Transformative technologies and their impact on filmmaking, as well as the growing appeal and remaining challenges of filming in Japan, were the focus of a Motion Picture Association (MPA) symposium at this year’s Tokyo International Film Festival.
On October 30, Edward B. Neubronner of MPA Asia Pacific Division hosted the event to a packed house. He pointed out that Japanese content is popular around the world, with the global animation market worth more than 31 billion US dollars, and the popularity of Japanese animation works. The amount has also exceeded US$31 billion.
Evan Felsing, representing the U.S. Embassy in Tokyo, captivated the audience with a speech on the importance of cooperation between Japan and the United States on the misuse of artificial intelligence, preventing disinformation, and protecting intellectual property rights, and then he Acknowledge that your speech is the product of generative artificial intelligence.
A production incentive program launched last year, which offers rebates of up to 1 billion yen ($6.6 million at current exchange rates), is believed to have helped further boost interest in Japan, with Max’s vice president tokyo The opportunity was taken advantage of while filming both seasons in the country.
Alex Boden, producer vice president tokyotalked about some of the issues faced when working on a large-scale shoot in Japan, from permits to crew shortages to language barriers. “It required more solutions than any other production I’ve been on anywhere,” Boden said.
The problems in the first season of the “Max” series became even more complicated when Japan implemented strict border controls during the epidemic. Still, Boden said he gets people asking for advice about filming in Japan every week, “and I actually got a call this morning.”
Next up is filmmaker Ryo Nakajima, who talks about his experience embracing CG and generative artificial intelligence, as well as the varying responses to the new technology he’s witnessed at film festivals in Europe and Asia. Music video produced by generative artificial intelligence was booed by the audience in Annecy, and his own film uses the same technology Who says death is beautifulreceived a warmer welcome.
He also noted that while artificial intelligence is seen in many quarters as a threat to jobs in the film and creative industries, in Japan it is more widely seen as a solution to labor shortages and excessive working hours.
Oscar-winning visual effects artist George Murphy concluded his presentation by highlighting the advancements in virtual production and the issues and opportunities that come with them.
The three speakers then came together for a panel discussion moderated by Patrick Brzeski, hollywood reporterAsia Bureau Chief. Boden opened the panel by noting that training programs to upskill local talent are crucial for Japan to position itself as a hub for high-budget global projects: “The wheels are turning in the right direction… to make Japan a centerpiece of all People’s preferred destination project size.
Virtual production and LED volumetric technology are key themes, as these tools enable filmmakers to create realistic scenes without facing some of the logistical challenges of shooting on location. Boden describes a specific example for “Tokyo Vice,” where they shot in the mountains of Nagano, an area known for its intense reflections in snow and ice.
“We created our own rig with multiple cameras to shoot the vision boards…and then brought those boards back to Toho Studios for the volume stage,” he explains. This setup allows them to replicate natural surroundings in a controlled studio environment, minimizing distractions and maximizing creative possibilities.
Turning to the cultural and economic implications of generating artificial intelligence, panelists discussed the varying perceptions of the technology around the world. Nakajima stressed the importance of developing ethical standards, especially regarding copyright and intellectual property rights, which are sensitive issues in AI-assisted work.
George Murphy elaborates on these ethical issues, discussing the concept of “digital talent twins” and how actors can safeguard the rights to their digital likenesses to prevent unauthorized use. He noted that this approach can be protective and give actors and creators more control over their digital identities: “You have to be careful…to take initiatives that allow talent to own their rights and provide them with recourse.
Audience members raised questions about how filmmakers ensure cultural authenticity when using virtual productions to depict foreign locations. Murphy responded that physical contact with a real environment is crucial because it deepens the connection between the actor and their environment, which is difficult to replicate in a virtual environment. “You want to introduce first-hand experience…the texture and reality of things,” he said.
Boden echoed these sentiments, emphasizing the flexibility and creative freedom afforded by filming on location, even though it can be logistically complex.
Ultimately, the panelists agreed that artificial intelligence and virtual production are powerful tools that, when used correctly, can enhance storytelling. However, they stress that these technologies require careful ethical considerations, particularly regarding authenticity and intellectual property rights.
