Motion Picture Association Tokyo panel discusses filming in Japan

Transformative technologies and their impact on film production, along with the growing attraction and remaining challenges of filming in Japan, were the focus of this year's Motion Picture Association (MPA) seminar at Tokyo International Film Festival.

Kicking off the October 30 event in front of a packed house was Edward B. Neubronner of MPA's Asia Pacific division, who highlighted the popularity of Japanese content around the world, the global anime valued at over $31 billion and the number of “international creators eager to bring their visions to life on Japanese soil.”

Evan Felsing, representative of the US Embassy in Tokyo, attracted the attention of the audience by delivering a speech on the importance of Japan and the United States collaborating on the misuse of artificial intelligence, preventing disinformation and protecting intellectual property, before confessing that his observations were the product of generative artificial intelligence.

The production incentive program launched last year is said to have helped further boost interest in Japan with its discount of up to 1 billion yen ($6.6 million at current rates), something Max's Tokyo Vice took advantage while filming both seasons in the country.

Alex Boden, a producer of Tokyo Vicetalked about some of the problems facing big shoots in Japan, from permits to crew shortages to language barriers. “It required more solutions than any other production I've ever worked on,” Borden said.

The problems of the first season of the Max series were exacerbated by the pandemic, during which Japan imposed strict border controls. However, Boden said that every week he received requests from people asking for advice on filming in Japan: “In fact, I got a call this morning.”

Next up was director Ryo Nakajima, who spoke about his experience embracing CG and generative AI, as well as the different reactions to the new technology he witnessed at film festivals in Europe and Asia. A music video created by generative AI was famously booed by audiences in Annecy, while its film used the same technology Who said death is beautifulwas more warmly received.

He further noted that while AI was seen in many quarters as a threat to jobs in the film and creative industries, in Japan it was more widely perceived as a solution to labor shortages and brutally long working hours.

Rounding out the presentations was Oscar-winning VFX artist George Murphy, who highlighted the advancements in virtual production and the challenges and opportunities that come with it.

The three speakers then gathered for a round table moderated by Patrick Brzeski, The Hollywood journalisthe is the head of the Asian office. Opening the panel, Borden highlighted that training programs to upskill local talent are essential for Japan to position itself as a hub for big-budget global projects: “The wheels are turning in the right direction… to make Japan a destination privileged for all project sizes”.

Virtual production and LED volume technology were key topics, as these tools allow filmmakers to create authentic settings without some of the logistical challenges of shooting on location. Boden described a specific example from Tokyo Vice, where they shot in Nagano's mountainous terrain, known for strong reflections from snow and ice.

“We created our own rig with multiple cameras to shoot the visual plates…then brought those plates back to the volume stage at Toho Studios,” he explained. This setup allowed them to replicate a natural environment within a controlled studio environment, minimizing interruptions and maximizing creative possibilities.

Turning to the cultural and economic impact of generative AI, speakers discussed varying global perceptions of the technology. Nakajima highlighted the importance of creating ethical standards, particularly in relation to copyright and intellectual property, which are sensitive issues in AI-assisted work.

George Murphy delved into these ethical concerns, discussing the notion of “digital talent twins” and how actors could potentially retain rights to their digital likenesses to prevent unauthorized use. He noted that such practices can be protective, giving actors and creators more control over their digital identities: “You have to be careful… and taking proactive action by allowing talent to own their rights gives them recourse.”

An audience question raised the question of how filmmakers ensure cultural authenticity when using virtual production to depict foreign locations. Murphy responded that physical engagement with real settings is essential, as it deepens the connection between the actors and their environment, which is difficult to replicate in a virtual environment. “You want to bring in that first-hand experience…the structure and reality of things,” he said.

Boden echoed these sentiments, highlighting the flexibility and creative freedom that shooting on location offers, even though it can be logistically complex.

Ultimately, the panelists agreed that artificial intelligence and virtual production are powerful tools that, when used carefully, can enhance storytelling. However, they stressed that these technologies require careful ethical considerations, particularly regarding authenticity and intellectual property rights.

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