Google’s latest Veo3 video generation model stunned one and all with its lifelike video generation, but the impact of such video generation capabilities might be felt outside the immediate world of video and movies.
Thomas Iljic of Google Labs, a key figure in the development of advanced generative models like Veo 3, suggested that lifelike video generation will blur the line between video, simulation and games. His remarks suggest that the very definitions of digital media are up for a radical re-evaluation, pointing towards a future where distinct categories like video, simulation, and games merge into novel, interactive experiences.
Iljic’s core observation points to a convergence driven by the increasing sophistication of generative AI. “The one thing that’s starting to become more clear, at least for me, is how video generation, simulation, and games are becoming the same thing in this new world,” he stated. This isn’t just about creating passive content anymore. Instead, Iljic describes a process of active creation and interaction: “What that means is basically you’re world-building. You’re saying, ‘This is the stage, these are the assets, this is how things are supposed to look.'”
The power of this new paradigm, according to Iljic, lies in its flexibility and control. “Then you shoot in it, and it can reshoot, refine, pause, correct something, go back in time, and regenerate,” he explained. This iterative process, akin to directing a scene in a highly malleable virtual environment, suggests a future where creators have unprecedented power to shape and reshape digital realities. “I think that’s where this is heading, and the UI is going to be fairly novel,” Iljic added, hinting at new interfaces required to manage these dynamic capabilities.
He further mused on the nature of existing media and how their best attributes might be integrated. “Games are fun because there are very set constraints. Movies are good because very small details matter—the expression, the moment, and the timing,” Iljic observed. “So, I think it’s all about constraining the capabilities towards what we need.”
Perhaps most strikingly, Iljic questions the longevity of our current media classifications. “The other thing that strikes me, and a couple of people on the team, is that it’s not clear that we should think in terms of these static formats that we have today: an image, a video, and a game,” he pondered. “Is there something in between, almost?”
This leads to fundamental questions about the nature of content itself and how we will engage with it. “What does that mean? Where is that going to be distributed and interacted with?” Iljic asked. He offered a vivid example: “For instance, I can share an image with you, but you can instantly turn it into a scene that you’re walking into. So, am I sharing an image, or am I sharing an experience?” His reflection concluded with an acknowledgment of the uncharted territory ahead: “Lots of questions, I guess.”
The implications of Iljic’s perspective are vast. For creators, this blurring of lines could democratize the production of sophisticated interactive experiences. Independent filmmakers might generate entire scenes or virtual sets, game developers could create more dynamic and responsive worlds, and artists could explore entirely new forms of expression that blend visual narrative with user agency. This could also significantly accelerate and enrich virtual production techniques already gaining traction in Hollywood, allowing for even more complex simulations and real-time adjustments.
From a business and technology standpoint, the convergence Iljic describes opens up new frontiers. Imagine highly realistic and adaptable training simulations for complex professions, deeply immersive product visualizations that allow customers to “step into” a design, or virtual retail environments that offer unprecedented levels of interaction. However, this future also presents challenges: the need for immense computational power, the development of intuitive user interfaces for these hybrid creative tools, and critical ethical considerations surrounding the creation of hyper-realistic, AI-generated realities.
This trend towards converged media isn’t isolated to Google’s thinking. NVIDIA’s Omniverse platform is already enabling collaborative 3D world-building and simulation. Epic Games continues to enhance its Unreal Engine with AI capabilities, empowering creators to build increasingly realistic and interactive environments. Startups and research labs globally are pushing the boundaries of generative AI for 3D asset creation, real-time animation, and interactive storytelling. The common thread is a move away from siloed media formats towards more fluid, interconnected, and intelligent digital experiences.
As AI models like Veo 3 continue to evolve, the distinctions we currently take for granted between watching a video, playing a game, or running a simulation are indeed set to become increasingly fluid. Thomas Iljic’s insights from the heart of Google Labs suggest we are on the cusp of not just new tools, but entirely new ways of conceiving, creating, and interacting with the digital world – a future where an image truly can become a doorway to an experience.