At Busan, filmmaker Kim Sung-soo said his thinking on generative filmmaking has changed. He used to look at the technology as a threat to cinema. Now he’s using generative tools in Worm Train, a short film inspired by Franz Kafka’s The Metamorphosis.
That change lines up with what’s happening across the business. What started as a novelty is edging into real production use, and Busan has become one place where that shift is easy to see, with Kling, Google DeepMind, and Netflix’s Eyeline Studios all showing up. Kling says it has 100 million users, and it’s selling a pretty clear promise: faster ideation, quicker visual development, and more flexibility whether a project has a big budget or a tight one.
The tools are already being used for script breakdowns, storyboards, pitch decks, VFX planning, editing support, and sound design. People in the industry say pre-production can drop by 25% to 35%, VFX costs can fall by 20% to 35%, and some feature budgets can come down by 30% to 40%. Some market projections put the automated video market at $788.5 million in 2025 and $946 million in 2026. Reports also say Netflix used these tools on 300 titles in H1 2026, mostly in post-production.
If you’re paying attention to where filmmaking is headed, this is the part to watch. The upside is real, but so are the arguments that still haven’t been settled: copyright, jobs, deepfakes, training data, and the growing pressure for models that are licensed and verified.
You can see these tools at Busan’s Asian Contents & Film Market.
Author: Emmanuel Pina
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