{"id":149550,"date":"2023-09-04T20:17:56","date_gmt":"2023-09-04T14:47:56","guid":{"rendered":"https:\/\/dripp.zone\/news\/?p=149550"},"modified":"2023-09-04T20:17:56","modified_gmt":"2023-09-04T14:47:56","slug":"the-indie-film-studio-pioneering-ai-powered-synth-assisted-production-crypto-news","status":"publish","type":"post","link":"https:\/\/dripp.zone\/news\/the-indie-film-studio-pioneering-ai-powered-synth-assisted-production-crypto-news\/","title":{"rendered":"The Indie Film Studio Pioneering AI-Powered ‘Synth-Assisted Production’ – Crypto News"},"content":{"rendered":"

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The film industry is currently abuzz with the implications of artificial intelligence, with filmmakers predicting the advent of AI-generated movies<\/a> while actors and writers voice fears that the technology threatens their jobs<\/a>.<\/p>\n

Into the midst of this tumult comes \u201csynth-assisted production\u201d studio Pigeon Shrine<\/a>, which uses AI tools and other technologies to streamline workflows. This, the company says, allows it \u201cto channel all of our energy towards the creative aspects of production that demand unique expertise.\u201d<\/p>\n

\u201cI like to think we’re presenting a genuine alternative to major studios,\u201d Pigeon Shrine CEO Tom Paton said in a panel discussion at British horror film festival FrightFest. \u201cI don’t like how the major studios run; I don’t like how they treat independent filmmakers and actors\u2014and especially I don’t like how they treat the effects artists. And I decided to do something about it.\u201d<\/p>\n

The company\u2019s novel approach is to effectively turn the film production schedule on its head. Conventional effects-heavy feature films start with pre-visualisation of VFX sequences, then shoot live-action footage, and then finish off the visual effects in post production\u2014leading to VFX artists complaining<\/a> of being overworked during the \u201ccrunch\u201d period as they rush to finish the film in time for its release date.<\/p>\n

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Pigeon Shrine CEO Tom Paton and creative director Nicole Bartlett on stage at FrightFest. Image: Decrypt<\/figcaption><\/figure>\n

Pigeon Shrine has pioneered a novel workflow using AI tools\u2014the aforementioned process it refers to as “synth-assisted production.”<\/p>\n

“We use AI to create a different workflow for a visualization period that is then coupled with AI powered virtual production,” Paton told Decrypt <\/i>via email. That, he said, allows the company to create a “post-first” approach to production, with actors coming in towards the end of the process.<\/p>\n

Speaking at FrightFest, Paton explained that the process enables the company to \u201cstack\u201d productions, with multiple films being worked on simultaneously. “The VFX work is being done upfront,” he said, “which in turn reduces the ‘crunch’ and means your VFX guys aren’t overworked and underpaid.”<\/p>\n

The process creates a \u201chealthier, fairer and more productive environment for everyone from the creatives, the actors, right the way to the foot assistants,\u201d he claimed.<\/p>\n

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Pigeon Shrine’s novel production pipeline in action. Image: Pigeon Shrine<\/figcaption><\/figure>\n

With screenwriters and actors<\/a> at loggerheads with studios over the use of AI in productions, and artists up in arms<\/a> over AI models trained on their work, it\u2019s fair to say that artificial intelligence remains a contentious issue for the film industry.<\/p>\n

In what\u2019s likely to prove a controversial move, Pigeon Shrine has embraced generative AI for voice acting, with a “Virtual Tableread” podcast<\/a> featuring AI-synthesized voices reading scripts.<\/p>\n

\u201cIt sets the bar for what generative content should sound like,\u201d said Paton, \u201cso if you\u2019re someone who wants to try and take people\u2019s jobs away, now you\u2019re going to get compared to stuff that has a higher standard and you\u2019ll be forced into creating jobs.\u201d Left unsaid is the implication that those newly created jobs will be on the post-production side, rather than acting roles.<\/p>\n

