The Real World: Real Progress And Real Problems Discussed At 2016 VES Summit

The real world took center stage at the 2016 Visual Effects Summit held October 29^th at the Sofitel Hotel in Beverly Hills.  From developments in China’s film industry that have affected the countries appetite for foreign, specifically US, films to the use of virtual and augmented reality in the medical field and US Counter Terrorism departments as well as the integration of visual effects in everything from amusement parts to trade shows, this year’s attendees got fine overview of the Summit’s catch phrase, “What is Real.”

Jonah Greenberg, Managing Director, CAA China, was the day’s first keynote speaker. While he did not touch on the VFX industry in China, he did note that the appetite for entertainment has changed significantly over the last ten years. The film industry has grown dramatically, allowing for more locally produced films that have hit a nerve with the country’s population, resulting in less of a reliance on foreign titles.  When asked if there were specific trends he’s noticed, Greenberg mentioned ticket costs are comparable with US markets, the price point is considered by Chinese standards and regarding as more of an “indulgence.”  When they go to a theater, they want prime entertainment from story, actors and image quality.

“The audience wants the most bang from their buck,” stated Greenberg.

A key difference he noticed with the theater going public in China is the prevalent use of cell phones and mobile devices during a running film. Chinese culture indicates individuals spend roughly 5-6 hours a day on their cell phones – roughly the same amount of time most Americans spend watching television.  Texting or talking while at a cinema is not a discouraged practice.

“This is a prime audience for AR and VR content,” noted Greenberg.

Featured speaker Albert “Skip” Rizzo, PH.D. and Director of the Medical Virtual Reality Segment of USC’s Institute for Creative Technologies illustrated the use of virtual technology in the medical field. Individuals who have lost use of their legs or who have limited motor skills have been suited with hardware that allows them to steer and drive virtual cars, for example.  A prime focus of his presentation illustrated the advancements VR has implemented in the world of psychology.   For the past ten odd years, individuals with fears and phobias have been introduced to virtual environments that, by introducing the phobias in modified dosages, have illustrated tremendous management of the fears.   For example, individuals who experience extreme claustrophobia, are placed into a virtual environment where the walls slowly recede, shrinking the size of the room.   The doctors have the ability to manage the rate and distance at which the walls move, aiding in the patient’s gradual management of their phobia.

The VES Summit also hosted Edward Grogan, Technical Director for Advanced Counter-Terrorism Technologies at the Department of Defense who spoke on the use of VR and AR in terrorism training programs. The day also featured two panels:  Visual Effects in the Wild and Cinematography and VFX: What Constitutes ‘Real.’   The day-long event concluded with the presentation of the VES Founders and Fellows Awards.  This year’s VES Founder Award was presented to Kim Lavery, Visual Effects producer.  The 2016 VES Fellows included Peter Anderson, VES, ASC, Director of Photography/ VFX Supervisor, Jim Morris, President, Pixar Animation and Kim Lavery.  This year’s Lifetime Member recipient was Don Shay, Founder, Cinefex Magazine.  The 2016 Honorary Member was actor, comedian and writer Patton Oswalt.

In addition to the speakers, panels and awards, the attendees had the opportunity to network and collaborate during round table discussions such as “VFX Producers: Who’s Coming Up The Ranks?”  During the round tables, the VFX producers and specialists had the opportunity to discuss nitty-gritty aspects of their jobs, such as increasing demands by studios, unusual situations they find themselves in such as acting as intermediary between talent and directors, and the increasingly unrealistic demands placed on them.

“More and more we are doing things that are not in our job description, and having to rely on communication skills to keep every entity of production happy,” said one VFX producer. “How do we train the next generation, when it’s getting more and more challenging to find people who want to do this job?”