AI-non fiction filmmaking: my presentation to UK leading industry execs.
Channel 4 is one of the UK’s five main terrestrial channels, alongside the BBC, ITV and Channel 5. Couple of weeks ago, I had the pleasure of presenting to their Board of Directors my research and product in AI factual-filmmaking.
Whilst AI has attracted huge attention in content production, when it comes to filmmaking its wider current use is seen in sci-fi and fictional story making. But what if it could be used in documentary? There’s a big incentive for engaging with people from diverse backgrounds in this case, as my research unveils.
By 2040 using trend extrapolation I see its use in news of all things.
It sounds scary, prohibitive even, but we’ve been through these scenarios several times in history where new thinking, levels of reality, boundaries and philosophies have had to be revisited. Remember the Act of Killing; I talked about a few to the board.
The point is not how it’s stopped from being used which would stifle creativity; but how sufficient guardrails are put in place to be satisfied of its ethical use. Last week the EU published its AI regulation. For instance, it’s adopting a ban on facial recognition for surveillance. How might that affect filmmaking? Film union SAG-AFTRA has also produced a framework that will protect actors.
The approach is how to harness its creative use and anticipate a process to address bad faith actors. There are creative challenges for what AI-factual filmmaking can achieve, but they’re being met and we’re really at a nascent stage. I mix several pieces of software which in time I see it being coalesced into one. I’m looking forward to sharing this process more in 2024. If you’re interested you can contact me here gyimahd@cardiff.ac.uk
In 1985, a young multi-talented music producer released a track, made on a synthesiser called “19”. Synthesisers had been around since the 1960s, and in the 80s used in songs by soul band Zap. Paul Hardcastle mixed, sampled and created sounds on his synth much akin to, but not exactly like creating images in AI today. The synth was seen as avant garde back then and a creative boon for some, whilst resented by others in the industry. Today it’s integral to music production.
Thank you to Adrian, Michael, James and Daniel from the Channel 4 Board, and Jon, Pete and Craig from the British Screen Forum for hosting me.
Trailer for AI-factual film and background here
About the author
Dr David Dunkley Gyimah has more than thirty years working in Media, the creative industries, tech and academia. He’s based at the University of Cardiff. More on him here
