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Film technology is paving the way for the digitalization and intelligent transformation of the Chinese film industry. Across the world, technologies such as artificial intelligence, virtual engines, blockchain, 5G, VR/AR/XR, and human-computer interaction have been extensively applied throughout the stages of film production, gradually transforming the traditional viewing experience and opening up the imagination for the future of cinema. At the forum themed “The Future of Cinema: New Film Technology Application and Production Innovations” held this morning, the guest speakers engaged in an in-depth discussion and exchange on topics including leveraging technological upgrading to enhance film industry production capabilities, promote quality upgrading, and drive industry restructuring.
Fusion of Science and Film Is an Inevitable Trend
Before the forum began, Zhang Wei, Party Secretary and Director of the China Research Institute of Film Science & Technology, delivered a keynote speech titled “Integrating Cutting-Edge Technologies with Cinematic Beauty – On the High-Tech Development of Chinese Films”. She summed up the current trends in film technology using the term “convergent innovation”, emphasizing that “only through convergent innovation can we break away from the traditional and existing operational models and find more flexible, effective and resource-efficient solutions.”
According to Zhang Wei, the “convergence” should be that of the entire industry chain and multiple dimensions. This includes not only image processing, artificial intelligence, and cloud computing technologies employed in the production process but also the integration of industry workflows, such as virtual production (VP) that combines pre-production shooting and post-production techniques. Furthermore, it involves the convergence of digital technology with the real economy, such as that of online ticket sales systems with local systems at the cinemas. It also encompasses the merging of virtual and physical spaces, such as that of VR, AR, and cinemas.
Zhang Wei believes that with the innovative applications of “AI+ industry,” large models will be developed to cater to industry demands, and mechanisms will be established to form an ecosystem that serves the intelligent transformation of the film industry. She concluded, “The emerging global trend of convergent development is becoming increasingly evident. Convergent innovation based on technological iteration and industry application has become a new driver of technological and industrial innovation.”
Party Secretary and Director of the China Research Institute of Film Science & Technology
Zhang Wei
Sun Xiangyun, Chief Digital Officer of China Mobile Migu, shared insights into the exploration and practices of the company in creating a “5G + Metaverse” from the perspective of “content + technology + convergent innovation.” She believes that the next frontier of the film and television industry lies in the Metaverse. Whether it’s in the early stages of creation, recording, and production or the later stages of screening, promotion, and operations, Metaverse technologies, including 5G, XR, AI, and 3D, will provide support for the advancement of film technology.
She said that the “openness and “compatibility” of the Metaverse determine its ability to integrate with different industries and scenarios, thus achieving joint ecosystem building. “The Metaverse is autonomous, exploratory, interactive, and real-time. Whether it’s the familiar AI technologies, AIGC, or ChatGPT, they can all be integrated into our creation process and help us create a new model of joint ecosystem building.”
Chief Digital Officer, China Mobile Migu
Sun Xiangyun
Technological Means Should Serve the Content
At the following forum, the guest speakers discussed the potential impact and transformation that new technologies could bring to future film creation, sharing their viewpoints and experiences. Bian Wei, Deputy Secretary of the Party Committee of China Film Equipment Co., Ltd., General Manager of CINITY, and General Manager of Huaxia Film Equipment Financing and Leasing, China Film Group Corporation, emphasized the importance of synergizing technology with content optimization while embracing and using new technology. “Whenever a new technology emerges, it must be combined with content. To fully leverage the advantages of outstanding display technology, the content must be adjusted and optimized specifically for that display technology. This is where we need to continuously strive for improvement in the future.” He also emphasized that any technological upgrade is fundamentally serving the content. “The goal of any technological means is to let the audience immerse themselves more deeply, quickly, and seamlessly into the story without even noticing it.”
Bian Wei particularly mentioned their first attempt to establish enterprise standards in the promotion and application of CINITY, so that the effects seen by creators in the creative space can be fully presented on the big screen. “Through technological means, we build a transparent bridge between creators and the audience, eliminating any barriers. The standards act as a constraint for us, ensuring the integrity of content creation and technological application.”
Deputy Secretary of the Party Committee, China Film Equipment Co., Ltd.
General Manager of CINITY
General Manager of Huaxia Film Equipment Financing and Leasing, China Film Group Corporation
Bian Wei
Director Liu Xiaoshi shared the behind-the-scenes story of BORN TO FLY and highlighted the benefits of applying new technologies in the creative process. He revealed that to allow the actors to truly experience the challenges of flying a fighter jet, they invested tremendous effort in model design and mechanical devices. “We made four 1:5 scale J-16 models, each with a length of 5.7 meters. They were colossal, but small compared to real fighter jets. If they were only flying in the sky, we could hardly tell that they were fake because they could simulate stalls, spins, and cobra maneuvers. They had excellent maneuverability in the air, truly impressive.” Liu Xiaoshi emphasized that imagination without common sense is a misunderstanding of imagination, and without authentic experiences, the actors’ performance will be distorted no matter how hard they try. “New technologies can make the impossible possible in filming, but we must not rely too much on imagination, as that would lead to a loss of authenticity.”
Director
Liu Xiaoshi
New Technology Applications Should Be Revolutionary
As one of the earliest foreign filmmakers to enter the Chinese film market, Ellen Eliasoph, CEO of Starry Dome Productions and international film producer, has witnessed three significant technological upgrades in the past thirty years and the impact and changes they brought to the Chinese film market. However, when it comes to the emergence and evolution of new technologies, Ellen Eliasoph is cautious. “When new technologies are used as mere tools by creators, they can indeed help filmmakers realize their ideas. However, they may also be nothing more than ‘toys’ or commercial gimmicks designed solely to boost the box office.” She openly pointed out that after the success of AVATAR, the market has been flooded with 3D films that are completely disconnected from the content and theme. “Such market operations have clearly deviated from the original intention to empower film creation with new technologies.”
Ellen Eliasoph believes that a truly valuable new technology should be revolutionary and part of the filmmaking process itself. She cited Zhang Yimou’s film SHADOW as an example. Audiences have always been curious about how the scenes with two Deng Chao were filmed. “This was entirely an ‘invention’ by Zhang Yimou’s directing team. They used a special sensor device that interacted in real-time with the camera to solve the problem of precise spatial positioning. Actors, through authentic performances in real settings, could achieve effects that previously required post-production virtual technology. This is meaningful.”
CEO of Starry Dome Productions
International film producer
Ellen Eliasoph
Screenwriter and director Richie Mehta also believes that creators should always keep a clear mind and use new technologies in a reasonable and restrained manner. “We should first consider what we want to express and then think about how technology can assist us in expressing it. In other words, our imagination should be constrained, while the technology itself should be limitless. Therefore, a very important question for me is how to use these technologies.”
He took his latest series POACHER as an example. For a 90s scene depicting elephants being hunted and killed in the forest, they used a lot of close-up visual effects, to enhance the artistic effect, creating a sense of “everything within arm’s reach” for the audience. “We want to save these animals, but without such vivid scenes, it would be difficult to move the audience and evoke empathy.” Richie had the same idea for a scene five years ago but was unable to achieve it due to technological limitations. Today, he finally has the opportunity, and he believes this is the significance of new technologies. “We use these technologies hoping that they can create completely new content and provide audiences with an unprecedented experience.”
Screenwriter and Director
Richie Mehta