For those who didn't come to the event I hosted mid-week or any other BAFTA Interactive Festival events, here's an update. My event was reasonably well attended, overall people seemed to find it interesting and I've had quite a few new leads and introductions. No one (so far) has disputed the premise of re-mixable films although I tried not to couch the debate in those terms.
Some observations:
* "The Movies" game that was previewed by Peter Molyneux can be thought of as a 3rd party editing application in terms of the NESTA proposal. Not only would it be feasible and desirable to license SANCTUARY assets to Lionhead Studios if the film was mega-successful (e.g. so people could stage scenes in the sanctuary) but Peter suggested I talk to the development team later on to explore the technicalities.
* Support from the IPR specialists Farrer & Co who apparently also provide legal advice to NESTA. The guy we spoke to said that the idea was sound, albeit "mind-stretching" and that we were in a position to write our own licensing terms and business model because there was none out there to share. Christine discovered to her surprise that the games industry, on a whole, don't pay any mechanical royalties due to the logistical nightmare and costs that would entail in this kind of business. It suggests (to me at least) that NESTA need to consider the creative appeal of the end product over and above the risk of the business model as businesses evolve to this kind of thing.
* Strong support from e-learning practitioners who keep repeating the mantra that there are "huge pots of money for e-learning". The idea that the re-mixable film is in itself a tool for open ended (almost anarchical) creativity was suggested as a potential antidote to the widespread apathy within the school system between the ages of 14 and 18.
* A surprisingly small number of game industry developers attended the festival, suggesting a certain degree of inward focus and a reason for the technology-driven approach. If you rarely see your peers, how do you share ideas?
* There is contention between game executives as to whether film assets are directly re-usable or not. The person with the most experience of film production(e.g. Jason Kingsley from Rebellion) seemed to think it was possible.
* Only one person in the audience (and no-one on the panel) had ever experienced the Sing-along Sound of Music.
* Real-time 3D avatar manipulation during the discussion split the audience. Some felt it was a bit distracting, others loved it.
* Hardly anyone from the film industry attended the BAFTA Interactve Festival.
* The game industry are ill-equipped to think about live applications yet many small interactive industry companies are trying to work closer to theatre groups.
* Considerable surprise by many people as to how long this project has been in gestation. Suggesting it is really time to get on with the demo, NESTA funding not-withstanding. The theory kinda stops here. {:-)
Since the event I have also been in discussion with a mo-cap company that has been asking similar questions that we have been asking ourselves for this project. I'm also being sounded out about chairing an event produced by them for the Edinburough Games Festival on this theme.
I think it's interesting (and promising) that a technical services company (to both film and game companies) saying that they want to compare the business structure and the technical standards of the two industries. I take it as some validation of my idea that there is a HUGE market awaiting the earlier adopters of convergent tools.
I'm not particular excited about mo-cap in creative terms but I think it's a great indictor of the kinds of activities which film and game companies are mad not to consider unifying up-front.
The mo-cap guys want to explore the following:
What are the major differences in the technology used for making games and movies?
It seems that certainly on the graphics front the use of 3D Max and Maya is common across both. What other similarities are there and are there fundamental differences of application?
Can Movie assets be used in Games or visa versa? .
If not what could be done to make it possible in the future?
What is the structure of the film production business?
Is their ability to grow and shrink production companies a model that could be adopted more by developers?
Is there the wealth of freelance talent and service companies out there to support developers?
If not why not?
Is it their unique technology that which differentiates developers?
Is this always a good thing?
Is it due to the unique technology employed in each developer which makes hiring freelancers and interfacing with supply companies difficult?
Mortal Combat, Final Fantasy and Tomb Raider are three examples of games IP that have been exploited as films, why has The Getaway and more games like this not spawned more?
What were these companies experiences like?
How could it be done better?
Similar slant also on Games companies that have licence IP from the film business, are the deals equitable, what are the the do's and don'ts about managing the relationship?
Actually the event was a success. Thanks to Mich for pointing out that this post sounds rather negative. I'm just a perfectionist control freak. The good bits don't need as much work on them. {:-)
Posted by: .M. at February 22, 2004 08:34 PM