Marta Materska-Samek

The use of the XR production technologies has expanded recently in the film industry and heavily influenced the film production process. This paper aims therefore to explore the differences between diverse XR production workflows. The analysis provides criteria for workflow paths of traditional approach to film production and XR production flow, including workflow structure, skills, education, and equipment. Defined XR techniques are discussed for educational purposes. Its illustrations are three case studies of cinematic VR production, computer-generated VR production and Virtual Production. They are the basis for workflow comparison and discussion on artistic decisions and production challenges for film related Higher Education Institutions (HEI) students and scholars.

This article discusses how a digital film scouting for Virtual Production (VP) affects the process of creating diverse audiovisual works, what criteria should be taken into account when choosing a location, what techniques can be used to make the best use of its potential, and how film locations fit into the broader context of the film. For this purpose, various examples and case studies will be presented to better illustrate the impact of location on the process of creating and producing an audiovisual work.

The article provides an overview of the available film research methods to strengthen film production management for children aged 4 to 6 years. It diagnoses the limitations of currently used methods and identifies new opportunities related to the development of tools in the field of neuroscience, in particular oculography (eyetracking). The subject of the study is a film for children as a medium of social communication of a wide range. For the purposes of the study, the methods of film research for children used so far were analysed, current needs related to market development were diagnosed and the possibilities of using new tools to measure customer satisfaction were indicated.

This article deals with issues of cultural management, and in particular the acquisition of financial resources from European Union funds. It analyzes the possibilities of financing the development of culture with funds allocated to innovation, research and development. Its purpose is to diagnose the barriers encountered by Polish enterprises conducting research and development activity in the area of KIS 13 “Intelligent creative technologies” when designing and obtaining funding. The article is based on evaluation studies of national and regional intelligent specializations, materials related to the assessment procedure and evaluation of projects, observations of the author assessing projects submitted for co-financing, and thus new scientific sources. 

The aim of the paper is to discuss the Cultural Support Fund (CSF) as an example of a reactive financing scheme. In order to understand the implemented compensation mechanism for entities operating in the creative sector, a broader context is also explored, which, on the one hand, shows the general message of the Fund, and on the other hand, the lack of efficient management of the CSF. The research is based on the analysis of the existing data outlining the operation of private enterprises in the creative sector, with the emphasis on the performing arts backstage industry. The drama of the situation is accentuated in the individual in-depth interviews with four beneficiaries of the Culture Support Fund, which presents the perspective of the CSF recipients. In order to stress the multidimensionality of the CSF structure, the conclusions are built according to the three dimensions of the analysis: procedural, substantive, and contextual.