News Stories

This Week in… Media Production and AI: 4/20/26

Doug Liman’s $70 million “Bitcoin: Killing Satoshi” – starring Gal Gadot, Casey Affleck, Isla Fisher and Pete Davidson – is described as the first studio-quality feature film to feature wall-to-wall AI-generated imagery. The film was shot over 20 days in a simple customized soundstage, while sets and lighting are being generated with AI. And during the recent Semafor World Economy conference, Runway CEO Cristóbal Valenzuela suggested Hollywood studios should plan to produce 50 films with $100 million using AI. These stories and more in this week’s list.

Photo: On the set of Doug Liman’s movie ‘Bitcoin: Killing Satoshi’ (TheWrap on X)

Inside Doug Liman’s $70 Million AI-Made Movie Starring Casey Affleck and Gal Gadot
TheWrap (subscription required)

Hollywood’s First Big Budget AI-Generated Movie Is About Bitcoin, of Course
Gizmodo

Gal Gadot & Isla Fisher Join Casey Affleck & Pete Davidson in Doug Liman Thriller ‘Bitcoin’ as Pic Heads to Cannes Market
Deadline

Runway CEO Advocates AI-Driven Film Production Model to Scale Output and Reduce Costs
AI Insider

Runway CEO Says AI Could Help Hollywood Make 50 Films Instead of One $100M Blockbuster
TechCrunch

Luma Launches AI-Powered Production Studio with Faith-Focused Wonder Project
TechCrunch

Artlist Hits $300M ARR, Unveils Artlist Studio for AI-Powered Video Production
Press Release

EngineLab AI: Production-Ready AI for Studios and Creators on AWS
AWS for M&E Blog

AI-Driven Filmmaking Revolutionizes Chinese Cinema: Full-Stack Efficiency Meets Industrialized Production
Press Release

This Week in… Artificial Intelligence: 4/20/26

Forbes releases its list of top artificial intelligence companies. Not surprisingly, atop the funding category you’ll find OpenAI ($182.6 billion), Anthropic ($60 billion), and Databricks ($20 billion). In a challenge to Figma, Anthropic launches Claude Design, which converts conversational prompts into prototypes, designs, slideshows and marketing materials. The new AI tool arrives after Anthropic decided its frontier model Claude Mythos Preview was too risky to release to the public, a signal that deployments are becoming more security-driven. These are some of the headlines that caught our attention.

Forbes 2026 AI 50 List: Top Artificial Intelligence Companies
Forbes

White House and Anthropic Hold ‘Productive’ Meeting Amid Fears Over Mythos Model
BBC

Anthropic’s Mythos Moment: How Frontier AI Is Redefining Cybersecurity
World Economic Forum

Introducing Claude Design by Anthropic Labs
Anthropic

Anthropic Launches Claude Design, a New Product for Creating Quick Visuals
TechCrunch

Anthropic Just Launched Claude Design, an AI Tool That Turns Prompts into Prototypes and Challenges Figma
VentureBeat

Alex Bores Rolls Out ‘AI Dividend’ Plan to Share AI Wealth
Axios

Tech CEOs Think AI Will Let Them Be Everywhere at Once
Wired

Who Is Liable When Artificial Intelligence Makes Mistakes?
Financial Times

UNESCO Launches the Observatory on Artificial Intelligence in Education for Latin America and the Caribbean
UNESCO

My Boss Is Addled by ChatGPT. Do I Have to Play Along?
The New York Times

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Specification for Naming VFX Image Sequences Released

ETC’s VFX Working Group has published a specification for best practices naming image sequences such as plates and comps. File naming is an essential tool for organizing the multitude of frames that are inputs and outputs from the VFX process. Prior to the publication of this specification, each organization had its own naming scheme, requiring custom processes for each partner, which often resulted in confusion and miscommunication.

The new ETC@USC specification focuses primarily on sequences of individual images. The initial use case was VFX plates, typically delivered as OpenEXR or DPX files. However, the team soon realized that the same naming conventions can apply to virtually any image sequence. Consequently, the specification was written to handle a wide array of assets and use cases.

To ensure all requirements are represented, the working group included over 2 dozen participants representing studios, VFX houses, tool creators, creatives and others.  The ETC@USC also worked closely with MovieLabs to ensure that the specification could be integrated as part of their 2030 Vision.

A key design criteria for this specification is compatibility with existing practices.  Chair of the VFX working group, Horst Sarubin of Universal Pictures, said: “Our studio is committed to being at the forefront of designing best industry practices to modernize and simplify workflows, and we believe this white paper succeeded in building a new foundation for tools to transfer files in the most efficient manner.”

This specification is compatible with other initiatives such as the Visual Effects Society (VES) Transfer Specifications. “We wanted to make it as seamless as possible for everyone to adopt this specification,” said working group co-chair and ETC@USC’s Erik Weaver. “To ensure all perspectives were represented we created a team of industry experts familiar with the handling of these materials and collaborated with a number of industry groups.”

“Collaboration between MovieLabs and important industry groups like the ETC is critical to implementing the 2030 Vision,” said Craig Seidel, SVP of MovieLabs. “This specification is a key step in defining the foundations for better software-defined workflows. We look forward to continued partnership with the ETC on implementing other critical elements of the 2030 Vision.”

The specification is available online for anyone to use.

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