11月27日下午，在2021亚洲青年领袖论坛“文化教育与旅游发展”主题论坛中，广东南方电影工程技术研究院副院长、盛丰南方电影产业投资有限公司董事总经理关嘉宁发表了题为《布局数字电影产业，普惠亚洲电影未来》的主旨演讲。

全文如下：

非常荣幸接受亚洲青年领袖论坛的邀请，在这里和大家一起分享有关电影工业及产业的一些心得。

广东省南方电影工程技术研究院于2021年的4月18日正式在广州落户，今天我在这里跟大家分享的就是关于我们在工作当中发现、了解以及我们研究的一些具体方向和我们对未来的一些探讨。

电影是展示国家意识、民族情感、人文艺术创造力的一个重要的载体，是全球公认的集文化传播、软实力建设、科技创新和产业发展于一体的引领型产业。优秀的电影作品往往能够超越地域、族群、国家、语言、信仰，打破一切的界限，成为全球的公共文化产品。

我今天的分享分为四个方向：

首先，我们说一下现代。在当今的全球范围内，电影已经进入了数字时代，就是胶片电影已经不再存在了。过去以胶片为载体的、以拷贝为发行方式的传统电影模式，已经被数字时代所替代。用网络或卫星直接传送的影院或者家庭用户的终端，不断迭代的数字技术使得电影的创作越来越随心所欲，所想即所得成为一切的可能。随着数字技术的下沉，赋能更多的周边领域，电影产业的外延得以极大的延展，电影技术的价值得以更大的释放。

当下，中国电影乃至亚洲电影都面临着这样一个课题：如何去塑造数字化电影的工业体系；如何将日新月异的数字化技术完美地应用于电影创作的整个过程当中。在中国，人们普遍将2019年2月在中国内地上映的《流浪地球》作为中国首部电影工业化的作品，并将这一年定义为中国电影工业化的元年，这部电影为国人打开了一扇窗户，透过这扇窗，我们看见了中国电影未来更多的可能性和想象空间。

实际上，电影工业的数字化革命在好莱坞已经完成了从逐格动画的传统光学特技向数字化技术的转型，电影工业数字化的转折点在1993年，电影《侏罗纪公园》，CGI创作的恐龙天衣无缝地融入到实际的动作当中，它象征着好莱坞从逐格动画、传统光学特技向数字化技术的转型日趋成熟和完善，它留给其他国家和地区的电影以及电影人的课题是追赶、伴随还是超越？既然超越暂时还不能够达成，那我们可以选择伴随，如果伴随也力不从心，我们可以选择追赶。总之，如果距离好莱坞的数字电影技术越来越远，那很有可能电影就会被这个时代所边缘化、甚至抛弃了。

正是在这样一个语境下，刚刚颁布的《十四五中国电影发展规划》才凸显出其战略价值。《规划》里有这样一句提纲挈领的话：“积极把握新技术发展的趋势，建立完善的电影科技自主创新体系，在关键技术与装备研发等方面实现重点突破”。在这句话里面既有使命感也有自信心，它为中国电影人努力的方向定下了目标。众所周知，除去电影内容的意识形态范围之外，电影制作过程是处于视听领域金字塔间的一个集大成的工业化协同过程。

我们广东南方电影工程技术研究院想做的就是以电影的拍摄制作和整体流程为核心符号，充分地扩展电影工程技术的外延，探索电影技术的产业化边界。重点研究云计算、大数据、5G、VR、人工智能、机器学习、深度学习、可信计算、区块链等新一代信息通信技术和智能科学技术在电影全产业链中信息化建设、云化和智能化升级当中的整体解决方案。推动电影产业以及关联产业的体系深度融合，发现并培育产业节点和产业链中蕴含的技术和产业亮点，助推电影产业链的成型和持续更新蜕变的能力。

我们给自己的定位是“立足粤港澳大湾区，面向全国、面向亚洲、连接世界”。与大多数的智库设置的战略有不同，广东南方电影工程技术研究院在成立之初便联合了电影产业的投资资本，希望透过技术和资本的叠加，达成电影产业的1+1大于2的可能。

广东南方电影工程技术研究院正是基于这样一个背景，于今年的4月18日在广州成立。秉承着持续为中国电影贡献价值的理念，广东南方电影工程技术研究院将致力于电影工程技术的集成创新研发，推动我国电影新工业体系的构建，电影复合型人才的培养体系和职业认证标准体系的形成，开展电影装备的智能制造、电影人工智能系统的标准化研究，拓展电影工程技术领域趋势性的课题研究边界，为促进中国电影工业化水平的全面提升贡献价值。同时，我们还致力于电影产业的协同创作，推动电影及上下游产业的链式聚合，促进中国电影从要素的集约化、产业的规模化、分工的国际化等方面充分融合。所以新华社在发布南方院成立的新闻时，加注了一个定语“国内首家电影工业智库”，我想表达的并不是南方院的高大上的定义，而是我们未来想要做的事情。

