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Viggle:Can you tell us about your background and how you got into filmmaking?
Brian Wankum: I’ve always been torn between two passions—performing and technology. In high school, I was a theater kid, but I also loved computers and video games. After graduating, I moved to Los Angeles to pursue acting and spent five years chasing that dream.
My entry into filmmaking was somewhat serendipitous. I landed a production assistant job for a Fox sci-fi series, The Empire Slayer, where I was introduced to post-production. I quickly found my niche there. I was fortunate to get promoted early and eventually became the department head, managing everything from visuals and sound to editorial. At that time, the industry was transitioning from cutting on film to digital, which felt revolutionary—similar to how AI feels now.
Over the years, I worked on Firefly and numerous pilots, but Once Upon a Time was particularly defining for me. It ran for seven years, and we constantly pushed the envelope with emerging technologies. After wrapping up my last series last year, I began exploring AI, especially as the streaming bubble started to pop. I attended every AI talk I could find and connected with communities like AI LA and Curious Refuge.
Viggle: How did you first come across Viggle?
Brian: My first encounter with Viggle was through the Lil Yachty video I saw online. It immediately clicked for me—I realized how quickly and easily you could create a character performing virtually anything. I decided to give it a try at home, and I was blown away by its potential.
One of my early projects was inspired by the LA Pony Ride controversy. I used Synthesia to create the main character and then brought it into Viggle as a ranger riding a mechanical pony. It was a playful jab at the debates over animal cruelty.
Another project, Flat Earth Shuffle, was something I shared on Instagram and LinkedIn. We generated a song and used Viggle to animate me dancing alongside a group of dancers. The result was dynamic and engaging, and it won the Best Overall award at an event that night.
Viggle: Can you walk us through your workflow for projects like Flat Earth Shuffle?
Brian: Absolutely! Here’s how I approached it:
- Script and Concept: The process began with generating a song and envisioning visuals to match.
- Character Animation: I used Viggle to create the dancers and choreograph their movements. Viggle made it incredibly easy to bring those characters to life.
- Editing: Once the animations were complete, I compiled everything in Adobe Premiere, fine-tuning the flow and transitions.
- Final Touches: I added sound design and other finishing elements to polish the video.
Viggle was a game-changer in this process. It allowed me to execute ideas quickly and at a professional level.
Viggle: What’s your outlook on AI in filmmaking?
Brian: I’ve witnessed so many transitions in the industry—from cutting on film to digital, standard definition to HD, and now AI. No one looks back and says, “I wish we were still cutting on film,” and I think the same will happen with AI over time.
That said, I hope AI is used for more than just finding cheaper ways to do things. Its true potential lies in creating things that were previously impossible. AI is just another tool in our creative arsenal, and I believe it will eventually become as ubiquitous as any other filmmaking methodology.
What excites me about Viggle is its ability to capture human performance. I’m incredibly bullish on integrating human elements into projects using AI. It’s about using the tools to elevate storytelling and push the boundaries of what’s possible.
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