Thanks for attending this talk at Fantasy!
Here is the PDF take away:
Please feel free to reach out to me for feedback or with questions!
Creative, Technologist & Educator
Thanks for attending this talk at Fantasy!
Here is the PDF take away:
Please feel free to reach out to me for feedback or with questions!

An experiment in AI filmmaking to create the style and feel of a 1970’s gangster film, using off the shelf AI tooling.
With summertime comes time to play, and a backlog of experiments on my whiteboard. During the year, I see updates across the AI space, and with downtime, I set aside time to play.
This experiment was based on the discover of Runway’s GEN-2 AI model that creates video. I wanted to know if I could make a movie!
I’ve been a long time fan of Runway, using it since it’s first version, but this upgrade of the platform is something else. You can prompt shots. Yes, shots. Like from the movies.
So for example, I can prompt:
“In the style of a gangster film, 1970’s filmmaking, establishing shot los angeles, action film. Morning, sun comes up.
I will create it’s best “guess.” I can change things on the prompt and get specific on the time of day or the camera changes. It looks bad most of the time, but some of the outputs are amazing.
Every shot, in the movie above, was generated with a formulae using
1. Leonardo.ai to prompt the image generation model for Art Direction,
2. and then a systemic approach to shot development in Runway’s Gen-2.
I left a balance of shots in the edit. Some are amazing, and some are clearly generated. I deliberately wanted it to be generative for good or bad. The point was to see if it is possible.
Ultimately the technology is still early. But, man, is it coming quick!
So, here are a couple of notes going through the process of making a completely generative short film with Gen-2 from Runway, Leonardo.ai, and some geeky love of action movies.
(You should try it out for yourself)



Its hard to get a coherent story through random shots – you have to play this game with the AI, to figure out what the model can deliver. These image models can do individual medium close ups of humans. So, that’s the what you have to build.
This is why most of the AI filmmaking (to this point) has been single close up “trailer type” of content. You might have seen the Wes Anderson stuff, or the Harry Potter Balinciaga. Getting one shot to play cleanly to the next is a multi-faceted battle and the models struggle to do this.
I desperately wanted to do cars, action, shooting, doors opening… no one got shot in this film! So while close up of actors is cool, it’s limited and not “gangstery.”
I did try two things to try to pull something together.
I had difficulty figuring out the shots I wanted, so I went through a sort of “Art Direction phase.” Once I had a series of images that worked for each piece, I knew how to prompt for it. I also could use the image as a prompting reference in Runway.





Opening Day: Los Angeles, Palm Trees, Day, Cadillac, Downtown, 1970’s
The Deal: Interior of Man with Sunglasses, 1970’s architecture, Gangster
The Night time: Night, Palm Trees, Rodeo Drive, Hollywood
The woman: Interior Hollywood Bar, 1970’s, Beautiful Woman, Martini
the club owner: Interior Los Angeles, Black Club Owner, 1970’s
The fight: Man with Sunglasses, dramatic cinematic, gun fight, action, 1970’s
I have to reiterate the frustration I had trying to get any motion of a Cadillac driving down the 405. There just doesn’t seem to be shots of cars in motion, or the model can’t do it. I also found, most often, that the model can’t move the camera or change the framing. Great filmmaking has architected shots where the camera and subject move, and we can’t quite do that yet. It’s just actors sort of smooshing around.
Also, It’s PG Only – Words like “sexy,” “seductive,” “breasts” all trigger alarms. I’m sorry, I can’t make a gangster movie without naked women. So, I don’t what that means you, Gen-2 model people at Runway,
— I just want to call attention to it!
Runway Gen-1 didn’t hold attention like this model did. This upgrade is quite promising, and I eagerly want to see what the next one is like.
If I could do this exercise but actually be able to flip a van over, or actually stage a gun fight, or maintain a lead actor, maybe I could actually tell action driven gangster stories. Just by writing each shot.
That’s unbelievably amazing if that is true.
I am convinced it is coming. Thanks for reading. Let me know if you have any thoughts or feedback.

