The Greek philosopher Heraclitus once said, “Change is the only constant in life.” The entertainment sector is no exception to this adage. It’s an industry that has long benefited from advancements in technology that have increasingly enriched the quality of films and programs and have also condensed the filmmaking process across the entire pipeline from pre-production to distribution and exhibition.
But while it’s easy to look back and see how digital tech has improved the sector, assessing the future of the business as it stands on the threshold of two hot button topics — Artificial Intelligence (AI) and Epic Games’ Unreal Engine — is much less clear.
AI has been increasingly polarizing, with Twitter owner and Tesla CEO Elon Musk and Apple co-founder Steve Wozniak among more than 1,100 signatories of an open letter calling for a six-month moratorium on the development of advanced AI systems, citing “risks to society”. Meanwhile,...
But while it’s easy to look back and see how digital tech has improved the sector, assessing the future of the business as it stands on the threshold of two hot button topics — Artificial Intelligence (AI) and Epic Games’ Unreal Engine — is much less clear.
AI has been increasingly polarizing, with Twitter owner and Tesla CEO Elon Musk and Apple co-founder Steve Wozniak among more than 1,100 signatories of an open letter calling for a six-month moratorium on the development of advanced AI systems, citing “risks to society”. Meanwhile,...
- 5/21/2023
- by Diana Lodderhose
- Deadline Film + TV
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Ever since Disney+ series The Mandalorian began making news for its inventive use of an LED stage and virtual production pipeline for filming and incorporating real-time effects — en route to winning Emmys in VFX and cinematography, as well as a 2022 Engineering Emmy that was awarded to Industrial Light & Magic for the system’s development — these types of stages have become what is arguably the fastest-growing area of visual effects and production technology. But amid the explosive surge in LED stages, observers warn that the business, tech and creative models for these pricey installations require more understanding before their potential can be fully realized.
“We are tracking roughly 300 stages, up from only three in 2019,” Miles Perkins, industry manager of film and TV for Epic Games, maker of the Unreal Engine used in virtual production pipelines, reports of the rise in capacity stemming from investments from studios,...
Ever since Disney+ series The Mandalorian began making news for its inventive use of an LED stage and virtual production pipeline for filming and incorporating real-time effects — en route to winning Emmys in VFX and cinematography, as well as a 2022 Engineering Emmy that was awarded to Industrial Light & Magic for the system’s development — these types of stages have become what is arguably the fastest-growing area of visual effects and production technology. But amid the explosive surge in LED stages, observers warn that the business, tech and creative models for these pricey installations require more understanding before their potential can be fully realized.
“We are tracking roughly 300 stages, up from only three in 2019,” Miles Perkins, industry manager of film and TV for Epic Games, maker of the Unreal Engine used in virtual production pipelines, reports of the rise in capacity stemming from investments from studios,...
- 10/19/2022
- by Carolyn Giardina
- The Hollywood Reporter - Movie News
Forest Whitaker, Thomasin McKenzie, Vera Farmiga and Richard E. Grant will lead the voice cast for “Gossamer,” an animated series adaptation of Lois Lowry’s novel.
The eight-part, half-hour animated series is produced by Bron Media’s virtual production and service company Bron Digital, which develops premium animation, interactive games and movies using Epic Games’ Unreal Engine.
Rounding out the cast for “Gossamer” is Wilmer Valderrama, Alanna Masterson and Courtney Rosemont, who makes her debut.
“Gossamer” is based on the young adult novel by Lowry, whose books include “The Giver” and “The Willoughbys” — the latter of which was previously adapted by Bron as an animated feature for Netflix.
Written by Crystal Meers, and directed by Azazel Jacobs and Heidi Bivens, “Gossamer” takes children and adults on a journey through the world of dreams and nightmares.
The show centers on Littlest One, who is an in-training Gossamer, a fairy who is a dream giver.
The eight-part, half-hour animated series is produced by Bron Media’s virtual production and service company Bron Digital, which develops premium animation, interactive games and movies using Epic Games’ Unreal Engine.
Rounding out the cast for “Gossamer” is Wilmer Valderrama, Alanna Masterson and Courtney Rosemont, who makes her debut.
“Gossamer” is based on the young adult novel by Lowry, whose books include “The Giver” and “The Willoughbys” — the latter of which was previously adapted by Bron as an animated feature for Netflix.
Written by Crystal Meers, and directed by Azazel Jacobs and Heidi Bivens, “Gossamer” takes children and adults on a journey through the world of dreams and nightmares.
The show centers on Littlest One, who is an in-training Gossamer, a fairy who is a dream giver.
- 6/14/2022
- by Manori Ravindran
- Variety Film + TV
Women in Animation (Wia) has announced the program for its 6th World Summit, an annual event held in conjunction with the Annecy International Animation Festival.
Based on the theme Gender Justice: A Global Call for Inclusion in Animation, the June 13 summit will include panels and conversations with key thought leaders, filmmakers and executives from around the world on the issue of gender justice for all, including men, women, transgender, and non-binary people.
