Geneva Digital Market spotlights why immersive filmmaking matters to the entire industry – Screen International | Episode Movies

The largest-ever Geneva Digital Market (GDM) takes place this week, bringing together pioneering creators and technology with traditional filmmakers trying to keep up with the latest innovations in the field.

The 10th The 20th edition of the Geneva International Film Festival (GIFF) industry platform is taking place for the second consecutive year from November 7th to 11th as a hybrid event – reflecting the fallout from the Covid-19 pandemic – with a focus on virtual, augmented and augmented reality (XR) Storytelling.

“The big difference this year is that we have a more balanced geographic representation from across Europe and beyond,” says Paola Gazzani Marinelli, who has been Head of Digital and Professional Programs since GDM’s inception in 2014. “So last year was still a ‘Covid, not Covid’ time and I look forward to people coming in person to see our studio, to see people on site and in person. We have a lot of people from Finland, Denmark and Norway this year.”

As one of the first film festivals to focus on immersive filmmaking, GDM brings the industry together to discuss the latest trends in the field and provide a platform for new and upcoming titles from Europe, Asia and North America.

Leading creatives in this field will be in town, including Taiwanese director Jimmy Cheng, Brazilian artist, creator, developer, director and writer Lucas Rizzotto, Iranian XR creator Arash Akbari and Michaela Ternasky-Holland, head of XR at the renowned US company Games for Change.

One of GDM’s key events is the XR Coproduction Session, with 15 European projects in development or pre-production looking for co-production partners. “We have projects from Italy, projects from Portugal, projects from Lithuania, among others, and I’m pretty happy about that,” says Marinelli.

title included Kvoildvaka, by Danish-American creator Dane Christensen. The development project is a Danish-Icelandic-Hungarian co-production and is touted as a playful mobile AR documentary inspired by Icelandic folklore.

Another parking space is mylings, a VR experience based on Scandinavian folk beliefs intended to warn women against having children out of wedlock. Swedish director, producer and writer Uta Arning is developing the Swedish-German production set in the early 19th century about a teenage mother’s daughter who transforms into a “Myling” creature after being abandoned in the forest.

Portugal-Brazil co-production Queer Utopia, which is being developed by Brazilian director Lui Avallos, follows the story of a 70-year-old queer man who attempts to reconsider intimate and conflicting memories from his past to recall feelings of danger, pleasure and shame.

And the Lithuanian creator Tomas Tamosaitis presents himself eyes of shamea French, Slovenian and Lithuanian project about a troubled 14-year-old teenager.

“We are now in a time where artists really have the knowledge and maturity to work with this medium,” notes GDM’s Marinelli. “The projects selected for participation in the development phase are already good.”

The Swiss Interactive Sessions, where 10 local digital productions are presented to international programmers and curators, take place parallel to the XR Coproduction Session.

Where VR meets film

“Filmmakers need to know more about how to create VR works. They need to be more open to dialogue with people on the game developer side, people on the 3D unit developer side, and others,” suggests Marinelli. “International filmmakers need to know that when it comes to creating a VR work, there is not just the filmmaker behind each work, but a very large team.”

The GDM organizes several lectures and panel discussions over the five days. VP Toolkit for Film Professionals is produced by Sten-Kristian Saluveer, GDM Content Advisor and Director of Cannes NEXT and Marche du Film and Accelerate. Panelists will include award-winning Norwegian film director and cinematographer Jannicke Mikkelsen, who specializes in fringe technologies and next-generation film productions. Mikkelsen’s work spans virtual production, remote production, virtual cinematography, live stream, 3D stereography, virtual reality (VR), augmented reality (AR) and brain-computer interface (BCI). Her immersive and recent work includes the virtual camerawoman for augenschein Production’s space thriller Stowaway with Anna Kendrick.

She is joined by Patrick Morris, director and co-founder of Paris and Barcelona-based agency Appia, a specialist in LED screen shooting and the virtual production manager of more than 40 shoots, Nordisk Film Shortcut VFX veteran Martin Madsen from Denmark, whose credits contain Only God forgives, and British Louisa Bremner, a consulting director of virtual production at Lux Machina. Bremner’s credits include films and TV projects such as house of the dragon, matrix 4 and Death on the Nile.

Other lectures will cover cryptocurrencies and public-private financing models, the “gameification” of cinema and how to make a film in the metaverse – while examining what the metaverse actually is.

Participating experts include Helsinki-based Laura Olin, COO of leading European virtual studio ZOAN and founder of Baptiste Planche, Head of Fiction at Swiss broadcaster SRF, and Finn Mikko Kodisoja, founder and CEO of virtual production company Fireframe Studios.

A keynote from BetaSeries CEO Remi Tereszkiewicz examines how TV shows are being used by SVOD and AVOD gamers to attract, retain and monetize their audience.

In addition, the Digital Night of the GDM brings more than 400 XR Creators together in reality, while the Foundation for Digital Creation presents the first results of a study on Swiss Digital Creation and outlines its plans for the future on the same day.

The Geneva International Film Festival runs until November 13th.

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