Sony - FUTURE PROOF : What is the Future of Creative Prototyping?
White text appears in the top-right corner of a grey background as gentle string music plays:
ON SCREEN TEXT: SONY
A wipe motion from the top left arcs downward, revealing a Japanese young woman with a ponytail sitting in front of a bookshelf. Text appears vertically next to her video.
ON SCREEN TEXT: Nao Kondo
Artist & Entrepreneur
NAO KONDO
“Hi, Diana!”
A wipe motion in the bottom right arcs upward, revealing an African-American young woman in a white room bright red curly hair. Text appears vertically next to the video.
ON SCREEN TEXT: Diana Sinclair
Artist & Activist
DIANA SINCLAIR
“Hi Nao!”
Nao continues to speak, switching to Japanese. English subtitles appear in yellow at the bottom of the view.
NAO KONDO
“How’s your art work going?”
DIANA SINCLAIR
“Well, lately I’ve been collaborating with developers and engineers, and they work in entirely different ways than me. So I’ve really been learning a lot!”
NAO KONDO
“That’s what I find interesting about the “KILIAN’S GAME” film project, it brings people together to share knowledge and creativity!”
Inspiring music plays, and a bubble appears on the screen showing a person in a mask operating a large video camera. A yellow abstract dot appears at the top of the view, and a question in white text appears beneath it:
ON SCREEN TEXT: What is the future of Creative Prototyping?
COLLIN DAVIS
“When we were asked to shoot “KILIAN’S GAME,” um, we were brought on to create an environment where new technologies could be used on set and there would be a direct dialogue to the technology side.”
In a scene from a “KILIAN’S GAME”, a woman with dark hair speaks to a man in a grey suit and fedora. Around them, lamps and mirrors are covered with sheets in an ornate sitting room. A soft grey arch appears on the left-hand side, with white text inside:
ON SCREEN TEXT: Scenes from “KILIAN’S GAME”
Now a man speaks against a dark background, and a soft grey arch displays his name and title:
ON SCREEN TEXT: Collin Davis
Co-Writer & Co-Director of “KILIAN’S GAME”
Saylor
DANIEL DE LA ROSA
“The engineers don’t always have access to the actual creative process. So they’re creating things in a vacuum, if you will.”
On set, a camera crew turns a huge camera, while costumers adjust the actor’s grey suit. A small, soft grey tab emerges from the right-hand side with white text, labelling the camera:
ON SCREEN TEXT: VENICE 2
Then, outside, people in masks walk around surrounded by film equipment. They enter a curved driveway in front of a tall house with a rounded set of doors surrounded by agave plants. A soft grey arch at the bottom of the screen holds white text:
ON SCREEN TEXT: Los Angeles, CA
USA
A man with silver hair and clear glasses speaks against a dark background. A soft grey arch to his left with white text reads:
ON SCREEN TEXT: Daniel De La Rosa
Executive Producer of “KILIAN’S GAME”
Sony Pictures Entertainment
Outside, a crew member holds an Xperia smartphone on a portable tripod, filming behind the scenes footage of the set. A soft grey tab on the right-hand side of the view holds white text:
ON SCREEN TEXT: Xperia
DANIEL DE LA ROSA
“We had the Xperia capturing BTS, so they’re able to see their technologies and their products getting used on set. It really is like a film school for engineers.”
Two separate views show the crew filming on either side of the round driveway, with a statue and rose garden in the center. Masked crew members attach lenses to cameras and hold up a slate, seen through a viewfinder. Near the rose garden, they adjust a camera on a dolly, and film a small silver convertible while the actors stand near the door of the house. On a road, Collin and crew members point at the sky.
COLLIN DAVIS
“Our intention was to set up an air of mystery leading the viewer to understand that we’re driving towards a little bit of danger. The Airpeak S1 was able to, you know, create that motion for us and follow the car at a speed that was exactly what we needed.”
