As a seasoned film enthusiast with a penchant for exploring diverse cinematic landscapes, I found myself captivated by the Motion Picture Association (MPA) seminar at this year’s Tokyo International Film Festival. The focus on transformational technologies and their impacts on filmmaking, coupled with the unique challenges and allure of shooting in Japan, resonated deeply with my own experiences.
This year’s edition of the Motion Picture Association (MPA) seminar at Tokyo International Film Festival centered around the effects of revolutionary filmmaking technologies and the allure, as well as ongoing hurdles, associated with filming in Japan.
Kicking off the event on October 30, Edward B. Neubronner from MPA’s Asia Pacific division spoke before a full audience, highlighting the global appeal of Japanese content. He mentioned that the worldwide anime market is worth over $31 billion and there are numerous international creators keen to bring their ideas to fruition in Japan.
Evan Felsing, speaking on behalf of the US embassy in Tokyo, captivated the audience with a speech emphasizing the necessity of joint efforts between Japan and the US to combat misuse of artificial intelligence, combat disinformation, and safeguard intellectual property. However, he later revealed that his remarks were actually generated by artificial intelligence itself.
Last year, a production incentive program was introduced, which has been noted for fueling increased curiosity towards Japan due to its potential rebate worth up to 1 billion yen ($6.6 million at present exchange rates). Notably, Max’s Tokyo Vice series utilized this benefit when filming both of its seasons within the country.
Alex Boden, a producer for the show Tokyo Vice, discussed some challenges encountered during a significant shoot in Japan, ranging from obtaining permits to crew shortages and language difficulties. According to Boden, this project demanded more problem-solving than any other production he’s been involved with anywhere.
Problems with the first season of the Max series escalated due to the pandemic and Japan’s stringent travel restrictions. However, Boden mentioned that he receives weekly inquiries regarding filming in Japan, even going as far as saying he received a call about it this very morning.
Following that, it was the turn of filmmaker Ryo Nakajima, who shared his journey adopting Computer-Generated (CG) imagery and generative Artificial Intelligence (AI), along with his observations on the varying responses to this novel technology he encountered at film festivals in Europe and Asia. Notably, a music video generated by AI received jeers from the crowd at Annecy, whereas his own work titled Who Said Death is Beautiful, which utilized similar technology, was met with more favorable reactions.
Additionally, he pointed out that AI is often viewed as a potential job-stealer in the movie and artistic fields by some, but in Japan, it’s generally considered as a means to tackle the workforce scarcity and excessive work hours.
Wrapping up the series of presentations was the acclaimed visual effects artist, George Murphy – an Oscar winner, who delved into the progress made in virtual production and discussed the challenges and potential benefits associated with this technology.
Following this, the trio convened for a panel conversation led by Patrick Brzeski, chief of The Hollywood Reporter’s Asia office. To initiate the discussion, Borden emphasized the importance of developing training programs to enhance local workforce capabilities as a means to establish Japan as a prime location for large-scale international productions: “Things are progressing in the appropriate manner…to make Japan an attractive choice for projects of all sizes.
The discussions primarily revolved around virtual production and LED volume technology, which are essential as they allow filmmakers to generate realistic settings without encountering the logistical hurdles common in on-location shooting. To illustrate this, Boden pointed to a particular instance from Tokyo Vice, where instead of shooting in the snowy and icy Nagano mountainous terrain known for its challenging reflections, they filmed the scenes.
He described how they constructed a custom set equipped with several cameras to capture visual scenes… later, they transported these scenes to the volume stage at Toho Studios. This arrangement enabled them to simulate a realistic environment inside a controlled studio, reducing disturbances and enhancing creative potential.
The group delved into the cultural and financial effects that generative AI might bring, expressing varying worldwide opinions about this technology. Nakajima underscored the significance of establishing moral guidelines, focusing on ethical considerations such as copyright and intellectual property rights, matters of concern in AI-aided productions.
As a devoted fan, I’m particularly intrigued by George Murphy’s insights into ethical considerations. He delved into the concept of “digital talent twins” and suggested that actors might safeguard their digital likenesses by asserting ownership over them to prohibit unauthorized use. In essence, he emphasized that such measures could empower artists and creators by providing them with control over their digital personas: “It’s crucial to exercise caution… and taking the initiative by granting talent ownership rights provides them with a means of protection.
A spectator asked about the challenge of maintaining cultural accuracy when digital technology is used to portray distant locations in movies. Murphy stated that interacting with real locations is crucial, as it strengthens the bond between actors and their surroundings, a connection hard to mimic in a virtual environment. In essence, he explained, one should aim to incorporate real-life experiences… the tangible feel and truth of things, as he put it.
In response, Boden underscored the benefits of on-site filming, pointing out its potential for adaptability and artistic liberty, despite the fact that it may pose logistical challenges.
In the end, the experts concurred that AI and virtual production hold immense potential for enhancing storytelling, but they underscored the importance of using them responsibly. They emphasized that these innovations should be approached with caution, focusing on aspects like authenticity and intellectual property rights.
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2024-11-01 10:55