• Filmmaking in the Unreal World Poster

    Filmmaking in the Unreal World

    Filmmaking in the Unreal World Poster

    Filmmaking in the Unreal World

    As a filmmaker, I’m bringing what I can from the real world into the Unreal world" Ngyuen-Anh Ngyeun



    Nguyen-Anh Nguyen is a filmmaker based out of Montreal


    Nguyen-Anh began his career as a dentist before focusing on filmmaking. In 2008 he co-founded GreenGround Productions, an award-winning production house. He is also a co-founder at CineGround Media, the third largest camera rental and post-production house in Montreal. He created and helmed the company’s post-production division from 2010-2016.

    As a film director, he broke into the science-fiction scene with the viral hit THE AKIRA PROJECT (2014) followed by acclaimed short films TEMPLE (2016) & HYPERLIGHT (2018), all of which garnered over 12M views online and received widespread international acclaim. He has also directed projects as a brand ambassador for Blackmagic Design and Manfrotto. He recently founded Second Tomorrow Studios, where he uses all of his combined expertise to create world-class science-fiction projects. He is currently developing the feature version of TEMPLE with writer Nicolas Billon (ELEPHANT SONG, X COMPANY), with the support of Telefilm Canada and The Harold Greenberg Fund, and the cyberpunk animated series, BABIRU, with writer Philip Gelatt (EUROPA REPORT, LOVE, DEATH & ROBOTS) for which Epic Games financed the pilot episode.


    in Anh’s words he is a “filmmaker bringing what I can from the real world into the Unreal world“ and this episode is full of insights into this process as Anh explains how and why he is making this transition and the opportunities - and challenges - realtime filmmaking presents. 


    This episode is presented in partnership with Epic Games and Unreal Engine.



  • Why Every Film Should be Profitable Poster

    Why Every Film Should be Profitable

    Why Every Film Should be Profitable Poster

    Why Every Film Should be Profitable

    Future of Film Podcast · 61. Kevin Goetz: Why Every Film Should be Profitable


    "Do research early, do it at the capability stage, in order to understand what you have and how much you should spend - it gives you an early marketing roadmap." Kevin Goetz





    This episode is a deep-dive into the pivotal role of audience research in film with Kevin Goetz.

    Nicknamed “the doctor of audience-ology,” Kevin has been at the centre of what Hollywood calls the movie research industry for more than thirty years. His firm, Screen Engine/ASI, conducts research for a majority of all movies that are widely released in America and around the world. With decades of experience, Goetz has worked alongside all of the major film studio chiefs, network and streaming platform executives, and production company decision-makers. The Los Angeles Times Magazine counted him as one of the 100 most powerful and influential people in Southern California.

    As well as sharing fascinating insights into the testing process, Kevin makes the compelling case that every movie should be profitable if researched and budgeted correctly!

    His new book Audience-ology: How Moviegoers Shape the Films We Love is available now.

    This episode is in partnership with the Movie Marketing and Distribution Podcast.

  • Real-time filmmaking and Robert Zemeckis  Poster

    Real-time filmmaking and Robert Zemeckis

    Real-time filmmaking and Robert Zemeckis  Poster

    Real-time filmmaking and Robert Zemeckis

    “ Virtual production is going to allow filmmakers to tell stories that would have otherwise been untellable. Because they're going to be able to articulate their vision and really influence that vision in a way that would've been too expensive, too slow, too hard to explain before.” Kevin Baillie


    Kevin Baillie's career at the forefront of visual effects and screen storytelling began in 1999 and is now part of industry folklore. As an 18-year old high school senior, he and his friend created a short film involving a futuristic speeder race through his school, primarily to attract the attention of Star Wars producer Rick McCallum. The short was hugely successful and the tactic worked with Kevin soon finding himself working alongside George Lucas in the visualisation department on STAR WARS: Episode One. 


    Since then, Kevin has continued to blaze a trail in innovating the storytelling process. He formed a long-term creative collaboration with Robert Zemeckis, supervising the visual effects on films such as FLIGHT, THE WALK and THE WITCHES. Recently, this has started to incorporate increasing amounts of real-time and virtual production techniques into the workflows of his projects.

     In this episode Kevin reflects on the evolution of these creative tools, the benefits they offer to the storytelling process and explains why "virtual production will allow filmmakers to tell stories that would otherwise be untellable".


    About Kevin Baillie 


    Kevin's VFX career started at age 18 when he when he joined Lucasfilm's JAK Films as a pre-visualization artist on Star Wars: Episode I. In the following 25 years, Kevin has blazed a bright path, helming VFX at The Orphanage on features including Pirates of the Caribbean: At World's End, Night at the Museum, Superman Returns, Harry Potter and the Goblet of Fire and Hellboy, and supervising cutting-edge motion capture feature films at ImageMovers Digital. In 2010, he co-founded the groundbreaking VFX studio Atomic Fiction, whose outstanding work on films such as The Walk, Allied, and Flight garnered awards recognition and critical acclaim. In 2018 Atomic Fiction, having grown to over 300 employees in 2 countries, was acquired by Deluxe Entertainment.


