内容来源：https://aibusiness.com/generative-ai/the-future-of-creativity-ai-art-and-media

内容总结：

纽约报道：创意产业与生成式AI——从对抗到共生的转型之路

生成式人工智能（AIGC）技术的崛起，曾在全球创意工作者中引发强烈担忧与抵制。艺术家、作家和影视从业者最初视其为对原创内容的威胁，甚至出现因使用AI参赛获奖而遭受舆论批评的事件。多起标志性诉讼随之而来，包括Getty Images对Stability AI的指控，以及美国作家协会对Anthropic的诉讼，后者以15亿美元和解，凸显了版权争议的严峻性。

然而，行业态度正悄然转变。越来越多创作者开始主动探索AI工具的应用价值，将其融入内容生产流程。在近日纽约举行的AI峰会上，业界观点呈现两极分化：一方认为AI可能“拯救或摧毁好莱坞”，另一方则强调“人性触感”不可替代。但更多从业者正寻求平衡点——将AI定位为辅助工具，而非取代人类创造力。

实践中，AI已渗透至影视制作、数字内容等领域。例如，Wrigley媒体集团广泛试用多种AI工具辅助创作；Anshar实验室推出的TekFlix平台，通过AI将视频转化为虚拟形象教学短片，并探索与内容提供者的收益分成模式。这些案例显示，AI正在降低创作门槛，激发新的表达形式。

与此同时，行业对知识产权保护的共识日益增强。多家科技公司开始建立版权合作与收益共享机制，如Getty Images为训练数据提供者设置分成模式，OpenAI也与多家新闻机构达成内容授权协议。这为创意内容的合规使用提供了新思路。

纽约 reconciliation 教堂的安东尼·贝利牧师的观点或许代表了某种折中立场：“不应让AI主导创作，而应利用它提升自己——它只是工具，你才是故事的主角。” 随着技术发展与规则完善，创意产业与AI的关系正从对立走向协作，探索一条在尊重原创的前提下，释放技术潜力的共生之路。

中文翻译：

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选择你的首个生成式AI应用场景
要开始使用生成式AI，首先应关注那些能够优化人类信息交互体验的领域。

随着艺术家和内容创作者重新审视与AI技术的关系，创意领域正在发生变革。AI曾被视为威胁，如今许多创意工作者已开始积极拥抱这项技术。

纽约报道——创意从业者和艺术家曾将自主式与生成式AI视为职业威胁，但风向正在转变，越来越多人正重新夺回对内容的主导权。

生成式AI在创意领域的发展历程跌宕起伏。2022年，创意群体曾集体谴责这项技术，甚至对早期使用者进行舆论抨击。例如，使用AI工具参赛并获奖的艺术家曾遭受广泛批评。

另一方面，当艺术家和作家发现OpenAI的Dall-E、Stability AI的Stable Diffusion等AI绘图平台似乎在未经授权的情况下直接复制其作品时，恐慌情绪迅速蔓延。

这种诞生于现代生成式AI浪潮初期的恐惧，引发了多起诉讼。例如Getty Images为艺术家群体起诉Stability AI；美国作家协会起诉Anthropic的案件最终以15亿美元和解。在影视行业，迪士尼、NBC环球、华纳兄弟等娱乐公司也起诉了Midjourney等AI图像服务商，指控其模型生成了受版权保护作品的未授权副本。

面对诸多诉讼，作家、创作者以及好莱坞导演和高管们似乎都保持着强硬立场。

BET+执行副总裁兼总经理杰森·哈维在12月10日纽约AI峰会演讲中表示：“当前普遍存在两种极端观点——要么‘AI将拯救好莱坞’，要么‘AI将彻底摧毁好莱坞’，这完全取决于你的立场。”

反对在创意工作中使用AI技术的人士认为，现有工具会削弱人性化元素，导致作品缺乏灵性。他们同时强调，创作者无需借助AI也能创作出优秀作品。而支持方则坚信，拥抱AI技术代表着未来趋势，且能为人类提供助力。

纪录片叙事公司Yoyos创始人卡梅隆·基特在会议辩论环节指出：“AI能让我们拥有更安全的未来，因为算法和智能体将能保护你，甚至在你的名字被冒用时及时提醒。”

