Generative Artificial Intelligence in Media Production. The Emerging Role of Artificial Intelligence Artist in Spain

Sonia Dueñas Mohedas; Francisco Jiménez Alcarria

doi:10.17231/comsoc.47(2025).6212

Authors

Sonia Dueñas Mohedas Departamento de Comunicación, Facultad de Humanidades Comunicación y Documentación, Universidad Carlos III de Madrid, Getafe, Spain https://orcid.org/0000-0002-5077-7569
Francisco Jiménez Alcarria Departamento de Comunicación, Facultad de Humanidades Comunicación y Documentación, Universidad Carlos III de Madrid, Getafe, Spain https://orcid.org/0000-0002-1809-7942

DOI:

https://doi.org/10.17231/comsoc.47(2025).6212

Keywords:

artificial intelligence, post-production, media industry, Stable Diffusion, digital compositing

Abstract

Artificial intelligence (AI) technologies have advanced exponentially in recent years, particularly in machine learning, including convolutional neural networks and generative adversarial networks. Their implementation in the creative industries has rapidly evolved from information analysis and data compression to the use of generative AI tools for media production. This exploratory study analyses the emerging role of the AI artist in applying generative AI techniques to the audio-visual post-production processes of the television series La Mesías (The Messiah; Movistar+, 2023) and the music video Pesadillas (Nightmares; Martina Hache, 2024), which were implemented by Alejandra G. López. The characteristics of the visual style resulting from their implementation will be studied. The methodological design combines approaches from media industry studies and organisational sociology, utilising a systematic hemerographic and bibliographic review, an in-depth interview and a technical analysis of the sequences involved. The workflow phases where AI was used are identified and classified according to the categories proposed by Anantrasirichai and Bull (2022): content creation, information analysis, content and workflow improvement, and information extraction. The results show that generative AI has a particularly significant impact on visual effects and 2D/3D compositing, creating a style that enhances realism with dreamlike atmospheres. The analysis also shows that these techniques, implemented with generative AI, require specialised profiles in the field and will be integrated into the audio-visual post-production workflow alongside other classic digital compositing and visual effects procedures.

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Author Biographies

Sonia Dueñas Mohedas, Departamento de Comunicación, Facultad de Humanidades Comunicación y Documentación, Universidad Carlos III de Madrid, Getafe, Spain

Sonia Dueñas is a postdoctoral researcher in the Department of Communication at the University Carlos III of Madrid. She is a member of the research group Television-Cinema: Memory, Representation and Industry and is involved in several research projects, including VITAL-IoT: Resolviendo Aspectos Clave en la Ciberseguridad de Sistemas IoT Personales de los que Depende la Vida de Personas (2023/00616/00), El Documental Institucional y el Cine de Aficionado Coloniales: Análisis y Usos (PID2021-123567NB-I00) and Cine y Televisión en España en la Era Digital (2008-2022): Nuevos Agentes y Espacios de Intercambio en el Panorama Audio-visual (PID2022-140102NB-I00). She was awarded the Korea Foundation Field Research Fellowship for a stay at the Korea National University of Arts in 2021. She is secretary general and founding member of the Association of Korean Studies and Culture in Spain. Her research interests are based on film studies and media industry studies.

Francisco Jiménez Alcarria, Departamento de Comunicación, Facultad de Humanidades Comunicación y Documentación, Universidad Carlos III de Madrid, Getafe, Spain

Francisco Jiménez Alcarriais a PhD candidate (FPU21/02957) in the Department of Communication and Media Studies at University Carlos III of Madrid. He is part of the research group Television-Cinema: Memory, Representation and Industry and works on the research project Cine y Televisión en España en la Era Digital (2008-2022): Nuevos Agentes y Espacios de Intercambio en el Panorama Audio-visual (PID2022-140102NB-I00). He is also a beneficiary of an FPU grant (Ministry of Science, Innovation and Universities) and a member of the editorial committee of Tecmerin. Revista de Ensayos Audiovisuales. Regarding his teaching profile, he currently teaches the subject of Digital Post-Production in the Bachelor of Film, Television, and Media Studies program. He participates in teaching innovation projects, which include developing massive open online courses and small private online courses related to video editing and post-production. His research interests are based on film and television studies.

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