Creative postproduction boutique Uppercut has brought Steve Cokonis on board as VFX supervisor. The addition of Cokonis rounds out the shop’s six-member VFX team, which is led by head of VFX John Geehreng in NYC. Uppercut has a Los Angeles office opening this fall and the hiring of Cokonis underscores expansion and a rapidly growing team on the West Coast. Cokonis began cultivating his love for graphic design and video production in his native Philadelphia before relocating to Los Angeles in 2006 to deepen his craft. Two years later, he landed a job at The Mill as a Flame assistant, working his way up through the ranks to become a lead Flame artist in 2013. In the summer of 2016, Cokonis supervised 300 VFX shots for director Brian Buckley’s feature film Pirates of Somalia, starring Al Pacino, Melanie Griffith, and Evan Peters. Cokonis continued to broaden his postproduction suite of skills, earning a promotion to VFX supervisor in 2017 while at The Mill. After deciding to spread his wings and freelance, Cokonis split his time working with several award-winning studios, including KEVIN, Framestore, Jamm, and The Mill. He recently collaborated with director F Gary Gray on the 2022 Super Bowl Halftime Show trailer for Pepsi. Over the course of his career, Cokonis has collaborated on notable commercial projects including “Web” for Skittles with director Wayne McClammy, “Jane” for HP with Lance Acord, “Tiempo De Ser Heros” for Nike with Loren Denis, “Two Worlds” for Acura by Mark Jenkinson, “Recycle the Dollar” for IBM by Fredrik Bond, and “Sea Captain” for Old Spice by Tom Kuntz. Cokonis’ work on music videos spans a variety of genres, including collaborations with Pharrell Williams, director Edgar Wright, Bonobo, and Run the Jewels….
AI-Assisted Works Can Get Copyright With Enough Human Creativity, According To U.S. Copyright Office
Artists can copyright works they made with the help of artificial intelligence, according to a new report by the U.S. Copyright Office that could further clear the way for the use of AI tools in Hollywood, the music industry and other creative fields.
The nation's copyright office, which sits in the Library of Congress and is not part of the executive branch, receives about half a million copyright applications per year covering millions of individual works. It has increasingly been asked to register works that are AI-generated.
And while many of those decisions are made on a case-by-case basis, the report issued Wednesday clarifies the office's approach as one based on what the top U.S. copyright official describes as the "centrality of human creativity" in authoring a work that warrants copyright protections.
"Where that creativity is expressed through the use of AI systems, it continues to enjoy protection," said a statement from Register of Copyrights Shira Perlmutter, who directs the office.
An AI-assisted work could be copyrightable if an artist's handiwork is perceptible. A human adapting an AI-generated output with "creative arrangements or modifications" could also make it fall under copyright protections.
The report follows a review that began in 2023 and fielded opinions from thousands of people that ranged from AI developers, to actors and country singers.
It shows the copyright office will continue to reject copyright claims for fully machine-generated content. A person simply prompting a chatbot or AI image generator to produce a work doesn't give that person the ability to copyright that work, according to the report. "Extending protection to material whose expressive elements are determined by a machine ...... Read More