今天，亚洲青年领袖汇聚的现场，我们将共同牵手，迈向亚洲未来的发展之路。论坛希望我在发言中提出几个构建新业态的产业化实体项目和大家分享，在此，我为大家介绍我们做的项目。

第一项是我们将新建亚洲最大的超级数字影棚综合体，该项目是广东南方电影工程技术研究院和盛丰南方电影产业投资有限公司基于当下的中国乃至亚洲数字电影发展的趋势以及产业需求提出的标志性产业项目。

影棚综合体将建立中国乃至亚洲最大规模的数字影棚、预览片制作中心、数字电影制景中心，数字建模中心、电视综艺节目数字制作中心、短视频拍摄制作中心等，形成数字电影生产全链和数字装备的阵列。依靠先进的数字技术和超级电影IP，影棚内还将同体规划构建新型数字文旅综合体验区，形成电影新工业与文旅产业的跨界融合。超级数字影棚之所以称之为“超级”，因为综合体按照每年拍摄100部影视剧和年接待300万游客的人次承载力来规划设计，可直接拉动当地的交通运输、酒店餐饮、商务服务关联产业的发展和影视专业服务等行业的兴起。

该项目单体的主建筑占地100亩，最高高度达100米，气势宏大，在影棚内可以直接起降大型无人机、空飘气球飞艇。这是超级符号、超级IP、新业态、新内容、新模式的百亿级电影产业集合，将成为中国电影产业的高标符号。项目落地广东，将助力广东成为继北京和长三角之后的中国电影第三高地。

在这里，我要强调的是，超级数字影棚综合体不是一个闭合体，而是一个开放的平台。它既欢迎各种创新技术以不同的方式参与和叠加，也欢迎亚洲范围内，特别是在电影方向上，比如韩国和日本的同行以及更广泛地区的导演、制片人在此完成电影的拍摄、制作，更欢迎不同类型的产业资本在此孵化，转化更多的电影科技成果，实现产业落地，延伸电影产业的长尾效应。

第二项是兴办一所电影工程技术职业学院。不独中国，在整个亚洲范围内数字电影人才与复合型人才的缺口非常之大。没有人才，所有的装备都是摆设，所有宏大的战略最后都将成为镜花水月。中国有很多的影视院系，如果您稍加注意，便可以发现在这些院系专业当中多数是集中在影视的前端，也就是表演、导演、摄影、编剧等等，而匹配于数字化时代的后端专业设置极少，这导致了前端的创作人才拥挤，后端技术人才及复合型人才奇缺，未来将掣肘电影的发展。

所以，基于中国电影新工业发展的趋势及需求，我们想打造一所集产学研用为一体的电影工程技术职业学院。学院将以影视技术的工程类为主，在结合传统电影艺术课程培训的同时，设立拍摄电影、后期制作、数字媒体技术、电子虚拟制作、视效、音效工程、电影流程管理、电影制片管理、游戏开发与制作，影片修复等专业方向，以及媒资管理、媒资交易、影视金融等新型专业，持续培养真正为产业化服务的电影工程技术工匠，建设中国电影工程技术人才的培育的摇篮。

这所学院同样是一个开放的平台，我们既希望吸纳中国以及亚洲各国各地区的生源来此学习，并借助超级数字影棚进行实训，更为期望的是欢迎亚洲国家和地区的注重电影科技领域发展的专家、学者来此授课、研究交流，让这所学校为亚洲电影的未来贡献价值，普惠亚洲电影未来的发展。

我们有充分的理由相信亚洲电影将会有一个更加美妙而令人遐思的前景，亚洲电影也将成为未来文明极具魅力的拼图。再次感谢论坛给我这个机会，让我能够从容地对我所从事的小目标广而告之，也感谢在座的各位领导、商界的青年领袖、专家学者的倾听和包容。

在此，我还有个不情之请，期待大家对我们所从事的事业给予指导和建议，特别恭请在座的政府相关部门的领导、企业家和投资人对这个可能改变亚洲电影未来版图的项目给予热情和关注。

谢谢大家！


On 27 November, Guan Jianing, Vice President of Guangdong Southern Film Engineering Technology Research Institute and Managing Director of Shengfeng Southern Film Industry Investment (Guangdong) Co., Ltd., delivered a keynote speech titled “Dedicated to Digital Film Industry for Benefit of the Future of Asian Films” at the Culture, Education, and Tourism Development Forum of the Asia Youth Leaders Forum 2021.

