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The RICCI are structured around conferences, demonstrations, workshops and networking. Through these meetings, the aim is to raise questions about public engagement and area attractiveness by means of immersive experiences. In the meetings, several questions of great importance to producers and artists are raised, ranging from the economic model of this type of project to the sustainable development of technologies judged to have a heavy carbon footprint (3D, AI, real-time).<\/p>\n\n\n\n
What, in the end, is the immersive?<\/h3>\n\n\n\n
On the first day a collective intelligence workshop was held, involving the first people to arrive. The subject? The immersion of the regions: issues and contributions at the level of the revitalisation of regions and public engagement<\/em>. The workshop was centred on three major focal points: the public (diversification and social and economic accessibility, etc.), the experiences (the potential narratives to enhance the value of a site, the relevance and the quality, etc.) and the sites (attractiveness, economic costs and benefits, eco-responsibility and sustainability, etc.). After a few stop-start snatches of conversations, within our working group a question was raised concerning one vital aspect: what, in the end, is the immersive?<\/p>\n\n\n\n After several members of the group, all immersive and digital professionals, had attempted definitions<\/strong>, the key element boiled down to the fact that immersiveness does not always involve the digital. The need to disconnect is a genuine factor highlighted by the public. There was also general agreement on the fact that it was necessary to start with a clean slate, in other words, to listen to the public<\/strong>, and take the time to base our projects on their needs. Without limiting the experiences to technological development, the wish is primarily to bring to life an experience in and for itself.<\/p>\n\n\n\n In bringing together the professionals of the Grand Est Region, a shared wish was clearly felt during the discussions, panels and workshops: to pool strengths, knowledge and talents. This need to share with our neighbours, and first and foremost retain the talents within our regions, is expressed by the desire to bring the area to life and above all to develop the technologies hand in hand.<\/p>\n\n\n\n Several people even suggested joining forces in order to create a global network enabling a gathering together of the talents, resources and training programmes! The order of the day was collaboration and co-production. <\/p>\n\n\n\n Day 2. We decide to go and follow a round table on eco-responsibility within the immersive experiences creation industry, with CNC<\/a>, Tiny Planets<\/a>, Game Only<\/a> and Super Id\u00e9e<\/a> having been invited to participate.<\/p>\n\n\n\n The speakers took the time to explain the various initiatives they had established in terms of eco-responsibility. Their proposals were very concrete. Here is what struck us in particular:<\/p>\n\n\n\n Landia Egal from Tiny Planets shared the results of their research into the product life and consumption cycle of a virtual reality headset and its carbon footprint. Their manufacture is similar to that of a smartphone, but it is in its consumption that the difference lies. A virtual reality headset is not used at the same frequency as a smartphone BUT very quickly becomes obsolete, due to the constant evolution in the technology. BUT BUT BUT, you could ask all the questions in the world and look into the subject from every angle to come to the conclusion that the impact of VR on the ecology is a mere drop in the digital ocean. It nevertheless remains vital to think through the roll-out conditions of these new platforms.<\/p>\n\n\n\n Tiny Planets is part of the change at its own scale. One of the organisation\u2019s works presented at Venice in 2022 is upcycled, for which the company ran a carbon calculator. This represented 50 tons of CO2<\/sup>, half of which was due to its being distributed at Venice and the team\u2019s travel requirements. <\/p>\n\n\n\n With the same objectives as the carbon footprint calculator, Game Only has created the first environmental footprint calculator for video gaming, and intended for digital studios more broadly: Jyros<\/a>. This tool, available since October 6, enables an ultra-complete panoramic view of the production, distribution and consumption of the video game industry.<\/p>\n\n\n\n Mathieu M\u00fcller gave a keynote talk on Unity, the real-time game engine which offers impressive breakthroughs and possibilities in terms of the rendering of 3D animation and its impact on the ecology. <\/p>\n\n\n\n Compared to Maya, excessively energy-intensive, the rendering of 25 minutes of animation film in real time represents 350 g of CO2<\/sup>. <\/p>\n\n\n\n During the RICCI, we were also able to see several immersive projects presented at the stands, involving a variety of experiences. The following were an instant hit with us: <\/p>\n\n\n\nWorking hand in hand<\/h3>\n\n\n\n
Sustainability in the immersive: the thousand point question<\/h3>\n\n\n\n
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\n\n\n\nJourney into the heart of immersion<\/h3>\n\n\n\n