Senior Photographer: Scenes That Originally Cost Over 700,000 Yuan Can Now Be Generated by AI for Just a Few Dollars—I Might End Up Shooting Weddings in the Future

AI Impact on Film and Television Industry: How Practitioners Find New Opportunities

Recently, the news that the Communication University of China is cutting 16 undergraduate majors trended on social media. Traditional majors such as translation, photography, comics, and visual communication design are among those being adjusted. Liao Xiangzhong, Party Secretary of the university, responded to the media that in the era of artificial intelligence, some specialized fields like technical training are no longer necessary as standalone majors and need to be phased out or transformed.

In the AI era, AI technology is also impacting many traditional industries.

Tian Zemin started in photography in 2009. He has participated in the filming of programs like “Challenge the Impossible” and “National Treasure,” and has also shot web dramas such as “Wanan Didn’t Expect.” Over the years, he has become almost inseparable from the crew, believing he would work in this industry for his entire life.

The advent of AI has drastically reduced filming costs, leading to smaller crews, mass unemployment among photographers, and affecting the entire film and television industry chain. “AI’s impact came too quickly, so fast that we had no time to react. It was so rapid that even those of us with over ten years of experience suddenly realized we might be replaced at any moment. The only thing we can do is adapt quickly, find the corners AI can’t replace yet — but those corners are shrinking more and more,” Tian Zemin said.

Faced with this huge impact, Tian Zemin reminisces about the times before AI, when filmmaking was meticulous and artistic. At the same time, he supports applying AI in filming because it breaks industry barriers and gives more young people interested in film and TV a chance to participate.

Tian Zemin shares his experiences online. Photo / Network screenshot

Interview with Tian Zemin.

【1】AI-generated images are realistic, filming costs plummet, impacting the entire film and TV industry

Jiupai News: How has AI technology impacted film and TV filming?

Tian Zemin: AI has significantly lowered the time and financial costs of filming. We started preparing for a theatrical release film around June or July last year. Over the past six or seven months, we followed the usual process of script development, location scouting, and casting.

One scene involves the construction corps’ young soldiers rushing to repair flood-damaged dikes during a rescue. We discussed with the producer, director, art team, and screenwriter: if shot on location, it would require building a river boundary, preparing dozens of tons of water, hundreds of extras, and scenery matching the historical period during spring or summer. But filming in spring was out because of cold weather and floating ice in the river, which could freeze actors. The estimated cost for this scene could reach hundreds of thousands.

Alternatively, filming in a virtual studio with LED screens simulating the scene, combined with underwater filming, could achieve the real scene effect without actors jumping into icy waters. Plastic props could simulate floating ice, controlling water temperature. A virtual studio costs about 250,000 yuan per day; shooting for 2-3 days would cost between 500,000 and 750,000 yuan, which is still a significant expense for the crew.

Given tight funding, I proposed trying AI generation earlier this year. Previously, AI-generated effects were far from real, but after the release of seedance 2.0, I generated a clip that looked very realistic. The director was shocked that AI could reach this level, and the cost was only a few yuan.

Jiupai News: Can AI achieve the same effects as real location shooting?

Tian Zemin: Surprisingly, AI-generated scenes are more beautiful than real footage. Traditionally, after filming a shot, post-production involves editing, color grading, and special effects. AI, having learned from many film highlights, can generate scenes based on instructions, and even modify unsatisfactory parts quickly. It responds in a very short time. In contrast, real scene modifications require communication with art departments, re-scouting, and re-setting scenery, which is time-consuming.

Jiupai News: Are you worried about AI replacing your job?

Tian Zemin: As a practitioner, I am very anxious. AI’s impact is comprehensive, affecting directors, screenwriters, art, photography, lighting, actors, costume and makeup, post-production, and even upstream and downstream industries.

If many scenes can be generated by AI, extras in film studios might lose jobs, and surrounding industries like hotels, restaurants, and drivers could be affected. Editing, color grading, and promotion could also be AI-automated.

Jiupai News: When did you start feeling that AI might replace you?

Tian Zemin: I became aware around last year. The real shock came this year when I showed the director and art team the clip generated by seedance 2.0. They were all amazed. When even the “cornerstone” of the film industry feels panicked, practitioners like us in the middle are definitely impacted.

Jiupai News: Is AI technology widely used in the film industry now? Will audiences accept AI-generated works?

Tian Zemin: Not yet widespread, and audiences rarely pay for AI-produced films. But the technology is advancing constantly. It’s hard to predict whether AI will become mainstream in film production in the future.

Currently, AI’s impact on short dramas is more evident. Whether modern, period, rebirth, or fantasy genres, AI can generate content, greatly reducing shooting costs. This year, leading short drama platforms have reduced live-action projects and are focusing on AI-generated short dramas.

