VII. Collaborating Partner
Producers Guild of America/PGA
SEAFIC (Southeast Asia Fiction Film Lab) is a pioneering non-profit script and development lab created for Southeast Asian filmmakers in order to strengthen the quality of feature-length fiction films from the region. Each year SEAFIC invites 1st, 2nd and 3rd-time filmmakers to work with a script consultant and international experts for 8 months to develop their projects. It shall conduct three lab sessions: first in Chiang Mai in February, the second in Chiang Mai in July, and the final session, called SEAFIC Open House, in November in Bangkok. The parallel producers’ lab, called SEAFICxPAS, is run jointly with Festival des 3 Continents’ Produire au Sud.
Storytek is a one of a kind future of content accelerator and creative innovation hub, based in Tallinn, Estonia. Storytek brings together deep audiovisual sector knowledge, technology and funding with a selection of tech entrepreneurs and content creators. The purpose of Storytek is to help creatives and early-stage companies to develop business and fast track their content, products, and services to the global markets. We are offering a challenging 10-week program to build the platforms and content for tomorrow together. Storytek also gives access to Estonian e-residency – the newest way of running a business for the digital generation.
2 x year x 10-week Accelerator for global startups and scalable creative projects in content, creativity, IP & media tech verticals Innovation Consultancy ecosystem for exponential growth focus startups and vertical-related corporations & enterprises R&D lab for public-private partnerships and cutting-edge IP & media tech projects.
Networking & business platform between Europe x Asia
Official website: storytek.eu
VIII. Lecturers (arranged according to course date and time)
Producer, International Film Festival Programme Consultant and Jury Member
Executive Director of SEAFIC
Raymond Phathanavirangoon is the Executive Director of the Southeast Asia Fiction Film Lab (SEAFIC), a pioneering 9-month intensive script lab for Southeast Asian filmmakers. He is also a film producer who previously served as international programmer for the Toronto International Film Festival and the Toronto Reel Asian Film Festival as well as Programme Consultant for the Hong Kong International Film Festival and Cannes Critics’ Week. Prior to that, he was the Director of Marketing & Special Projects (Acquisitions) for international sales agent Fortissimo Films. He acted as a Reading Committee Member for the Hong Kong-Asia Film Financing Forum (HAF) and was an advisory member of the Asian Film Awards (AFA). He was a jury member at festival such as Berlinale, Sarajevo, Vladivostok, Seattle, Antalya, and others.
His producing credits include SAMUI SONG (Venice Days), APPRENTICE (Cannes Un Certain Regard), HOW TO WIN AT CHECKERS (EVERY TIME) (Berlin Panorama), ABERDEEN (Opening Film, Hong Kong), HEADSHOT (Berlin Panorama), DREAM HOME (Opening Film, Udine), SANDCASTLE (Cannes Critics’ Week) and TOKYO SONATA (Cannes Un Certain Regard Jury Prize).
Ideal Pathway toward Feature Debut for Short Filmmakers
So you are a shorts filmmaker with aspirations to make a debut feature film that travels around the globe. But with financing becoming harder and harder to find or necessitating severe artistic compromise, and international funds seem like a distant dream, how can one make this tricky transition? This talk shall propose an ideal pathway via international labs, markets and festivals to achieve this goal.
Film Funds: What Can Taiwanese Access?
Founder of Storytek Accelerator
Sten-Kristian Saluveer is Estonia / Japan based audiovisual media innovation and policy strategist, audiovisual producer, and content & technology entrepreneur. He is the founder of Storytek Accelerator -mixing deep audiovisual sector knowledge, technology and funding with a selection of hand-picked tech entrepreneurs and content creators. He has held board level positions at Tallinn Black Nights Film Festival, the Haapsalu Horror & Fantasy FF, Plektrum - Festival of Visual Sound, as well as pioneered audiovisual collaborations between Estonia, South-Korea, Japan and Laos.
As a curator and innovation strategist Sten has worked with the European Commission, Estonian Ministry of Culture, Helsinki-Tallinn Euregio and other public sector organizations. He frequently writes on film, technology and Asia related topics for local and international media including Eesti Ekspress, Müürileht and Screen International.
Creativity vs. Technology - Armageddon or resurrection for storytellers and producers?
Super platforms - Apple, Google, Facebook, and Amazon - as well as Netflix are being increasingly seen as undefeatable attention. How would local storytellers and producers survive at the looming digital Armageddon?
Despite all odds, the exponential growth of new content creation and distribution platforms, as well as unsurpassed connectivity, are opening up exciting opportunities for creative storytellers and producers across the globe. Based on the experience from the Storytek Accelerator, which brings together content creators, technology entrepreneurs with selected partners and financiers, the lecture will present case studies and examples in the intersection of audiovisual storytelling and film, technology - as well as tools and strategies for filmmakers to engage in new forms of project development and financing for their productions.
How to successfully produce an international independent film and ... stay friends
When thinking about co-production we talk the same language but frequently think differently based on our local cultures, diverse ways of production and ways of working, availability and criteria of financing schemes, and legal obligations towards stakeholders.
The lecture will present case studies and examples from independent co-productions with Laos, France, Japan, and South Korea to present the difficulties and solutions international co-productions and how to overcome these challenges when embarking on your first international co-production journey.
