swlabr

Ah yes show me a senior engineer that writes tests for their intern’s code. So productive. Much ROI

Fractal sneer!!! I’m spinning out reading this. Every fucking pixel of this is cursed

If only!

tbh I've always read OFC as just "OF Course". Dunno why I never thought there'd be fucking in there.

as has been said since time immemorial, lurk moar

Cars looks better than any AI slop, tho that’s a low bar.

Studio executives, the people who seek to monetise every aspect of creativity, as if they cannot appreciate or see the intangible value of art that is uncorrupted by commerce? Hard to say if they have aphantasia. No way to tell

Also: if it were possible to create a shot for much cheaper, what is the point of a studio?

My understanding is that you never make a movie with your own money because A. it’s expensive and B. you will probably make a loss, so you go to studios to try sell the film. They also understand A. and B., but they can use that as leverage against you for owning various rights of your production, in case it goes well, and otherwise to tie you down with contracts so they can force you to do their bidding. Making film production cheaper weakens the power of studios- the only card they’ll have to play is distribution, which is dying anyway thanks to the streaming ghouls.

stop it, get some help.pdf

Agree 1000%. I don’t want to read into Johnson’s comments (not enough context from the article). That being said, he is only about two degrees separated from TESCREAL: the wife of his frequent collaborator JGL is Tasha McCauley, a former board member of OpenAI. JGL himself has spoken at EA events, and is reportedly directing an “AI thriller” for Johnson’s production company. My guess is that he isn’t surrounded by AI-critical people, which sucks, and would explain the lack of acknowledgement of the slop vortex on his part.

Followup to this bit of news: 'Natasha Lyonne addresses backlash to her AI "hybrid" movie'

Link to interview: (variety) (archive)

relevant section from interview:

As the second season of “Poker Face” trickles out, Lyonne is shifting her focus to another project: her feature directorial debut, which she wrote with Brit Marling. Titled “Uncanny Valley,” the movie follows a teenage girl whose grip on the real world unravels when she is consumed by a popular augmented reality video game. The project will blend traditional filmmaking with AI, courtesy of what she describes as an “ethical” model trained only on copyright-cleared data.

“It’s all about protecting artists and confronting this oncoming wave,” says Lyonne, emphasizing that it is not a “generative AI movie” but uses tools for things like set extensions.

When the film was announced in April, many on the internet did not see it that way.

“It’s comedic that people misunderstand headlines so readily because of our bizarro culture of not having reading comprehension,” says Lyonne. “Suddenly I became some weird Darth Vader character or something. That’s crazy talk, but God bless!”

“I’ve never been inside of one of those before,” Lyonne says of the vortex of backlash. “It’s scary in there, if anyone’s wondering. It’s not fun when people say not nice things to you. It grows you up a bit.”

She looks at Johnson, who, in 2017, felt the wrath of “Star Wars” fanboys when he subverted expectations on the critically acclaimed, yet divisive “Last Jedi.” His advice: shut off the noise and just make things. In a social media era where film and TV projects are judged before they’re even made, “any great art, during the process of making it, is going to seem like a terrible idea that will never work,” he says. “Anything great is created in a bubble. If it weren’t, it would never make it past the gestation period.”