The AI blogger circle is being filled with film-school-trained creators from Central Academy of Drama, Beijing Film Academy and other institutions

**Key Points**

**1. A large influx of film-school graduates and seasoned industry professionals has turned the AI creative circle into a "big professional gathering"**

Most winners of AI competitions on platforms such as Bilibili and Douyin are creators with more than a decade of film and television experience or formal film-school backgrounds, such as the team behind "Helong," "Standing Shadow," and DiDi_OK; professional storytelling and aesthetics have become their core advantage.

**2. After AI tools became accessible to all, technical barriers quickly disappeared, and creative skill determines how far a work can go**

**3. The way creative work is organized is moving toward a compressed film crew, mixing traditional tools with AI**

**4. Audiences and platforms no longer give works special treatment for "using AI," and content evaluation has returned to film and television industry standards**

The key to the success of award-winning works such as "Fei Yao Zai" and "A Day in the Life of Amin" lies in using AI to express real-world issues and unpack emotional details rather than showing off technical prowess; AI video has moved from technical experimentation into the value system of the content industry. 2026-10-06 18:03 The AI blogger circle is being filled by people from the Central Academy of Drama and Beijing Film Academy Yiyu Observation Quick Overview

In this round of competition, the presence of film-school professionals is particularly strong.

The Douyin AI Creation Competition that concluded in September awarded its gold prize to "Helong" by "2XLabs," a team with more than a decade of film and television industry experience. The silver prize went to "Standing Shadow," the author of "Anyway, There's No Time to Live," who has previously worked as a director, cinematographer, screenwriter, and lighting technician, and has also taught photography and film and television courses at academic institutions.

Douyin screenshot

"DiDi_OK" on Bilibili is the same.

He comes from an animation background and once worked in advertising and visual work at the London advertising giant WPP Group. This year, he won first prize in the open track of Bilibili's first AI Creation Competition with "The Sign," and in September he released a new work, "Candy." In the same month, another of his works, "Website," won the "Reply AI Studios Award" and the "WeShort Audience Choice Award" at the Reply AI Film Festival held in Venice.

For AI bloggers, model updates are certainly important, but how far a film can ultimately go increasingly depends on how much creative skill the person using the tools actually has. It could even be said that the AI creative circle is quickly turning into a "big film and television professional gathering."

In the first half of this year, when works such as "All Things Grow" and "The Laid-Off Girl" successively broke out, the industry's most exciting keyword was still "lowered barriers." One person, one computer, and a few AI tools could accomplish work that previously required a screenwriter, director, cinematographer, art designer, actors, and post-production to complete together.

This imagination of "one person is a film crew" did indeed constitute the earliest appeal of AI video, and "The Laid-Off Girl" is one typical example. Director Feifei Fei worked as a model for seven years before transitioning to short video and narrative account directing. She wrote her own modeling experience into the story of the protagonist Fang Taozi in "The Laid-Off Girl," using a small team of fewer than five people to create an AI series with hundreds of millions of views.

A very direct answer is that more and more people who have actually worked in film and television are beginning to enter the field.

In this year's first Bilibili AI Creation Competition, director and screenwriter Jiaoshou Yixiaoxing teamed up with the AI creative team "Fenmo" to make "The Death of Nuwa," which ultimately won third prize in the open track. This film did not single-mindedly pursue the high definition and realism that AI excels at, but instead chose a clay stop-motion style with a rough handmade feel: Nuwa pinches clay to create humans, and the images themselves seem to be shaped bit by bit from mud. To serve this setting, the team advanced from script and visual style to storyboarding, generation, and editing according to the logic of a complete short film, rather than first generating a batch of beautiful images and then trying to figure out how to stitch them together.

For example, "Wudi Xingcheng" from the Communication University of China needed to complete an animated short film of more than 200 seconds, "The Dream Catcher," within 36 hours when participating in an AI animation hackathon in May this year. But in the first few hours after receiving the prompt, they did not rush to "run images"; instead, they kept arguing about the direction of the script, the core of the story, and the relationships between characters, and only formally settled on a plan in the afternoon. Only after that did they move on to generating character and scene assets and to editing. In the end, "The Dream Catcher" was shortlisted for the AIGC recommendation unit of an accompanying event of the 38th Hundred Flowers Awards.

