AI Could Make Filmmaking Costlier Than the 35mm Era, Korean Pioneers Warn at Taiwan Creative Content Fest

AI Could Make Filmmaking Costlier Than the 35mm Era, Korean Pioneers Warn at Taiwan Creative Content Fest hakkında magazin dünyasında yaşanan en son ayrıntılar ve sıcak gelişmeler netleşti. Nov 7, 2026 4:27pm PT AI Could Make Filmmaking Costlier Than the 35mm Era, Korean Pioneers Warn at Taiwan Creative Content Fest Studio Meta-K’s Kim Kwang-jib and MBC C&I’s Lee Sang-wook unpacked costs, hybrid shoots and new crew roles as Lee’s AI feature ‘Raphael’ heads to Korean cinemas. By Naman Ramachandran Plus Icon Naman Ramachandran Latest Papua New Guinea’s Most Expensive Film, ‘Mussau: The First Song,’ Wraps Shoot, Unveils First Looks (EXCLUSIVE) 29 minutes ago ‘Pokemon’ Anime Studio OLM Trains AI Coloring Tool on Just Three Frames in Japan Government-Backed Project 45 minutes ago ‘3 Body Problem’ Director Derek Tsang Boards DEA True-Crime Series ‘Group 41’ From Zhang Yimou’s ‘Shadow’ Producer Jonah Greenberg (EXCLUSIVE) 15 hours ago See All Add us as a Google Preferred Source Comments AI is already slashing the cost of commercials, but runaway token fees and piecemeal revisions could leave feature producers paying more than in the days of 35mm film, a Korean AI production pioneer told Taiwan Creative Content Fest (TCCF) in Taipei.

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Kim Kwang-jib, founder and CEO of AI content studio Studio Meta-K, said that with the most expensive commercial tools, the token bill alone for a 100-minute film can top KRW500 million ($366,000). AI companies are all losing money, he said, and are keeping prices low as a marketing play.

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Related Stories Taylor Swift’s ‘I Knew It, I Knew You’ and ‘La Bola Negra’s ‘La Nieve’ Among Nominees for Hollywood Music In Media Awards “If they raise token costs roughly tenfold, it could go above what the films we’re shooting now cost,” Kim said. “KRW500 million could become KRW5 billion ($3.66 million).” Hollywood, with KRW200 billion ($146.6 million) budgets, could absorb that and still make very cheap AI films, Kim said.

Korean, Taiwanese and other Asian features typically shoot live action and VFX for KRW3 billion-KRW5 billion ($2.2 million-$3.66 million), and a tenfold jump would force them to ask whether AI is efficient at all. He drew a line back to celluloid.

Preproduction was meticulous when every take burned through film stock, then digital let crews shoot and cut freely without extra cost. With AI, every re-render is paid for again.

If a client sends 10 changes at once, Kim said, Studio Meta-K can make them all and re-render a single time, paying for just one extra pass. If the same 10 changes arrive one a day over 10 days, the studio has to re-render 10 times and pay 10 times over.

The final budget, he said, comes down to how few rounds of revisions there are. “Unless the preproduction stage is made solid, I think AI could end up spending even more money than in the 35mm film era,” he said.

Lee Sang-wook, head of the AI Content Lab at MBC C&I, a subsidiary of Korean broadcaster MBC, said budgeting is harder still because the tools keep moving. His lab’s 139-minute feature “Raphael” took around a year and four months to make, and new tools and updates arrive weekly.

“If you apply technology from a year ago, the scenes look very old,” Lee said. He added that a single shot on “Raphael” sometimes tied up around 10 artists for an entire day.

The film was made with emerging directors discovered by the lab, who raised investment and set up their own studio, and the lab’s work drew backing from Korea ’s Ministry of Culture, Sports and Tourism and the Korea Creative Content Agency. “Raphael” will open in Korean cinemas on Nov.

The lab began experimenting with generative AI shorts in 2024, before packaging A

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