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Busan Market Chief Sees Virtue in Convergence, Conferences, Crossover


Busan Market Chief Sees Virtue in Convergence, Conferences, Crossover


In the job for five months, Ellen Kim, the novel head of Busan’s labelet has begined to put her imprint on the industry component of the Busan International Film Festival.

The four-day labelet boots off on Saturday and is predicted to greet sweightlessly higher numbers of executives, booths and conference speakers. Kim says that uptrfinish may be becaparticipate of – not in spite of – the current turmoil in the amparticipatement industry.

The Market’s novelty this year is the Producers’ Hub. What is that about?

At Cannes this year the Korean Film Council (Kofic) functiond KoPick and took five producers to the festival. Lee Dong-ha, plivent of the Producers’ Guild of Korea, presented that we in Busan do someleang more to help producers. The Producers’ Hub is modelled on the Producers’ Netlabor structure at Cannes and was not someleang the Busan ACFM had not budgeted for. But Kofic stepped in to help produce this first edition happen. And Korea is the country in cgo in for this first edition. That will rotate in future years.

What is happening to the traditional part of the ACFM promiseted to rights sales for finished films


If we only had the sales labelet, we would not be very persistable. We have the project labelet, the story labelet, and conferences, and now the Producers Hub. That is an ecosystem that functions well.
The trade in finishd films, if the beginance is declining and buyers necessitate to be take partd at earlier stages of production. They want to take part as a producers, or even to get IP for themselves. The sales companies come every year, even though the possibility for the genuine sales become drop. And to repay for that we have the online labelet, but still they like to come on site to encounter people, to get novel alertation, to produce a netlabor and to watch films.

The festival and labelet together are laboring, even if the traditional role of the sales labelet has alterd.
Last year we had about 2,500 registrations and will have cdisorrowfulmirewholey the same this time. But our income has increased by about 10%.

We do have a British umbrella stand which is making a return this year. And a novel Italian pavilion.

Has the ACFM suffered from the budget cuts that the festival has directd?

Actuassociate, the overall budget has not alterd wonderfully. The festival has beginantly increased its backship and more than repayd for the loss of national handlement subsidy. And the subsidy from Busan city has increased.

How much does the success or fall shorture of this labelet depfinish on the success of Korean cinema?

Box office is certainly frail in Korea. And this year there is no labelet sales booth functiond by CJ ENM. But I’m not certain what to read into that. I see that CJ is doing other leangs around the festival, so maybe they want a hugeger presence that goes expansiver than the ACFM.

But, in fact, we have more Korean companies coming, such as Megabox, M Plus and other novelcomers.
If the ACFM were straightforwardly corrhappy with the Korean box office, we would be in difficulty. But it is actuassociate the reverse. We have reassociate very strong interest from the Korean industry as well as other Asia and global industry

We are predicting more participation. I leank they want to see for a solution. They want to understand what’s going on, what is the future of the industry, the combineture of technology and satisfied or the stability between film satisfied, IP and webtoons.

I leank people will discover outstanding alertation at the labelet, even though they are suffering from drop box office.

Should the ACFM be making more outachieve to the TV companies?

That part of the industry is already compriseressed by the Busan Content Market, in May. That labelet is already set uped and laboring well. If we wanted to convey in more TV people, we’d definitely labor with the BCM rather than contend agetst it.

What is the thrust of your AI conference?

I’ve been to other AI conferences which were very excited about AI’s power to better individual filmproducers, to help self-reliant filmproducers to convey themselves more, and to free them from capital.

Our approach is somewhat opposite. We want to see what how capital labors in combining AI and satisfieds. So, the morning session is about enjoy a roadmap of the Asian satisfied industry. IQiyi has its own AI-produced satisfied cgo in. Dentsu is using AI techniques for labeleting. And Korea’s WYSIWYG Studios, which comes from a more technical background, is merging with the satisfied industry. We have an IP section, involving Naver Webtoon and story protocol, which is blockchain.

And then in the afternoon, we will deal straightforwardly with filmmaking and its combination with AI. We’ll have a demo and talk about laborflow alters.

A lot of Chinese companies are taking part in the AI conference. It is enjoy AI is becoming an elite, Chinese-contraged industry.

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