Some are better at commercial advertising and post-production, while others prefer realistic subjects and take on directing work. When they encounter problems that AI cannot yet solve, they do not insist that "everything must be AI-generated," but instead go directly back to traditional tools such as Photoshop. This is already a subtle difference from the early narrative that "one person with one computer can make a film."

It can be said that in the past, the most conspicuous label for an AI blogger was "whether they can use AI," but today this is rapidly being reduced to a basic threshold. What truly creates the gap is beginning to become another, older set of standards: whether the story holds up, whether the characters have memorable points, why the shot is cut this way, whether the visual style can serve the content, and whether, ten minutes later, the audience is still willing to keep watching.

02

In May this year, Yiyu Observation (ID: yiyuguancha) reviewed a group of AI creators in "The Hottest AI Bloggers on Douyin, Kuaishou, Xiaohongshu, and Bilibili—Are They Making Money?"

At that time, AI blogger was still a very broad concept. Some did tool reviews, some made AI short dramas, some ran virtual humans, and others made money by selling courses, developing their own products, and earning platform incentives. At the time, the industry had already begun to move from technical dividends toward "deep content cultivation," but a large number of creators could still gain attention by relying on new tools, new formats, and new visual styles.

Today a model gets updated, and tomorrow a flood of tutorials appears. A new camera movement, transition, or character-consistency trick may become a standard move that any creator can replicate within a few days. The "technical barriers" that once took a long time to study are increasingly easy to flatten in the next round of model upgrades.

The director of the competition's silver-award-winning work "Fei Yao Zai," "Buchi Zhacai," once worked in cinematography and editing. To establish the work's ancient-style supernatural atmosphere, he specifically studied the old versions of "Liaozhai" and "The Legend of the Eight Immortals," even examining the craftsmanship and carvings of ancient furniture. When the storyboards AI produced failed to meet requirements, he broke down the shots himself and set the framing, deliberately slowing the camera movements so the audience could stay within the story's emotions.

This aesthetic also needs expressive support. "Fei Yao Zai" uses the supernatural to discuss real-world issues such as cyberbullying and human trafficking; the characters' circumstances are the entry point for audience empathy. Just as one can generate an ancient mansion, why the characters should meet here, and how long the camera should linger, must still be decided by the creator.

Cases on Xiaohongshu also explain this professional ability more concretely.

In the article "A New Generation of Directors Is Growing Out of Xiaohongshu," Yiyu Guancha (ID: yiyuguancha) introduced director Shanyin, who also received Xiaohongshu's Short Film Rising Star Shu. He wrote his anxiety about switching between multiple identities into the AI short film "A Ming's Day." People can obtain different personalities from an automatic personality vending machine, yet A Ming remains an ordinary person exhausted by coping with external demands. The absurd premise corresponds to familiar emotions in life, and AI gives this idea a visible shape.

In an interview, Shanyin mentioned that to express sadness, one cannot simply give AI an emotion label; it must be broken down into specific expressions and actions. Prompts are often effective because the creator first understands how to present emotion. This basic screenwriting skill, originally used to communicate with directors and actors, still works when the tool changes.

All of this makes the meaning of "professional" clearer: it includes both narrative and audiovisual expression and the sustained management of characters. Formal training and industry experience can provide accumulation, and non-formally trained creators can likewise learn through practice. The standard of judgment must ultimately rest on the work. The more steps the model completes for you, the more you need to know which results are worth keeping and which must be overturned and redone.

It has begun to truly enter the content industry's evaluation system. Audiences will not automatically watch five more minutes just because a work uses a more advanced model. Platforms will not give a character more vitality just because the prompts are more complex. A series of videos will not grow into an IP just because it has enough episodes.

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