‘Pixels and Pencils’ Panelists Talk the Dangers of AI, Demanding Animation Processes and the Importance of Human Creativity

‘Pixels and Pencils’ Panelists Talk the Dangers of AI, Demanding Animation Processes and the Importance of Human Creativity hakkında magazin dünyasında yaşanan en son ayrıntılar ve sıcak gelişmeler netleşti. Oct 28, 2026 3:55pm PT ‘Pixels and Pencils’ Panelists Talk the Dangers of AI, Demanding Animation Processes and the Importance of Human Creativity By Tanya Fedak Plus Icon Tanya Fedak Latest John Carpenter to Receive Filmmaker of the Year at ACE Eddie Awards 7 hours ago Television Academy Foundation Pacts With Best Buy to Launch Production Assistant Training Program for Los Angeles Area High School Students 1 day ago ‘OJ’s Accomplice’: Peacock Moves Up Documentary Release Date, Drops First Look (TV News Roundup) 1 day ago See All Add us as a Google Preferred Source Comments As artificial intelligence continues to advance, animators are increasingly facing questions about the future of their craft and the role of human creativity in filmmaking. But the majority are not interested in letting AI into their art of storytelling.

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At Variety ‘s “Pixels and Pencils” panel in Savannah, Georgia on Monday, leading filmmakers discussed the process of bringing animated stories to life and why technology can’t replace the work behind them. Six panelists joined Variety ‘s Clayton Davis for the discussion, which was moderated in partnership with SCAD Savannah Film Festival.

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They included Brad Bird for Netflix’s “Ray Gunn”; Daniel Chong for Pixar’s “Hoppers”; Joel Crawford and Januel Mercado for DreamWorks Animation’s “Forgotten Island”; Travis Knight for Laika’s “Wildwood”; and Leah Nelson for Independent Film Company’s “Tangles.” Related Stories Skydance Names Jay Askinasi Head of Ad Sales, Taps David Decker to Lead Content Sales and Ray Hopkins as Distribution Chief DC Comics Now Sits Within Skydance Products & Publishing Division Under Josh Silverman, Alongside Warner Bros. and Paramount Consumer Products Groups Meg Weichman, the artistic manager of SCAD’s Theatres and Festivals, introduced this year’s panel, which she described as a celebration of the “imagination, artistry and collaboration that brings extraordinary animated stories to life.” But to make something “extraordinary” requires significant effort, which is part of what makes the process “magical,” Chong said.

“Every set, every character, every piece of cloth, every piece of hair, every moment of atmosphere, all of that is created and made from ground zero. There’s no camera you can point at,” Chong told the audience.

“It’s just completely fabricated and made and created, and that’s a pretty amazing thing, because that’s one of the reasons why I think these movies take so long, is because they have to create their own world.” Creating an animated film typically takes well over a year — and sometimes much, more more. From the first idea to its big-screen release, Bird’s “Ray Gunn” took roughly 30 years to finalize, though he wasn’t consistently working on the film throughout that period.

But Bird was willing to put in the work, saying that a good story “has to come from life. You can’t create the illusion of life without having one, and that’s what we are in charge of — making the illusion of life and bringing people to something new.” “Wildwood” also required an extensive production process, especially considering it used stop-motion animation.

The film used 2,800 shots, a process Knight described as a “pain.” “Stop motion is progressive. You start on frame one and you work your way all the way through in slow motion until you have a performance,” he said.

“There is something extraordinarily magical about being a part of that.” Despite the time and effort needed, the filmmakers said the

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