Issue link: https://digital.copcomm.com/i/1543327
www.postmagazine.com 27 POST JAN/FEB 2026 s the Academy Software Foundation (ASWF) continues to grow to encompass new projects and technologies, an important new develop- ment this past year was the establishment of a working group on machine learning, and the first two open-source projects underneath it. The latest technology revolution in the VFX and animation world is machine learning (ML), which refers to approaches where instead of program- ming via step-by-step instructions, we teach computers what to do by providing examples from which to discover their statistical patterns. It's not always clear what tools we should build and use that are going to empower artists and serve productions. When it comes to ML, the constant hype of the tech industry was causing too much uncertainty and anxiety. Like the Foundation does for other open-source projects, we can take a step forward by collaborating on some ML tools that we all need, leaving more time for custom development where needed in our pipelines. In the process, we can promote a positive vision to rally behind, taking an artist-first, ethics-first approach to build- ing ML tools for productions. To this end, we established the ASWF Working Group on Machine Learning (WG-ML), and set up communications channels where our engineers can learn together and collaborate on projects that serve us all. Within the first few months, we started two initial open-source projects. The first new project is the Dailies Notes Assistant (DNA). It was co-sponsored by ILM and Sony Pictures Imageworks (and now has many other collaborators), and its goal is to explore whether we can create a useful tool to aid production coordinators who are taking notes in dailies/review sessions. The goal is not to replace the human note-takers, but to help them manage the deluge of informa- tion as they are rapidly switching among multiple shots, hearing and recording feedback from creative leads, associating the right notes with each shot, summa- rizing the relevant instructions and communicating them to artists, and correctly filing them into existing production-tracking systems. Modern voice transcription and large language model (LLM) systems are key enabling technologies. The second project is being led by WētāFX and has the whimsical name Rongotai Model Train Club (RMTC). The goal of this project is to facilitate data set and model rights tracking as ML models are trained and deployed in a production environment. At any given time, a VFX facility may have multiple projects from dif- ferent clients in flight, each of which may have different rules and requirements for what data sets may be used to train ML models, the specific ways those models are permitted to be used on the shows and reporting requirements. RMTC aims to help facilities with these important compliance management tasks in a careful way that respects the rights of IP owners. Both projects are at the early stages, but ASWF aims to promote them as examples of how studios can continue to collaborate on building useful tools that serve the needs of production artists. We are also looking out for the next collaborative open-source project that we would like to coordinate, as well as continuing to act as a neutral forum where studios can share best practices about ML use in production . Larry Gritz is a Software Architect and Distinguished Engineer for Sony Pictures Imageworks, as well as the Academy Software Foundation's (www.aswf.io) TAC Chair. OPEN-SOURCE TOOLS ADVANCE MACHINE LEARNING CAPABILITIES IN VFX A VISUAL EFFECTS OUTLOOK s we look ahead to 2026, the entertainment industry continues undergoing consolidation and transforma- tion — and visual effects sit squarely at the center of this evolution. Today, visual effects is truly a global craft. From Hollywood to London, Mumbai to Montreal, Sydney to Seoul, artists and technologists are joining forces across conti- nents, using realtime tools and virtual production to create stunning imagery that transports audienc- es everywhere. As studios and streamers merge, the effects are felt everywhere: production pipelines are tightening, budgets are being restructured, and creative decisions are increasingly driven by data and efficiency. While these changes can streamline operations and concentrate the work among a smaller number of facilities and vendors, it has led to a redistribution of the global workforce. At the same time, AI is redefining how content can be produced. To expedite production, some rote tasks — such as compositing, ro- toscoping and asset creation — are now being more efficiently handled by AI. VFX artists are innovating creative uses for AI, including building AI-powered workflows that offer new efficiencies and creative possibil- ities. Yet these advances also spark valid concerns about job displace- ment, authorship and fair compensation for the artists whose imagina- tion fuels these technologies. Despite these disruptions, there is tremendous promise ahead. Global demand for high-quality content continues to grow, and VFX remains indispensable to nearly every form of entertainment — from film and television to animation, gaming and immersive experiences. Around the world, emerging markets are strengthening their produc- tion capabilities, creating a more interconnected and collaborative VFX ecosystem. To support practitioners of the craft, the Visual Effects Society (VES) continues to educate members and the industry on how AI can become a vital tool for artists to master, and how it can be the catalyst for advanced creative innovation in visual storytelling. VES is a global honorary society of top-tier VFX practitioners, and proudly supports more than 5,500 members in 50-plus countries with education, inspira- tion and community. With 16 member sections around the globe, VES is a powerful con- vener for artists, producers, supervisors and VFX practitioners world- wide. VES celebrates the most innovative visual effects work in the industry each year at the annual VES Awards, and helps nurture future generations of VFX practitioners. As the entertainment landscape continues to evolve, one thing is clear: the world's stories will keep relying on the innovation, skill and vision of the VFX community to bring imagination to life. . Nancy Ward is the Executive Director of the Visual Effects Society (www.vesglobal.org). A VFX WILL BE AT THE HEART OF ENTERTAINMENT'S NEXT CHAPTER