The Summit will provide a welcome opportunity to address the question of labor shortage in the industry, according to Wia President Marge Dean: “I’m thrilled that our sixth World Summit theme will look at how gender justice can be a solution to some of the issues plaguing the industry including a very real labor shortage. We want to ensure that people of all gender identities have the power and access to opportunities to improve their lives.”
These...
Based on the theme Gender Justice: A Global Call for Inclusion in Animation, the June 13 summit will include panels and conversations with key thought leaders, filmmakers and executives from around the world on the issue of gender justice for all, including men, women, transgender, and non-binary people.
The Summit will provide a welcome opportunity to address the question of labor shortage in the industry, according to Wia President Marge Dean: “I’m thrilled that our sixth World Summit theme will look at how gender justice can be a solution to some of the issues plaguing the industry including a very real labor shortage. We want to ensure that people of all gender identities have the power and access to opportunities to improve their lives.”
These...
- 6/6/2022
- by Lise Pedersen
- Variety Film + TV
The cutting edge of production technology is getting cornered by the video game business instead of the usual Hollywood companies.
North Carolina-based Epic Games, creator of the global phenomenon “Fortnite,” is making a name for itself out West by providing its Unreal Engine software to TV and film productions looking to shoot with a new set of tools loosely known as virtual production. Epic rival Unity Technologies is also active in this space, as are other companies not known from the video game world.
Miles Perkins, business development for film and TV at Epic, and Connie Kennedy, the head of the company’s LA Lab, talked on the latest episode of the Variety podcast “Strictly Business” about how virtual production is catching on. TV shows like HBO’s “Westworld” and films like “John Wick: Chapter 3” have employed innovative new techniques that could revolutionize traditional production work by allowing all...
North Carolina-based Epic Games, creator of the global phenomenon “Fortnite,” is making a name for itself out West by providing its Unreal Engine software to TV and film productions looking to shoot with a new set of tools loosely known as virtual production. Epic rival Unity Technologies is also active in this space, as are other companies not known from the video game world.
Miles Perkins, business development for film and TV at Epic, and Connie Kennedy, the head of the company’s LA Lab, talked on the latest episode of the Variety podcast “Strictly Business” about how virtual production is catching on. TV shows like HBO’s “Westworld” and films like “John Wick: Chapter 3” have employed innovative new techniques that could revolutionize traditional production work by allowing all...
- 2/24/2021
- by Andrew Wallenstein
- Variety Film + TV
Bron Media, leveraging its expertise in producing CGI-animated titles like Netflix’s The Willoughbys and acknowledging the pressure to explore new business models during Covid-19, has launched a digital division.
Jason Chen will lead production and technology as Head of Digital. He will oversee the virtual production and service unit as it develops and produces long-form animation for series television, short-form content and motion pictures. Chen began in visual effects, working on Avatar, and has gone on to support technical integrations. His credits include Jojo Rabbit, Real Steel, Star Wars: Episode VII – The Force Awakens, Bumblebee and Thor: Ragnarok.
Bron Digital is aiming to marry linear animation work with Epic Games’ Unreal Engine-centered virtual production, which the company says will yield high-quality content with much faster turnarounds.
The company is in its eighth week of production on the animated series Fables. Supported by production financing partner Creative Wealth Media, three...
Jason Chen will lead production and technology as Head of Digital. He will oversee the virtual production and service unit as it develops and produces long-form animation for series television, short-form content and motion pictures. Chen began in visual effects, working on Avatar, and has gone on to support technical integrations. His credits include Jojo Rabbit, Real Steel, Star Wars: Episode VII – The Force Awakens, Bumblebee and Thor: Ragnarok.
Bron Digital is aiming to marry linear animation work with Epic Games’ Unreal Engine-centered virtual production, which the company says will yield high-quality content with much faster turnarounds.
The company is in its eighth week of production on the animated series Fables. Supported by production financing partner Creative Wealth Media, three...
- 7/8/2020
- by Dade Hayes
- Deadline Film + TV
Vancouver-based Bron Media Corp. (“Greyhound”) has launched Bron Digital, a new virtual production division that will marry its traditional CG-animation with Epic Games’ Unreal Engine-centered workflow. Visual Effects industry vet Jason Chen (“Star Wars: Episode VII — The Force Awakens”) will serve as head of Digital.
Bron Digital’s first project will be the animated series, “Fables,” based on the timeless teachings of “Aesop’s Fables,” but with a modern twist. The eight-episode series is created by Kevin Turen (“Euphoria”), directed by Azazel Jacobs (“The Lovers”), and production designed by Oscar nominee Ra Vincent (Jojo Rabbit”). Three additional original animated series and digital film productions are scheduled to begin this summer.
With the pandemic hastening Bron’s live-action production and pushing back its theatrical slate, the company needed to diversify its animation business. It turned to financial partner Creative Wealth Media for additional revenue to launch the new virtual production division.
