AI-based relighting in moving images: current potentials, limitations, and implications for cinematographic practice

Abstract

The rapid development of Artificial Intelligence (AI) continuously opens up new possibilities in film post-production, including the subsequent relighting of moving images. As a systematic assessment from a film-design and professional-practice perspective has been lacking, this study examines the potentials, limitations, and implications of current AI-based relighting workflows for cinematographic practice. Methodologically, the study follows a qualitative-exploratory research design within practice-based and practice-led frameworks. Three current AI-based relighting systems (Nvidia DiffusionRenderer, Beeble Studio, and SwitchX) were tested across five test shots and evaluated using a cinematography-oriented qualitative evaluation scheme focusing on light plausibility, image quality and texture retention, as well as image integrity and temporal stability. These observations were complemented by eight semi-structured expert interviews with professionals from cinematography, lighting, and color grading. Results suggest that AI-based relighting does not currently replace on-set lighting but offers considerable potential as a selective correction and extension tool. Its strengths are particularly evident in wide and establishing shots, where faces and fine image details are less perceptually salient, as well as in situations where the desired lighting conditions are difficult to achieve or maintain on set due to weather, time, or budget constraints. Technical and creative limitations are most apparent in workflow integration and usability, as well as in texture loss and image alterations that impair visual credibility, particularly in portrait shots. The findings suggest the potential for a selective shift of certain lighting decisions toward post-production rather than a general replacement of on-set lighting. To maintain a coherent lighting design when substantial lighting decisions are deferred to post-production, greater continuity of cinematographic expertise and creative agency across production and post-production may be required.

The authors' abstract, as published at the source. Frontiers in Communication, 2026 · DOI ↗