Name: From AI to 16K screens, tech has officially disrupted the film industry
Uploaded: 2025-08-11T18:10:24.000Z
Duration: 10 min 9 s
Description: Thousands of YouTube videos with English-Chinese subtitles! Now you can learn to understand native speakers, expand your vocabulary, and improve your pronunciation...

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Founded in 1917, ARRI makes and provides cameras, lights and technical equipment for TV and film shoots and has been involved in countless blockbusters.

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Identifying a new opportunity here at its facility just outside London, ARRI has launched a new offering and it's helping the industry push creative limits.

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ARRI have always been at the center of innovation and it was clear to ARRI a stay and as a result of that this stage was built in London.

It's a virtual reality stage where we can basically take you to anywhere in the world that you want to go.

We shoot TV films here, we shoot movies, we shoot commercials, we shoot pop promos and virtual production is coming to the forefront in all of those genres of filmmaking.

The screen that we see you're seeing behind you now is actually 30 meters by 5 meters tall.

What that means is that we can present photorealistic, very, very true-to-life images on the wall and we can take the viewer anywhere in the world.

We can basically take them, well there we are, we've just swapped from a forest scene to a desert scene.

Not only can we do that but it's as much as the imagination can do for you, we can take you to somewhere that's unworldly for example.

One of the key benefits of virtual production and working within an LED environment like this is that it replaces the need to work within green screen.

So the actors love the environment, they're interacting with what they're seeing around them.

Directors of photography, lighting gaffers love the environment because basically the screens themselves are providing a very accurate source of lighting for the foreground and for their artists.

We joined forces and we both used our kind of strengths to come up with this space.

Due to COVID we had to come to a space and recreate that world in a safe space.

So we provide all the display technology, so the LED screens, all of the media servers and the integration between that and then ARRI provide lighting, rigging, facilities, camera technology.

Part of the camera system that we implement here at the ARRI stage is a tracking system called Viacom.

What it enables us to do is essentially put a VR headset on the camera and it tracks around the 3D space as if you were tracking around a 2D space.

So how we do that is we put a tracking crown on top of the camera and it receives the data and that just tells us positional data and lens data and that all feeds back into an Unreal Engine or a real-time playback system.

It's a game-changer because it allows us to create environments that we can move around in real time.

It creates depth, it creates a realism that you don't get from a flat plane.

It also means that when the artists or actors or the creatives are in the space, when we move around and that focal point changes, the realism of that really creates that depth of focus.

The stage is comprised of two large semicircular screens with moving sides and another screen on the ceiling for lighting that can move up and down or be tilted left to right.

All the content displayed is controlled at this desk.

This is the brain bar, named that way purely because all the clever stuff happens here.

From a video point of view, we do have another brain bar that sits over there which is the lighting and the rigging side of things but this controls all of the servers, it controls all of the camera tracking that we do.

So this is the Unreal Engine which allows us to work in 3D real-time environments.

Being in this space means we can move things very quickly which enables us to have a very quick turnaround time.

So simple things like I can flip the world around 360 like so and then if we were shooting here we're now shooting the other way around.

This versatile stage has been used for a variety of different shoots but it's proving particularly popular for a certain type of scene.

Well there's nothing quite like a road trip movie to be evocative and when you bring one into a virtual production environment then you open up a whole host of possibilities.

Historically these scenes would have been done using a trailer towed behind a vehicle, streets would have to be closed wherever city you were filming in, the director would maybe be hiding in the floor in the back seat or directing the scene down a walkie-talkie.

Virtual production just gives you complete control over these environments.

We're seeing a huge upsurge in the amount of car work being undertaken in a volume like this.

We've had films in here where we've been able to go from day to night instantly, where we've had six or seven vehicles, we've been fortunate to have Robert De Niro, we've been fortunate to have Idris Elba, we've been fortunate to have a number of A-list talent and they can come into this environment, see where they're driving, see what they're doing and interact with their environment.

As well as producing hyper-realistic shots the stage here also allows production to reduce working hours and their environmental impacts.

If you've got limited time with A-list talent then you can bring them in here, you can do their day scenes, their night scenes, flip between one and another and everybody's home in time for tea.

Everybody in the film industry quite rightly needs to be very aware of sustainability and we all need to be following a very strict sustainability agenda.

What virtual production allows you to do is to make those sustainability choices but without compromising your production.

The world comes to you, so there's massive carbon savings in terms of travel, in terms of travelling crew, in terms of moving equipment around.

But also when you're not working within a green screen environment your post-production time is massively reduced.

There's a massive carbon implication to storing data, to data centres, to cooling data, to spending months and months in post-production.

That's really making a difference and at a practical level we're not dealing with plywood anymore, we're dealing with pixels.

So instead of having to build a set, take it down, maybe pay huge amounts of money to store that set for months on end, you build your set digitally, you come in here, you shoot with it, you take it away on a hard drive.

So from a sustainability point of view, I mean it really is a no-brainer.

From scaling back to eradicating shoots altogether, Singapore-based production company FizDragon has made a movie entirely from AI-generated content, or AIGC.

My name is Pax, I'm the founder of FizDragon.

FizDragon is an AIGC- identity filmmaking production company.

We not only focus on filmmaking, we are also working on education, commercial, like IP production, and we are exploring different new business directions.

So we would like to call ourselves as AIGC ecosystem builder.

The movie is based on the real historical story.

We write the story ourselves, and we built the AIGC filmmaking crew ourselves, and also that we are looking for the distributor ourselves.

So we fully operate outside the traditional filmmaking industry.

We are looking for people from different backgrounds in the first stage when we are building up the team.

But there is a common ground for all of us, it's that we like to create.

So current AIGC technology is good enough to create content.

When you're really creating a movie with AIGC, you know that it's not created by any single product, it's by a list of tools.

FizDragon has a group, R&D group, to search for different information.

Some of the products are on the market, some are under development.

So we have an expert team, and we know different products.

So for us, we know that with all the products, that's enough to create some good story.

With so many content-generating products already available, one Singapore-based startup is developing a smart way for creators to harness the capabilities of these different technologies, all in one place.

For this year, we are developing a dashboard where we are integrating different tools and putting it all in one place.

Because we felt that it's all over the place, to be honest.

We want it to be available for everyone because we want to empower creators like myself.

We also want to help to foster the community.

We want to encourage creators to create IPs because I felt that IPs is going to be very important and very valuable.

Although AI is disrupting the industry, creative advisor David Webster believes technology can't create content alone.

We want to make sure the creative community around the world, whether it's film, advertising, music, etc., is empowered and has the knowledge and has the understanding of what the technology can deliver so that they can make the most of it and can shape ultimately what the future of creativity is.

Fortunately, a lot of the creative world, the film industry in particular, is very inaccessible to the vast majority of If you want to make a movie today, you need to be part of the right networks.

You need to have quite significant amounts of money to be able to pay for large teams to come together.

What AI and Gen AI will hopefully be doing is allowing more people to have more opportunities to enter the industry with a much lower barrier to entry.

And I think that at the end of the day can only be a positive.

As more people come in, there will be more opportunities for great talents to be discovered and to be brought to life.