AI hoot: NMG will release the first neural series and musical based on the Ice franchise

By the end of the year, viewers will see the first vertical series created entirely with the help of artificial intelligence, and the theatrical poster after the musical "Crybaby" may be supplemented by a production based on the franchise "Ice". Russian cinema is expanding its distribution geography, and streaming platforms are revising their approaches to producing original projects and interacting with authors. This was discussed by the participants of the annual conference "Media Business". Details can be found in the Izvestia article.

AI is a tool, not an author

Artificial intelligence has once again become one of the main topics on the professional agenda. At the first session of the "Alone with a Media Manager" conference, Svetlana Balanova, CEO of the National Media Group (NMG), described how the holding uses new technologies.

AI is used in REN TV programs and in NMG Doc projects. According to the holding, the use of neural tools can save up to 10% of the production budget, and in individual projects the share of AI video reaches 40%. In CTC Animation, neural networks create presentations, trailers, visual worlds, and characters. As a result, the initial stage of work on the project is reduced from a year to one or two months.

The next step is the first vertical series on the Storys platform in the microdrama genre, created entirely with the help of AI. NMG expects to present it by the end of the year, and the first pilot series are already ready. The work uses Russian models, including the holding's internal developments, and foreign tools, including Chinese ones, as part of a partnership with the Shidau technology cluster.

— This is a truly revolutionary project, created entirely with the help of artificial intelligence, but with the participation of our team's professionals. Because AI alone cannot create something good, as we know. It is only when professional cinematographers set tasks for him that the most high—quality and sought-after product appears," Svetlana Balanova told Izvestia.

The question is whether the viewer will notice the difference between a human-made work and a neural network drama. For the industry, this is not only a technological experiment, but also a test of the ability of AI tools to solve the main task of keeping the audience's attention.

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Among the premieres are historical and military dramas, fiction, children's and teen films.

From the screen to the stage

Not only the way content is being produced is changing, but also the space for the viewer. A successful screen project can continue on the theater stage, becoming a separate product and expanding the possibilities of monetization of a familiar franchise.

— Our first project in the musical genre was the production of "The Crybaby" based on the series, which was successfully broadcast on CTC and the online platform Wink, and now it can be seen at the Moscow Musical Theater. But we are already planning the following projects, and one of them is a musical based on the Ice franchise. This is an audience favorite musical film — or rather, several films that our viewers love very much. Therefore, it is quite logical to try to make a musical based on it," Svetlana Balanova noted.

One of the key vectors of NMG's development is export. China occupies a special place in this strategy, but the holding looks at the international market much more broadly: its geography covers more than 90 countries. The task is not just to sell finished films abroad, but to build long—term partnerships, develop co-production and find different ways to monetize Russian content.

An illustrative example is "Red Silk", a Russian-Chinese retro-detective film that grossed $1.8 million at the Chinese box office. The film was also sold in 48 foreign markets, including Japan, South Korea and several Latin American countries. The next step will be "Black Silk", the sequel to the film, which is expected to premiere in 2027. At the same time, China is not the only export destination. The film "Pinocchio" was sold in 53 countries, and "The Adventures of the Baby Mammoth" was sold in 45 countries even before the start of Russian distribution.

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Content is dead — long live content!

During the sessions, participants discussed not only new formats, but also the reasons why the previous models of interaction between platforms and producers are no longer working. Online cinemas are increasingly betting on original projects. According to Anton Volodkin, CEO of Wink, in-house production is more profitable for Wink than dependence on third-party players, and the original series should not just be another position in the catalog, but a notable event. He cited "It's hard to be a god" as an example.

Teymur Jafarov, showrunner and general producer of the new film based on the Strugatsky brothers story, drew attention to the importance of sharing responsibility between the customer and the creators, as well as the risks of excessive interference in the creative process. Otherwise, the project may lose its identity.

— The question is not about freedom, but about the correct, basic, conceptual structure of technology, where everyone understands what they are responsible for and is responsible for. We help create content that will be interesting to viewers and bring a paying audience to the platform," Jafarov emphasized.

The media market is changing on several fronts at once, from the introduction of AI to the export of Russian franchises. But new technologies, formats, and monetization methods only make sense if they help you create relevant content and find your audience. It is for his attention that the main competition is unfolding today.