Small, AI-native companies operating automated pipelines have the potential to develop original intellectual property, while established studios can maintain their competitive edge through existing franchises, production infrastructure, talent rosters, and distribution networks. This was the central thesis presented by VFX veteran Hong Jae Cheol during a session at the InnoAsia AI Creators Camp on Sunday at the Busan International Film Festival’s Asian Contents & Film Market.
Hong, who serves as a producer-director at Viscode and launched his career at Industrial Light & Magic, worked on major blockbusters including “Iron Man,” “Transformers,” and “Pirates of the Caribbean.” He emphasized that the industry is transitioning from utilizing AI to generate isolated images to integrating it into comprehensive production workflows.
According to Hong, AI is fundamentally altering production models, though traditional visual effects remain crucial for rendering generated material viable for the screen. He portrayed the future as a hybrid ecosystem characterized by partnership between artificial intelligence and human creativity, rather than a complete replacement of incumbent studios.
Hong contrasted conventional live-action and VFX processes—which rely heavily on 3D assets, animation, rendering, and compositing—with AI-assisted approaches. In the latter model, actors perform on controlled sets while AI generates environments and visual elements, with VFX artists responsible for tracking, integration, and final finishing. He also highlighted current AI applications across various stages of filmmaking, including rotoscoping, cleanup, previs, character design, camera tests, and environment creation.
Mark Wachholz, chief creative director of Berlin-based Dreamkite Studios, offered a creative perspective on the shift. His AI films, “The Cinema That Never Was” and “Céremony,” have won top honors at AI film festivals. Wachholz described AI co-creation as an invitation to relinquish some control and embrace surprise, framing the process as “exploring instead of controlling” and “finding instead of knowing.” He argued that new tools demand new ways of thinking rather than simply applying old methods to novel technology.
Director Ahn Jaehong of Climax Studio, who turned to AI filmmaking after arm injuries ended his work behind the camera, addressed the practicalities of directing and production. He outlined a workflow progressing from prompts and camera information to scene context, shot lists, storyboards, character and prop sheets, locations, and keyframes. The sequence reinforced a point shared by all speakers: while AI can assist across multiple stages, filmmakers must still shape the story, visual design, and final outcome.
Summing up the distinction, Hong stated, “AI is just a tool; film is a sequence.” The discussion focused on how that tool might become part of a connected filmmaking process, with human direction and VFX expertise still determining how its images fit together.
‘Film is a sequence.’ Such a simple reminder. Tech won’t save a bad story, no matter how pretty the AI backgrounds look.
The emphasis on relinquishing control is refreshing. It reminds me of early digital photography—artists had to relearn how to compose entirely.
I’m curious about the workflow timeline. Can small AI-native teams really compete with established studios on original IP without huge marketing budgets?
Wait, so traditional VFX artists are now just ‘finishers’ for AI output? That sounds like a massive devaluation of our craft. Who is actually in control now?
Finally someone says it clearly. AI won’t replace us; it will just change the tools we use daily. The hybrid model is the only realistic future here.