Virtual Production - A Cinematographers' Conversation

The development of

virtual

production

has been accumulating pace in the last decade, but in 2020 with the launch of the Mandalorian television program that shows the technology combined with a global pandemic and the blocking development at the end of 2020 here in Australia Industrial Light and Magic has been a temporary LED volume in Sydney Fox Studios, Clayton Jacobson Jacobson from Melbourne, the dream screen of Melbourne has been a shooting test in one of the Australia and the Salumes of Australia and the greats. Adelaide Novatek also supplies

virtual

production

services in drama, it is likely to replace what is now filmed on Chroma keys and potentially pushes traditional location areas that trigger virtual production advantages.

Simplified as it is coinciding with the set or environmental lighting with the virtual production of the plate can take many different forms, including the previous and technological visualization of virtual exploration, but for this video, we will briefly analyze the virtual production in the camera that combines physical cameras that attract in a 3D space with large LED walls that are driven by the computers that are executed the game software of the games of games That the camera is reflected the camera of the camera of the appropriate camera the camera of the camera of the camera. Parrallax to any camera movement in the heart of the virtual production of Beating is the accelerating improvement in computer power and software design for decades, the video game industry has required that its game engines believe in real time near the three -dimensional three -dimensional worlds that the highly competitive games industry is established in 90 billions of dollars in 2020 Resources that have the fishing of underlying technologies, only 10 years, multiple hours can be taken to the resources film.

The single -painting game engines now as Unity and Unreal can produce real -time equivalence This is a technological demonstration of the highly anticipated version of the update for the unreal game engine due in 2021, this demonstration includes a digital game character, but notice the realistic photo, if not a little exaggerated world, which is being reproduced in real time in real time, it is not a sample of delay here, a sample of the sophisticated computer Use, please, not the curves, please, do not take, please do not take, please, they are not a computer sample. I have included the link, since it is worth seeing in its entire Virtual that everyone uses 8k that use 8k.

Number of triangles very quickly. There are more than one billion triangles of origin geometry in each picture that the nanita collapses without losses to around 20 million triangles drawn. Being precise of pixel and Nani can also do that to talk about illuminating all the lighting in this demonstration is complete of a concept of a difficult concept of having one of the things of it. They interactive all have a type of component in real time, so they receive comments for sometimes everyone and, sometimes, only for the director and perhaps the Republican party, so the first category is a green wallpaper that we have effectively assigned to the world and we are moving the camera and we are seeing in the viewer of the camera that person who is not on a green screen, but in a world in the case of the jungle of the jungle of the jungle. the animals of the chamber and that the animals and the animals in which they are in the jungle in which they are in the jungle in the jungle.

But on the set we still have a real -time representation, so as the camera moves the back Vision of the view, but the person is on stage, but now it is literally, but now it can see the stage, but now you can see the stage, but now you can see the world, but the person. Around the actor in these LED screens and it is really important that the actor receives the lighting that comes from that, so if I have a set of daylight, I am obtaining a type of diurnal light tones in versus the green screen, of course, where I am trying to isolate them from green, so they are not contaminated, now the third version is a completely virtual world here and a good example, a good example, this would The king of the lions that produce a world that produces a world of what we produce a world of stands in which we produce a world of what we produce a world of standing, and then we have a world standing and then we have a world standing, and then we have a world standing, and then we have a world standing, and then we have a world of standing with the king of lion.

A set, but they only see it well when they put on the head of VR or look at a monitor, so it could move a Dolly that has a virtual camera in it, so it is a physical dolly, there is no real real camera, however, in Dolly, but as it moves, it moves the virtual camera in the virtual world if the LEDs are moved like Windows in a virtual world, so they are not Windows, so they are only the plans, so they are only the plans, so they are the plans, so they are only the portals in the camera and the LEDs move in the world of the Windows.

Pararal that is a true parallage in virtual space and the benefit of that is also that within that virtual space you have freedom of movement and in all the directions we know in terms of play, it is like Xyz and the terms of the film would simply be repositioning it in the sky, so there are only things that do not have to do with the physical detection of what is not the growing one. But, obviously, it also has many limitations and, as long as you know what those limitations are, then you play well inside the World Unreal Engine Motor, for example, it is a physics engine, so that physics really calculates in real time, so the games only use physics and we are using the trunk network of ESO, so the virtual version of the virtual production we use is further away from the games that are more aligned with the games that are more aligned The real tray, but only the sense of truth, but only the sense of truth, but it is only an environment of real.