【2】 Entered the industry by chance, 17 years in, AI cannot replace human warmth

Jiupai News: Why did you choose to enter the film industry and become a photographer?

Tian Zemin: My entry was purely accidental. I graduated from an unknown college in Gansu. In 2009, I went to Beijing for work, helping set up stages and lighting for “Same Song.” I was young and diligent, and a camera teacher noticed me, hiring me as an assistant to carry tripods.

Later, I learned from the teacher and met more industry people, gradually joining film crews. I worked in lighting, props, sound recording, and on-set production for about seven years before becoming a photographer.

Tian Zemin on the set of “National Treasure.” Photo / Provided by interviewee

Jiupai News: Do you like your profession?

Tian Zemin: Yes. I’ve been in this industry for 17 years since 2009. If I suddenly change careers, I couldn’t accept it; I’ve already integrated into the crew.

Jiupai News: Do you miss the times before AI?

Tian Zemin: Yes. I especially miss the film era. Back then, every shot, actor’s movements, lighting, camera coordination—all had to be rehearsed many times, like polishing an artwork. I always thought I would become an artist. I prefer old movies shot on film; digital movies feel too rushed in comparison.

In the digital era, a cinematographer must understand the script, on-set sound, art, and other aspects because filmmaking is interconnected. For example, if an actor is performing a tragic scene, you can’t use harsh lighting, as it conflicts with the character’s emotion. Cinematography and sound must coordinate, adjusting the height of the camera rig according to the shot.

Through teamwork and multiple rehearsals, mistakes can still happen. But AI is an evolving intelligent system. Given its current development speed, it might soon be able to perform all human team tasks independently.

Jiupai News: What is the core difference between AI-generated and human-filmed scenes? Are there parts of current filming that AI cannot replace?

Tian Zemin: AI can accurately fulfill human requirements, like making characters cry or smile, but it is virtual and cannot truly understand a role, so it lacks warmth. Human actors, by understanding the script and characters, convey emotions with warmth to the audience.

In current filming, although AI can handle complex scenes like avalanches or mountain floods, designing character stories and close-ups still require human filming.

【3】 Under AI impact, traditional film practitioners face unemployment but also new opportunities for young people

Jiupai News: Can you still get filming jobs now?

Tian Zemin: I have several projects in progress, but crews are shrinking—fewer personnel, equipment, and investment. It’s no longer like before, when a film cost hundreds of millions; now, a few million yuan can produce a movie.

Jiupai News: What’s your attitude toward using AI in film and TV production?

Tian Zemin: I support it. Although AI may cause unemployment, it breaks down barriers in the industry. AI is advancing rapidly; in a short time, it might produce results indistinguishable from real filming. That’s very good for young talent.

As AI technology develops, creative individuals could produce a film in their dorms someday. Film is an art that reflects soft power. More people entering the industry and creating influential international blockbusters would be beneficial.

Long-term, technological iteration has been lowering the barriers to entry in the film industry. In 2009, we used film cameras costing about 6 yuan per second, and few movies were made annually due to high costs.

Later, digital cameras like the Canon 5D Mark II became mainstream, removing worries about film costs and encouraging more creators to experiment. Popular short films like “Wanan Didn’t Expect” were shot with Canon 5D Mark II. The quality of digital cameras is good enough that pursuing the film look is no longer necessary. If I still used film cameras today, I might not have become a photographer.

Jiupai News: Any plans for the future?

Tian Zemin: Top directors and cinematographers have their own styles and might be less affected by AI. But most of us in the middle and lower tiers will face career shifts or obsolescence.

I might start shooting wedding videos. The demand for weddings is irreplaceable, and I plan to continue in this line. There are fewer opportunities in movies and TV now.

Jiupai News: Do film industry practitioners have a future?

Tian Zemin: The situation is quite tough. I’ve talked with many friends; even some well-known directors are unemployed. Everyone is thinking about transitioning. Some have left the industry altogether, moving into live streaming, teaching, or other jobs.

Some photographers who have shot major works find small projects less satisfying and prefer to switch careers rather than do short videos. But I need to make a living, so I accept wedding and short video shoots.

Jiupai News: What are your thoughts on this?

Tian Zemin: I try to stay optimistic. The industry is like this—embrace the technology. I see it as a turning point. I’m also experimenting with AI animated drama directing, but it’s not very successful yet. New tech requires learning. I’m over forty, and my work doesn’t always match young audiences’ preferences.

Jiupai News Reporter: Hu Qingyang

Editor: Wan Xuan, Xiao Jie

【Source: Jiupai News】

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