Bron Digital’s first project will be the animated series, “Fables,” based on the timeless teachings of “Aesop’s Fables,” but with a modern twist. The eight-episode series is created by Kevin Turen (“Euphoria”), directed by Azazel Jacobs (“The Lovers”), and production designed by Oscar nominee Ra Vincent (Jojo Rabbit”). Three additional original animated series and digital film productions are scheduled to begin this summer.
With the pandemic hastening Bron’s live-action production and pushing back its theatrical slate, the company needed to diversify its animation business. It turned to financial partner Creative Wealth Media for additional revenue to launch the new virtual production division.
- 7/8/2020
- by Bill Desowitz
- Indiewire
A new leak of casting descriptions for Star Wars: Episode VII has hit the web, providing brief details about seven lead characters. The leak was first posted by Bleeding Cool, and has since been confirmed by Lucasfilm spokesperson Miles Perkins to reputable Star Wars site TheForce.net. Basically, all signs are pointing toward this being the real deal.
While these descriptions aren’t anything too revealing, we do get rough ages for the characters, meaning speculation can really start to swirl about actors and actresses who can fill these roles. Check out the casting descriptions below.
Late-teen female, independent, good sense of humour, fit.
Young twenty-something male, witty and smart, fit but not traditionally good looking.
A late twentysomething male, fit, handsome and confident.
Seventy-something male, with strong opinions and tough demeanour. Also doesn’ t need to be particularly fit.
A second young female, also late teens, tough, smart and fit.
While these descriptions aren’t anything too revealing, we do get rough ages for the characters, meaning speculation can really start to swirl about actors and actresses who can fill these roles. Check out the casting descriptions below.
Late-teen female, independent, good sense of humour, fit.
Young twenty-something male, witty and smart, fit but not traditionally good looking.
A late twentysomething male, fit, handsome and confident.
Seventy-something male, with strong opinions and tough demeanour. Also doesn’ t need to be particularly fit.
A second young female, also late teens, tough, smart and fit.
- 6/20/2013
- by Alexander Lowe
- We Got This Covered
Have you heard Disney has purchased Lucasfilm and is planning on making some Star Wars films?
That’s a rhetorical question.
Jj Abrams is directing Star Wars: Episode VII, which is still shooting for a 2015 release. Word is part of the film will be shot in London, and George Lucas’ Ilm may move across the Atlantic too work on the flick. It doesn’t hurt that by moving Ilm will also be able to take advantage of foreign tax subsidies.
They’ve even started scouting possible locations in the Docklands in East London.
Does this mean Ilm is leaving the Bay Area completely? No, not at all.
Miles Perkins, head of corporate communications for Ilm’s parent company Lucasfilm:
“The core of our business is here, and there isn’t the intention of diminishing that core. That would be suicide. The people who make up our brain trust are here,...
That’s a rhetorical question.
Jj Abrams is directing Star Wars: Episode VII, which is still shooting for a 2015 release. Word is part of the film will be shot in London, and George Lucas’ Ilm may move across the Atlantic too work on the flick. It doesn’t hurt that by moving Ilm will also be able to take advantage of foreign tax subsidies.
They’ve even started scouting possible locations in the Docklands in East London.
Does this mean Ilm is leaving the Bay Area completely? No, not at all.
Miles Perkins, head of corporate communications for Ilm’s parent company Lucasfilm:
“The core of our business is here, and there isn’t the intention of diminishing that core. That would be suicide. The people who make up our brain trust are here,...
- 4/30/2013
- by Philip Sticco
- LRMonline.com
As the new "Star Wars" movie gets ready for production, visual effects giant Industrial Light & Magic is looking at opening a facility in the United Kingdom to take advantage of foreign tax subsidies, the company told TheWrap on Tuesday. Miles Perkins, head of corporate communications for Ilm's parent company Lucasfilm, said that the company had not yet decided whether to do the visual effects work in London but was considering it. "We're evaluating a number of different scenarios and doing our due diligence," he said. The move would be significant because...
- 4/30/2013
- by Brent Lang
- The Wrap
Following yesterday’s announcement that Disney shut down LucasArts, a bunch of new details have now surfaced about one of the company’s most talked about projects, Star Wars 1313. This game was slated to be based around the seedy underbelly of Coruscant. Just imagine a Star Wars La Noire, and a game centred around bounty hunters. All of these things got more than a few people excited. Just watch this video to see what we are missing out on.
The big news that broke today comes from Kotaku.com. According to their source, the game was meant to focus on none other than Boba Fett as a playable character. This is supported by two pieces of concept art (above and below), that they also posted on their site. Apparently, this happened last May after Lucas looked at the game. He apparently told the team that he wanted it to be...
The big news that broke today comes from Kotaku.com. According to their source, the game was meant to focus on none other than Boba Fett as a playable character. This is supported by two pieces of concept art (above and below), that they also posted on their site. Apparently, this happened last May after Lucas looked at the game. He apparently told the team that he wanted it to be...
- 4/5/2013
- by Darragh O'Connor
- Obsessed with Film
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