A gentle introduction to four categories of AI models, and some suggestions on how education should approach its arrival.
I’ve been doing computer graphics professionally for 25 years. I’ve never seen anything like generative artificial intelligence. Several years ago, on a motion capture stage, I saw the potential of real-time graphics and animation and was clobbered with the realization that AI would change everything.
This is a synopsis of a talk I gave to some students about the topic, and then, again, to animation and game development faculty. My interest here is to raise awareness.
This is intended for beginners with some understanding of computer graphics. It’s my hope today to give you an overview of four categories of AI that you should pay attention to, as it begins to permeate your life. At the end of this presentation, I give some thoughts on how education should adapt.
The six sections below are:
Below is a series of images that were created using AI. Most of these images were prompted, (which I will discuss below) and then generated by a clip diffusion model called Stable Diffusion.

Starting with image making and endless conversations with ChatGPT, AI has blended into almost all of my workflows. I’m now animating with it, writing with it, and in a constant experimentation cycle with it.
For example, I readily play with NERFs or Neural Field Radiance, which allow scanning full 3D objects for importing into the computer — with your phone! It’s amazing.
Here is a 3d NERF scan of my 7 year old’s Lego ATAT. Let it load – You can grab and rotate around it.
These kind of accessible software tools for creation will proliferate rapidly. The graph below from venture capitalist firm Andreessen Horwitz shows that the number of research papers with working code has skyrocketed. These research innovations, some included below, are becoming productized.
In short, computer graphics is becoming accessible to everyone.

Learning Goal: Understand how to build a Classifier.
Artificial Intelligence is a science that is several decades old. It is most likely that the architecture of the neural network, in addition to the creation of insanely vast amounts of internet data, has been the rocket fuel for the discipline to explode.
Neural networks can see and learn patterns.
When you unlock your phone with your face, it is a neural network that recognizes you. Neural networks are critical primitive for the generative artist to learn.


Above is a pixelated orc. Every pixel on this image has an x value and a y value, and it is either black or white. A pixel then, is just numbers. With these numbers put together with other pixels, we can create a pattern, like a simple 3×3 diagonal. A collection of this math that recognizes this pattern is attached to a “little activation unit.” These activation units fire when sensing simple patterns. These units are called “neurons.”
Neural networks are rowed collections of these neurons. A series of pattern activators spread over a series of layers. To build one is to “train” the neurons and “tune” the math between the layers. This is done by feeding it lots of data on the patterns you wish it to learn.
It is effectively a way for math to have memory.

Neural networks are widely used for object classification, image segmentation and all sorts of useful pattern recognition.
Demo: Build a Power Ranger Classifier
In the demonstration below, I show how machine learning can learn to recognize my five year old’s Power Ranger. After running the trained model, I show the two data sets: One with the Power Ranger, and the other without.
By learning the patterns of each of these datasets, we can recognize a Power Ranger.
Try Lobe yourself at Lobe.ai
Learning Goal: Understand how to prompt and tune generative image making models.
Have you used ChatGPT? How about Midjourney?
These are generative models. These models take input and generate an image or text. Eventually, this method will be used to create … well, potentially anything digital. This input is called “Prompting.” Prompting is a form of user intent, a sentence that represents what we hope the AI model will generate for us.
In this case, my prompt was for a painting of George Washington drinking a beer. I use references to artists to get it closer to my desired output. (I’ll leave the intellectual property discussion for another day.)

It’s not bad, huh? And it’s gettin’ pretty good. But, prompting has it’s limits.
I can’t make an image of me as Iron Man by just prompting alone. It doesn’t know what I look like. Which is why I need to tune a dataset on the images of me. This means creating a dataset of me, say 25 pictures or so, and then feeding it to the network so it learns to identify that pattern. (Me!) This can be a little challenging, but the tooling is getting better.