The full speech is as below.

It is a great honor for me to be invited to the Asia Youth Leaders Forum and share with everyone here some of my thoughts about the film industry.

Guangdong Southern Film Engineering Technology Research Institute was established in Guangzhou on April 18, 2021. I'd like to share with you what we have found and learned in our work and what we have been studying, as well as our expectations for the future. 

Films are an important medium to demonstrate a nation's ideology, sentiments, and humanistic and artistic creativity. The film industry is a globally recognized leading industry that integrates cultural communication, soft-power development, technological innovation, and industry progress. A great film can often cross the boundaries of regions, races, nations, languages, and beliefs, becoming a public cultural product for the whole world.

Firstly, I'll talk about modern films. Today, in the whole world, the film industry has entered the digital age. Traditional films based on analog photography are no long existent. The traditional film production pattern of photographic films as the medium and distribution of copies as the way of release has been replaced in the digital age. Through the Internet or satellites, films are now directly transmitted to cinemas or the terminal of a home user. The constantly evolving digital technologies make filmmaking increasingly convenient. You can make whatever you want. Everything is possible. Digital technologies are increasingly popular and empowering more and more relevant industries. It has greatly expanded the film industry and unleashed the potential of film technologies to a greater extent.

At present, the film industry in China – and the entire Asia – is faced with such a question: How to develop an industry system of digital films and how to perfectly apply the ever-changing digital technologies throughout the filmmaking process? In China, people generally consider The Wandering Earth, released in Chinese Mainland in February 2019, as China’s first film in a sophisticated film industry and define that year as the first year of China’s film industry sophistication. That film opened a window for Chinese people. Through this window, we see more possibilities and more space for imagination for future Chinese films.

In fact, the digital revolution of the film industry has completed the transition from traditional optical tricks of stop-motion animation to digital technologies in Hollywood. The turning point of the film industry's digitalization was in 1993, with the advent of the film Jurassic Park. The dinosaurs created by CGI are seamlessly integrated into the motions. It symbolized Hollywood's increasingly better transition from stop-motion animation and traditional optical tricks to digital technologies. So, what position did this leave films and filmmakers in other countries and regions in? Behind, on par with, or ahead of Hollywood? Since we are not able to go ahead of it for the time being, we can try to be on par with it. If that cannot be achieved either, we can try to shorten the gap. In short, if we're farther and farther away from Hollywood's digital film technologies, it is likely that our films will be marginalized or even abandoned by the age.

It is in this context that the recently-released “14th Five-Year Plan for the Development of Chinese Films” demonstrates its strong strategic value. In the plan, there is a summarizing sentence that says, “We need to grasp the development trend of new technologies, create a mature film technology system of independent innovation, and achieve major breakthroughs in key technologies and equipment R&D.” This implies a sense of mission and self-confidence. It sets a goal for Chinese filmmakers. As we all know, putting aside the ideological aspects, the production of films is an all-encompassing collaborative process at the top of the audio-visual pyramid.

Here is what we at Guangdong Southern Film Engineering Technology Research Institute want to do: with the production of films and the overall filmmaking process as the focus, we'll extend the limits of film engineering technologies and explore the boundaries of commercial applications of film technologies. We'll focus on the overall solution of applying cloud computing, big data, 5G, VR, artificial intelligence, machine learning, deep learning, trusted computing, blockchain, and other next-generation ICTs as well as intelligent technologies to make the entire filmmaking value chain more information-based, cloud-based, and intelligent. We hope to promote deep integration of the film industry and related industries, discover and foster both new nodes on the value chain and new technological and industrial highlights, advance the formation of the value chain, and improve the industry's ability to continuously evolve.

Our mission statement is "being based in the Guangdong-Hong Kong-Macao Greater Bay Area, facing China and Asia, and connecting the world". Our strategy is slightly different from most think tanks. At the very beginning, Guangdong Southern Film Engineering Technology Research Institute has connected itself with the investment capital of the film industry, hoping to realize the effect of 1+1>2 through the coordination of technology and capital.

It was under this background that Guangdong Southern Film Engineering Technology Research Institute was established in Guangzhou on April 18 this year. Upholding the principle of making continuous contribution to Chinese films, we focus on the integrated innovation and R&D of film engineering technologies and promote the development of a new industry system of Chinese films. We will help form a system for the training and qualification of well-rounded filmmaking professionals, carry out standardization research on intelligent manufacturing of film equipment and artificial intelligent systems for films, and expand the research boundaries of trend-setting topics in the field of film engineering technologies. In so doing, we hope to contribute to the overall improvement of the sophistication of China’s film industry. At the same time, we are also committed to promoting collaborative production in the film industry, connection between the film industry and its upstream and downstream industries, integration of all relevant factors, scaling of the industry, and utilization of international professional resources. In the news released by Xinhua News Agency about the establishment of our institute, it was described as "the first film-industry think tank in China". What I want to emphasize is not the fancy definition of our institute, but what we want to do in the future.

