Abstract by Andreas Dahn and Mirko Lempert

How can realtime technology be used as a creative tool in the storytelling process, but still address the technical, organizational needs and preconditions of film productions? Can technology that is embracing rapid prototyping, empower artistic talents to exploit their full potential at an early production stage, and help to solve problems with creativity, especially when dealing with limited resources? How can simulation help to test, visualize and negotiate ideas that may serve as foundation for the entire artistic process? Is it possible to create a work environment that is mobile and accessible to everyone regardless of the scale of the budget?

In this presentation Andreas Dahn will give insights on the virtual production process of his short film and vr experience „Home in the Distance“, which he produced as Filmmaker in Residence at the Immersive Arts Space. Mirko Lempert will discuss questions of producing and prototyping in virtual space. Both will share their findings and outcomes from their works at the ZHdK and cast a glimpse into the future of virtual production.

> Dienstag, 29. Juni, 13:45 – 14:30h  > Programm

ABSTRACT BY Sarah Atkinson

The global pandemic has accelerated the rapid adoption of virtual production. From 3D virtual environments to huge physical volumetric sets – the tools of virtual production are now being widely adopted across the film industry – from independent productions to big budget shoots. With its early roots in machinima, virtual production – filmmaking that is powered by Real Time Game Engines – is irrevocably changing the way that filmmakers work, collaborate and create. This talk considers its rapid development and what these significant shifts could mean for filmmaking practice, global work, and for the environment.

> Dienstag, 29. Juni, 10:00 – 10:45h  > Programm

Abstract BY Sylke René Meyer

Advancements in technology are often perceived as drivers for social progress. At the same time, technology frequently enables a minority to wield power over non-Western, non-white, and non-heteronormative masculine communities that have only limited access to advanced technologies. What Lyotard terms the phallocracy of high tech actually disenfranchises most of the world’s population while putting forth an ideology of superiority. Under the pretense of data neutrality, superior intelligence, and high-tech mastery, this ideology prevents ‘other’ voices from being heard.

In this course, I suggest a user-centric approach towards prototyping as artistic practice. Without dismissing high-tech’s power, we will think about prototyping as a process towards final implementation. The narrative forms produced in a low-fi environment shall be perceived as temporal perfections. Low-fi is participatory, fast, and allows for unalienated creation. It is participatory by avoiding the intimidation of high tech and expert cultures, as well as the economic restriction of access to expensive technology. It is fast by allowing for rapid creative response to social contradictions of the moment. It is unalienated because it enables the creator(s) to understand and perform each step of the production process. Free from isolating divisions of labor and the fragmentation of the creative process in hierarchical production, low tech/low-fi cultures offer a practice of collaborative and participatory processes.

> Dienstag, 29. Juni, 14:30 – 15:15h  > Programm