    Kevin's VFX Supervisor credits also include two Star Trek movies, two Transformers features, Welcome to Marwen and The Witches. Most recently, Kevin acted as VFX Supervisor and 2nd Unit Director on Disney’s live-action Pinocchio - another title in his long collaboration with Director Robert Zemeckis. 


    Kevin also founded the venture-funded cloud rendering technology company, Conductor Technologies, is active with the Academy of Motion Pictures Arts and Sciences, and is an active member of the Directors Guild of America.


    This episode is presented in partnership with Epic Games and Unreal Engine.

  • What NFTs and Web3 mean for Film Poster

    What NFTs and Web3 mean for Film

    What NFTs and Web3 mean for Film Poster

    What NFTs and Web3 mean for Film


    "With NFTs, the Audience can become the Studio." Rouslan Ovtcharoff


    This episode is a deep dive into the revolutionary world of NFTs, Web 3 and the blockchain, with new media and technology entertainment industry executive, Rouslan Ovtcharoff. Including:


    • What is an NFT ? How can we buy one - and make one?
    • What is Web 3?
    • Why are NFTs and Web 3 so important to the metaverse?
    • What are some of the ways NFTs can be used in film
    • Why every filmmaker and media company needs to have an NFT strategy


    Whilst general awareness of NFTs (non fungible tokens) surged in 2021, how this transformative tool can be utilised for film and storytelling is only beginning to be explored. As the former head of marketing at Millennium Media (famous for blockbusters like The Expendables and Olympus Has Fallen), Rouslan is highly experienced in film and traditional media. More recently, however, he has dived deeply into the world of NFTs and the blockchain, founding Blockchain Global Entertainment Alliance and Groovesetter, a peer-to-peer platform for real-time online music collaboration.


    In this conversation, Rouslan shares his knowledge and passion for the subject in a wide ranging conversation that begins with he fundamentals and then expands to explore the incredible possibilities NFTs present for storytellers.


    About Rouslan Ovtcharoff


    New media and technology entertainment industry executive with 15 years of production and distribution experience on films that have grossed more than $1.5 billion at the box office. CEO and co-founder of Groovesetter, a peer-to-peer platform for real-time online music collaboration. Founder of Blockchain Global Entertainment Alliance. Former head of marketing at Millennium Media.



  • Visualisation and the New Creative Process Poster

    Visualisation and the New Creative Process

    Visualisation and the New Creative Process Poster

    Visualisation and the New Creative Process

    "Real time tools help a team reach creative consensus" Kaya Jabar


    Kaya Jabar is a multidisciplinary visualisation supervisor with unique experience leading previs, postvis, techvis and virtual production for tentpole film and TV projects including Game of Thrones, Star Wars the Rise of Skywalker and Dumbo.


    Kaya is on a mission to develop real-time adoption and virtual production workflows with the aim of making visualisation more efficient and interactive. In other words she as at the forefront of the virtual production revolution and in this discussion we explore how realtime engines are transforming the filmmaking process, the role and potential of visualisation in achieving 'creative consensus' and why Kaya believes we are just at the start of a newly democratised future of film.


    About Kaya Jabar

    Kaya Jabar is a multidisciplinary visualisation supervisor with unique experience leading previs, postvis, techvis and virtual production for tentpole film and TV projects.


    Kaya began her career as an animator at Guerilla Games where she discovered a passion for interactive storytelling as part of the cinematics team. In 2014 Kaya moved to The Third Floor London as a previs artist and principal architect of the company’s virtual production and on-set visualisation services. This led to a two-year stint on the multi Emmy Award winning Game Of Thrones, which saw her deliver on-set motion control and simulcam supervision and implementation, as well as virtual camera supervision and workflow/pipeline design.


    Leaving Westeros behind after three seasons, Kaya then supervised virtual production for JJ Abrams’ Star Wars: The Rise Of Skywalker and Tim Burton’s Dumbo, before returning to London to develop real-time adoption and virtual production workflows with the aim of making visualisation more efficient and interactive.


    A regular on the international speaking circuit and one of the most influential women working in VFX, Kaya joined FPS in 2020 as a pre-production supervisor, working across previs, postvis and virtual production, as well as providing on-set technical direction and planning for complex VFX and practical setups.

