This is the best summary I could come up with:

As animators and effects coordinators explained one after another, procedural generation was core to the process, simulating and parameterizing the flames or waves or vapors that made up dozens of characters.

But as the presentations made clear, although they relied heavily on sims and sophisticated material shaders to create the desired effects, the artistic team and process were deeply intertwined with the engineering side.

Later, other members of the animation and design teams explained how they used procedural, generative, or style transfer tools to do things like recolor a landscape to fit an artist’s palette or mood board, or fill in city blocks with unique buildings mutated from “hero” hand-drawn ones.

I heard a similar note from Martine Bertrand, Senior AI Researcher at DNEG, the VFX and post-production outfit that most recently animated the excellent and visually stunning Nimona.

In fact new levels of collaboration and interactivity are being achieved in early creative work like pre-visualization, as one talk by Sokrispy CEO Sam Wickert explained.

If AI can be harnessed to enhance or streamline the creative process, such as by reducing time spent on repetitive tasks or enabling creators with smaller teams or budgets to match their better-resourced peers, it could be transformative.

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