Once I’ve trained the model, however, I’m able to use it with any other prompt quite easily. And since clearly there is a real need to turn myself into a Pixar character, I can easily do that.
Learning to tune generative models is a fundamental skill for the generative artist.
A quick note on Latent Space …
Latent Space is a concept that helps me understand data sets as a giant universe of data. Each of these colored dots might represent a vector, or a specific category, of the dataset. Say “anime” or “science fiction,” or specific to the camera like “cinematic.”

The intersection of these vectors is what generates a unique seed of a pattern. This pattern is an absolutely new and unique generative image.
Demo: Image Making with Stable Diffusion.
As an animator, of course I am interested in robots. Giant robots. When I began using image generation models, I began prompting mechs and science fiction.

When I began, I used the image creation model, Disco Diffusion in Google collab notebooks. A year later, I am now creating more compelling imagery with the more robust and accessible, Stable Diffusion. By using the platform Leonardo.ai I can iterate far quicker than I ever did in the Google collabs.
This is evidence that coherence and fidelity of images will only accelerate with better models, tooling and workflow.

I recommend prompting images yourself with the Stable Diffusion platform Leonardo.ai.
Chat GPT, and similar models like Google Bard and called large language models. They are composed of a giant transformer. Not like Optimus Prime, but like a huge predictive network that chooses the next word in the sentence. You know how your email suggests a response? ChatGPT is the mega-mega version of that.
However, in addition to the transformer, it also learns to understand you. Natural language processing is a species of AI that learns how to understand the intent, or underlying meaning, of the sentence. The bigger and better the model, the better it “understands” you.

Large Language Models have the potential to be THE MOST disruptive technology of the bunch. Because they are text, they can increasingly understand and generate code, essays, books, scripts, emails, and spreadsheets. When they become what’s called “multi-modal” they will probably also generate films, games, animation curves and 3d assets.
If you haven’t already started using ChatGPT, I highly recommend you start. Learning to prompt LLM’s in your discipline and workflow will be critical.

In a recent interview, Sam Altman, the CEO of Open AI, foretold a vision of how companies with multimillion-dollar processing power will sit at the base of a new artificial intelligence software ecosystem. A gold rush of smaller companies, will use the APIs and “tune” these massive models to provide customizations for specialized markets.
These giant models are called “foundational models.”
We need to think of this disruption as a new operating system. The base of will be where custom datasets are tuned into it. Like I trained myself into the Iron Man picture, we all will train our custom data into a foundational model. Our decision, then, will be which one to use.
These large text models are currently owned by big companies like Open AI, Amazon, and Elon Musk’s new X.ai. The graphics models which contain imagery and animation data are also growing to robustness within the servers of Adobe and NVidia.

NOTE: Since giving this presentation, Stability.ai has gained massive traction on Git Hub, localizing Open Source alternatives. Should this decentralization continue, we may see a trend towards localized models instead of foundational models. It’s too early to tell, but indicative of a field that is moving at light speed.

So let’s review…
Neural networks are used for pattern recognition and prediction. Generative models query latent space to generate useable text, images, (and soon) may other things. LMMs are the real disruption of intelligence software.
Foundational models are the architectural base, that everything will be built from.
It will be up to us to tune our data sets, to fit our specific needs.
Wonder Dynamics Demo
The following is a demonstration of the cloud-based software, Wonder Dynamics. This is a promising workflow for the feature film or visual effects artist. You’ll hear that my five year old is just as impressed with the robots as I am.
Try Wonder Dynamics yourself by signing up for early access.
Education will need to adapt to be relevant in an AI world. Here are three suggestions.

Documentation
First, we must double down on documentation. I encourage students to use artificial intelligence, but they MUST document their process.
If they start passing off AI for their own work, that’s cheating. However, well documented work flow is just good practice. Learning documentation is important for them to internalize concepts like attribution, licensing and intellectual property.

