Iron Man Cinematographer Warns: AI Threatens Marvel VFX, But Actors Safe

Stepping off the plane in Mallorca, three-time Oscar-nominee cinematographer Matthew Libatique was immediately struck by the island's unique light, taking a moment to absorb the autumnal sun's gentle glow on baby-pink buildings and its shimmer against the shores. This profound appreciation for natural light forms a compelling backdrop to his current engagement with the rapidly evolving field of artificial intelligence. Libatique shared these reflections at Evolution Mallorca, where he received the Cinematography Icon Award, prompting discussions on how he, a veteran DP, is navigating the AI revolution.

The impact of AI is particularly relevant to Libatique given his long-standing collaboration with "Black Swan" director Darren Aronofsky. Aronofsky, who launched the AI studio Primordial Soup in partnership with Google DeepMind last year, is deeply invested in understanding AI's potential to shape the future of cinema. Libatique revealed that he and Aronofsky are actively "testing" the technology in preparation for their next film together. While Libatique believes in providing extensive data to the system to achieve desired results, Aronofsky is exploring how little input is necessary. Both, however, are committed to understanding its capabilities and limitations.

Libatique holds a nuanced view on AI's role in the film industry, asserting that it "won't replace cinema" but rather "could replace Marvel." He elaborates that large studios like Marvel and DC, with their substantial budgets and reliance on visual effects, might employ AI to reduce costs. However, he firmly believes AI will never replace human actors, emphasizing the irreplaceable personality and connection that stars like Chris Evans or Robert Downey Jr. bring to their characters. He dismisses the notion of an AI character achieving the depth of a Robert Pattinson performance, stating, "You can't."

Drawing a parallel, Libatique cites Zach Snyder's 2006 epic "300," filmed almost entirely against green screens with digitally constructed landscapes, as an "early AI movie." While acknowledging that such an aesthetic can be achieved with AI, he questions the human connection and the limited audience demographics for such films. He passionately argues that films with "sentimental value" will never be made by AI, stating, "Nobody's going to make 'Sentimental Value' with AI." He urges caution against the idea that AI will completely replace filmmakers, highlighting society's intrinsic need for human-created cinema.

Regarding his upcoming project with Aronofsky, Libatique assures that despite their AI exploration, the film will remain "human," adhering to traditional filmmaking methods on set. He applauds Aronofsky for securing funding to explore AI's potential, recognizing the importance of understanding the technology. Libatique admits to being "annoyed" by general discussions around AI but acknowledges its practical benefits, such as using it in post-production to correct glare, viewing it as an improvement over outsourcing to low-wage offshore "sweatshops."

However, he is quick to address the harsh reality of job displacement in post-production, expressing empathy for those affected. While AI may streamline certain tasks previously outsourced, he recognizes the broader concern of when AI will significantly impact a wider range of jobs. This leads him to consider the "mental exercise" of anticipating the next major shift in the industry.

Libatique recently encountered AI's application firsthand while shooting Dustin Yellin's short film "Goodbye Lamby," which used AI to visualize a world within a sculpture. He noted that while such a project might have historically used stop-motion, AI now provides an alternative. A surprising revelation from this experience was the need for physical lighting on set, even for AI-driven scenes. He recounted how the AI prompting artist found it easier to have a physical light placed in a roof opening rather than attempting to prompt the machine to simulate it, illustrating a persistent need for the human touch.

Despite using AI, Libatique voices strong concerns about creative copyright and the potential for artistic homogenization. He finds it "absolutely offensive" that AI has been instructed to create videos "in the style of Matthew Libatique," questioning why his entire body of work is available for machine consumption. He clarifies that he doesn't believe he possesses a distinctive style, but rather adapts his skills to serve a director's vision, whether it be Olivia Wilde, Jodie Foster, or Jon Favreau. In contrast, he perceives AI-generated content as "plastic" and uniformly styled. He laments the increasing homogeneity in contemporary film lighting, which he likens to a "Temu David Fincher" aesthetic, a repeated visual reference. Ultimately, Libatique prioritizes the end result, expressing his current lack of impressiveness with AI-created content and his doubts about being impressed in the future, emphasizing that the human element of taste and unique contribution is what truly differentiates films.