  • Virtual Production and the Audience of the Future Poster

    Virtual Production and the Audience of the Future

    Virtual Production and the Audience of the Future Poster

    Virtual Production and the Audience of the Future

    Future of Film Podcast · Robin McNichols: Virtual Production and the Audience of the Future

    Stories aren’t changing. It's the means in which audiences are engaging with stories that is changing.“ Robin McNichols 


    Robin McNichols is co-founder and Director of the award-winning creative studio Marshmallow Laser Feast (MLF) where he has directed a myriad of immersive experiences, large-scale installations and live performances.

    Exploring new sensory perspectives that challenge our relationship to

    the world around us plays a key role in Robin and the team at MLF’s

    work. His interest in full immersion lead to a 5 year deep-dive into virtual production and interaction techniques which has informed the development of mixed-reality storytelling methods for new forms of audience engagement.

    Earlier in 2021, this manifested in the pioneering collaboration with the Royal Shakespeare Company’s online interactive interpretation of A Midsummer’s Night Dream. In DREAM Robin and the MLF team utilised virtual production and realtime techniques to create an interactive, immersive digital WORLD for the RSC performance - which was critical in the show’s pivot to a fully online experience during lockdown.

    In this episode we explore the creative and technological process of DREAM and how virtual production tools can be utilised in a live theatrical experience. Robin also talks about the business of interactive storytelling and shares his incredibly thoughtful and articulate perspectives on the future of audiences and screen storytelling. 


    More About Robin McNichols


    Co-founder and Director of the award-winning creative studio Marshmallow Laser Feast (MLF), Robin has directed a myriad of immersive experiences, large-scale installations and live performances.


    Robin is based in the Yorkshire Dales National Park, in the north of England where the natural world forms a source of constant inspiration. 


    Exploring new sensory perspectives that challenge our relationship to the world around us plays a key role in Robin and the team at MLF’s work.


    His interest in full immersion lead to a 5 year deep-dive into virtual production and interaction techniques, where a focus on realtime deformable object tracking has informed the development of mixed-reality storytelling methods for new forms of audience engagement.


    The live aspect of Robin’s work has involved touring installations and productions to some of the world’s largest venues, concert halls and cultural spaces. He lead the team to conceptualise and direct iconic shows for the Saatchi & Saatchi New Directors’ Showcase (Cannes Palais, France). He’s worked with a range of musical acts including U2, Aphex Twin and Lenny Kravitz.


    As creative director musings such as ‘do dolphins dream in sonar?’ and ‘can you taste in your dreams?’ have inspired innovative productions in the MLF conceptual / directorial roster such as A Colossal Wave, Sweet Dreams and most recently - a collaborative production with the Royal Shakespeare Company, Epic Games, Philharmonia Orchestra & Manchester International Festival - the 2021 production ‘Dream’. 



  • Launching New Storytelling Talent Poster

    Launching New Storytelling Talent

    Launching New Storytelling Talent Poster

    Launching New Storytelling Talent


    "There is a myth around who's ready for an opportunity. More often than not, someone is groomed for that opportunity" Phillip Domfeh


    Mahin Ibrahim and Phillip Domfeh are the executives behind Disney Launchpad, the new programme for untapped filmmaking talent. Available now on Disney+, Launchpad is a series of bold and new stories from emerging creators. In this talk, Mahin and Phillip share how the programme worked and the process of nurturing new talent. We also talk about inclusion behind and in front of the camera and the reasons that so often prevent a wider range of talent progressing through the system.


    More about Mahin Ibrahim

    Director of Disney’s Diversity & Inclusion, Mahin was previously at Refinery29 in development/production and spent the majority of her career at Google and YouTube, where she helped run production programs with an emphasis on diversity and inclusion at its flagship studio for YouTube creators. In addition, she writes creative nonfiction, and holds an MFA in production from USC and a BA in mass communication and business administration from UC Berkeley.


    More about Phillip Domfeh

    Phillip is Senior Manager of Disney’s “LAUNCHPAD” shorts Incubator and a writer, director and producer from Los Angeles, Calif. Prior to joining The Walt Disney Studios, he served as an executive producer of the 2019 AT&T Mentorship Program. There, he worked alongside Emmy® Award winner Lena Waithe and Rishi Rajani to mentor underrepresented filmmakers and produce five short films starring Dascha Polanco, Loretta Devine and Rob Morgan.



  • Reimagining the Film-Game Genre Poster

    Reimagining the Film-Game Genre

    Reimagining the Film-Game Genre Poster

    Reimagining the Film-Game Genre

    Future of Film Podcast · Jack Attridge: Reimagining the Film-Game Genre


    "The games industry is less risk-averse. It's more driven by innovation than film." Jack Attridge


    Jack Attridge is is Creative Director and co-founder of Flavourworks, the London-based digital entertainment studio. Originally trained in filmmaking, Jack pivoted into the gaming industry, working at leading studios like EA, Rebellion, Mind Candy, and 22cans. 


