Transfer Ya Body and Luz Director Interview

Artificial intelligence has become some Bogeyman in film discussions, as many have increased its impact on the film industry and the possibility of AI Tawylidi to clarify real human art. However, not all artificial intelligence is generated, and the technology of machine learning soon has become a vital tool for many filmmakers to achieve their visions.

At Indiewire Studio in Sundance on January 24, Dropbox conducted a panel conversation called “How to expand technology lens categorical stories” to discuss how technology and AI can open new ways to tell directors’ stories. Modrator Effie Brown spoke to the teams behind “Move Ya Body: The Birth of House” and “LUZ”, both of whom were first shown at the Park City Festival, Utah. The ceremony was attended by the elegance of Praton and Chester Algrenal Gordon, director and producer of “Move Ya Body”, as well as Flura Lao and YVette Tang, director and producer of “Luz”.

“Move Ya Body”, Braton III’s feature film, is a documentary that tracks the origins of home music type from the 1979 Disco demolition night to its outbreak as a major type in the late eighties, with a particular focus on the early Vince pioneer in Vince Lawrence. Speaking of the process of obtaining the film, Praton said he used artificial intelligence as a way to analyze his text to determine the main topics, and to drip it in a way that was easy to apply for financiers and studios he did by presenting a very personal work.

“It also helps me to understand, and takes an objective distance from what I am as well,” said Braton. “Because this device is just what tells me what it takes.

Speaking of the concerns that many are exposed to how artificial intelligence grows steadily in the film industry, Praton said he understood the fears of those who rejects, and said that all technology needs to deal with some anxiety and criticism. However, he said that as long as TEC and AI can be used as a tool rather than an alternative to human workers, it opens ways to improve the filmmaking process.

“I don’t think the computer can do what I can do,” said Braton. “That is why, I know that the computer can help me do what I do better.”

LAU agreed with Bratton’s Point, as it offered how previous sabotage technology has been dealt with in the past. She said that the discussions should take place on the moral use of Amnesty International as they are adopted on a wider scale in filmmaking circles.

“The tool itself is not a positive or negative thing, it is neutral, so it depends on how we use it,” said Lao. “The more people who participate in discussing how it should grow, the better.”

The story of two people living in Chungzheng are a connection in the VR space, which is widely used “LUZ”, the real virtual reality technique in the novel novel. When talking about how to integrate technology into the movie, Tang described the process very challenges, as they had to create games designs, environmental designs and characters designs for each sequence. After a year or so to work on this aspect of the movie, Lao eventually became unhappy with their current work and said, “Burning everything”, starting work on the VR sequence from the zero point.

“It was a good thing. Everything is for the better,” Tang. “Because we return to something simpler, purer. If you have an opportunity to watch the movie later, you will see (LAU) use a very composed and double style to express the VR world that actually reflects how in real life, virtual reality is a very clear line. So this type of The presidency is better with our messages.

Watch a video with the most prominent Braun conversation with the difference behind “Move Ya Body” and “Luz” above.