{"id":5474,"date":"2024-06-14T16:22:05","date_gmt":"2024-06-14T14:22:05","guid":{"rendered":"https:\/\/hacnumedia.org\/france-2030-immersive-culture-and-metaverse-a-step-forward-in-structuring-the-xr-sector\/"},"modified":"2026-01-06T17:17:05","modified_gmt":"2026-01-06T16:17:05","slug":"france-2030-immersive-culture-and-metaverse-a-step-forward-in-structuring-the-xr-sector","status":"publish","type":"post","link":"https:\/\/hacnumedia.org\/en\/france-2030-immersive-culture-and-metaverse-a-step-forward-in-structuring-the-xr-sector\/","title":{"rendered":"France 2030 \u201cImmersive Culture and Metaverse\u201d: A Step Forward in Structuring the XR Sector?"},"content":{"rendered":"\n

With the \u201cImmersive Culture and Metaverse\u201d call for projects\u2014part of the major France 2030 investment plan (\u20ac1 billion dedicated to the Cultural and Creative Industries)\u2014a total of \u20ac150 million* will support innovation and the structuring of the XR sector. The goal? Strengthen the production and distribution of immersive content, while promoting French cultural excellence internationally. Here is an overview of the call for projects\u2026 <\/strong><\/p>\n\n

<\/strong>An ambition to reveal the \u201crising stars\u201d of the sector<\/strong><\/h2>\n\n

All cultural and creative sectors (audiovisual, cinema, performing arts, gaming, etc.) can apply to \u201cImmersive Culture and Metaverse<\/a>\u201d with the ambition of \u201cbringing out new rising stars<\/em>\u201d <\/strong>as highlighted by Fabrice Casadebaig, National Coordinator for the Cultural and Creative Industries Strategy at the SGPI (General Secretariat for Investment, which oversees the cultural strand of France 2030), during an information session dedicated to video game professionals last April. This principle of excellence and ambition was reiterated the same day by S\u00e9bastien Th\u00e9venet of the DGMIC <\/a>(Directorate-General for Media and Cultural Industries, Ministry of Culture), who emphasized the need for <\/strong>\u201csupport across the entire value chain in a highly competitive environment\u201d <\/strong>\u201cThe objective is to create and develop, through this call for projects and the deployment of new immersive technologies, a structured and industrialized sovereign ecosystem<\/em>” he concluded. <\/p>\n\n

The immersive technologies in question include augmented reality (AR), virtual reality (VR), mixed reality (MR) and metaverses\u2014whose explicit mention in the title of the call and whose vague definition remains surprising (see Metaverse: The Artistic Blur<\/a>). Whatever the terminology, the intention is clear: \u201cWe need to help the sector scale up, because for now we are still too often operating in a prototype mindset, with each studio reinventing its own model for each project”<\/em> explains Olivier Fontenay, Head of Digital Creation at the CNC <\/a>(acting on behalf of the State). He mentions modalities that could, for example, lead to clearer separations between tasks (R&D, content production, distribution chain, etc.). <\/p>\n\n

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Video Mapping Festival 2022 – Lille – Crypte de la cath\u00e9drale Notre-Dame-de-la-Treille<\/figcaption><\/figure>\n\n

Not support for artistic creation, but for innovation<\/strong><\/h2>\n\n

The call aims to offer flexibility, so as not to constrain creativity. Nevertheless, Olivier Fontenay stresses that \u201cthis is not a call for creating new works, as we already support those through the CNC\u2019s Immersive Creation Fund.<\/em>\u201d He provides two potential areas of focus. First, the development of a fully digital production pipeline: from creating a studio\/laboratory to deploying software tools, integrating all relevant technological components (artificial intelligence, game engines, capture technologies, 3D modelling and animation, hardware, real-time creation tools, distribution and storage systems, etc.) to enable content creation. Second, anything related to the distribution of immersive content\u2014again with an emphasis on structuring and innovation. <\/p>\n\n

The first angle involves developing \u201csovereign technological bricks\u201d that contribute to producing immersive cultural experiences: <\/strong>innovative components that could plug into a universal IT engine and be labeled as French technological contributions (motion capture tools, a database enabling synchronized use of 1,000 VR headsets, etc.). The distribution angle could include developing digital aggregators to distribute immersive works, a technological platform hosting diverse immersive content, a network of innovative LBE (Location-Based Entertainment) venues, or even a persistent 3D universe enabling every French public institution to showcase its heritage and collections in shared virtual spaces. <\/p>\n\n

