CRAFT VIRTUAL PRODUCTION: CINEMATOGRAPHY


PRODUCTION


virtual shoot


depending on the LED pitch of the screen used.


Framing is much more accurate when using virtual production, the operators can see exactly what is in the background of the shot as opposed to [looking at a green screen] when using chroma key.


To help integrate physical with virtual elements camera diffusion filters can help blend the image, as can atmos/smoke. In fact a great advantage with LED screens is that you can use as much diffusion, old lenses, and atmos as you like, which you are restricted in utilising when using chroma key.


Colour managed pipelines are not that crucial in virtual production. However the image does need to be graded to a degree, as although there are changes that can be made on the day, such changes are somewhat limited.


Reflections are one of the key benefits of virtual production,


along with interactive lighting and framing. These features put VP head and shoulders above chroma key. In-camera reflections go a long way towards selling the believability of the shot to the audience. Reflections are difficult and expensive to add in post when using chroma key.


In terms of resolution the screen needs to be 2.4mm pitch or better. Resolution of plates needs to be 4K or better. Plates need to be graded to a finished look as changes in post can be difficult.


When working with VFX and post production enough lead time needs to be planned for to allow plates to be shot, worked on in CGI, and graded well before the virtual production shoot date.


Improvements are needed: Better camera tracking and use of more innovative focus solutions, such as the MoSys system that allows you to map the camera focus to the virtual engine, should be considered.


The CRI value of the LED screens could definitely be improved as could the pixel pitch to reduce moire and allow more flexibility in focus.


Winter 2021 televisual.com 57


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