Future of Cinema
We All Paint Ourselves Green
Featured speakers: Jolinna ANG, Debbie DING, HUANG Jun Xiang, Benjamin KEE, Federico RUBERTO, Benjamin SEIDE
For a local film industry that commonly faces limited resources, using visual effects and computer-generated imagery sounds like a pursuit too costly and complicated. With so many unknowns, it’s understandably tough for filmmakers to take that leap of faith. Could these tools aid filmmaking?
This panel discusses the potentials and pitfalls of tech-driven filmmaking, looking especially at the growing use of extended reality (XR) and game engines in film. Using these tools, post-production can begin far before production itself. Special effects can appear and move in real time with actors as they perform their take.
With a live demo on an XR stage, we will examine whether virtual production has a place in Singapore’s independent filmmaking scene. Why do we believe that these filmmaking tools are only suited for the boldness of blockbusters and commercials? How will virtual production change the way we make films? And is it here to stay?
Jolinna is a filmmaker based in Singapore, specialising in cinematography. She graduated from Lasalle College of the Arts in 2014, and is known in the ASEAN film industry for her dedication and devotion to telling Southeast Asian stories. Her works have spanned across a variety of mediums, ranging from documentaries and narrative films to commercials and music videos. Her fervour towards her craft and intrigue in untold stories has brought her to many places all over the world.
In 2016, she represented Singapore in the ASEAN-ROK FLY workshop, organised by the Korean Film Commission, held in Cambodia, expanding her network within Southeast Asia. In 2021, she was selected for the prestigious fellowship with the American Society of Cinematographer’s Vision Mentorship Programme and was personally mentored by cinematographer Ben Richardson. Out of Asia, she also completed a 5 year long feature documentary, Brother Joseph McNally in 2022. She recently wrapped on her debut feature film as a director of photography, titled Wilderness, in Sabah, Malaysia.
Enjoying and loving her work is a priority in everything she does, and she continues to work wherever meaningful projects take her.
Visual artist and technologist, Singapore
Debbie Ding (DBBD.SG) is a visual artist and technologist whose interests range from historical research and urban geography to visions of the future. She researches and explores technologies of perception through personal investigations and experimentation. Prototyping is used as a conceptual strategy for artistic production, iteratively exploring potential dead-ends and breakthroughs–as they would be encountered by amateur archaeologists, citizen scientists, and machines programmed to perform roles of cultural craftsmanship.
DBBD received a BA in English Literature from the National University of Singapore and, as a recipient of the NAC Arts Scholarship (Postgraduate), an MA in Design Interactions from the Royal College of Art, London. She has had solo exhibitions at The Substation Gallery, Singapore (2010) and Galerie Steph, Singapore (2013). Notable group exhibitions include “Wikicliki” (Singapore Art Museum, 2021), “President’s Young Talents” (Singapore Art Museum, 2018); “After the Fall” (National Museum of Singapore, 2017); Singapore Biennale (2016); Radio Malaya (NUS Museum, 2016). Her work was shortlisted for the President’s Young Talents 2018 and Impart Art Awards 2020.
Director and producer, Zhao Wei Films, Singapore
Huang Junxiang enjoys a good comedy and is grateful to be able to pursue a career in filmmaking. His short film, Give Yourself a Chance, was awarded at the Very Short International Festival 2012. His second, I Will Die screened at Singapore International Film Festival 2014. His most recent effort is Piece of Meat (2019), co-directed with Jerrold Chong, which enjoyed its premiere at the Directors’ Fortnight in Cannes and subsequently travelled to Annecy and Busan.
For his efforts, he has been awarded the Youth Inspiration Award at the National Youth Film Awards in 2020. He has also served as the multimedia producer for national events such as SEA Games 2015, NDP 2016, and the Singapore Bicentennial 2019.
As a producer at Eric Khoo’s Zhao Wei Films, he has produced a number of feature films including In The Room (Toronto 2016), Apprentice (Un Certain Regard 2016), Ramen Teh (Berlin Culinary Cinema 2018), Buffalo Boys (Fantasia Film Festival 2018) and Tiong Bahru Social Club (Busan International Film Festival 2020). He has also served as producer for both HBO Asia anthology series Folklore (2018) and Food Lore (2019) which has travelled to festivals including Toronto, Sitges and Fantastic Fest.
Creative director and executive producer, Anomalyst Studio, Singapore
Since founding Anomalyst Studio in 2010, Benjamin Kee has led his team of visual artists, designers and technologists in the creation of many theme-based moving visuals and landmark production locally and regionally. His work span from intimate theatre productions and museum installations to large-scale multimedia displays, with commercial portfolio that includes prominent brands from the entertainment, technology, banking, FMCG and tourism industries.
In recent years, he has also crafted a niche in emerging formats of virtual events, such as virtual extended reality and broadcast augmented reality.
He is formally trained in animation and Digital Management, his focus is on uncovering humanistic experiences to further elevate the captivating qualities of destination-based entertainment production.
His passion lies in bringing about the convergence of art and technology, bringing people together to inspire wonderment and to collectively create authentic shared experiences.
He currently serves on the board and as Chief Immersive Officer for Oceanus Media Global – a creative media tech company specialising in immersive technologies.
Designer and architect; co-founder and partner, formAxioms, Singapore
Federico Ruberto is a writer-designer with a PhD in “Philosophy, Art and Critical Thought”. He produces textual-material projects that intersect digital (platforms) and physical space (buildings), infra-structures (planetary urbanism), political economy, technology (of self) and (artificial) ecologies. Federico is co-founder and director of formAxioms and of the architectural practice reMIX Studio. He is a Visiting Fellow at National University of Singapore where he teaches Contemporary Theories and design studios.
Visual effects and media artist; associate professor, Nanyang Technological University, Singapore/Germany
Benjamin Seide lives in Singapore and is researching in the field of animation, immersive media and cultural heritage. His recent research investigates novel approaches of state-of- the-art technology (VR) particularly in the area of virtual cultural heritage. Focusing on Singaporean heritage, his immersive 360 ̊ experience “Secret Detours”, and interactive virtual reality installation “Gone Garden”, have both been recognised with many international exhibitions and screenings. A second research strand investigates Singapore’s film history and the digital reconstruction of its film heritage. His works have been showcased at the The ZKM | Center for Art and Media Karlsruhe (Germany), the Palais des Nations – United Nations Office (Switzerland) and the Victoria and Albert Museum (UK).
His work as a visual effects specialist contributed to award-winning films of renowned directors such as Wim Wenders, Roman Polanski, JJ Abrams and most notably for Martin Scorsese’s Hugo (Oscar for Best Visual Effects). For his work on Game of Thrones, he received Honours from the Academy of Television, Arts & Sciences (EMMY). Associate Professor Seide is teaching courses in animation and storytelling, visual effects and immersive experiences at the School of Art, Design and Media (NTU) in Singapore.