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News3 min read·2026-10-21DisconfirmAI Editorial

Four AI Film Directors at the 2026 Kaohsiung Film Festival Discuss Model Selection: The Latest Version Is Not Necessarily the Best

Directors Hsieh Yueh-Lung, Tseng Ching-Yi, Liu Hung-Chun, and Qiu Sheng shared their practical experiences in selecting AI video generation tools during an INSIDE interview at the "AI Without Borders" section of the 2026 Kaohsiung Film Festival. Their observations point to a common conclusion: there is no simple linear relationship between model versions and creative output; tool selection depends on specific visual requirements, narrative coherence, and the creator's intent rather than benchmark rankings.

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Original publication time 2026-10-21 16:13 GMT+8

After comparing his experience using Kling and Seedance, Hsieh Yueh-Lung made a statement that is uncommon in AI tool discussions: 'The latest version is not necessarily the best.' Different tools have their strengths and must be matched to the desired visuals. This is not conservatism or humility—he observed multiple traditional films being set up simultaneously at the Annei film studio in Tainan, indicating that AI development and physical production can coexist, and one cannot directly infer that traditional production will decrease comprehensively due to tool advancements.

When creating The Story of Ah Chao using Seedance 2.0, Qiu Sheng found that the model could capture the camera movement and editing rhythm of specific films, but it did not necessarily completely reproduce a particular shot. The plot and actions were still designed by him. He explicitly stated that he does not know whether these capabilities involve copyright issues. Tseng Ching-Yi perceived similar changes from the Torii series: early generated images struggled with character and scene continuity, requiring frame-by-frame assembly. He chose a DV and found-footage style, which fit the horror genre and masked flaws in the generated imagery; as models improved, the creative focus gradually returned to the story itself.

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Liu Hung-Chun faced a different set of constraints in Crossing the Gates of Life and Death: the city gate in the film is located in downtown Seoul, South Korea, where live-action shooting involves traffic control restrictions, and fantasy sequences would require significant time and budget if produced traditionally. He said, 'Given limited time, budget, and other costs, I chose AI.' Here, AI was not a replacement for creativity but a way to open up production options under specific constraints. He also attempted to use historical paintings and court paintings as a basis, utilizing digitized historical data such as era and author information to provide references for AI generation, but this selection process still required the creator to judge how to apply historical and cultural contexts.

The experiences of all four directors point to a common judgment: choosing AI video generation tools is not about 'which model is the strongest,' but 'which tool is most suitable for this image, this narrative, and this continuity requirement.' Tseng Ching-Yi put it more directly: 'There is no shortcut to buying the strongest model and getting a standard answer.' A creator's experience and preferences affect the results; tools match specific creative intents rather than general capability rankings.

It should be noted that these four directors provided their own production observations; they did not test models under identical conditions, nor did they provide directly comparable cost data. These experiences help understand how professional creators choose tools, but they are insufficient to determine which model leads comprehensively or to estimate cost changes across the entire film industry. The fact that works exhibit a certain cinematic style does not equal confirmation of training data sources and licensing—Liu Hung-Chun also mentioned that while Seedance is a commonly used tool in South Korea, arbitrary modifications and uploading existing imagery have sparked controversy.

Sources

  • inside.com.twINSIDE↗
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