Application process and expert committee <\/strong><\/h2>\n\n

While the application timeline is clearly defined (three sessions, the first closing on July 2, 2024), institutions are adopting a supportive approach. \u201cAny company or public institution can request a meeting with us ahead of submission, to discuss their project or evaluate the viability of the interfaces they aim to build<\/em>\u201d says Olivier Fontenay. <\/p>\n\n

Here again, flexibility is emphasized. Public or private organisations of all sizes can apply\u2014individually, in partnership, or within a consortium. \u201cThe company\u2019s size matters less than the structuring potential of its project. If a small five-person company proposes something meaningful, we will support it<\/em>” he states. Environmental requirements and financial health are among the non-negotiable criteria. Ambition must also translate into significant budgets: minimum \u20ac80,000 for engineering assistance, minimum \u20ac400,000 for project implementation \u201cWe\u2019re looking for emblematic projects capable of structuring the ecosystem<\/em>\u201d explains Romain Dudognon of Bpifrance (acting on behalf of the State), \u201chence the minimum thresholds<\/em>\u201d <\/p>\n\n

A committee of 12 to 15 experts will evaluate the relevance and feasibility of projects before hearings and final decisions. Since the first round has already opened, many regret that the committee members have not yet been publicly announced\u2014a necessary step for transparency, especially considering the scale of the call (as of publication date\u201410\/06\/24\u2014no announcement had been made). This expectation is reinforced by past controversies, such as the November 2023 Canard Encha\u00een\u00e9 report<\/a> on the CNC\u2019s \u201cImmersive Creation\u201d commission chaired by Jean-Michel Jarre. \u201cThese will be highly competent individuals, able to assess projects based on their structuring and innovative aspects, and free from conflicts of interest<\/em>\u201d reassures Olivier Fontenay. \u201cThey will come from industry or academia, with experience producing immersive works or managing production pipelines. And the same people will evaluate all three sessions, for equity and consistency<\/em>\u201d <\/p>\n\n

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Video Mapping Festival – Arenberg<\/figcaption><\/figure>\n\n

Toward a new immersive industry? <\/strong><\/h2>\n\n

With deadlines approaching, the first projects are taking shape. Major public institutions are showing interest\u2014for example, the Th\u00e9\u00e2tre National de Chaillot<\/a>, which is exploring the development of a creation, production and presentation lab dedicated to AR, VR and motion capture technologies, part of the future \u201cChaillot Augment\u00e9.\u201d <\/p>\n\n

Historic players in immersive creation are also preparing proposals. At Rencontres Audiovisuelles, the team behind the Video Mapping Festival<\/a> is gearing up for the July session. \u201cWe\u2019re planning to develop a sector dedicated to video mapping, partly focused on immersive mapping<\/em>\u201d explains director Antoine Manier. \u201cImmersive mapping represents less than 10% of our projects today, compared to monumental mapping. There is also no permanent immersive mapping facility in the region. With this call, we would like to create a lab\/immersive space offering artist residencies and training for both technical and artistic profiles.<\/em>\u201d <\/p>\n\n

The project seems fully aligned with the call’s objectives: sector structuring, technological innovation, and economic impact. \u201cIn the region, most mapping projects are monumental, commissioned by local authorities to offer free public events that highlight local heritage. These productions create jobs and skills. Establishing an immersive mapping space within a broader mapping sector would be perfectly complementary to our current tools.\u201d<\/em> <\/p>\n\n

Remaining questions<\/strong><\/h2>\n\n

Although appealing on paper, the \u201cImmersive Culture and Metaverse\u201d call raises many questions. First, France 2030 overall seeks to reduce the carbon impact of economic activity\u2014including in the CCIs\u2014which raises doubts about the sustainability of an immersive\/metaverse industry. This deserves deeper debate. Second, the technical complexity of the call, requiring strong project-management skills and the use of explicitly business-oriented terminology (\u201crising star<\/em>\u201d \u201cvalue chain\u201d \u201ccontent\u201d), feels ill-adapted to the cultural field. What place will cultural actors truly have? Many organisations\u2014public institutions, associations, companies, studios\u2014have decades of experience working on digital and immersive creation (see list of HACNUM network members<\/a>). When the results are announced, we will see who will actually be part of this new \u201cMade in France\u201d ecosystem\u2026 <\/p>\n\n

<\/p>\n\n

* \u201cImmersive Culture and Metaverse\u201d includes \u20ac150M dedicated to culture, plus an additional \u20ac50M to support metaverse technologies outside the cultural field. <\/em><\/p>\n\n

Laurent Catala<\/a><\/p>\n\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

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