At this assembly of young Asian leaders, we're thinking together about the future development of Asia. I was asked if I could propose a few concrete projects on the sophistication of the film industry that may create new business forms. Here I'd like to introduce you to some projects we've been working on.

The first project is that we are going to build the largest super digital-studio complex in Asia. It is a landmark project proposed by Guangdong Southern Film Engineering Technology Research Institute and Shengfeng Southern Film Industry Investment Company, based on current trends of digital-film development and industry demands in China and Asia.

The studio complex will feature China’s – and even Asia’s – largest digital studio, trailer production center, digital film-set production center, digital modeling center, digital production center for televised reality shows, and vlog production center. It will form a whole value chain of digital film production and a system of digital equipment. With advanced digital technologies and super-popular films, a new digital cultural tourism experience zone will also be built in the studio complex. It will promote a cross-industry integration of the new film industry and cultural tourism. The super digital-studio complex is defined as "super" because its capacity is designed as 100 films and TV series produced and 3 million tourists received every year. It will directly promote the development of local transportation, hotels and catering services, commercial services, and other related industries and will lead to the emergence of industries such as professional film and television services.

The main building of the project will cover an area of 6.7 hectares, with a maximum height of 100 meters. Large UAVs and airships can easily take off and land in the studios. The studio complex is a dozen-billion-yuan industry agglomeration of super symbols, super IPs, new business forms, new content, and new patterns. It will become a landmark of the Chinese film industry. As the project is implemented in Guangdong, it will help Guangdong become the third hub of Chinese films, after Beijing and the Yangtze River Delta.

I'd like to emphasize that the super digital-studio complex is not a closed system but an open platform. It welcomes the participation and synergy of all innovative technologies in different ways. All directors and producers in Asia – such as our peers in South Korea and Japan – and in other regions of the world, are welcome to shoot and make films here. Different types of capital in the industry are also welcome to incubate and commercialize more film technologies so as to extend the long-tail effects of the film industry.

The second thing we hope to do is establish a vocational college of film engineering technology. In China, as well as the entire Asia, there is a great lack of digital-film professionals and versatile professionals. Without talent, all equipment will be useless, and all grand strategies will be in vain. There are many film and television academies and schools in China. If you pay a little attention, you'll find that most disciplines set by the academies and schools are aimed at the earlier stages of film and television production – that is, acting, directing, cinematography, screenwriting, etc., – while very few of them focus on the latter-stage disciplines that matches the digital age. It has led to a surplus of earlier-stage creative talent and an extreme shortage of latter-stage technical talent and versatile talent. This will hold back the development of films in the future.

Therefore, based on the development trend and demand of the new film industry in China, we hope to establish a vocational college of film engineering technology that integrates industry, teaching, research, and application. The college will focus on the disciplines of engineering technologies for the production of films and TV series. Apart from conventional courses on the art of motion pictures, we'll set up many other disciplines, such as post production, digital media technology, electronic virtual production, visual effects and sound effects engineering, filmmaking process management, film production management, game development and production, and old film restoration, as well as the new disciplines of media asset management, media asset transaction, film and television financing, etc. We'll keep training the craftsmen of film engineering for the sophistication of the film industry. We'll make the college a cradle of technical engineers for Chinese films.

The college is an open platform, too. We hope to attract students from both China and other countries and regions in Asia. The students of this college can learn and practice in the super digital-studio complex. We hope even more that the experts and scholars from all Asian countries and regions who focus on the development of film technologies would come here to teach, research, and exchange ideas, helping the college contribute to the future of Asian films, so that the entire Asian film industry will benefit from it.

We have good reasons to believe that Asian films will have a more wonderful and admirable prospect and that Asian films will become a fascinating piece of the puzzle of future civilization. Thanks again to the forum for giving me the opportunity to share with everyone in detail the goals I'm hoping to achieve. My thanks also go to all the officials, young business leaders, experts, and scholars here for the attention and patience.

And I have another request to make. I hope to receive your guidance or advice about the course we are pursuing. I particularly hope that the officials of relevant government departments, entrepreneurs, and investors present at the forum would care about or even participate in the projects that may change the future structure of the Asian film industry. 

Thank you all!