New AI-video tool by maker of ChatGPT worries media creators

In this photo illustration, a video created by Open AI's newly released text-to-video "Sora" tool plays on a monitor in Washington, DC on February 16, 2024. (AFP)
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Updated 17 February 2024
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New AI-video tool by maker of ChatGPT worries media creators

  • Video game creators are equally likely to be impacted by the new invention, with reaction among the sector divided between those open to embracing a new tool and those fearing it might replace them

PARIS: A new artificial intelligence tool that promises to create short videos from simple text commands has raised concerns along with questions from artists and media professionals.
OpenAI, the creator of ChatGPT and image generator DALL-E, said Thursday it was testing a text-to-video model called “Sora” that can allow users to create realistic videos with simple prompts.
The San Francisco-based startup says Sora can “generate complex scenes with multiple characters, specific types of motion, and accurate details of the subject and background,” but admits it still has limitations, such as possibly “mixing up left and right.”
Here are early reactions from industries that could be affected by the new generative artificial intelligence (AI) tool:

Examples of Sora-created clips on OpenAI’s website range widely in style and subject, from seemingly real drone footage above a crowded market to an animated bunny-like creature bouncing through a forest.
Thomas Bellenger, founder and art director of Cutback Productions, has been carefully watching the evolution of generative AI image generation.
“There were those who felt that it was an unstoppable groundswell that was progressing at an astonishing rate, and those who just didn’t want to see it,” said Bellenger, whose France-based company has created large scale visual effects for such touring musicians as Stromae and Justice.
He said the development of generative AI has “created a lot of debate internally” at the company and “a lot of sometimes visceral reactions.”
Bellenger noted that Sora has yet to be released, so its capabilities have yet to be tested by the public.
“What is certain is that no one expected such a technological leap forward in just a few weeks,” Bellenger said. “It’s unheard of.”
He said whatever the future holds, they’ll “find ways to create differently.”

Video game creators are equally likely to be impacted by the new invention, with reaction among the sector divided between those open to embracing a new tool and those fearing it might replace them.
French video game giant Ubisoft hailed the OpenAI announcement as a “quantum leap forward” with the potential to let players and development teams express their imaginations.
“We’ve been exploring this potential for a long time,” a Ubisoft spokesperson told AFP.
Alain Puget, chief of Nantes-based studio Alkemi, said he won’t replace any artists with AI tools, which “only reproduce things done by humans.”
Nevertheless, Puget noted, this “visually impressive” tool could be used by small studios to produce more professionally rendered images.
While video “cut scenes” that play out occasionally to advance game storylines are different from player-controlled action, Puget expects tools like Sora to eventually be able to replace “the way we do things.”

Basile Simon, a former journalist and current Stanford University researcher, thinks there has been “a terrifying leap forward in the last year” when it comes to generative AI allowing realistic-looking fabrications to be rapidly produced.
He dreads the idea of how such tools will be abused during elections and fears the public will “no longer know what to believe.”
Julien Pain of French TV channel FranceInfo’s fact-checking program “Vrai ou Faux” (True or False) says he’s also worried about abuse of AI tools.
“Until now, it was easy enough to spot fake images, for example by noticing the repetitive faces in the background,” Pain said.
“What this new software does seems to be on another level.”
While OpenAI and US tech titans may promote safety tools, such as industry-wide watermarks that reveal AI-created imagery, “what about tomorrow’s competitors in China and Russia?,” he posited.

The Fred & Farid agency, which has collaborated with the Longchamp and Budweiser brands and where a studio dedicated to AI was opened in early January, anticipates that “80 percent of brand content will be generated by artificial intelligence.”
“Creative genius” will no longer be limited by production skills thanks to generative AI tools, one enthusiast contended.
Stephanie Laporte, chief executive and founder of the OTTA advertising and influencer agency, believes the technology will “force the industry to evolve.”
She also anticipates ad companies with lean budgets will resort to AI tools to save money on workers.
A possible exception, she believes, is the luxury segment, where brands are “very sensitive to authenticity” and “will probably use AI sparingly.”
 

