If you're impressed by the recent spate of text-to-image generators, get ready for the next step in AI artistry: text-to-video. While the huge compute costs and scarcity of text-to-video datasets have stunted the technique's growth, recent research has brought the promise closer to reality. A computer artist called Glenn Marshall has given a glimpse at the potential. The Belfast-based composer recently won the Jury Award at the Cannes Short Film Festival for his AI film The Crow. Marshall had previously earned plaudits for an AI-generated Daft Punk video, but he applied a different approach to The Crow.

I have been both a filmmaker and jewelry designer for over two decades. My NFT collection -Infinite Insomnia- involves collaborating with Ai entities to create never-before-seen experimental films as fine art. This is done by devoting meticulous hours working with the Ai to generate scenes and sounds, which are then woven together in a traditional fashion to tell the desired story. The post production in my workflow is identical to that of my IRL film works (editing, sound design, color timing). The front end is also very similar with the story development, writing, and planning phases.

We may be advancing into a new age of artificial intelligence, but humans have been dreaming about the possibilities of AI for far longer. It was almost 100 years ago when an AI first appeared on the silver screen, and the technology's prevalence has only grown since then. These AI characters vary from big to small, from good to evil, and from anthropomorphic to robotic, but what's really incredible is that these non-human characters were, from the start, always portrayed as individual nuanced personalities in their own right. The relationship between humans and AI in the movies is often complicated, much like it is in reality. Throughout the years, we've seen film representations of AI that range from benevolent companions seeking to help their human counterparts to hostile machines bent on the total destruction of humankind.