AI-Enhanced Production of “Young Washington”

Director Jon Erwin used generative AI to extend a water sequence in the historical drama “Young Washington,” which opened on July 3. A 50-foot pool in Ireland captured William Franklyn-Miller as George Washington. AI mapped the footage onto a larger river, avoiding real cold water. About 100 shots—?10 % of the film—were AI-augmented.

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Erwin, a Birmingham, Alabama native, co-founded Innovative Dreams with Wonder Project and Luma AI. The crew used AI platforms Luma, Amazon’s Project Nara and Magnific. Five AI artists, an AI producer and an AI crew member joined traditional VFX staff. Cast members Ben Kingsley, Andy Serkis and Mary-Louise Parker were briefed on the workflow.

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The water set used a 50-foot pool; about 100 shots (?10 % of the film) were AI-augmented, including establishing shots, cannon fire and period-accurate costumes for two Wonder Project staff turned into British soldiers. Crowd duplication in wide shots used classic VFX. It holds a 63 % Rotten Tomatoes rating, and Owen Gleiberman described it as “watchable in a stolid way, as if it were a ‘Masterpiece Theatre’ movie made by the Ted Turner Pictures of 20 years ago.”

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Erwin asserts AI should augment, not replace, core filmmaking practices. He advises creators to maximize real assets before using AI to expand creative vision. He stresses transparent communication with actors, noting most have embraced the tools after understanding the process. He also calls AI a democratizing force that could broaden the number and diversity of Hollywood projects.

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Critics questioned the film’s AI usage and the authenticity of visual effects. Observers misidentified AI-generated elements as traditional VFX, prompting Erwin to clarify the distinction. Owen Gleiberman noted stylistic shortcomings without addressing the AI component.

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Sources differ on how much of the imagery derives from AI versus conventional VFX. Erwin says crowd duplication used classic VFX, while other commentary suggests AI may have been applied to broader scene extensions, leaving the exact division unclear.

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• “The actors were there, the raft was there, the water was there, but the water wasn’t cold,” — Jon Erwin, Director

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• “My view on the use of these tools is: Do everything you can for real, everything you possibly can, and then use these tools to amplify your vision and give you a bigger canvas,” — Jon Erwin, Director

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• “You’re looking at traditional VFX,” — Jon Erwin, Director

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• “I bled on the bleeding edge of every digital alternative zone,” — Jon Erwin, Director

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A behind-the-scenes clip of the AI-enhanced water sequence is online, and Erwin says future projects will explore AI as a standard component of the visual-effects pipeline.

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