Data Sets
We must learn to create our own protected datasets. We must also learn to be aware of terms of use. Using stolen data can lead to lawsuits and a variety of really bad outcomes.
My livelihood will be my animation curves. Your livelihood, be it concept artist, or writer, will be the information that you create to train your specific models for production.
Your AI data will need to reflect your work and style. And that data (and your individuality) will need to be protected.

Mind Set
We need to change our focus from localized applications and start thinking about the interoperable networked one. Software won’t be architected locally, but increasingly will be a series of trained datasets, most likely in the cloud.
When I speak with people about the future of artificial intelligence, and the concerns about automation, I’m often asked:
“What’s left for us to do?”
The only thing I’ve can come up with is creativity, ideas and community.
My hope is that if we stay true to these principles, we will maintain a human value in a world where our labor is automated.
(Fin)

Some great learning resources that really helped me out when I was first learning about AI.
This presentation and supporting materials are licensed under creative commons as an Attribution-NonCommercial-ShareAlike 4.0 International. (For more information: CC BY-NC-SA 4.0)

While watching academic (and non-technical) environments, I’m beginning to see that the pervasive instinct is to ban AI in writing and artwork curriculum. The argument is that students will use it to facilitate cheating, or it’s use will “cheapen” the learning of the artform.
But increasingly, I worry that this approach will not prepare the next generation for the true world they are about to enter. Can we open the debate in a way that best helps the students, and limits the potential for academic dishonesty?
I spent 20 years as a professional animator. My passion is both story but also the technical implementation of it’s use in real time technology. That is, I really love making characters move in video game worlds.
The satisfaction comes from the knowledge of complex systems, storytelling, and the final result of days and days of labor coming to fruition. I bring something that was seemly dead, to life. I do it, with an extraordinary amount of labor, skill, research, iteration… and often, the emotional pain of fighting my self doubt.

Above you can see a screen capture of my desktop. I am currently animating (experimenting) with the Unreal Engine’s “Manny”, in Autodesk Maya. That means I move and set the position of the arms by keying. Me, a human.
Since I derive so much personal value from the process, it was especially difficult for me to deal with the idea of automation, when I first discovered machine learning on a motion capture stage several years ago.
Machine learning is the term for a class of mathematical models within the field of Artificial Intelligence. They are having a sort-of “golden age” of development. Training a machine learning model to move a face of a character, or to automate the rigging of a digital skeleton can drastically reduce the labor involved (in some cases by a factor of 100).
As these models have matured, more and more of the pipeline is becoming automated. Below you can see one of the more impressive workflows called Learned Motion Matching. This alone, will drastically reduce the up-front creation time of video game character controllers.
Source: https://montreal.ubisoft.com/en/introducing-learned-motion-matching/
I remember a sleepless night where my stomach physically hurt as I came to the realization that AI had the potential to remove the need for animators themselves. (I wrote about it back then) I soon decided this was a problem that I needed to frame as Scottish philosopher David Hume articulates the “Is” vs. “Ought” problem.
I was resisting the understanding of artificial intelligence because I was clinging to what I thought ought to be. Artists ought to be the drivers of the labor. Creativity ought to be part of the emotional struggles of the individual. Not a data set. Right?
Only when I began to confront what AI is, was I able to begin to research and understand it.
This is where we are at.
AI is reaching a level of (highly) functional use for artist workflows in animation, music, editing, visual effects, illustration and many others. It’s being deployed in our software for everyday use. AI image making models are reaching critical mass now, because of the prolific sharing ability of the internet.
Because of the nature of our digital world — we have larger and larger datasets, and the training of models are becoming more accurate and robust.
Predictive systems will finish our work for us in the art we create, and it will understand not just how to animate, but our “intents” as the animator using it. We are at the cusp of creating a productivity boom unlike human kind has ever seen.



