Yesterday, the Asian Contents & Film Market (ACFM) in Busan opened its InnoAsia track with a lively discussion titled “New Cinematic Possibilities: Reimagining Filmmaking with Kling AI.” The session gathered notable creators—including director Kim Sung-soo, Chinese animator Li Wei, MooAm Co CEO Harry Hyun, and MBC C&I AI Contents Lab producer Lee Sang-wook—to examine how the newly released Kling AI 4.0 image generation model is being integrated into Korean production pipelines. The market runs until October 13, giving industry professionals ample time to test the technology and exchange ideas.
Kim Sung-soo’s AI-driven short “Worm Train”
Veteran director Kim Sung-soo, whose résumé boasts blockbusters such as Asura: The City Of Madness and 12.12: The Day unveiled a teaser for his upcoming short film Worm Train. Inspired by Franz Kafka’s “Metamorphosis,” the narrative imagines a giant worm commuting on a subway—a premise that immediately sparked curiosity among the audience. Kim explained that he leveraged Kling AI’s 4.0 tools to generate key visual elements, allowing him to experiment with surreal set pieces without the constraints of traditional construction. The teaser, screened during the panel, demonstrated how AI-crafted imagery can coexist with live-action footage to produce a distinctly cinematic experience.
Human touch versus algorithmic output
When asked whether AI threatens the creative core of filmmaking, Kim offered a measured response: “One thing never changes, which is what makes a film cinematic.” He added that while the democratization of AI tools means anyone can produce a visual piece, the true value of an image “still comes from human intervention.” Kim warned that without a clear artistic vision, AI can churn out “mediocre” content, but he believes the technology will ultimately expand, rather than replace, the storyteller’s palette.
Efficiency, expertise, and the risk of sameness
Harry Hyun, a director and the head of MooAm Co, reinforced the idea that AI primarily offers speed and convenience. He noted, “AI production compared to traditional production is really not that different – the difference is efficiency and simplicity” yet emphasized that a seasoned crew remains essential. Hyun argued that without experienced directors, cinematographers, and art directors, projects risk converging on “the same lighting, the same everything.” He stressed the need for nuanced decisions—when to employ a close-up versus a wide shot—because those choices are the product of years of craft, not random algorithmic suggestions.
Instant feedback and collaborative iteration
Li Wei, known for the animated feature Born Of The Tide highlighted a practical advantage of AI: the ability to see results instantly. This rapid turnaround, he said, “makes it easier to get feedback from multiple people on the crew.” Li described the workflow as a series of “trial and error” cycles where visual mock-ups are shared, critiqued, and refined in real time, fostering a more inclusive creative dialogue. He believes that such immediacy can accelerate the polishing stage without sacrificing artistic integrity.
Teamwide literacy and the question of standards
Lee Sang-wook, producer at MBC C&I AI Contents Lab and collaborator with Barunson E&A, presented a teaser for the upcoming series Rendering Love which blends conventional live-action scenes with AI-generated characters portraying a virtual K-pop group. Lee observed that “all staff members working on a project must fully understand the technology” to maintain high-quality output. He warned that lagging behind model updates can degrade When the panel touched on the need for industry regulations, Kim argued that it’s “still too early” in South Korea to formalize standards, urging creators to first explore the medium while staying vigilant about potential copyright infringements.
