![]() If you don’t need the reflections and lighting integration on the live-action plates, then you can use virtual production on greenscreen and still see the composite for editorial with a real-time keyer. You definitely don’t need an LED stage for everything. How can those who don’t have access to big stages work in VP? And you don’t want to show up to shoot on an expensive LED stage and go, “Nope, this looks like a video game.” Crews are really fast and have the experience to be pretty accurate about time and cost. Physical set construction has had a hundred years to mature. The need to make assets before you shoot them and the time it takes. That seems so silly, but people have gotten so used to “digital” happening months after we shoot that when you say you need to start building months in advance of shooting, they don’t believe it.ĭirector/EP Jonathan Nolan has been collaborating with Ben Grossman and the team at Magnopus, in association with Kilter Films on the Fallout TV series. What would surprise people about virtual production workflows? Without those things, you’re going to have a bumpy ride. You also need filmmaker buy-in and be comfortable. Most commonly, that’s Unreal Engine and Perforce. You need a game engine, and you need something to sync assets across all the people collaborating. What tools are paramount to virtual production workflows? But it absolutely works if you pay close attention to it and have a supportive director, cinematographer, and production designer. It’s rarely “smooth sailing” right now (anyone who says it is probably spends most of their time saying, “You can’t do that”). They’re not cheap and sometimes “what you need” and “what you’re paying for” can be unclear.Īside from those two items, we could really use another year or two before the software gets more stable. The costs for all these things make sense when you investigate them closely (and they are generally reasonable), but productions haven’t gotten comfortable or confident with them yet. If you’re shooting in an LED stage, the budget for that remains a challenge. They’re often uncomfortable front-loading that much money in a budget.Īn LED volume in the final stages of construction and calibration through a partnership between MBS, Fuse TG and Magnopus at Gold Coast Studios in New York for an upcoming production. You can take some shortcuts with matte paintings, but creating content for virtual production can be a heavy lift, and producers aren’t used to planning for it. ![]() Unless you’re playing back footage that was shot, you’re probably having to create the environments from scratch, even if you captured them with photogrammetry. The biggest challenge is the complexity of creating assets that are photoreal and performant. That question could turn this magazine into a book. The more we make it complicated or unclear on purpose, the less people want to do it.Ĭan you talk about pain points related to VP workflows? ![]() In the end, this hurts everyone because if productions can’t understand virtual production, they aren’t comfortable. Sometimes they’re confusing the market by inventing funky names for things that aren’t really unique at all or use jargon that people don’t understanding consistently. A lot of different companies have their own recipe for success that probably suits their business strengths more than anyone else’s. Some parts are consistent, but a lot of people are trying different things to improve the workflows. They have 175 engineers, designers and artists working in the US and UK and focus on AR, VR, virtual production and metaverse-related technologies.ĭo you feel VP workflows are fairly standardized these days, or is everyone trying to figure it out on their own? Magnopus a content-focused technology company bridging the physical and digital worlds. They told us what’s working and what’s needed. To find out more about what’s happening in virtual production, we reached out not only to some of the companies that make VP tools but to some of the ones who put those tools to use. And prepro, tracking and education about the process have never been more important. Those finding success realize you need to wear a variety of hats to make it work. And creative decisions can be made right on the stage, putting even more control in the hands of the filmmaker.īut VP workflows are still developing, with many companies just creating what works for them. The limitations of time and location are gone, as are concerns about magic hour or wind or rain. What are the benefits? Well, there are many. For instance, you don’t necessarily need an LED volume for virtual production, and you don’t have to work for a big company to take advantage of some of the tools available for VP. And while tools and workflows keep developing, best practices are being put in place and misconceptions are being debunked.
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