Some examples from this past summers experimentation with stable diffusion.
The challenge in the near future, is not with the mathematical models, or even the datasets that are being collected. These are nearing an astounding level of image fidelity. The challenge is the interface design and the UX — the accessibility to the non-coding masses.
Many, *many* software companies are rushing to create this accessibility through new interfaces, plug ins, and automated things we don’t even notice. “Old Guard,” like Adobe, are seeming to keep pace by buying up new talent. But there is a sizable crop of generative start ups who are targeting other graphics markets. The focus, driven by capitalist desire, is mass adoption. This leads to facilitation of use, and exponential data collection.
But capitalism isn’t the only driver. Stable Diffusion, a popular clip-diffusion image maker, released themselves open source. Within days, new innovations were in google collabs around the world. I suggest searching the #stablediffusion tag on twitter and marveling at an endless stream of un-bundled experimentation. The acceleration of AI is not just driving the market economy, it is inventing the distributed licensed one as well.
Students can actively choose a variety of new applications to automate the writing of their essays (or even the accompanying illustrations!)
Increasingly, that choice will be removed from them.
The way that email checks your spelling and updates as you’d write, our software will make intuitive predictions about what we’re creating. It will make predictions and create elements for us, all in real time. I expect it just to be the default in photoshop, visual studio, word, and many others. The AI will just be there.
AI is here. It can make renaissance paintings of power rangers.
It can not be avoided or banned.

Here are my three suggestions of how you, as a teacher, can integrate it into your classroom. But most of all, you should reinforce your human connection to your students.
Talk about it openly and honestly with your students. If you’re scared, tell them that you’re scared. If you are concerned about cheating or the way it’s being used — be honest about it. Be vulnerable about it.
Opening honest debate allows for the many, many shades of “grey area” that might happen should a student turn in work. Banning it is fine, but you need to be deliberate about it’s name and function.
You can’t say “no AI.”
You will need to be specific: “No Clip-diffusion enhancement for this exercise today.”
The debate needs to be open should issues arises regardless whether the student is intentionally cheating or the software has ambitiously finished it for them.

We need to have a common understanding about the the types of models. Artificial Intelligence is divided into classifications like neural networks, GANs, Language Models, Clip-Diffusion, etc. Students should understand the difference between what it means to train a neural network and how an agent is trained in reinforcement learning.
Different applications of machine learning and artificial intelligence will propagate into different verticals. Depending on what your subject matter, certain models and architectures will fit better than others. As an animator, my primary focus is motion models. Those might not be as interesting to a writer who is being rewritten with language models.
Students should have a sense about what AI is actually doing, not as some “magic thing” operating in the background. For each model, there are always a specific set of inputs and a resultant set of outputs. Even without a computer science or mathematics background, the classification of models is learnable at a simple level.
For help with this, I recommend Melanie Mitchell’s book : “Artificial intelligence: A guide to thinking humans” This high school level book clearly explains the categories of AI, and offers non-technical and direct explanations of the operations of them. (link to amazon is below)

The last thing is to approach your students with compassion. You must understand that these students are already interacting with extremely powerful algorithms. Their content stream from Tik Tok is being algorithmically constructed and tuned to their emotional impulses. They may think they are simply texting with friends, but they are already being gamed into large datasets.
These processes have been reinforced by their social networks amongst their friends. Understanding their position and their actions, may increasingly become more difficult.
To us, we will marvel as things start to be completed for us. For them, it will be normal. I think the youth should learn to count before getting a calculator, and I think the youth would appreciate concepts like voice models or latent space before they’re everywhere.
Clearly, I have a big concern about our adoption of artificial intelligence. I’ve accepted the technology will be here, just as electricity or the internet simply arrived. I hope we as teachers can openly learn to accept it’s presence in our curriculum. We should learn to use it, but speak openly about it’s ethics.
I hope you will take a moment to do your own research on this before coming to conclusions.
Regardless of whether this line of thinking is fantastical or 100% correct, I understand this to be a contentious issue. I welcome open debate, as we should all participate to figure this out together.
Thanks for Reading.
Reference:
Here is the link to Melanie Mitchell’s Artificial Intelligence: A Guide for Thinking Humans
I might also recommend:
Two Minute Papers: https://www.youtube.com/c/K%C3%A1rolyZsolnai
Superintelligence, by Nick Bostrom: https://www.powells.com/book/superintelligence-paths-dangers-strategies-9780199678112
Machine Learning for Art: https://ml4a.net/

