Eliza McNitt is no stranger to new media. Her 2017 project, The stars of the fistin virtual reality, fascinates the birth of stars, and her follow-up ball Exploring the death of black holes and stars. Now with her short film ancestorMcNitt borrowed Google’s AI tools to tell a profound personal story. Working with Google DeepMind and director Darren Aronofsky’s studio Primitive Soup, McNitt uses a combination of live-action lenses and AI-generated media to tell the story of her own traumatic birth.
The result is an incredibly dramatic short film, with real emotions in live-action performances fighting the artificial intelligence once again. The film begins with the main character (Audrey Corsa, who plays McNitt’s mother) a regular Natal nursing appointment turns into an emergency delivery. From then on, we hear the way she connects with her children and all living things in the universe, evoking the poetic nature of Terrence Malick’s film. We jumped between Corsa’s performances, AI lenses, and macro and micro photography. Finally, CORSA has a baby inserted by Google AI, using tips to make it look like McNitt as a baby.
There is no imminent shadow of Google AI ambitions. It’s more than just an art movie – it’s an attempt to use AI tools through McNitt’s voice. This remains a problem when Google’s models, including other technologies from DeepMind, are trained on pre-existing content and copyrighted works. The prestigious brevity of Darren Aronofsky’s production studio is not enough to eliminate this original sin.
“I challenged an idea that could be incorporated into AI,” McNitt said in an interview on the Engadget Podcast. “So, for me, I wanted to tell a very deep personal story in a way that I could not have done before… AI does provide this opportunity to access these worlds that the camera can’t walk through, from the universe to the inner world inside the mother’s womb.”
When it comes to the rationality of using AI tools, it can be described as plagiarism at present, McNitt said that this is a decision that every artist must make for themselves. in the case of ancestorshe wanted to use AI to do hard work, such as creating a baby that looks like her computer based on photos taken by her father. She found that it was more moral than bringing a real newborn, and the result was more convincing than the doll or animations that CG artists had animated.
“I feel that using this story is really important, and I think every artist can decide how to use these tools and define that,” she said. “In this project, this is something else for me, I have to define a very strong boundary, I don’t want actors to be AI actors, [they] Must be human. I don’t feel like it is possible to recreate the performance through the machine. I firmly believe that humans can only be captured through humans. So I do think it is very important to put humanity in the center of the story. ”
To do this, McNitt ancestor. There are concerns that AI video tools will let anyone plug in some tips and build projects with inefficient video recordings, but McNett said she worked closely with a team of Deepmind Engineers who crafted the tips and sifted the results to find the shots they needed. (We’ve run out of time before we can ask her about the environment using Generative AI, but at this point we know that this requires a lot of electricity and water. This includes the need for training models and running them in the cloud.)
“I do think, [generative AI] “Continuously evolving, companies do not adopt copyrighted materials, respect artists and set these boundaries so that artists do not take advantage of the artists,” McNitt said. McNitt was asked about her idea of future AI models to compensate artists rather than based on frightened copyrighted works, which I think is a big part of our role moving forward. Because in the end, these are human stories of other humans. So you know this is our center. ”
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