NAB 2024:评估娱乐领域的AI革命
今天的信噪比 无休止的人工智能嗡嗡声 还远未达到最佳状态——尤其是在2024年的NAB上 万物AI氛围 was off the chart from the moment the show began—but one session that cut through the noise and swapped hype for refreshing insight and candor was titled 娱乐领域的人工智能革命:一年之后…… 由 ISO/TC 36电影技术 椅子 安迪·麦克斯维尔 and featuring three senior practitioners from far-flung corners of the media world—former Sony Technology Development CTO 比尔Baggelaar，英特尔首席执行官 & E伙伴关系 里克黑客，狐狸 旋律Hildebrandt和VSI CTO 斯科特•罗斯, the session explored AI’s recent successes and failures and where it’s made inroads or failed to do so in current media pipelines.
Comparing the constant gushing of daily AI-related news stories and hype to “drinking from a fire hose,” Maltz reminded attendees that major technology changes happen frequently—”we’ve all been through them”—and posed the question, “这真的是一场革命吗?”
没有准备好迎接革命
Baggelaar的回答是, 在最好的情况下, 一个有条件的“是”,” and one mostly qualified by the state of tools that are still relatively primitive compared to what they’re likely to become. Acknowledging that AI represents disruptive “tech that’s going to change the way we work,” Baggelaar asserted that the reason the reason “the disruption is not as daunting today” is that for all of generative AI tools’ remarkable capabilities, 人类仍然需要做大量的工作来实现他们的潜力.
这样的工具 OpenAI苍井空 that are designed for content creators have not reached the stage where you “tell it what you want and get what you like. 这仍然是一个创造性的过程. 你可以创造伟大的东西, 但这并不容易……还有未来的可能性, 但今天它并没有取代任何内容创作者的工作.”
不一定是新闻
Describing herself as a “super AI optimist” who believes “there’s no more exciting time to be involved in media,” FOX’s Hildebrandt also cautioned that with great opportunity also comes great responsibility, 特别是在她的领域, 鉴于“新闻商业化”.”
“Content creators should be pretty principled” when it comes to how AI models are created and used, 什么是真实的，什么是虚假的透明, and “binding each piece of content to its creator so that consumers can determine that it’s from a source that they trust.预测“五年后。, 80%的互联网将由人工智能生成,” Hildebrandt maintained that content creators should play an active role in determining how large-language models are created “rather than waiting for big tech to do it for us.”
She added, “We’re very much in the Napster age in how LLMs are connecting content with its source. 我们需要进入苹果音乐时代. 我们如何在内容周围设置护栏? 我们如何在企业中充满信心地使用法学硕士? 模型的输入是什么，它们是如何改变的?”
本地化这
VSI首席技术官斯科特认为，人工智能具有巨大潜力的一个领域是自动化, 加速, 加强全球内容的本地化. 他认为，对于人工智能来说，本地化是“唾手可得的果实”.”
法学硕士的影响力越来越大的一个领域,他说, 是准确翻译内容并允许使用习语的能力,” or regionally specific colloquial expressions rather than straightforward translations that lose their impact through formality.
超越文本到语音和语音到语音, 另一个启用人工智能的本地化方面是改变图像的能力, which impacts localized content’s ability to comply with local cultural issues or regulations by altering content that is considered unacceptable or offensive. 除了删除暴力或色情内容, 这可能包括确定吸烟或饮酒, 甚至把一瓶啤酒换成一瓶水.” AI gives global content distributors reaching into different markets the ability to “solve problems qualitatively.”
内容价值谱
Scott also noted that the ability to dub new audio tracks with AI makes it possible to effectively “reanimate someone who has passed away,的例子 安迪·沃霍尔的人工智能语音朗读自己的日记 在Netflix纪录片中 《百家乐软件app最新版下载》(2022).
But as with the re-generation of commercialized news content often detached from its point of origin, Scott noted that leveraging AI’s remarkable ability for automated dubbing also means assessing the need for human intervention, 取决于项目和风险. 他说，可以预见的是，“如果没有人参与，就会有出错的风险。.”
So, when is human QC absolutely necessary, and are there circumstances where AI is good enough? Scott分享了如下所示的内容价值谱, 将其分为四层, 问问题, “人工智能在哪里合适?“随着时间的推移，这种情况将如何变化?
“当你使用人工智能时，”斯科特说，“你必须了解你的内容. AI对于游戏中的自动音频描述具有巨大的价值. 机会很高，但在更高的层次上风险也更大. 随着层级的上升，人类的参与也越来越多.”
That these prescriptions are likely to shift over time doesn’t necessarily mean reduced roles for humans; it more likely means different roles. “随着我们开始在演员工会中曝光这些技术,斯科特说, “我们需要解释他们的角色将如何变化.”
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