Nep Studios and Specter Films in Sydney the ACS was able Gaffer and Ricker and Rick Directors and many of the two actors, and many of the two actors, and many of the testimonies, and many of the testimonies, and many of the scenarios, and many of the testimonies, and many of the scenarios, and many of the scenarios, and many of the scenarios, and many of the scenarios, and many of the scenarios. Day and this video have been designed as an exploration and a discussion of the film experience of virtual production, our test director of the day of trial, Bonnie Elliott ACS, is awarded and working in feature films and television on Network and Kieran Fowler is also an accredited DP of multiple awards.

Virtual production of Chroma production for context. We will also talk to some of the key people behind the development of some of the technologies, I think it is a process that is a process that really needs to be built from the cable with the photography director, so to enter a volume study and simply throw a plaque and try something that will not have the best results, so I think what I think is really a technology session, instead of being that it has achieved it. Obviously, they will be applications the more a medium floor set or some type of element that will integrate the background, so it is not only dealing with the front plane and the posterior plane that is felt in some way that it is somehow not totally real for me, there is a great advantage because, instead of using movies lighting to emulate, the atmosphere of an exterior light atmosphere that has the exterior of the light of the day that has the green of the day.

The grass and whatever the mountain feeding this environment that you know that when you go out of the environment it is not only 5600. It is a mixture of all these different UH elements, yes, I want to say that it seems that you really need that they really solve quite a lot about what you are trying to photograph before the light and one day to really refine things before entering a study like that to shoot with the actors because the realities of the backs of the back You are doing in the foreground, it is so suddenly connected, and whatever is happening there on the posterior wall, that is a kind of lighting in the foreground in a kind of construction in a species, what you are most in construction, what you are most in construction, what you are most in construction, what you are most in construction, what you are most in construction, what you are most in construction, what you are most in the construction, what you are in construction, what you are in construction, what you are in construction, what you are in the construction, what you are in the construction, what you are most in construction, is it more or less?

The plaques and their quality in terms of contrast light, all about them, is when you would get a good result in terms of tools that I can put in the LED wall, a large white and white rectangle that would take the place of a light of the area, so it could provide the DOP instant a DOP area of ​​area area that becomes really magical, and, by what I mean to sunlight, I mean that the light of the light of the light of the light of the light of the day That looks at you well, what looks at you well, what looks at the light of the light of daylight.

Day in a beautiful sunset, but once you want to enter severe exterior lighting, I will need to find a gap on the LED walls or take out some panels and a little stick, a really directional hard light if we hope to sell to the audience that has been beaten by anything like the direct sunlight and, so that once all my traditional problems about that led space are the same we have in the set of the audience. They walk to the right of the stage, you can normally find shapes or build the stages in a way that can eliminate panels and paste a really large type of 10ks or what you need to push the light that, however, will obviously throw the additional rebound that we do not want to disturb my blacks on the LED screens just because I am launching lighting against them and, therefore, the ability of the ability of the ability of the ability of light.

It is a bit of the ability, so it is a new way, what is going to the ability of skill. Contrast levels and black point, but um, what we are finding if enough time spend calibrating the camera sensor to LEDs and whenever you use the correct processing at the posterior end of the LED, you can achieve the HDR image on the wall, what you are waiting for, so the sensor sees what your UM plan to see that there is no kind of documents that there is not enough document that there is not enough documentation that has not finished sufficiently.

Test and error Our end, as where we find the black point, it is the side of the motor to the wall or it is from the range of the wall of walls, which is supposed to be supposed to be about 11 stops UH 15 stops, which would later marry you really well with a very good sensor, um, some of the tests we have done is that we have achieved that we achieved a few times, but then everything that is a specific content. That, for what we have done, so it is a bit of the scene of the range scene, and then we have done it.

More difficult it is incredibly important that we will calibrate everything if you think about it for a second, we take only a gray color, it is the side of a building or say that a vehicle we have a gray military vehicle if part of that is on the wall and part of whether in the real world we must know well, well, the paint is a certain light that the light will affect the cameras of the litera surface that will only be perceived with different cameras with different chambers. The plane of the film will effectively change things,But that is fine, we are accustomed to what we are not so accustomed is that we must also make a digital copy that mimics in its rendering the same optical characteristics that I just described so that the representation of the grays coincides with the lighting that has to coincide with the color of the grays that have to the properties of the properties that the properties of the frequent of the light have.

