Research
The Black Cube Film Tech Monitor
AI is everywhere — or is it?
From assisted script development to audience data analysis, we are squeezing every drop of computational power out of LLMs and deep learning tools to unleash creativity and (mostly) cut budgets. The consensus is: “AI is a tool, we still need humans,” and ultimately, it’s all about storytelling. But off-stage, the jokes run wild and the laughter is muted by a thin layer of terror.
We remain unconvinced by the “AI is just a new tool” argument. So was photography. So was the internet. But these became entire cognitive and epistemological paradigms. We talk about internet culture all the time — so we must talk about AI culture: a hybrid space of knowledge production and exchange that is both algorithmic and emotional, both crafted and autonomous. We are the producers and the products of this culture. Are we coming to terms with it fast enough?
For those living in the world of moving images, this is changing things across the whole product lifecycle (more or less).
Creative Writing, Enhanced
Considering we use ChatGPT to write birthday wishes to our mothers, this was always going to be low-hanging fruit. AI-assisted script development platforms like Genario and Mugafi are ramping up their marketing efforts, and it's shaping up to be a very competitive space.
At their core, these platforms use generative models you could probably access independently. What they add is a user-friendly interface and templates that cut the BS out of endless iterations, edits, and rewrites — while also providing visual aids, tone checks, translations and pitch structures. Does this help more than a good mentor? We shall see.
On the plus side, they also offer access to large databases of films, letting users get inspired by, compare to, or adapt existing plots. This is a contentious space. Serious platforms respect copyright. But how do we expect them to be used in practice?
Blockchains for Good
New models of film financing are using decentralised architectures to bring audiences into funding decisions. No, we're not talking about Netflix tracking your binge-watching habits to craft the next drama based on your psychological profile. We're talking about community-based voting mechanisms running on blockchain, helping creators see how much their story resonates — and get funding and resources from the community in return.
Decentralized Pictures Foundation does this as a non-profit venture, explicitly aiming to disrupt traditional funding models that too often squeeze out independent productions. Filmmakers are already using token offerings and similar tools, and blockchain has touched other parts of the value chain (see FilmChain). But will blockchain also change for-profit financing models?
Your Films, Floating in the Clouds
Producers have a well-earned reputation for being resourceful, relentless, and patient — but in a world of tight budgets and oversupply, that’s not enough. The corporate world thrives on data analysis, project management, and risk assessment. If making a film is like running a company, why wouldn’t these tools apply to production?
Efficient cloud pipeline tools – like those we discussed in our launch issue with Christina Caspers-Römer at TRIXTER – are mostly the domain of large studios. But now Amazon Web Services (AWS) (thank you Katrina King) is demoing a new platform offering free and low-cost access that could be usable by small-scale productions. Will it truly be accessible and scalable in a sustainable way? Those of us building infrastructure for emerging filmmakers are watching closely.
Il Cielo in una Stanza — Literally
As much as we love the idea of a genius creating a full-length feature end-to-end on a laptop, virtual production studios are likely to become the home of high-quality AI filmmaking — for now.
Making this effort scalable and the infrastructure modular, as companies like ReadySet Studios are doing, could be a game-changer — especially for allowing independent artists to experiment without mortgaging their homes.
Besides the tools, however, we need the people to operate them. The VFX world has the skills, the competence, and the tools. The overlaps are many. Will they become the frontrunners of AI filmmaking?
Virtual Reality Entering the Mainstream
For the first time in the festival’s history, VR and XR works entered the official competition — many of them showcased in a venue that was nearly sold out (every day). Whether this means more works in the medium will appear in our cities is unclear, but the endorsement of the world’s top film market ensures we’ll see more of the companies behind these tools at future festivals.
So, watch this space.
Ultimately, It’s All About Data
There must be some upside to living in a world of constant information overload and intrusive monitoring of our lives, right?
Well — data, I guess. Loads of it. Sophisticated and relatively opaque architectures underpin proprietary models that have been built to inform a variety of decisions — whether it’s for project development, talent identification, rights management, or sales forecasting. The clear direction is more integration.
Tools like Cinelytic, Inc (and linked companies Callaia, ScriptSense, and RightsTrade) and Largo are promising increasingly precise and comprehensive insights that help filmmakers and producers predict the success of a release. Platforms like BetaSeries also add a layer of human assessment through their loyal community of series watchers and raters.
But questions remain: Are we focusing too much on analytics tools and not enough on sources? What more can we do to collect data which is both high-quality and offered with enthusiastic consent?
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Congrats if you got to this point. It may seem like a lot, but in truth, there was much more in the air at the festival that didn’t get explored in depth — from micro-dramas to endless games, smart contact lenses to entertainment applications of brain-computer interfaces. Follow us for more.
We shall keep learning,
The Black Cube team