Generative AI, interactivity and new platforms

March 26, 2025

The question of the use of artificial intelligence in audiovisual production raises passions.

On the one hand, some users sing their praises, explaining how new services like ChatGPT, Midjourney and Runway enable content that would not have been possible in the past. On the other, critics raise the economic, ethical and ecological issues associated with the use of these new technologies.

To explore the subject further, Xn Québec and the Academy of Canadian Cinema & Television have organized a joint event entitled L’audiovisuel réinventé: IA générative, interactivité et nouvelles plateformes (Audiovisual reinvented: generative AI, interactivity and new platforms).

Opportunities and challenges of using AI in media production

Hosted by Sarah Mackenzie, the event featured a panel discussion on stage with artist Sandra Rodriguez, journalist Chloé Sondervorst and entrepreneur Harold Dumur.

In her first speech, Sandra Rodriguez noted that copyrights are not always well respected by providers of generative AI services. By way of example, the creator of CHOM5KY vs CHOMSKY notes the “Pixar” mode found on various platforms. Needless to say, Disney has not given its approval for copying the style of its 3D animation division. However, if it’s possible to reproduce this aesthetic so well, it’s because the generative AI has most likely been trained on pirated content.

She also mentions that AI is being used by some companies to reduce their employees’ salaries. In response to Jean-François Larouche, Director of Interactive at Moment Factory, who said earlier today that we shouldn’t bury our heads in the sand when it comes to the existence of generative AI, Chloé Sondervorst shared this image generated via the Canadian platform ideogram.ia:

She accompanied this illustration with a list of distinctive ostrich attributes, as identified by ChatGPT :

Through this exercise, the Radio-Canada journalist and director wanted to express that there are also benefits to using critical judgment when it comes to the use of generative AI.

A sentiment shared by Sandra Rodriguez, who took pains to encourage the creators gathered in the room to ensure that their work stands the test of time. The laws and software solutions in force today may well change tomorrow. We need to make sure we retain intellectual property rights over what we develop,” she defends.

For his part, Harold Dumur considers that, with the proliferation of generative AI tools, we are moving from an “economy of creators to an economy of remixers”. This observation is not based solely on the style transfer functions offered by several generative AIs. The founder of Ova, developer of the no-code platform StellarX, notes that by employing a generative AI, it’s quick and easy to produce several iterations of a piece of content. It’s then up to the user to choose the variant that suits them best.

AI and the screenwriting profession

The panel discussion followed an interview between host Sarah Mackenzie and SARTEC General Manager Laurent Dubois.

Faced with the rise in popularity of generative AI, the MUTEK Forum director wonders if we can talk about a revolution. “I’d rather we talked about evolution,” he suggests. For him, the term “revolution” implies laying to rest the decades of development and union struggles that have brought us to the point where screenwriters find themselves today.

He also rejects the shortcut that equates innovation with progress. Quoting Aristotle, he points out that innovation becomes progress only if the novelty benefits everyone. However, because of its barriers to entry, generative AI can widen the inequality gap.

He is also concerned about the diversity of cultural expression. Given the content that feeds the databases of the most commonly used generative AIs, as well as their operation based on statistical averages, we can expect an avalanche of “formatted, expected and predictable” content.

Laurent Dubois notes that SARTEC shares with other screenwriters’ associations around the world the same point of view on the main principles that should guide the use of this new technology. First, he insists on the notion of transparency. He notes that the use of AI in the creation of content should necessarily be mentioned. Secondly, artists must be able to refuse, or even prohibit, the use of their creations to train an AI or feed its database. Conversely, if an artist accepts that his or her work be used by a generative AI, he or she should be adequately remunerated.

Generative AI, interactivity and new platforms

Four case studies demonstrating the use of artificial intelligence and other technological innovations were also presented during the event.

Charles Stéphane Roy began by explaining his VFC project, an adaptive film whose soundtrack is modified according to the brain activity captured by an EEG headset. He detailed the many challenges involved in bringing this ground-breaking production to fruition, including financing, research and development, and legal aspects.

Next, Frédéric Vicaire from Art!equin presented the particularities of AI-assisted art direction. Showing the chain of steps that separate the original idea from the finished product, he demonstrated how the use of generative AI is not limited to pressing a button.

Luc Leclerc, from Above the Void studio, took over to demonstrate how he had adapted Voivod’s iconic visuals to generate new videos. In the room was Michel “Away” Langevin, the band’s drummer, who also signs the illustrations on the various album covers. He was greeted by thunderous applause.

Jean-François Larouche then took the stage and explained how generative AI was used to complete various projects at Moment Factory, including a “photobooth” that adds AI filters to photos, as well as the visuals for the band Phish’s shows at Sphere in Las Vegas. The technophile gave a heartfelt shout-out, inviting people in the room to embrace generative AI. He expressed concern that local studios would be left behind internationally if we didn’t jump on the bandwagon immediately.

Open innovation at SAT

The day ended on a high note, as SAT welcomed Luc Sirois, Quebec’s Chief Innovator, to announce the creation of a Living Immersion Laboratory.

Made possible by the participation of the Ville de Montréal, the Ministère de la Culture et des Communications du Québec and the Caisse de la Culture Desjardins, this new space “offers an unprecedented field of experimentation where artists, entrepreneurs, researchers, citizens and cultural workers can co-create and test innovative immersive experiences that respond to societal issues”.

To find out more, read the editorial by Véronique Paradis, SAT’s Director of Innovation and Training.

Photos: Jean-François Galipeau