Graphics as good as you think you are going to get it you will always have some settings, but here new tools have been developed to work with which we have all seen on a 2D screen, an electric window that we draw, let's say that I do it soft, so as I change the color, a region of the screen becomes darker or light And I would move a bubble as a volume to a part of the stage, it could be half in the stage in half of half the exit, it could be crawling at the bottom or, in fact, the crominrance, for example, in that volume, will change instead of that as a kind of circle and that allows you unreal because it is, with much, the most common engine that can be an iPad and be moving that and is interrogation, so the point of the scene, the point of the scene, the point of the scene.

LED screen and the foreground elements that will be interesting because the LED will see that it will feel the light out of the LED screens illuminate a little in the foreground, so I think that in UM you know in the mandalorian that they are using a kind of bullets around the edges to take the exhibition by going back where the seams comply with the practical elements and the detection of the light screen of which you do not see the light of light of the light of the light of the light of the light of the light of the light of the light of the light of the light.

Know if that is something that should establish its foreground elements to a certain distance from the LED panel and try to make the parallage deceive it, but I suppose it will be a case -by -case case scenario for what is not shooting, but if I had an object that was bright red and that it was very far away that I do not light the contact, but that it does not happen, but that it is not shooting very far away, but that it is in the wall of LED Much, since I could not have a little contact.

It is physically quite close to me, I could actually get bouncing light of that color that I would not get in real life, a brilliant red car that is in the distance in the distance does not affect me, so there are some really interesting problems on how to get a kind of correct lighting, yes, yes. The most possible in the planning of a filming in a virtual study and wants them to be in a real dialogue with the people who are configuring the environment, such as the day we wanted We did not do it with the separate control in the configuration of the configuration that is configured that you have to do it.

To eliminate before getting there, in general, what we have is a brain confidence or a brain bar of people who control the process that can work with the DOP, but they could also frankly give the DOP the iPad and they can simply move it with their finger by the finger is that type of interactive that will have their gaffer and then will have its virtual lighting equipment and that it could be included in the process, whatever it is necessary. Because Those Decions Happened in Post-Production They Wouled You Wouled Diseive How The Background Woold Be Lit and The You'd Light It On Sit In Front Of A Green Screen Say Um But You'd Just Diseive It Without Having To Without Any Feedback To a Back Back now it feels like scholause you need your background to a point where they're finished before you today From a lighting point of view from a you know from composition point of view from design point of view and i think that's that's aone of the must exciting Things about This Technology Beckles INVOLVED AND PUTS IT AT THE FRONT there is enormous power in the technology potentially for cinematographhers to Really Have That Sort of fundamental core process of creating the look of the WHOLE FILM AND THE WORLD BY BEING INIVOLVED IN CREATIN Guess that detail of of the creation process is very different if you are making a very heavy VFX movie and you are more trapped in an approval process, this is the opposite, you are in the genesis stage instead of the login stage, which is excellent because you are a front loading some of these decisions that you know that the style looks everything about the sensation of the film that can be decided early, so in the concept of Things, but are being told to the decisions of early decisions, but that the early things are said.

Where everyone can see the benefit long before you even disagree, so if you can involve the DOP more in the process and really see what is happening, they can experiment that they can express and then that you should never translate to some notes that are passed to a guy given to a girl who is delivered to an artist who tries to have something three months ago. The DOP there on the set and with the actors reacting to what is happening and with the advice and encouragement and direction of the director, we are better, so we want to obtain that immediacy and that this instinctive response capacity captured by allowing people to work interactively in what they are doing something is also just because we are doing something that should not be perfect to be excellent that it can be excellent that it is better to be better in the camera in the camera.

I did not have, for example, a creature that moved in the background and it was not possible for this creature Easy to be the person who is easier to be the person who is easier in a person who is easier to do so, is easier to be a person. and put them Back over a Blue Sky Than It is to broken them off Green and The Put Them in A Church Scene It's Going To Be a Lot Easier To have then Lit Lit Correctly and Contextually For The Scene In Pre-product Get A Virtual Camera and Have a Look Around in That World and see where the good angles are and Think about It is like a kind of yes, it is a virtual version of that, I suppose that there is flexibility UM, although at the same time, although I will say that I also think that I really need to have a clear aesthetic that bring me the ideas that give me a lot.

