About an hour before the start of the AI Film Festival, a gathering intended to “offer a glimpse of a new creative era”, a Broadway line had already formed.
Participants burst the chance to see the latest short films made with tools by the donor of the event, the track AI and other models, although an unknown percentage was themselves involved in the films presented. Ticket buyers have formed one of the first large -scale rallies of humans to celebrate the creativity generated by machines. In honor of the occasion, Runway had rented Alice Tully Hall by Lincoln Center, a site as a manufacturer of countless concerts and the New York Film Festival.
A man lingered in a “I [Heart] AI t-shirt ”Modeled after vanity I love ny; others have taken selfies in front of minimalist black and white signs from Runway in plastered through the Alice Tully windows.” I just want to see something interesting“Said a participant.
That they certainly obtained. During the two hours that followed, the company presented ten films on AI -Products of quality and variable mood, although almost all have an experimental dream aesthetic – partly shaped by limits of the sound and the movement of real people in AI films.
One of the co-founders of the company, Cristóbal Valenzuela, 36, addressed the crowd. “Three years ago, it was such a crazy idea,” he said. “Today, millions of people make billions of videos using tools we have dreamed of.”
He said that the festival last year – this is its third edition, although the first at Lincoln Center (a similar event will be held at the Broad Stage theater in Los Angeles) – has produced only 300 submissions. But this year has brought 6,000, a statement that fired Oohs from the crowd.
Founded in 2018, Runway began to take an opinion in Hollywood last year after Lionsgate concluded an agreement to form a track model using all of its library. Other pacts have since followed because the company has sought to convince Hollywood that it is at peace, or at least with a large quantity of cinematographic credibility. (Valenzuela claims that he is a film buff.) Until now this year, the company has published tools “Gen-4” and “Gen-4 Retrèments”, which aim to give the scenes a coherent aspect throughout a short film created by AI, one of the greatest challenges of the medium.
The producer of cinema and music raised in Lolin known as Flying Lotus, born Steven Ellison, has taken the scene with Valenzuela.
“Many people are terrified to speak [AI]”Said Lotus.” I sympathize but at the same time I am the kind of person who uses the tools. “He left the scene with exhortation to the public. “Don’t let anyone tell you that there are rules for this shit.”
Then they showed the films. Many brought a distinct style. The slice of life More tears than evil Had an animated pictorial look as he was thinking about a Hardscrabble childhood in Madagascar. Another film, 6,000 liesused a series of rapidfire echogmns to tell a semi-dystopian story moving on a fetus which may or may not have been interrupted in the context of a slaughter. In the most affecting and least experimental room, RecidivistA chicken has been shown that was saved from a factory farm to serve as a companion to a prisoner, who is part of a real British program aimed at compassionate rehabilitation.
Many films have sought to transform responsibility into assets and integrate the unpredictable qualities defying the reality of the AI generation – which can do things unexpectedly like floating people or the rain falling – in history.
A film entitled Fragments of nowhere Used wild -form images and cars suspended from buildings because it suggested a continuum in the time space that allowed this surrealism. He closed with the line “reality is only another layer of perception”.
As the films played, the room gathered the energy of an artistic school summit, even if the wider objective is a large transformation of the company of a billion dollars of Hollywood nuts. The presentation pleaded for originality – the films have undeniably shown a new grammar – while omitting any speech of training data on the way in which these images were finally activated by all the cinema manufactured by the man which preceded.
The evening’s subtext was that AI not only would not oppose art, but would allow a new form for those who have the right creative instincts; Lotus noted that when someone asks him if he worries that others get the tool to imitate professional artists, he retorts, “but I also have the tool.” Of course, Hollywood leaders are not always interested in handing over production for artists on list A, and not when they kept them could be much cheaper.
After the films played, Valenzuela took over the scene to put prices for the mobile images generated by the machine. In particular, the finalist prize was the most humanist in the group, Recidivist.
Gran Prix went to Total pixel spaceA cone -headed look of the filmmaker Jacob Adler to all the possible images and films in the world (bigger than a Googolplex) and a film which seemed, in its contemplation of the vast possibilities of cinema, to implicitly discuss in the name of IA cinema. If the possibilities are literally almost endless, how could a machine reduce cinema to the credits?
Valenzuela argued her case for the power of what the track was doing. “The AI begins to modify the fabric of our culture and of course the art that comes from it,” he said.
While people extended into the elegant marble and glass hall, the DIN developed while the crowd harsh films in the manner of any festival, although this time with an additional procedural layer. “Is it just me”, could be heard a bearded young man to ask his friend, “or did you think of what guests were used all the time?”