The small silver convertible cruises down a mountain road along a white fence, and around a corner into the mist. On the road, crew members wear safety vests and operate a drone with a camera. A soft grey tab on the left-hand side near the drone reads:
ON SCREEN TEXT: Airpeak S1 with Alpha 7S III
The Airpeak S1 flies off the road and toward the steep edge of the mountainside. A crew member operates it with a tablet and controller as it soars into the distance. Later, crew members adjust the Alpha 7S III camera on the Airpeak S1. A man in a grey jacket speaks in front of the dark background, with his name and title beside him in a soft grey arch:
ON SCREEN TEXT: Will Trowbridge
Executive Producer of “KILIAN’S GAME”
Saylor
WILL TROWBRIDGE
“Something I learned through this project was that international collaboration is truly possible. We predominantly shot “KILIAN’S GAME” here in LA, but the final shot of the film was captured in Japan in a virtual production stage.”
A storyboard marked with red lines hangs next to a camera, and the view pans across a shot list. Then, two men in hats and suits move in front of a flickering fireplace in a scene on set. A soft grey arch with white text reads:
ON SCREEN TEXT: Kiyosumi-Shirakawa BASE
Sony PCL Inc.
Tokyo, Japan
Film crew members move equipment and hold boom mics in front of the Crystal LED B-series wall, which is displaying the exterior of the previous set in Los Angeles, CA. They roll a camera on a dolly, and a grey tab on the right side reads:
ON SCREEN TEXT: Crystal LED B-series
A man in a short-sleeved shirt speaks against a concrete background, and a soft grey arch to his left reads:
ON SCREEN TEXT: Eisuke Ohga
Japan Unit Director of “KILIAN’S GAME”
Sony PCL Inc.
On set, Eisuke and other crew members point and wear masks. In a large studio, they hang projection screens near the ceiling and light a Crystal LED B-series wall at the back. Now, on a laptop, a viewer watches behind the scenes footage shot on an Xperia showing a camera dolly roll and tilt.
EISUKE OHGA
“One of the things I enjoyed about creative prototyping is kind of conquering the unknown errors that no one has ever solved before. I think if you do that, it’s solving the problems for the future.”
A man in a striped sweater speaks against a dark background, and a soft grey arch reads:
ON SCREEN TEXT: Matt Litwiller
Co-Writer & Co-Director of “KILIAN’S GAME”
Saylor
MATT LITWILLER
“Working remotely definitely created certain sets of challenges, but getting the opportunity to film with the VENICE 2 and then working within an amazing virtual wall over in Japan, that really changes the game for a lot of production people from different places can work together and create really unique perspectives.”
On the virtual production stage, actors stand before a desk in dim lighting. The virtual wall with LA set scenery behind them lights up and turns to a normal blank wall with the word “BASE.” Masked crew members watch on screens and smartphones in the dark, and operate a camera while a smoke machine creates glowing orange mist. Eisuke sits on a video call on a laptop and discusses filming with Matt, Collin, Will, and Daniel who are located in LA.
DANIEL DE LA ROSA
“It was, you know, great to see Matt and Collin actually give active feedback on the feed to the second unit in Japan and it was kind of like we were there, almost.”
WILL TROWBRIDGE
“We were able to tell a great story while testing technology. But at the root of it, the story is what will get people really excited and leave the audience wanting more.”
Actors saunter toward the VENICE 2 camera in Japan, and in LA another actor gets into the silver convertible as a different camera films through the passenger seat. A crew member snaps a slate, and the convertible cruises along.
OFF-SCREEN VOICE: And action!
Nao and Diana reappear on the grey background.
ON SCREEN TEXT: Nao Kondo, Artist & Entrepreneur
ON SCREEN TEXT: Diana Sinclair, Artist & Activist
DIANA SINCLAIR
“It is so inspiring to see how much everyone grew from that experience, even though they were all working from different locations!”
NAO KONDO
“Makes me wonder…should we make a movie together?”
DIANA SINCLAIR
“Absolutely!”
Two mustard yellow dots eclipse the grey background. White text on the left reads:
ON SCREEN TEXT: FUTURE PROOF
[Japanese surtitle]
White text on the right reads:
ON SCREEN TEXT: SONY
The view fades to black, with white text in the center:
ON SCREEN TEXT: SONY