Dalle2 is a generative image model by Open AI. It’s a transformative step in computer graphics.
Dalle2 is in it’s early invite stage, which means, (as of July 2022) I don’t have access. (Hurry up Open AI, please?) Powered by a need-to-understand these models, I soon stumbled upon a model called “Disco Diffusion.” While not of the same power of Dalle, DiscoDiffusion is indicative of the future of generative media. And enormously fun to play with as well. Everything here was created with this DiscoDiffusion Google Collab and a free account.
—-> (https://colab.research.google.com/github/alembics/disco-diffusion/blob/main/Disco_Diffusion.ipynb)

Like most things, I start by clearing my creative blocks with comics. So, to find my footing, I thought about trying to get an AI to generate it’s own comics.
Since the joke of a comic is somewhat separate from the art, I “prompted” new sentences with the AI powered InferKit. This led me iterate on the writing, until I felt the AI had the joke it wanted to tell.
I took the reponse prompt from Infer, and then I fed the prompts into a freely available model called Craiyon (previously Dalle-mini) – using other tags for cartoonists and comics to shape the image.
text_prompts = {
0: [
#Subject
"--- Output copied from InferKit sentence",
#Description
"two character","single panel", "cross hatching"
#Artist
"gary larson", "new yorker",]
}
The first few felt weird. However, liking the possibility, I experimented with a “publishable” version with the merge on photoshop. It felt more authentic, and put structure to the result.
I then tried the same exercise, but with Disco Diffusion. While the output turned more smushy, the options for experimentation within the collab notebook were numerous, and being open source, inspired a deeper dive. Soon, I think I had the knack of it.






While working, I set up another instance to do some landscape watercolors. I wandered through prompts of different places, like Savannah or Newport, but didn’t see much evidence of locations. I grew bored pretty quickly of it.




I decided to move into more concepting of science fiction. 1. Because, why not? and 2. I discovered Disco Diffusion has a PulpSciFi Data Set trained, which I switched to for a bit.
I experimented with key words like “Ralph McQuarrie” and “Star Wars.”
Finding other artists who are playing with the model online, I discovered the practice of “trending on art station.” It helped the results, however made me feel a little ill about the artists who are actually trending on artstation. It started to lead me to a recognizable paradigm and felt my prompts pulled into “cyberpunk” and “mech.”




I then found a really interesting breakthrough. I found someone who started listing camera lenses.
This inspired me to take the more conceptual ideas I was working with and make it more photographic. I chose prompts that focused on realism, with references like “NASA” or “Star Trek.” I also set detailed instructions for camera lenses, like “27mm” and “tilt shift.”


But eventually I wanted to create something… alien I guess.
I began to organize my prompts into sections, and mess with individual variables to get more of what I was looking to generate.





I experimented with a number of variants with lenses and lighting, and even trying to Tilt Shift. The best results, according to me, are above.
Most of the imagery you see came from what is becoming a bit of a “base prompt” for me:
"Mech Suit with military grade weapon systems in an alien world",
"Sci fi, Iron Man, technology, attack",
"photography",
"27mm",
I’ve only just begun to explore!
If you want to see some extrodinary work, you should consider joing the DD discord.
The implications of the democratization of AI art will be extraordinary. The architecture of CLIP and the diffusion models, the design process of prompt engineering, and the intellectual property implications are probably more than this blog post.
As I wrap my head around the use, I’ll update here.
As always, thanks for reading. Happy prompting!