WFT Members who are directors and producers are invited to a brand-new, exclusive event from the team behind makers magazine and
makers June pop-up is a 2-day virtual conference for the creative community exploring the merger of technology with storytelling.
No longer hype, key technology advances from AI to Virtual Production and Cloud are delivering genuine creative and business benefits to production. Speakers include legendary SFX wizard Doug Trumbull (2001 A Space Odyssey, Blade Runner), Paramount Pictures Futurist Ted Schilowitz, Welcome to Chechnya Director/Writer/
makers pop-up will also be a lively digital space to make connections, meet potential partners and share ideas and resources.
- Attend an array of programme sessions, featuring leading industry experts (see current programme below)
- Network with peers in the creative screen industries
- Arrange 1-2-1 meetings online
Join in to explore production’s future with the catalysts of change.
PROGRAMME: DIVE INTO PRODUCTION’S FUTURE
Creating Dramatic Cinematic Immersion: Experiential storytelling with special guest Douglas Trumbull
makers is delighted to present a unique one-to-one interview with a giant of the cinema, the legendary special FX wizard (2001 A Space Odyssey, Close Encounters of the Third Kind, Blade Runner, Star Trek, Tree of Life) and director (Silent Running, Brainstorm) Doug Trumbull. Trumbull is still at the forefront of pioneering technology and will present his vision for creating dramatic cinematic immersive experiences – the technology, the business model and the future of storytelling.
The Augmented Human: Exploring the boundaries of alternative realities
Keynote with Ted Schilowitz, Futurist, Paramount Pictures
As Paramount Pictures’ resident futurist, author, and serial entrepreneur Ted Schilowitz explores how advanced tech is used to communicate, entertain, connect and share. What does Virtual Reality and Augmented Reality mean to us as humans, and what is Hollywood planning to do with it?
Fix it in Prep: How virtual production front loads creative decisions and costs
The Virtual Production technology and techniques with which The Mandalorian wowed the industry is coming on tap fast. What does that look like? Where are the pain points today, if you don’t have the budget of The Mandalorian? Tips and advice for non-technical producers embarking on VP.
Speakers: Rob Legato – VFX Supervisor, Asa Bailey – CEO On-Set Facilities VP Cinematographer, Lawrence Jones – VP Supervisor, BUCK.co, Erik Weaver Director of Virtual & Adaptive Production, USC’s Entertainment Technology Center (ETC)
VR/AR/XR: What the producer needs to know
While virtual reality is still emerging the smart money is on mixed or extended reality (MR/XR) to blend physical world interaction with CG environments, virtual experiences and the 3D internet. Is this the ultimate convergence of the creative industries? What type of stories work? What are the challenges of the technology? How should producers think about financing mixed reality projects?
Speakers: Sol Rogers – CEO Rewind , John Cassy – CEO Factory 42, Robbie Ashcroft – Entertainment Development Partner, The Story Lab UK, Becky Gregory-Clarke – Head of Immersive, StoryFutures Academy
Virtual Creative Muse: The evolution of AI as artistic mentor and production assistant
So far computer-driven algorithms have not led to the mass layoffs that some feared but nor has it dramatically cut budgets. Should media and entertainment greet AI with enthusiasm or skepticism? Where does AI fit into the production and what are budget implications? In particular, is AI of use today in scripting and editing to help the creative process and reduce the bottom line?
Speakers: Yves Bergquist – Founder Program Director, AI and Neuroscience in Media, USC’s Entertainment Technology Center (ETC) , Nadira Azermai, CEO, ScriptBook, Roy C Anthony – Global Head of Research, DNEG, Sriram “Sri” Iyer – Head of Product for Digital Video and Audio, Adobe
Face Off: Welcome to Chechnya brings Marvel VFX to civil rights fight
Welcome to Chechnya made Oscar history as the first documentary to ever be shortlisted in the Best VFX category. The feat is more extraordinary given that the doc details the brutality the LGBTQ community is facing at the hands of the Chechnyan government. Rather than simply blurring the identity of witnesses who are at risk of death the production used a pioneering AI-driven face-swapping technique normally reserved for Marvel feature films. The result has implications for how investigative reporting can be told on screen and on a budget.
With Director/Writer/Producer David France