Transformational technologies and their impacts on filmmaking, as well as the growing appeal and remaining challenges of filming in Japan, were the focus of this year’s edition of the Motion Picture Association (MPA) seminar at the International Film Festival. Tokyo movie.

Before a packed house, Edward B. Neubronner of the MPA Asia-Pacific Division opened the event on October 30. He highlighted the popularity of Japanese content around the world, with the global anime market valued at over $31 billion and the number of “international creators eager to bring their visions to life on Japanese soil.” »

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Evan Felsing, representing the U.S. Embassy in Tokyo, captured the audience’s attention by delivering a speech on the importance of collaboration between Japan and the United States on the misuse of AI, prevention of disinformation and protection of intellectual property, before admitting that his remarks were the product of generative AI.

The production incentive program launched last year was cited as helping to further spur interest in Japan with a rebate of up to 1 billion yen ($6.6 million at current rates), what Max’s Tokyo Vice took advantage while filming its two seasons in the country.

Alex Boden, producer on Tokyo Vicetalked about some of the issues facing major filming in Japan, from permits to lack of crews to language barriers. “It required more solutions than any other production I’ve worked on,” Borden said.

The Max series’ first season’s problems were compounded by the pandemic, during which Japan imposed strict border controls. Still, Boden said he receives inquiries every week from people asking for advice on filming in Japan. “I actually got a call this morning.”

Filmmaker Ryo Nakajima then spoke about his experience adopting CG and generative AI, as well as the different reactions to the new technology he has witnessed at film festivals in Europe and Asia. A music video created by generative AI was booed by the Annecy audience, while his own film using the same technology Who said death was beautifulwas received more warmly.

He also noted that while AI was seen in many circles as a threat to jobs in the film and creative industries, in Japan it was more widely seen as a solution to labor shortages and Extremely long working hours.

Rounding out the presentations, Academy Award-winning VFX artist George Murphy highlighted the advancements in virtual production and the challenges and opportunities that arise from it.

The three speakers then met for a round table moderated by Patrick Brzeski, The Hollywood Reporterthe head of the Asia office. Opening the panel, Borden emphasized that training programs to hone local talent are essential for Japan to position itself as a hub for big-budget global projects: “The wheels are turning in the right direction…to make of Japan a destination of choice for everyone. project scales.

Virtual production and LED volume technology were key topics, as these tools allow filmmakers to create authentic sets without some of the logistical challenges of filming on location. Boden described a specific example from Tokyo Vice, where they filmed in the mountainous terrain of Nagano, known for its harsh reflections from snow and ice.

“We created our own rig with multiple cameras to shoot visual plates…and then brought those plates back to the volume stage at Toho Studios,” he explained. This setup allowed them to replicate a natural setting in a controlled studio environment, minimizing disruption and maximizing creative possibilities.

Moving on to the cultural and economic impact of generative AI, panelists discussed different global perceptions of the technology. Nakajima stressed the importance of creating ethical standards, particularly around copyright and intellectual property, which are sensitive issues in AI-assisted work.

George Murphy expanded on these ethical concerns, discussing the notion of “digital talent twins” and how actors could potentially retain rights to their digital likenesses to prevent unauthorized use. He emphasized that such practices can be protective, giving actors and creators more control over their digital identities: “We have to be careful… and acting proactively in allowing talent to own their rights gives them recourse. »

A question from the audience raised the question of how filmmakers ensure cultural authenticity when using virtual production to depict foreign locations. Murphy responded that physical engagement in real-life sets is essential because it deepens the connection between actors and their environment, which is difficult to replicate in a virtual setting. “You want to present that direct experience…the texture and reality of things,” he said.

Boden echoed these sentiments, emphasizing the flexibility and creative freedom that filming on location offers, even though it can be logistically complex.

Ultimately, the panelists agreed that AI and virtual production are powerful tools that, if used thoughtfully, can elevate storytelling. However, they emphasized that these technologies require careful ethical considerations, particularly regarding authenticity and intellectual property rights.

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