INDUSTRY. VIRTUAL PRODUCTION ROUND TABLE
system. Major LED processing platforms such as Brompton and Megapixel VR can be configured to around one frame of latency depending on how the LED wall is cabled together. Between seven and 12 frames of total system latency in a virtual production studio is common, and I believe that the major sources of this latency come from the camera tracking, real-time rendering system, frustum compositing and other video switchers sometimes installed in a VP studio. The easiest thing that people can do today is cable their LED walls in a way that’s compatible with low-latency modes on the LED processor, and simplify any other video signal processing in their studio systems. What qualifications and responsibilities are expected from someone operating the back end? TK: Video signal transmission expertise. 3D rendering expertise, especially in Unreal. Media server expertise, like Disguise D3, Pixera, Mbox, Resolume, etc. Colour management skill. Lighting comms protocol familiarity. Infinite wells of patience and humour with a keen desire to learn and improvise (comedy improv ‘yes, and...’ training helps!) are an unquestionable must . CM: Strength in building, maintaining and optimising digital networks. A comprehensive understanding of 3D computer graphics. An understanding of colour science and its core principles. Basic computer programming language scripting ability. An ability to stay calm under pressure. Finally, collaborative problem solving. CC: While knowledge of video is always desirable, our intuitive UI is designed to be user-friendly and easy to operate. We also offer free training to anyone who wants to learn about virtual production technology, including beginners looking to take their first steps in the industry. JTR: The back end of virtual production and extended reality workflows has been interesting because of the fact that the entire workflow and ecosystem is all the back end, but exposed to the whole production. It’s rare in production workflows that the full team is so aware of technology. Oftentimes, there have been complex systems running in the background that people don’t know about; but in this new industry, every
CM: Specifying low-latency signal transmission equipment throughout the signal chain is the first step to reducing input lag. From there, the total amount of latency for the slowest component must be measured and each faster input device should be adjusted to match the slowest component in the chain. CC: Our Brompton processors offer ultra-low latency modes (ULL), which significantly reduce processing delays and – as a result – input lag. JTR: The XR Studios space has been entirely designed with a focus on a cohesive engineering and broadcast ecosystem. This comes from a deep understanding from Scott Millar, our chief technology officer, of every step and every process in our signal chain. From the ground up, each frame – and sometimes milliseconds – is being considered from hardware selection, as well as software processes. Our ecosystem and technology stack features Disguise servers, Stype camera tracking, Ross broadcast infrastructure and some other infrastructure pieces that allow for a speedy system. OS: Thankfully, LED walls and LED processing are already one of the lowest lag components in a virtual production “Thankfully, LED walls and LED processing are already one of the lowest-lag components in virtual production”
department is working together and discussing in much more detail, far earlier on in the process. So, everyone collectively is becoming more aware of what’s involved. On the pure execution side of virtual production, there are a few departments and verticals that are quite specialised – volume control, camera tracking and the virtual art department – that have emerged in the last few years. ‘Volume control’ has started to become a more common term as more companies are starting to lean into it, and it refers to the team and infrastructure needed to control the LED volume inside the studio. This includes media playback and programming, genlock and infrastructure engineering, lighting integration, plus other departmental connection points. Camera tracking has also turned into an interesting ecosystem with various camera-tracking hardware solutions. It also includes a deep understanding of camera rigging, placement, mounting and collaborating with DOPs and ACs, so as not to interrupt the normal flow of camera production. A virtual art department seems somewhat straightforward, putting what is normally designed into the physical space. But turning it into a virtual and – more importantly – real-time rendered space has introduced a whole world of complexity into the designer’s realm. Making sure their scenes run at the appropriate speed and optimised quality, in addition to blending the virtual and real worlds together with props and physical objects, the virtual art department’s universe has exploded into an all-encompassing space.
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