 


How Netflix won Hollywood’s biggest prize, Warner Bros Discovery

Updated 06 December 2025
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How Netflix won Hollywood’s biggest prize, Warner Bros Discovery

  • Board rejected Paramount’s $30 a share bid amid funding concerns, sources say
  • Warner Bros board met daily before accepting Netflix’s binding offer

LOS ANGELES/NEW YORK: What started as a fact-finding mission for Netflix culminated in one of the biggest media deals in the last decade and one that stands to reshape the global entertainment business landscape, people with direct knowledge of the deal told Reuters. Netflix announced on Friday it had reached a deal to buy Warner Bros Discovery’s TV, film studios and streaming division for $72 billion. Although Netflix had publicly downplayed speculation about buying a major Hollywood studio as recently as October, the streaming pioneer threw its hat in the ring when Warner Bros Discovery kicked off an auction on October 21, after rejecting a trio of unsolicited offers from Paramount Skydance .
Details of Netflix’s plan and the Warner Bros board’s deliberations, based on interviews with seven advisers and executives, are reported here for the first time.
Initially motivated by curiosity about its business, Netflix executives quickly recognized the opportunity presented by Warner Bros, beyond the ability to offer the century-old studio’s deep catalog of movies and television shows to Netflix subscribers. Library titles are valuable to streaming services as these movies and shows can account for 80 percent of viewing, according to one person familiar with the business.
Warner Bros’ business units — particularly its theatrical distribution and promotion unit and its studio — were complementary to Netflix. The HBO Max streaming service also would benefit from insights learned years ago by streaming leader Netflix that would accelerate HBO’s growth, according to one person familiar with the situation. Netflix began flirting with the idea of acquiring the studio and streaming assets, another source familiar with the process told Reuters, after WBD announced plans in June to split into two publicly traded companies, separating its fading but cash-generating cable television networks from the legendary Warner Bros studios, HBO and the HBO Max streaming service.
Netflix and Warner Bros did not reply to requests for comment.
The work intensified this autumn, as Netflix began vying for the assets against Paramount and NBCUniversal’s parent company, Comcast.
Warner Bros kicked off the public auction in October, after Paramount submitted the first of three escalating offers for the media company in September. Sources familiar with the offer said Paramount aimed to pre-empt the planned separation because the split would undercut its ability to combine the traditional television networks businesses and increase the risk of being outbid for the studio by the likes of Netflix.
Around that time, banker JPMorgan Chase & Co. was advising Warner Bros Discovery CEO David Zaslav to consider reversing the order of the planned spin, shedding the Discovery Global unit comprising the company’s cable television assets first. This would give the company more flexibility, including the option to sell the studio, streaming and content assets, which advisers believed would draw strong interest, according to sources familiar with the matter.
Executives for the streaming service and its advisory team, which included the investment banks Moelis & Company, Wells Fargo and the law firm Skadden, Arps, Slate, Meagher & Flom, had been holding daily morning calls for the past two months, sources said. The group worked throughout Thanksgiving week — including multiple calls on Thanksgiving Day — to prepare a bid by the December 1 deadline.
Warner Bros’ board similarly convened every day for the last eight days leading up to the decision on Thursday, when Netflix presented the final offer that sources described as the only offer they considered binding and complete, sources familiar with the deliberations said.
The board favored Netflix’s deal, which would yield more immediate benefits over one by Comcast. The NBCUniversal parent proposed merging its entertainment division with Warner Bros Discovery, creating a much larger unit that would rival Walt Disney. But it would have taken years to execute, the sources said.
Comcast declined to comment.
Although Paramount raised its offer to $30 per share on Thursday for the entire company, for an equity value of $78 billion, according to sources familiar with the deal, the Warner Bros board had concerns about the financing, other sources said.
Paramount declined comment.
To reassure the seller over what is expected to be a significant regulatory review, Netflix put forward one of the largest breakup fees in M&A history of $5.8 billion, a sign of its belief it would win regulatory approval, the sources said. “No one lights $6 billion on fire without that conviction,” one of the sources said.
Until the moment late on Thursday night when Netflix learned its offer had been accepted — news that was greeted by clapping and cheering on a group call — one Netflix executive confided that they thought they had only a 50-50 chance.