尽管创意行业呈现两极分化态势，仍有人寻求中间道路。

瑞格利媒体集团首席执行官乔·利维奇在采访中表示：“我坚信任何创作都需要人性化触感。归根结底，作为人类，我们渴望新颖独特的内容，而非千篇一律的产物。我们需要的是独特的创意概念、理论或发现。”

利维奇并不反对使用AI技术。他透露公司全员都配备自主式工具，他本人使用微软Copilot和ChatGPT，团队则运用包括谷歌Veo、Nano Banana及马斯克xAI公司Grok聊天机器人在内的多种AI工具。

“我们持续进行新技术实验，”利维奇补充道，“虽然市场上存在大量低质内容，跟进筛选确实困难，但多元选择本身令人振奋。如今开展业务几乎不可能完全脱离AI。”

他认为，新型AI工具为创意工作者创造了机遇。“我入行时存在很高门槛，当时不可能随便在街头拍电影。而现在任何人都能创作内容并上传网络，获得数百万浏览量。这令我非常振奋。”

但行业普遍认为，使用知识产权训练模型者应当建立补偿原创者的标准。“我不认为应该免费开放随意使用，”利维奇强调需要知识产权保护，因为创作者可能投入大量时间却无法变现，合理保护能帮助他们获得报酬。

许多模型提供商正在探索收益分成模式。例如Getty Images为贡献训练内容的创作者建立分成机制，OpenAI也与美联社、《大西洋月刊》等知名新闻机构建立出版合作关系。

其他应用AI的企业也在探索类似模式。数字产品工程公司Anshar Labs创始人兼CEO皮纳基·萨哈推出了TekFlix平台，该平台基于Meta Llama和DeepSeek开源模型，能将非结构化视频转化为生动的虚拟形象教学短片。公司还采用适用于医疗、金融等多行业的第三方虚拟形象生成平台。

萨哈在采访中透露，随着电商卖家兴趣增长，Anshar计划开发更多功能，允许合作方代客户提交内容并参与收益分成。

虽然TekFlix视频以虚拟形象为主，萨哈认为这并未削弱人性价值：“起点仍是人类创意——需要由人定义内容形态与发展路径。机器无法做到这点，因为它不具备定义创作情境的人类情感。”他强调：“人类永远不会脱离这个循环，我们将持续调整自身定位，但绝不会被排除在外。”

纽约和解教会牧师安东尼·贝利认为，TekFlix这类工具展现了AI对创意工作的助益。“视觉效果尤其出色，”他表示，“如果我能将布道笔记转化为视觉素材，必将更有效地帮助信众。”但他明确不会用AI创作布道内容，认为这会削弱与上帝的亲密连接。同时作为创作者，他鼓励同行积极利用AI：“别被工具主宰，要让它为你服务。用它提升自我，激发创意潜能……它终究只是工具，真正的核心永远是你自己。”