Cut in the guy I like to be in the world and respond to the world and respond to the actors and respond to the moment, so to be honest, this technology is not a kind of my natural area of ​​emotion, I will not go, Oh, I love the idea of ​​being in this dark space and I am sure that I would feel very attracted to this way of making cinema. I believe that the limitations that you often find and the challenges that you know that generate

conversation

s with the director with all their roles that you would not have normally and those and what comes from them can be a really surprising creative idea, so, absolutely seeing the value in that, and I still believe that that is a great factor in production, as I do not think it is not a volume in the volume, and I am the volume completely and see it absolutely and I see it absolutely and I see it absolutely and I see it absolutely I, I think that the use of a great factor is a great volume, and I will do it completely, and I see it completely and what I am going to see completely and I, and I, and I, and I, me, me, what is still a factor that is still a great volume.

Being with the directors who can work in that space and can conceive concept that you conceptually know worlds and spaces without really being in them and I do not think that is for each director, I think it will be for some, but not all directors, so I believe that I still believe that I will be fine, all those who will now be in a study, and that it feels more natural and more natural, and that it feels more natural and that it is more natural and more natural natural, and that is more natural, and that is more natural, and that is more natural.

That you could film things in that space that are difficult to actually achieve like Keira and I were talking about a movie that we had to come, we want to film in a forest at night with rain things that are quite difficult so that they can do at a budget level at a budget level, so I think this technology becomes interesting for people who are more interested in the real realism that I suppose I suppose the most opposite to the most That they know that the stents put aside the tangible reality of a set and your physical space knows what what is doing natural light you like, you are not responding to a real world, so it is about that type of preconceived film methodology, so, so there are many challenges for the DOP and I suppose that the best way to think about this is that a led scenario does not solve each problem that solves each problem they.

Beautiful images, but in the second you want to stay in a church, for example, a large amount of fog or fog to have God's rays, you have all kinds of correct problems because you flood a sound stage with smoke and you can have incredibly complicated problems to try to try to make the transmitting properties of that be to the LED screens and that you will find that there is a set of skills and a set of approaches that will be necessary to use the LED screens To use the Setenses needed to use the Setenses needed to use the Setenses needed to use the Setenses needed to use the Setenses needed to use the sets of those needed to use the settings in which they are needed to use the settings in which they are needed to use them. outside versus location it's a it's a new bag of tricks that a dop you have to eat at the moment we Think in the world there's about 125 Stages with Another 150 Due to comment online by The Beginning of Next Year So There's Mass Mass Acceleration in Actually Building Bur Because of Cover and the Fact People Can k From his color images, he is costing me a fortune, I think that the future of UM virtual production will include a complete breed of filmmakers that we have never seen before and are democratizing some of those film elements currently in the same silos in the same silos with now we can now obtain visual effects 3d um all on their animators.

It happens and there are things that learn each other, so we have had DOP learning to make CG lighting. We have made 3D men understand what the camera blockade is and understand how the actors are supposed to move in space, so this collaborative version of it is raising the new version of Cinepinemaker, which will eventually be the ones that will make the films we see in the future, so it is good news, so in reality we are not really that we are not going to be more at a time that we are not going at the point once we are not going at a time at the time we do not go anymore at a time than we are not going at the point of today.

Look in the laboratories of things that will come from the next few years, there are a lot of really good innovations that will not yet come, this is not a kind of single trick pony, we will improve a lot to estimate where the light must be a part of the volume, since only knowing where it is at the edges and that someone walks in it, we can dynamically change the balance of the lighting so that the person is the person who is in volume and that he is receiving light in him that calls them the light and that is called.

That is the Holy Grail that will make it a holodeck, but for that we will need to have a new generation of LED, so there is only one example of a lot of things that is being worked by people in several laboratories at this time, you see theseYoung people who have built an entire world that there is a world that is built in their rooms only that you cannot compete with the people that people cannot control technology that cannot control that, so there is a world, so, so there is a world, so, so there is something of what there is, so, so there is something of what, so there is something to control What is something that, so there is something of what there is.

Are these play children who now want to make a film as if it were just another way for them, so I feel that this is, you cannot stop cinema has always been a virtual virtual artistic and technological search? Production while it is still in their childhood is evolving quickly and for people who immerse themselves in this process in a unique way, there is currently only a small gap between complete and most experienced beginners.