German media entrepreneur
Former CCO of ARRI Media
Wolf Bosse, 48, is a Berlin based media entrepreneur and former Director Of Strategic Business Development of ARRI.
After studying graphic design at Braunschweig University of Fine Art (HBK), he became a freelance motion-graphic artist, working for years in international post-production. From 2001 to 2011, he became managing director of DAS WERK, launching the Berlin office. He later joined the national management of DAS WERK’s German network. In 2011, Wolf Bosse started to build up ARRI’s Berlin facilities, focused on high-end commercial and feature film post-production and later became the CCO ARRI Media. In 2016 Wolf changed to the R&D department of ARRI to continue his work as an innovation scout.
Wolf is recipient of the Red Dot Design Award, he was awarded the German Megaphone by Jahrbuch der Werbung and finished the masterclass in stereoscopic storytelling. In 2013 he set up the concept of Up.Grade - the postgraduate programme in color grading for the Berlin film school dffb.
The multilingual designer is father of two kids, and loves indoor-greenery and bicycle racing.
From Shoot To Master - collaborative workflow strategies.
About resolutions, pipelines, bottlenecks, final masters and most of all: The people in between
Wolf will guide us through todays digital intermediate work flow from a digital high end shoot to the final master on screen. We will experience different team-strategies and find out what spiders in the web and a chain of pearls might have in common. Together we can take a closer look at typical new professional positions and how to face the workload smoothly.
Colour Grading Today - the second birth of the image.
About the new age of tweaking the look of images and about the chances and fails in this field.
We will dive into the thrilling field of giving colors to the image. Working in color grading today is creating feelings, raising production-value or simply saving a shooting day. Colorists are needed in the filmmaking process from the beginning to the end and have a huge impact on both the result on screen and the workflow in between. We will discuss the value of more or better pixels and look at some "true lies" of our industry.
Chairman of the New Media Council for the Producers Guild of America
Executive Producer for VR, AR and Interactive for Digital Domain
Former VP of Interactive Experiences for NBC Entertainment Digital
John brings a career that has spanned the technology and methodology for creating and delivering media, games, and immersive experiences, from concept to consumer, and customer to his role as Executive Producer for VR, AR and Interactive for Digital Domain.
John has endeavored to help companies and causes not only tell their stories through dynamic media but also leverage disruptive and transformative technology, to maximize the creative impact.
John also serves as the Chairman of the New Media Council for the Producers Guild of America representing the interests of producers of broadband video, games, transmedia, iTV and VR/AR content in the entertainment industry.
Previously, John was the VP of Interactive Experiences for NBC Entertainment Digital, where he developed native interactive experiences, be they 2nd screen, social media, or virtual reality for some of the largest shows on TV, such as The Voice, World of Dance, America’s Got Talent, Blindspot, Blacklist, and more.
The State of Immersive Industry, Challenges Faced, and Where the Work Needs to Happen.
It is not just about tech, but ergonomics as well. This is why location based entertainment is so important. The visuals are crucial, but so is understanding the audience, and how to make all factors cohesive to create a safe, fun, immersive experience. To be successful it takes organization of and among the team, in addition to the technical aspects, for every area of the experience that ranges from budgeting to safety.
VR, AR, MR, Immersive, Interactive... These are the terms and techniques that are being used, but what about "beyond the entertainment"? It is about asking, “What are we trying to achieve?” and choosing the right tool for the job. The enterprise is fertile ground for development and business, providing that we are asking the right questions, and not only using the right tools but making the most of the ones available at the time.
Veteran producer Jonathan Hyong-Joon Kim has served two terms as the Chairman of the Korean Film Producer’s Association. With the career in the Korean film industry that spans around 30 years, Kim has produced over 25 motion picture films. He has recently concluded his appointment as an executive-level film consultancy role at South Korean entertainment conglomerate CJ E&M where he played an integral part in the success of “Masquerade” and “A Wedding Invitation”. Currently, he is the Chief Creative Officer at multinational production company Signal Pictures.
His 2004 blockbuster "Silmido", blew away with all records with 11 million box office tickets sold. In 2004, Mr. Kim was awarded the Daejong Award for Best Executive Producer, the Korean equivalent of Oscar.
An Advisor to Korea-EU Committee on Cultural Cooperation, a member of Korea-Japan Culture Exchange Committee and an International Advisor to the Asian Film Awards (AFA), Kim has also been an advocate of intra-Asian co-productions.
What are the risks when a nation’s film industry depends solely on idols, a particular market, or a particular genre? How do we change it?
Following the success of films such as Silmido in the beginning of 2000, the Korean film industry began a movement of making films with big budgets and cast. However, these films contributed little artistic value. At that time, Japanese buyers represented a dominant share of Korean film exports, and Mr. Jonathan Kim was one of those who had the vision to remind Korean filmmakers of this pressing problem. In this course, he will share with us the reality of that particular time in history, and guide us to discussing the similar challenges that the Taiwanese film industry is currently presented with.
Wu Po Hung
Professional lawyer of Investment and Entertainment law
Head of Ding Zeng International Law Firm
Research and analyzation of common controversy in film production: Focus on IP