Tell me about what you look for in your soundtrack. So there are a lot of opportunities in the future.īaltin: The music was an integral part of the Van Gogh show. So we're really excited about the idea of building worlds to tell different types of stories around pop culture, art, music, film. So I love the idea of being immersed in music, different types of stories, not just art. For me, I just love the idea of all my senses immersed in storytelling. For somebody who may not be an art enthusiast, but loves a great experience with music and storytelling this is a great way of wetting their pallet and getting them interested in learning more. They partnered with Lighthouse Immersive who launched an Immersive Van Gogh experience in Toronto during the pandemic, who then partnered with local producers in New York, Chicago and San Francisco to roll out the exhibit in those markets.īaltin: What would be the ultimate immersive experience for each of you?ĭiana Rayzman: We obviously love this immersive medium as a way of getting people interested in all creative aspects. And that Italian team had tremendous success with their Immersive Van Gogh show in multiple locations in France. So the Immersive Van Gogh experience is a partnership we struck with Lighthouse Immersive and their exclusive creative partners out of Italy, who had already produced the content originally in France. We want to collaborate with those people out of our studio to build a portfolio of experiences. We're gonna collaborate with great creative minds, whether they're music producers, Hollywood writers and directors, actors and actresses, artists. So when we started Impact Museums we said, "We've got a studio that will operate almost like a film studio model operates, where we will create a portfolio of experiences that will come out of our studio with the most creative collaborators." So we're not going to produce everything 100 percent ourselves internally. So there's an incredibly inefficient market of producers who want access to capital and operational expertise to scale and investors who want to put a huge amount of money into the space. And doing 20 deals where they're spelling 10 or 20 million on a deal times a portfolio of 20 deals is also quite challenging. Simultaneously the investor community is looking to put huge amounts of money into this space given the growing popularity of the space.
If you are a creator/producer and you were successful in building a successful experience in a local market, in order to scale that to a global market you typically found co-producers, take on multiple financing rounds, and the idea of taking a successful concept and rolling that our, never mind nationally, but globally is quite a challenging and daunting task for a creative producer. And what we noticed talking to tons of different experiential creators, producers and operators, museum curators, etc, was there wasn't a Live Nation for the experiential economy necessarily. touring, ticketing, venue operations, finance, HR, accounting, food and beverage, sponsorship.
#BEYOND VAN GOGH AN IMMERSIVE EXPERIENCE HOW TO#
And we want to do that at the intersection of music, culture, art, social impact." And as we were thinking about how to scale those experiences on a global basis we started developing a roadmap for what the business side needed to look like - the marketing.
So when we started Impact Museums the four of us got together and said, "We really want to build the most compelling, experiential museums or experiences in the world. Mark Shedletsky: Van Gogh is a long-term partnership, and maybe I'll take a step back and describe our company cause it will help contextualize this. S teve Baltin: What made Van Gogh the right project to start with? Redfall With 3 Concurrent Steam Players Is Still Selling Its DLC Pack
0 kommentar(er)
