“Sometimes I'm excited about the prospect,” Finnish producer Aleksi Hyvärinen said. “The next day, I thought, 'Wait, is that even a good factor?'”
Between optimism and uneasiness, this rigid attitude set the tone for a two-day workshop in this year’s Amman Global Film Pageant, where Hyvärinen hosted a conference called AI and Filmmaking: as part of the competition’s Amman Movie Days Business Days Business Days Program. Hyvärinen, co-founded Nordic Creative Studios with Alchemists, combine storytelling and AI to create “emotionally smart” content material for film, television and brand media, directed the workshop, which skipped coding and technical demonstrations, supporting a more meticulous goal: what it means to the development of AI, which means progressing storytelling.
“It turned into a two-day conversation,” Hyvärinen recalls. “We didn't sneak into the making of a movie or learning software program. It's not where the actual urgency lies. What individuals want is the field of context, grounding and repetition.”
Hyvärinen produced films like “The Twin”, “Bodom” and Netflix's “Keep Breathing: Ice Dive” and hosted relevant AI periods throughout Europe, as well as in Croatia, Cyprus, Finland, the Netherlands, the Netherlands and now Jordan.
Although each group brings a unique cultural background, the range of responses is surprisingly stable: “Some are able to dive. Some are completely skeptical. Most are like me: living in a grey area, just trying to determine it.”
But no matter the position, a takeaway keeps its face: “People leave and say, ‘I have to be mean to it.’ Whether they like AI or are worried about it, they know it won’t go away.”
Response to AI
This urgency resonates within the room.
“Before the workshop than the workshop, there is a moderate level of familiarity with AI instruments,” said Jordanian film producer Anwaar Anwaar al-Shawabkeh. “But these two days have actually changed my mind! After using Aleksi's instruments for the instrument, I feel it has become real and there is no way to stay away from it.”
What shocked her for a second: how casual people start calling AI “He”. “It made me copy how this knowledge develops, and our children even look at it in different ways. If we want this change, no one will.
Despite her expression of some moral concern, Al-Shawabkeh finally sees AI as a pure step later in the lack of clear phrases in the invention industry. “Just like the 50 years that have happened in purple-decorated rooms over the last 50 years, it will take hours to complete with a single click. I plan to leverage AI in my future work. With careful thinking and expertise, I think the creative process can be improved in an efficient way.”
Did her main gains for independent filmmakers? “Don't panic. AI is just a new tool. We have to discover the strengths and limitations of each tool in order to truly perceive its place in our work and come back on this planet.”
Mohammed Alqaq
Courtesy of Mohammed Alqaq by Aleksi Hyvärinen by Anwar al-Shawabkehke
How AI reshapes workflows
One of the main goals of the numerous workshops is to uncover how AI is certainly used in filmmaking and between the sharp lines between what is now available and keeping the hype.
In addition to the 4D Gaussian striptease, contributors have explored instruments like Google Veo and Google Stream, a surprisingly new technology that allows filmmakers to create 3D environments from only a few flat photos. “You might be able to shoot a simple 2D scene, then reframe, change the Digicam angle, zoom in. It becomes a full 3D model,” Hyvärinen explained.
However, it's not just a flashy thing. Part of the workshop on non-generated AI is that there are no tools to create new media, but it assists in setting up and speeds up the current workflow. Assuming that AI is used to videotape 300 hours of uncooked documentaries, it usually classifies conversations and scenes.
“It's usually missed in moral conversations,” he said. “Although non-generating AI instruments have no moral or copyright issues, they usually don't have the same weight or creative meaning as generated AI.”
Despite this, his life was like. Introductory jobs, such as assistant editors, may also be one of many first-time jobs to go. “It's not higher by nature, it's cheaper and earlier. That's usually how the world works.”
The inquiry about the author's identity also resonates with individuals, especially on management issues.
“Earlier than the seminar, I believe I rejected the idea or creativity of AI at all,” said Palestinian-Jordanian artist, performer and filmmaker Mohammed Alqaq. “I hope to use it only to save a lot of time, but not my creativity.”
But at the top of the two days, his position has hardly changed. “I still stick to this point, but I also revised it. I noticed that even in creative work, I could still be in management.”
Alqaq once again pushed to a participant who expressed concern about the capabilities of AI in filmmaking: “I find the conversation a little dramatic. Don't be afraid. It's an instrument, not a risk.”
Despite this, the problem persists. “I will continue to have problems with copyright, and I'll always have concerns: Will I actually have personal rights? Sooner or later, these tools will deceive me and say I'm going to pay a big sum to get them?”
His takeaway? “AI is just another instrument, assistant, I’ve always been a director.”
AI: Value computers when business faces price range limitations
When asked to his path between help and the author, Hyvärinen cites the citation of Finnish companion Katri Manninen, who compared AI with having human assistants in the Hollywood writer's room.
“If you score a credit score of this level of input, then AI shouldn’t do both,” he stressed. “You probably can’t get it over that line of invention.”
As mentioned, he usually uses it as a brainstorming companion. “It will surface soon. But when you dig, you will find that it's universal. No sound. No perspective. Telling a story is perspective.”
Hyvärinen is from Finland and is no stranger to funding restrictions. That's why he thinks independent filmmakers may essentially need to achieve the most, as long as they strategically formulate AI.
“We don't even have legends because we know we can't afford it,” he said. “Now? We may. We may not want $10 million. We may make money for $500,000, though.”
Will Hyvärinen's view on trade appear in 2029? He envisions a breakup: a high-end, hand-made movie on the finish, and the opposite quick turn, AI-enhanced content material, assuming a TV series or streaming sequence. “We might be in inexperienced display rooms, making environments, adjusting the angles of wardrobes, faces, conversations, and even digital cards. All of this is in post-production.”
Nevertheless, he believes that core creativity will remain human, emerge, route and story. “But what's left? Location reconnaissance, manufacturing design, and maybe even some modifications that will change.”
Although he compared this transformation with previous ones, such as digital photography, nonlinear modifications and the rise of networks, he has no illusions, which could be a clean experience.
“It would be partly good and partly painful. Just like the network in the 2000s or electricity in the early 1900s, we would guess a few problems, but we don't know what actually happened.”
