Blab AI
Autodesks AI-Powered VFX Toolset Gains Momentum at Cannes, Prompting Industry Debate
At the 79th Cannes Film Festival, the conversation about artificial intelligence shifted from a simple yes‑or‑no about its use in filmmaking to a deeper question: how should it be built, and who should steer its development?
Autodesk’s Nikola Todorovic—co‑founder of Wonder Dynamics and a 2026 honoree on The Hollywood Reporter’s AI 25 list—stepped onto two stages in the Marché du film and in a feature article to make that point. He argued that the creative community must shape AI tools themselves, rather than inherit systems that were designed for other priorities.
Todorovic’s remarks came on the heels of Autodesk’s 2024 acquisition of the Los Angeles‑based startup Wonder Dynamics, the creators of Wonder Studio, a cloud‑based visual‑effects platform. The platform uses AI to automate labor‑intensive tasks such as motion capture and compositing, freeing artists to focus on directing and storytelling. According to Autodesk’s press release, the deal expands the company’s Media & Entertainment division and adds the Flow Studio toolset, which turns live‑action footage into fully controllable 3‑D scenes.
During the panels, Todorovic acknowledged that anxiety about AI is natural, but warned against letting that fear stall progress. He compared the current wave of AI to past industry shifts—sound, color, digital effects—that redefined filmmaking. He urged filmmakers to educate themselves about the capabilities and limits of AI, rather than dismiss it as a passing trend.
The discussion also spotlighted AI’s economic impact on production. Morgan Stanley analysts estimate that generative AI could cut film and television production costs by up to 30 %. A director interviewed at Cannes said that the right AI tools could halve a visual‑effects budget and save months of schedule. Wonder Dynamics’ technology reportedly increases output from roughly 30 seconds of finished work per day to 3½ minutes, enabling small teams of five to seven people to tackle projects that were previously out of reach.
Todorovic stressed that AI should augment, not replace, the creative process. He noted that the platform’s design keeps the artist in control, allowing them to direct camera moves, performances, and lighting decisions. The toolset supports integration with established 3‑D software such as Autodesk Maya, ensuring that existing pipelines can be extended rather than replaced.
The broader conversation at Cannes echoed a historical pattern in Hollywood: the industry has long sought to escape technology monopolies. In the early days, independent producers moved west to avoid the Edison Trust’s control over camera patents. Todorovic echoed this principle, arguing that storytellers must build the tools that serve their craft. Autodesk’s recent addition of generative AI capabilities to Flow Studio in March 2026—introducing text‑to‑3‑D and image‑to‑3‑D models—illustrates the company’s commitment to keeping artists at the center.
In sum, the Cannes panels underscored that AI is already reshaping filmmaking workflows and budgets. Autodesk’s Flow Studio, built on Wonder Dynamics’ technology, offers a cloud‑based solution that blends AI automation with human creative control. As the industry continues to adopt these tools, the focus will likely remain on ensuring that artists, not external developers, drive the evolution of AI in cinema.
Autodesk’s Nikola Todorovic—co‑founder of Wonder Dynamics and a 2026 honoree on The Hollywood Reporter’s AI 25 list—stepped onto two stages in the Marché du film and in a feature article to make that point. He argued that the creative community must shape AI tools themselves, rather than inherit systems that were designed for other priorities.
Todorovic’s remarks came on the heels of Autodesk’s 2024 acquisition of the Los Angeles‑based startup Wonder Dynamics, the creators of Wonder Studio, a cloud‑based visual‑effects platform. The platform uses AI to automate labor‑intensive tasks such as motion capture and compositing, freeing artists to focus on directing and storytelling. According to Autodesk’s press release, the deal expands the company’s Media & Entertainment division and adds the Flow Studio toolset, which turns live‑action footage into fully controllable 3‑D scenes.
During the panels, Todorovic acknowledged that anxiety about AI is natural, but warned against letting that fear stall progress. He compared the current wave of AI to past industry shifts—sound, color, digital effects—that redefined filmmaking. He urged filmmakers to educate themselves about the capabilities and limits of AI, rather than dismiss it as a passing trend.
The discussion also spotlighted AI’s economic impact on production. Morgan Stanley analysts estimate that generative AI could cut film and television production costs by up to 30 %. A director interviewed at Cannes said that the right AI tools could halve a visual‑effects budget and save months of schedule. Wonder Dynamics’ technology reportedly increases output from roughly 30 seconds of finished work per day to 3½ minutes, enabling small teams of five to seven people to tackle projects that were previously out of reach.
Todorovic stressed that AI should augment, not replace, the creative process. He noted that the platform’s design keeps the artist in control, allowing them to direct camera moves, performances, and lighting decisions. The toolset supports integration with established 3‑D software such as Autodesk Maya, ensuring that existing pipelines can be extended rather than replaced.
The broader conversation at Cannes echoed a historical pattern in Hollywood: the industry has long sought to escape technology monopolies. In the early days, independent producers moved west to avoid the Edison Trust’s control over camera patents. Todorovic echoed this principle, arguing that storytellers must build the tools that serve their craft. Autodesk’s recent addition of generative AI capabilities to Flow Studio in March 2026—introducing text‑to‑3‑D and image‑to‑3‑D models—illustrates the company’s commitment to keeping artists at the center.
In sum, the Cannes panels underscored that AI is already reshaping filmmaking workflows and budgets. Autodesk’s Flow Studio, built on Wonder Dynamics’ technology, offers a cloud‑based solution that blends AI automation with human creative control. As the industry continues to adopt these tools, the focus will likely remain on ensuring that artists, not external developers, drive the evolution of AI in cinema.