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英文来源：

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Choosing Your First Generative AI Use Cases
To get started with generative AI, first focus on areas that can improve human experiences with information.
The creative landscape is evolving as artists and content creators reassess their relationship with AI technologies. At first seen as a threat, many creatives are now embracing AI.
NEW YORK -- Creatives and artists have perceived agentic and generative AI as a threat to their work, but the tide is turning, and many are reclaiming control over their content.
Generative AI has come a long way for creatives, who initially decried the technology in 2022 and even shamed some of those who used it. For example, artists who used the tool and won art contests were met with criticism.
On the other hand, fear gripped artists and writers who saw that AI imaging platforms such as OpenAI's Dall-E and Stability AI's Stable Diffusion appeared to be outright copying their work without attribution
That fear at the start of the modern generative AI era led to numerous lawsuits, such as the one Getty Images filed against Stability AI, for artists. Another lawsuit, filed by the Authors Guild against Anthropic, led to a $1.5 billion settlement. On the filmmaking and Hollywood side, entertainment companies such as Disney, NBCUniversal, and Warner Bros. have sued AI imaging vendors, including Midjourney, alleging that the models generated unauthorized copies of their copyrighted work.
With all these lawsuits, writers and creators, and Hollywood directors and executives also appear to hold hard stances.
The prevailing sentiment is that either "AI is going to save Hollywood or AI is going to burn Hollywood to the ground, it just depends on which side of the fence you're on," said Jason Harvey, executive vice president and general manager at BET+, during a presentation on Dec. 10 at the AI Summit conference in New York.
For those opposed to the use of AI technology in creative work, the tools available can detract from the human element, leading to more uninspired work. Those against also argue that creatives do not need to use AI to be better or to create art. On the other side, many are convinced that embracing AI technology is the future and can be helpful for humans.
"AI could enable us to have a future that is more secure than ever because we're going to have algorithms and agents that can actually protect you and let you know if your name is being used," said Cameron Kit, founder of Yoyos, a documentary storytelling company, during a debate at the conference about the use of AI technology.
While the camps appear polarized in the creative industry, some see a middle ground as a viable option.
"I definitely think you need the human touch to anything you're creating," said Joe Livecchi, CEO of Wrigley Media Group, in an interview. "At the end of the day, as human beings, we want something novel. We don't want something that is the average of a thousand other things. We want a unique creative concept, a theory, or a discovery."
Livecchi is not against the use of AI technology. He said that everyone at Wrigley Media Group have agentic tools at their disposal, and he uses Microsoft Copilot and ChatGPT. Meanwhile, his team also uses an array of AI tools, including Veo and Nano Banana from Google, as well as Grok, the AI chatbot from Elon Musk's xAI company.
"We're experimenting with new technologies all the time," Livecchi continued. "There's a lot of [low-quality material] out there, too, and it's really hard to keep up with, but to me, it's exciting that there's all this choice. It's almost impossible to do business and not use AI in some way."
Moreover, the new AI tools provide an opportunity for creatives, he said.
"I came up at a time where there was a barrier to entry," Livecchi added. "I couldn't just go on the street and make a movie. Now, anyone can create something, put it online and have millions of people see it. To me, that's exciting."
However, there should be a standard for those training the models on intellectual property to compensate IP creators, according to many in the industry.
"I don't think it should be free and open to everyone just to use at will," Livecchi said, adding that IP protection is needed because it is likely that the creator spent many hours creating something they were unable to sell, IP protection might help them get paid.
Many model providers are working toward a revenue-sharing model. For example, Getty Images maintains a revenue-sharing model for contributors whose content was used to train its AI models. Also, OpenAI has established publishing partnerships with prominent news organizations, including The Associated Press and The Atlantic.
Other companies that are using AI are also exploring a revenue-sharing model.
For instance, Pinaki Saha, founder and CEO of Anshar Labs, a digital product engineering company, introduced TekFlix, an AI platform that turns unstructured videos into short, engaging avatar-based learning videos. The platform was built with open models: Meta Llama and DeepSeek. Anshar Labs also uses a third-party avatar generation platform suitable for various industries beyond media, including healthcare and finance.
However, with increasing interest from small ecommerce businesses and sellers, Anshar plans to build more elements that enable affiliates to submit content on behalf of clients and share in the revenue, Saha said in an interview.
While the videos on TekFlix mainly feature avatars, Saha said this does not detract from the human aspect because the process started with humans.
"The beginning of it is human creativity because you're defining what the content is going to look like and how it's going to navigate along the roadmap," he added. He said a machine can't do that because it doesn't have human emotions to define the landscape.
"We can never take ourselves away from the loop; we will always be repositioning ourselves, but not taken out of the loop," Saha continued.
For Anthony Bailey, pastor of Reconciliation Church in New York, tools like TekFlix demonstrate what AI can do for creatives.
"This is great, especially with the visuals," Bailey said. "If I have a sermon, on my sermon notes and if I can plug that in and have that as a visual, I think that would help people all the more."
He added that he would never use AI to create sermons because it detracts from the intimacy with God. At the same time, as a creator, he said other creatives should use it and not shy away from it
"Don't let it master you. Use it for your benefit," Bailey said. "Use it to better yourself. Use it to build upon your creativity because … it is just a tool. It all comes from you. You're the main character in the story."
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