Paton went to pains to stress that Pigeon Shrine\u2019s AI film production tools are trained on \u201cstuff that we’ve got the rights to, on our own content.\u201d He added that, \u201cJust to be clear, they are not generative. I think that\u2019s the big concern that people have got, that we\u2019ve got some sort of magic button that you press. There\u2019s a dedicated team of people that\u2019s 14 strong, working around the clock, and when we do our shoots that expands outwards.\u201d<\/p>\n

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Pigeon Shrine’s podcasts use AI-generated voice performances. Image: Pigeon Shrine<\/figcaption><\/figure>\n

Building on that theme, Paton claimed that Pigeon Shrine is creating jobs in the film industry, rather than threatening them. \u201cEvery time we do something that uses AI, we have to sit down and ask ourselves, \u2018If somebody loses a job for this, how many jobs are created for them?\u2019\u201d Paton said.<\/p>\n

If the headcount of workers on a film has fallen from 100 to 20 because of AI tools, he said, \u201crather than going, ‘Let’s just make that one film and get rid of everybody else,’ instead, we built a workflow that let us basically vertical farm films.\u201d With multiple films being worked on simultaneously, he claimed, \u201ceverybody’s got a job still, because they’re all working on their own thing.\u201d<\/p>\n

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Behind the scenes. Image: Pigeon Shrine<\/figcaption><\/figure>\n

\u201cBy doing this method, you\u2019ve now got five budgets to play with,\u201d he said. \u201cSo a smaller crew, but the same budget that you\u2019d have on one film. Everybody\u2019s being wildly overpaid on purpose, because now you\u2019ve all got jobs, and now you\u2019re all getting a fair share of that budgetary pie.\u201d That, he hopes, will force the industry to shift away from a culture where \u201cwe all just accept that we\u2019re going to work 128 hours this week.\u201d<\/p>\n

\u201cFor 100 years of our industry, we\u2019ve had new technology come along and we try to graft it onto an existing workflow,\u201d said Paton\u2014a process that, he explained, drives production costs up. \u201cI saw a path to go, \u2018Well, we could actually change the workflow here,\u2019\u201d he said. \u201cMake films that have that sense of scale, and do it for indie budgets\u2014and basically be able to do those dream projects that I’ve always wanted to do.\u201d<\/p>\n

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The film industry is currently abuzz with the implications of artificial intelligence, with filmmakers predicting the advent of AI-generated movies while actors and writers voice fears that the technology threatens their jobs. Into the midst of this tumult comes \u201csynth-assisted production\u201d studio Pigeon Shrine, which uses AI tools and other technologies to streamline workflows. This, […]<\/p>\n","protected":false},"author":2,"featured_media":149551,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5],"tags":[230,225,221,227,226,228,229,60,223,224,222],"class_list":["post-149550","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-cryptocurrency","tag-brave","tag-coinbase","tag-crypto","tag-decentralised","tag-decentralized","tag-decentralized-exchange","tag-erc-20","tag-featured","tag-meme-coin","tag-robinhood","tag-solana"],"_links":{"self":[{"href":"https:\/\/dripp.zone\/news\/wp-json\/wp\/v2\/posts\/149550","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/dripp.zone\/news\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/dripp.zone\/news\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/dripp.zone\/news\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/dripp.zone\/news\/wp-json\/wp\/v2\/comments?post=149550"}],"version-history":[{"count":2,"href":"https:\/\/dripp.zone\/news\/wp-json\/wp\/v2\/posts\/149550\/revisions"}],"predecessor-version":[{"id":149553,"href":"https:\/\/dripp.zone\/news\/wp-json\/wp\/v2\/posts\/149550\/revisions\/149553"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/dripp.zone\/news\/wp-json\/wp\/v2\/media\/149551"}],"wp:attachment":[{"href":"https:\/\/dripp.zone\/news\/wp-json\/wp\/v2\/media?parent=149550"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/dripp.zone\/news\/wp-json\/wp\/v2\/categories?post=149550"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/dripp.zone\/news\/wp-json\/wp\/v2\/tags?post=149550"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}