meta on a series of short films utilizing Movie Gen, an AI tool that generates videos and audio. This collaboration marks Blumhouse’s exploration of AI capabilities. Lastly, James Cameron has recently joined Stability AI’s board of directors.

Hollywood is slowly adopting AI, and Lionsgate teamed up with a New York-based AI company called Runway last year. Runway will create a special AI model using Lionsgate’s content to help with production tasks like storyboarding and VFX design. Blumhouse also worked with Meta on some short films using AI, and James Cameron joined the board of directors for an AI company called Stability AI. This means Hollywood is experimenting more with AI technologies.

According to Rob Rosenberg, a former executive vice president and general counsel at Showtime Networks, they are searching for real-life examples, or case studies, as evidence. This evidence will help them demonstrate that they were able to cut production costs by a certain percentage.

Sora, following safety assessments conducted by specialists in misinformation, offensive content, and bias, was launched for public use in December. Additionally, filmmakers, artists, and designers were granted early access to offer suggestions on enhancements. Since its release, creators have been showcasing AI-generated works, receiving a range of responses. Some critics argue that the aesthetics are too close to the uncanny valley, while others praise the swift production of high-quality visuals and special effects akin to those seen in movies.

Just like how OpenAI is collaborating with independent filmmakers in introducing Sora, as a gamer, I’d say that companies working with AI are eager to prove to creators that their technology isn’t the scary monster some critics have made it out to be. It’s all about showing they’re visible and credible. And when big names like James Cameron hop on board, it sends a clear message: they’re not here to replace us, the production crew. Instead, they’re teaming up with us to create something extraordinary.

OpenAI’s argument for promoting their AI tools in the entertainment industry is centered around the concept of “making it accessible” or “empowering” more people to create films. By reducing the hurdles, creators can potentially see their ideas come alive on screen sooner. Recently, the writing duo behind “Paddington in Peru,” James Lamont and Jon Foster, are collaborating again for an AI-animated film titled “Critterz.” This full-length movie is a reimagining of a short film with the same name from Vertigo Films, which is partnering with AI creators at Native Foreign on this project. The short film was written and directed by OpenAI’s creative expert, Chad Nelson, and stands as one of the early examples of AI films that blend visuals produced using OpenAI’s Dall-E tool with conventional animation methods. It was later refined using Sora. The producers aim to establish a new standard for storytelling that blends human creativity, traditional animation techniques, and cutting-edge AI technology.

However, while these points emphasize the benefits for creatives who’ve progressed using AI tools, they overlook those who have lost or will likely lose their jobs due to this technology. Professionals like concept artists and VFX workers, among others in roles that are considered vulnerable to AI advancements, are contemplating potential job losses in the future if the technology develops at its current pace.

A survey conducted by the Concept Art Association and the Animation Guild last year, involving 300 industry leaders, revealed that AI tools are contributing to job losses, reductions, or consolidations in over three-quarters of the companies surveyed. The study predicts that approximately 204,000 jobs could be negatively impacted within the next three years. Key positions at risk include sound engineers, voice actors, concept artists, and entry-level employees, with visual effects and postproduction work being particularly susceptible.

As a gamer, I’ve come to understand that Sora isn’t without its boundaries – both technical and legal ones. However, it holds immense promise beyond the realm of entertainment. For instance, in advertising and corporate video work, where there are fewer hurdles to adopting this technology.

When it comes to Hollywood, we’re looking at potential ripple effects for creatives who rely heavily on such work as their main income source. It’s predicted that Sora might bring about a similar impact on soundstages and equipment rental companies, possibly leading to fewer production crew members being needed.

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2025-03-25 15:55