A Tech Leader Forewarns About the Susceptibility of the Film Industry to OpenAI’s Sora 2
In a recent briefing, a prominent technology executive underscored the potential vulnerabilities within the film industry due to OpenAI’s groundbreaking video-generation tool, Sora 2.
In the digital landscape of the past week—where online engagement is ubiquitous—viewers have undoubtedly encountered an array of unconventional short-form videos.
These clips range from a depiction of Stephen Hawking triumphantly besting two professional wrestlers to unlikely scenarios featuring Michael Jackson in a rap performance or SpongeBob SquarePants embroiled in dubious activities.
These creations stem from users experimenting with Sora 2, the latest iteration of OpenAI’s video-production model, which specializes in generating audio-visual content from textual commands.
Launched in the United States and Canada on September 30, Sora 2 rapidly constructs videos accompanied by synchronized dialogue, ambient soundscapes, and effects.
In addition to its video-generation capabilities, this innovative platform also functions as a social media app, currently accessible only through an invitation system. Naturally, some of its more outlandish outputs have already permeated the broader internet.
While the outputs are undeniably striking—if somewhat disconcerting—it remains evident that they are products of artificial intelligence.
As technology continues to advance at an astonishing rate, the delineation between generated content and reality may soon prove increasingly nebulous.
Félix Balmonet, CEO of the 3D modeling AI startup Chat3D, recently articulated concerns to UNILAD regarding the specific sectors that could face disruption as video generation technologies evolve.
In hindsight, the absence of robust AI regulations preceded the 2023 Hollywood strikes, instigating a renewed trepidation over the prospect of AI supplanting human actors, particularly in light of the rising profile of AI-generated personas like Tilly Norwood.
Reflecting on the prior Hollywood labor actions, Balmonet remarked, “Many were astonished by those strikes, as the available technologies appeared initially rudimentary. Consequently, numerous actors felt insulated from these developments, but their awareness has heightened.”
With the capabilities presented by Sora 2, Balmonet suggests that performers may again find themselves apprehensive about the implications of AI on their profession.
He elaborated, “An array of new agencies is contemplating the creation of proprietary models to license their likenesses to various brands.”
Nonetheless, considering the substantial backlash from high-profile actors, it appears that immediate apprehension from filmmakers may be limited.
Balmonet cautioned, however, that significant upheaval could loom on the horizon.
He articulated that the “most formidable threat” is likely directed at professionals involved in visual effects (VFX) production.
“The costs associated with VFX are exorbitant, and technologies such as Sora 2 drastically diminish these expenses to nearly negligible levels.”
Moreover, generating VFX in mere seconds enhances efficiency manifold.
Balmonet commented that the industry’s reaction to the rapid advancements in video generation will be “fascinating to observe.”
In regard to the 3D modeling sector, where Chat3D operates, Balmonet acknowledged a more nuanced landscape, stating, “Our vision is that AI cannot usurp the role of an artist; the artist remains vital to oversee AI outputs.”
He described AI as a “collaborator” in productivity, positing that while an individual artist might not be rendered obsolete by AI, a solitary artist could indeed be supplanted by a human wielding AI tools.
“That is the crux of the matter,” he concluded.
UNILAD has reached out to OpenAI for further insights.
Source link: Unilad.com.
