Has Hollywood reached Peak AI Paranoia? This awards season was before Carla Sofia Gascon’s tweets about George Floyd and Islam became a surprise focus, and Oscar’s fuss was in fine-tuning Emilia Perez’s audio performance for Gascon’s song I was focused on using artificial intelligence. Improve the pronunciation of Brutalist Adrian Brody and Felicity Jones’ Hungarian language dialogue.
The toxicity of AI’s repulsion against such minor and technical applications has been used in both cases with full participation and approval of the artists involved, but within the film industry and within the general public, AI is indicates that it is widely recognized. A threat to work and artistic integrity. The AI Zero Tolerance Policy has become fashionable for celebrities, with warnings from Robert Downey Jr., Glenn Close and Hank Azaria. The distributor is working on slap the “AI No AI” label in the film, which amounts to assurances of technology and ethical behavior that “the animals were harmed.” The credibility of “man-made” in Adam Elliot’s fun clay quality feature of “Adam Elliot”‘s fun clay quality feature never fails to get cheers .
But behind the scenes, things may be changing, and the fear and disgust of AI in the industry is beginning to turn into something more positive and optimistic.
“We’re committed to providing a range of services to our customers,” said Scott Mann, co-founder and co-CEO of LA-based AI. A company specializing in dubbing foreign languages. “But people are scared to talk about what happened to the brutals.”
Flawless worked with German director Tom Tykwer, the opening night film for the 75th Berlin, to create an English version of the film using “immersive dubbing” AI technology. While Berlin viewers will see “the original German version as intended,” Mann says, North American buyers in Berlin’s European film market have the option of the perfect AI dubbed version. The perfect XYZ and XYZ films earn the rights covered in English and offer it to buyers in the European film market in Berlin. (Beta Cinema sells international rights to Hikari.)
Lars Eidinger from “The Light”
Das Licht/Foto’s Lars Eidinger: Frédéric Batier, X Filme Creative Pool
In traditional dubbing, the dialog must be modified in the translated script to match the original lip movement. Perfect ‘AI Tech adjusts the lip movement of the original actor’s performance to be synchronized with dubbing dialogue recorded in another language by the original actor or performer in a native language. It uses recordings of the actor’s performance and uses Gascon’s “higher notes, for example, or Emilia Perez” used by the brutalist of the Ukrainian AI group Respie representative, which allows Brody to hit his tongue. It is different from the “voice cloning” technique. Hungarian ő.
Flawless is pitching its technology as a way to boost global audiences of international films, especially those that have less appeal to hardcore. Indie producer/distributor XYZ Films (The Raid, BlackBerry) is planning a slate of domestic releases of the perfect dubbed foreign titles starting with Swedish sci-fi thriller (aka UFO Sweden) and French comedy comedy comedy sliller Vincent , including death, Korean action hit smugglers.
“Filmmakers are excited because it means their films didn’t get a US theatrical release and it’s going to be more widely seen,” Mann says.
As Mann is eager to point out, the perfect one is doing business with Sag-AFTRA so that the use of its technology matches the guild. In a speech to Davos on January 21, SAG-AFTRA chief negotiator Duncan Crabtree-Areland checked the company as an example of AI designed “to help human creativity, rather than replacing it.” .
“We’ve got a lot of effort into Netflix’s dubbing producer, David McClafferty said: “Studio transparency, talent, as well as transparency with the audience (essential). Audiences are not stupid! Studios are short-term false experiments, or talent, partners that lead to future restrictions and regulations. , you can choose between transparency with your audience and long-term trust and success.”
Outside of the US and in the low budget indie world, AI Tech is easily accepted as a cheaper, cheaper and easy way to adapt to international markets.
Fabián Forte’s Argentinean horror fantasy film The Witch Game used AI tools to recreate the Spanish performances of original English actors for releases in the US and UK. Putin is a political biopic of Polish director Besalel’s Vladimir Putin, who uses AI Tech to recreate the face of Vladimir Putin in the body of an actor with similar builds to the Russian leader. I did. The film was a powerful seller of the German costume Kinostar, who signed deals in over 60 countries.
‘Putin’
©Besaleel
“Overall, buyers have been proactive in responding to Putin’s AI aspects,” Kinostal Managing Director Michael Rosch tells THR. “When we first released the trailer, many were surprised at how closely President Putin in the film was to the real Putin. This was definitely a selling point for us.”
AI has already become the standard tool to help dub and subtitle films and series, especially in the massive indie and genre markets. Boom in Demand has led to the new cottage industry for sync companies like DeepDub, Dubformer, ElevenLabs, Papercup, and other unison companies, all using different versions of translation and dubbing tools that are all very similar.
There remains a legitimate concern that such mass AI adoption means unemployment and more general content.
“Leaving their own devices, the top admins can implement AI for dubbing from top to bottom and get the chance with the inevitable pushback. Netflix’s International from 2017 to 2020 Debra Chin, director of dubbing, said:
“I believe in an industry with ethical AI along with talent,” says McClafferty. “Localization is peanuts compared to the wider industry, but localization is at the tip of this technology’s spear, and unions may use localization as a pioneer in the way studios try to implement the entire AI technology. .”
In this era of creative and financial crisis in the indie film industry, many are beginning to see different possibilities. If implemented carefully, AI can be a catalyst for creativity rather than a threat to it.
“Combined with the current pain in the industry, the fear of AI is a real problem,” Mann says. “The best thing our industry has done so far is when it’s time to embrace technology responsibly. AI needs to be consent driven, copyrighted and artist-focused. There is, so creators can do more, take risks, and regain originality. It’s time to not only make AI the villain, but also have more subtle conversations.”