    In 2015 he co-founded Flavourworks to realise a new form of interactive storytelling. This resulted in the acclaimed game-film hybrid (or as Jack prefers, 'filmed game') ERICA which fuses live action storytelling with interactivity via an innovative new control system developed by Flavourworks called Touch Video.


    In this conversation we explore the new medium that Jack and Flavourworks are pioneering at this intersection of film and games. Jack does an amazing job in deconstructing these two forms and sharing his vision for this new kind of story experience they are driving forward, that combines the aesthetics and sensibilities of filmmaking with new levels of intimate, tactile interactivity.


    About Jack Attridge


    Jack Attridge is Creative Director and co-founder of Flavourworks, an innovative content and technology studio based in London that develops and produces filmed games. Specialising in design, audio, and filmmaking, Jack’s career spans studios including EA, Rebellion, Mind Candy and 22cans. In 2015 he set-up Flavourworks alongside his co-founder Pavle Mihajlovic to realise their vision of creating live-action cinematic narratives imbued with responsive gameplay features which are simple and intuitive, allowing them to be played by anyone, on any platform. Soon after forming, Flavourworks was funded by games industry legends Peter Molyneux OBE, and Ian Livingstone CBE, who also serves as Non-Executive Chairman. Flavourworks’s patent-pending Touch Video technology allows them to function simultaneously as both a game studio and film production company with the studio’s first game, “ERICA,”, now available on both PlayStation and iOS and coming to PC in May 2021.

  • The Creative Power of Realtime Animation Poster

    The Creative Power of Realtime Animation

    The Creative Power of Realtime Animation Poster

    The Creative Power of Realtime Animation

    Future of Film Podcast · HaZ: The Power of Realtime CG Animation


    "I love the level of spontaneity with the the process of creating the scenes and shots with virtual cameras" Hasraf 'HaZ' Dulull


    This episode is about how filmmaker HaZ is reinventing his craft through realtime game engine-powered animation.

    Having originally started his career in VFX, Hasraf 'HaZ' Dulull transitioned to directing and producing, with the Netflix-acquired sci-fi. THE BEYOND. He then followed up with another sci fi feature, 2036 ORIGIN UNKNOWN before directing a major show for Disney, FAST LAYNE.

    Throughout a career characterised by innovation, HaZ has particularly made use of realtime game engine tools and Unreal Engine. In 2019 at Future of Film Summit , he showcased how these helped unlock finance for his projects through a 'pre-vis to pitch-vis' process. In 2020 he directed the groundbreaking Virtual Production live action short, PERCIVAL with Rebellion Studios.

    Now, working with a small global team, HaZ is using the same tools to realise his vision through completely animated films. In this conversation, HaZ shares the tools, techniques and workflow he is using to create the latest HaZ Films project, the animated anime feature film RIFT. He also explains how this process is enabling him to retain creative independence and achieve commercial success in the new streaming landscape.


    More About HaZ


    HaZ started his career in Visual Effects before transitioning over to directing and producing with his breakout feature film THE BEYOND, the indie sci-fi was released in 2018 and was number 2 in the iTunes Charts before being licensed on Netflix and turning into a profitable movie. 

    His second feature film - 2036 Origin Unknown, starring Katee Sackhoff earned a limited Theatrical release before landing on Netflix. He was then hired by Disney to helm the pilot for action comedy series Fast Layne, where he also served as EP / Creative Consultant on the entire series.  

    HaZ is currently utilising virtual production and realtime CGI with his latest feature film - RIFT, a sci-fi action anime currently in production and rendered entirely in Unreal Engine.

  • The Business of Blumhouse Poster

    The Business of Blumhouse

    The Business of Blumhouse Poster

    The Business of Blumhouse

    .
    "I really believe that you want the storytellers to look like the audience they’re telling stories for.  And that’s what we have done and will continue to do." Jason Blum



    Jason Blum, founder of Blumhouse Productions, is a three-time Academy Award®-nominated, two-time Primetime Emmy Award-winning and a two-time Peabody Award-winning producer. Blumhouse is known for pioneering a new model of studio filmmaking: producing high-quality micro-budget films and television series, and his multimedia company is regarded as the driving force in the horror renaissance.

    Throughout his career Jason has relentlessly innovated and defied collective wisdom on the business of filmmaking. His low budget approach is much more than about 'keeping costs down', it's about fundamentally reducing risk and retaining control. And the result of this? For Jason it has meant staying INDEPENDENT, empowering artists (like Damien Chazelle, Spike Lee and Jordan Peele) and building a global direct to consumer and industry brand.

    In this very special interview with journalist Wendy Mitchell, Jason discusses his work and the future of the film and television business. It was recorded in November 2020 for the Future of Film Summit.