ROUND TABLE
Addy Ghani (AG): We need creative technologists with both an eye on the technology and understanding of scripted production. For example, it is important to understand the advantages and limitations of an LED volume, and then use that knowledge to help guide a cinematographer to success on a virtual production shoot. Marina Prak (MP): I think working in a virtual production space requires, of course, some technical knowledge. But, it also demands the capability to effectively work in a team because everything in virtual production is integrated. So, you must be a team player to make it all click. Def: How have these skill requirements evolved with advancements in VP technologies? JB: The technology surrounding virtual production is under regular development. Constant curiosity around the global advancements requires individuals to always keep their skills up to date. For example, Disguise media server has been the only go-to for XR workflows. New entrants like PIXERA are arriving on the scene on a daily basis. LR/JA: The technologies are always evolving. Shooting live action in front of LED screens running video content (2D playback) was essentially an evolution of back projection – think Audrey Hepburn in Roman Holiday zooming around on a scooter. Then, real-time game engines entered the scene (3D playback), which added a new series of technologies to understand: game engine software (often Unreal Engine) and all its requirements for ensuring 25fps playback on huge LED screens. Plus, camera tracking and the on-set requirements of this technology. The advanced media servers and playback
workflows to ensure performance – suddenly a more in-depth knowledge of traditional AV systems is required. Now, as AI works its way through the tech stack, a mix of 2D and 3D playback known as 2.5D is emerging as an efficient way of working. By keeping up to date with these advancements, professionals ensure they are using the toolkit to best effect, and critically, not getting left behind. Conversely, the virtual production team (oftentimes from a video systems and live event background) need to grow their skills and understanding in traditional filmmaking techniques. This enables us to understand what the director/DOP wants to achieve and makes for a smoother on-set experience. JJ: Over time, we are seeing more understanding from traditional creatives about the process of working with VP digital assets and pipelines, how the VAD team come in at an earlier stage in the process and increasingly how the production design and art department play into that collaboration. On our VP course, there are increasing traditional filmmakers coming through, such as DOPs and production designers. Previously, it was heavily orientated towards VFX technicians and artists. Now, there is a more even mix. MP: I think at the start it was about the LEDs syncing with the camera, the basics. What you see now – because DOPs evolve the technology of virtual production and the requirements become stricter – it is now going into the deeper technology of both colour accuracy and colour management. Because virtual production is relatively new, we learn by doing. So, with every step we make, the technology evolves, more things come into play and we discover new things that can be better developed and improved.
Jelle van Abbema (JVA): A lot of it is being better prepared in the pre-shoot. If you run colour management correctly, it’s less work in post – and making sure that workload is properly divided across your entire timeline. ER: The skill sets are still new and developing, and craft unions can struggle to determine what aspects belong to which union/guild. Hybrid solutions, like mixing green-screen VP with LED ICVFX VP, are becoming increasingly popular due to the cost savings and the greater creative capacity of the hybrid combination, taking advantage of the best of each. AG: As the closest thing to a global standard, Disguise has paved the way for professionals to learn and leverage one single, cohesive tool for productions all around the world. With the multiple resources available, including our Virtual Production Accelerator course, it’s now easier than ever to upskill yourself and get into virtual production so you can operate a platform like Disguise, or a content engine like Unreal. Def: What challenges have you observed that indicate a skills gap in VP? Are there areas where professionals face difficulties? MP: In all areas, to be honest. LR/JA: In our experience, a simple lack of VP understanding can generate fear that becomes a psychological barrier to engagement. It’s always rewarding for me to see attendees at our demo
A LACK OF VP UNDERSTANDING can generate fear ”
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