The French production industry has grown in recent years, thanks in large part to a 30% gross tax rebate for international productions, with an additional 10% bonus for projects that share cinemas with local visual effects.
As part of the broader investment plan for France 2030, the recently created Great Image Factory initiative is expected to have an even more attractive impact, boosting Gallic production infrastructure with $376 million in public support and an additional $2.15 billion in private funds.
And if that rising tide is going to lift too many boats, its overall effects should only be apparent in the country’s burgeoning animation and visual effects sectors, which collectively account for 25% of the projects the gentrification project supports.
Without having to expand into physical space—most digital outfits do well with the right processors and skilled workforce—the twelve animation studios and five VFX houses selected by a panel of industry dignitaries will focus instead on in-house improvement, using innovation as an application grant. French players a global competitive advantage.
The proposals selected needed solid foundations, room to grow and a sense of imaginative possibilities, explains a French studio manager. In short, they had to anticipate broader industry trends over the next half-decade and then deliver impressive results with high-performance tools.
Paris-based Xilam (the studio behind Jeremy Clapin’s hit song “I Lost My Body” and the popular “Oggy and the Cockroach” franchise will invest in part in R&D, as a prominent TV export company with a growing appetite. Attributes. Better to own A market for refined and technologically innovative adult foods.
“Adult audiences interact with very different portraits, shots and animations,” says Marc de Pontavis, CEO of Xilam. “So we need to create a real hybrid pipeline between 2D and 3D, and we need to do a lot of research and development to make that happen.”
The studio is currently developing an internal pipeline to help 2D and 3D interact more easily within the same platform, giving animators more ways to draw poetic and visually advanced 2D than existing (and open) 3D software. Source).
“I always say that the challenge of technology is not to create new tools, but to innovate how to use them,” de Pontavis says. So, of course, you are always one step ahead. »
Xilam and fellow Parisian studio Miam! The animation will focus on training programs in partnership with local universities and continuing education institutions in order to discover and develop new talents.
Xilam now offers mentorship programs for recent animation graduates and has partnered with the local Screenwriters Association to bring a variety of artistic voices to the industry, while Yum! It continues to promote the use of real-time display software as a low-carbon and cost-effective industry practice.
“Real time isn’t just about best show,” Yum says. Founder Hanna Moshe. “It allows us to operate a little faster, at a lower cost, and it can transform the entire production chain.”
“We can lock in the final images very early in the pipeline, while the pre-computed 3D images come last. [That more holistic circuit] This not only allows for greater comfort, but also creates new functionality. We have created a new company of production managers, lighting supervisors and managers. In fact, all professions can be trained in this new department, and we are eager to share our experience.
In fact, shared concerns about sustainability have bound every studio and project supported by the Great Image Factory initiative.
With outposts in Paris and Valencia, the CGI core team has embarked on research and development to control energy consumption, using this new gust of wind to develop energy-efficient interfaces that will significantly reduce costs and consumption. The studio is also building a virtual platform that can integrate artists from all over the world into a common pipeline, greatly expanding the studio’s talent pool and reducing its carbon footprint.
“Thanks to France 2030, we will be able to work with teams that can be located anywhere on the planet,” says Guillaume Hellouin, CEO of TeamTO. “By doing so, we will be expanding our creative palette and will soon be able to tackle very different types of projects.”
At the more realistic end of the spectrum, Stop-Motion Foliascope has leveraged a 2021 investment round to build a 130,000-square-foot production facility just outside of Valencia. Recreating an existing building using LED lights and recycled heat (and with the same visual effects pipeline used for “Guillermo del Toro’s Pinocchio,” created by the same supervisor), the environmentally-certified studio hosted its first production of this year’s Annecy competition, “Le Inventeur.”
The Leonardo da Vinci biopic, a long-running passion project for Pixar and Disney’s Jim Capobianco, has benefited from a French tax break and a facility designed for smart work. With LED lights preventing the kind of overheating that can cause models to warp and technicians to stop moving, the 100-person, 42-week production made the director’s head spin.
“It was really amazing how quickly we got there,” says Capobianco. “It was like I blinked and we were almost done. I mean, I used to be in a movie, even in story development, for three years.”
“Folliscope has handled everything,” he continues. And I have to say, with a studio built largely from scratch, they’ve done an amazing job. And I think any other project would have the same experience. They just said, here’s the project and we’re going to give you everything you need to make it happen.
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