The studio that participated in the filming of Taxi 5, Titane, or Les Tuches 2 has launched its training program. Directors can now go there to use cutting-edge digital tools for their films.
Provence Studio’s cinema studios have inaugurated their visual production training program in Martigues. Thanks to a massive LED screen on-site, directors can learn to create virtual sets for their films without having to travel.
A masterclass on a large screen in Martigues is being offered as an alternative to outdoor shootings. “We are in Iceland, and with the snap of a finger, we find ourselves in Marseille,” jokes Olivier Marchetti, the president of the training and founder of Provence Studios. “It is economical, ecological, and allows the director to exceed their limits and do what they want. Thanks to this, we can film the Canebière with zero people. Try to block the Canebière for 24 hours, it’s not possible.”
Like filmmaker Cédric Klapisch, who is scouting locations in Marseille for his next film, plans to use this tool for the first time. “I have never used it before,” explains the director of L’Auberge espagnole, who was invited to inaugurate the studio’s training program. “I like the idea of innovation: in shootings, LED walls are increasingly used.”
This technology is very present in the United States but still underdeveloped in France. It allows replacing green screens in the background and seeing the final result directly without post-production effects. Professionals from the sector were invited to discover the device. “They have incredible potential,” enthuses Christophe Jarosz, a director and member of the La Réplique collective. “I think it’s one of the most efficient tools in France, if not in Europe. We are very lucky, as professionals in the industry, to have Provence studios to work with.”
In addition to hosting productions like the films Titane or Taxi 5, Studio Provence in Martigues is now focusing on training professionals in this tool, as the PACA region sees 6000 days of filming per year.
Note: The article was written by Élodie Pépin and Pauline Guigou, journalists at France Télévisions.
