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The rapid rise of images and videos generated by artificial intelligence raises far more than questions of efficiency or production costs. It reshuffles the deck of creation itself, redefines the value of human labor, and challenges our relationship with authenticity, culture, and trust. Between creative automation and the assertion of a perspective rooted in reality, two visions are now colliding—each carrying real consequences for creators, cultural industries, and audiences alike. What if the answer lies somewhere in between?
An image bank that is presented as a “thumbed nose at AI”
Regard Boréal is the name of a new “100% Québec-based” image bank launched by its founder, Patricia Maheu. The objective is clear: to showcase local culture through more than 1,000 authentic images produced by photographers working across different sectors and regions of Québec, and to “celebrate identity-driven expression.” The platform explicitly positions itself as a “thumbed nose at artificial intelligence” and as a showcase for professional photographic work.
Pricing ranges from $150 per image, to $49 per month for full access to the library, as well as custom packages.
The images offered by Regard Boréal span a wide range of themes, from tourism and food to lifestyle, culture, and nature. Built through collaboration with more than 100 photographers from across the province, the platform primarily targets the media, marketing, and advertising sectors. Its pricing is comparable—if not sometimes lower—than that of large, often foreign, generic stock image banks, offering a local alternative rooted in Québec’s visual identity.
At the Same Time: New Jobs and Markets for AI Adopters
This initiative nevertheless emerges in a context where AI is rapidly gaining ground. According to data from HubSpot and SEO Sandwich, 22% of marketing managers say they have completely replaced stock photos with AI-generated visuals. In Québec, a recent study by Compétence Culture reveals that 83% of artists and cultural workers believe their profession will evolve alongside AI, while 30% see it as a threat to their employment.
22% of marketing managers say they have completely replaced stock photos with AI-generated visuals.
Some Québec companies are also turning to specialized providers skilled in the “art of prompting” to produce custom promotional videos. This shift does not entirely eliminate human creators, but rather replaces them with a different kind of creator, notes Gabriel Brien, Director of Operations at XPR Labs, in an interview with Culturemania. Known for his innovative projects in entertainment and immersive training, Brien recently expanded his offerings under the brand The Brainy Buddies, focusing on AI-driven services. Within this branch, he produces videos using synthetic imagery—and the results are already resonating with clients.
“I often had ideas that were impossible to execute. Unless you’re a Hollywood producer, it was just inconceivable,” says one of his clients, Nicolas Roy, co-founder and CEO of Immersia Studio, who publicly thanked the creator for his “fabulous work” on social media.
“Producing a promotional video like Immersia Studio’s can take up to 25 hours of work. What’s interesting about AI—beyond reducing production costs—is above all the storytelling,” explains Gabriel Brien. In addition to production, he also offers tailored training in generative AI (using tools such as Midjourney, Nano Banana, Veo 3, etc.), as well as AI-assisted marketing services for businesses.
“What’s interesting about AI—beyond reducing production costs—is above all the storytelling.”
Like the demonstrations and prompt battles featured in the E-AI 2026 program, this testimony reinforces the idea that AI-assisted creation is not about reciting a magic spell to obtain a finished product, but rather about following a rigorous, creative, and methodical process to generate a personalized and satisfying result. For Gabriel Brien, mastering generative AI tools is key to preventing the homogenization of AI-assisted creative culture.
E-AI 2026: transparency, equity, and inclusion as guiding principles
While AI continues to seduce a growing segment of the industry, audiences remain more hesitant when artificial elements make their way into the advertising and online content they consume—particularly in a cultural context. The controversy surrounding the Festival d’été de Québec’s 2025 promotional campaign offered a striking example: from the consumer’s perspective, transparency about the use of AI plays a decisive role in how creative work is perceived.
This concern echoes long-standing issues raised by artistic and media communities—and their associations—regarding copyright. To address this, Gabriel Brien suggests implementing a watermarking system: a digital fingerprint unique to each AI-generated piece of content. Invisible to the naked eye yet inseparable from the work, such a marker would allow its origin to be identified at any time.
Legal aspects surrounding generative AI will also be addressed at the E-AI 2026 Summit, promises board secretary Brigitte Monneau, who has built her career in governance and management within the entertainment industry. Particular attention will be paid to the conference led by Coralie Ratieuville of Arte France, which will focus on striking a balance between responsible AI use and innovation in the media sector.
“It is precisely with the aim of helping reduce these gaps that ticket sales for the E-AI 2026 Summit are structured into four categories.”
Another challenge highlighted—one that this edition of E-AI specifically addresses—is the growing risk of digital divides that could disadvantage creator communities lacking access to advanced AI systems or costly services. Beyond skills and training, financial constraints remain a major barrier: subscription fees, usage credits, and access to advanced features can quickly evaporate—like ice floes melting in the sun.
Wemba Opota and Brigitte Monneau, respectively President and Secretary of the Board of E-AI 2026 (Photo credits: courtesy)
“It is precisely with the aim of helping reduce these gaps that ticket sales for the E-AI 2026 Summit are structured into four categories,” explains Wemba Opota, President of the event’s Board of Directors and National Leader of AI Solutions at Capgemini Canada. Several options are priced more affordably than other AI-focused events, with the goal of opening access to debates, conferences, and activities for a broader range of communities. In the same spirit, numerous interactive workshops are offered—not only to introduce participants to new practices, but also to give them a voice and a seat at the controls.
These include a master class by Jean-Michaël Celerier, presenting the Société des arts technologiques’ AI toolkit integrated into the open-source software ossia score; a workshop led by Stephan Nepton, Robin Tremblay, and Julien Bouvrais on the concrete and constructive integration of generative AI skills into digital creative professions; and a session by Flavien Chervet, Elsa Secco, and Nathalie Dupuy to experiment with HELO, a new “open-source” comic-creation process whose source code is publicly accessible and democratized.
The debate itself also takes center stage in a workshop led by Charlie Leydier Fauvel, Pascale Landry, and Éric Desmarais, ready to tackle the most polarizing questions surrounding AI.
Question to Readers
And you? Are you for or against AI in creative work? Or do you take a more nuanced view? Share your perspective with Editor-in-Chief Chloé-Anne Touma by email.
