VIRTUAL PRODUCTION


PRODUCTION/POST


The LED volume at ARRI ’s mi xed real i ty studio in Uxbr idge


Supervisor at MPC Episodic, defines it as “technology and tools that bring vfx into the front end of production to better inform directors and better integrate the vfx process into the filmmaking process” and that can include “virtual scouting, virtual staging, previz, techviz, postviz and LED volume work.” The key thing that links these


approaches, says DNEG’s Franklin, “is the use of realtime 3D graphics to simulate an environment. The realtime interactivity of the process is the heart of it - if you do something with the camera the image updates as you do it, giving the illusion of working within a consistent 3D space and allowing filmmakers to work in a fluid, organic manner” and that ranges from “ the use of on-set LED screens to the use of realtime tools for instant feedback in previsualisation.” And while the enormous


scale of The Mandalorian is the example of virtual production use


everyone reaches for, the processes encompassed by the term can be mixed and matched and scaled to all budgetary widths. “Virtual production doesn’t have to


include each of the three key technical elements The Mandalorian used - the LED volumes, camera tracking, and real time game engines,” says Pitts.


Vi r tual democracy And costs will fall as techniques


move on. “There’s going to be a democratisation of the technology,” says MPC Episodic’s Jopling. Framestore’s Chief Creative Officer, Tim Webber points out that beyond the full LED volume, there are “also elements that can be used in smaller projects, such as virtual scouting, on set vis or the scaled-down use of LED panels - such as the view out of car windows.” He also points out that more facilities and stages means prices will drop. Mark Pilborough-Skinner, Virtual Production Supervisor at Garden


Summer 2021 televisual.com 81


Virtual production has been pushing forwards on multiple fronts


Paul Franklin DNEG


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