NO WAY UP
PEOPLE OFTEN WRITE FOR THE limitations of technology ”
“It was a combination of practical and VFX – probably a lot more practical than you’d think when watching it,” continues Davis. “It’s very well done, but if we did it now, it would be a different conversation.” PRODUCTION PERKS One of Davis’ responsibilities was to preserve the creative vision. “What’s great about VP is [the heads of each department] can feed into that – they’re part of that process. The actors can see what’s on screen,” she describes. “That’s something powerful about VP; it helps everybody to make things smoother, more collaborative and cohesive.” Jelley also notes VP’s capability to spark creative continuity, speeding up the schedule and making an actor’s job easier. “A good VP on a controllable sound stage results in fewer interruptions. You’re in a controlled environment where all you need to do is act and perform.” VP introduces new opportunities – both for story and scope. “People write for the limitations of technology; often, they self-edit,” Jelley describes. “They don’t try to write stuff you can’t shoot. We’re at this interesting juncture now where using a volume opens up crazy possibilities.” This is especially pertinent for low- budget indie films. “Can we take all of
this technology that we know works for Hollywood and put it in service of independent filmmakers who maybe otherwise wouldn’t have a chance to use it?” wonders Jelley. DO IT FOR THE PLOT Despite VP’s many advantages, its use requires good reason. “As a producer, you always think about the story first and foremost,” states Davis. “Does it serve the story? If it does, then that’s what you want to do.” That said, many filmmakers are still sceptical about VP. “Is it going to work? Is it cheaper? Am I going to have to do it all again in visual effects?” Jelley asks. “These are all entirely valid questions to have before committing.” VP is on track to slowly replace backdrops like blue and green screens, which make it ‘impossible to match the lighting on the subjects’, according to Jelley. “No amount of VFX budget can replicate that. You can do a reasonably good job, but if you can actually capture all of that in-camera, then it’s going to look better,” he argues. No Way Up is one of a growing band of films which undoubtedly benefits from the rise of VP, pushing the boundaries of what is possible.
BEYOND THE SURFACE
Given the growth of VP, audiences can expect to see more ambitious, creative shots
since No Way Up was created. “Unreal Engine now has some features we would have liked at the time, such as physically based lighting – rays of light going through the scene.” According to Davis, the plane crash scene relied on projections instead of LED panels. “If I did that now, I’d put a virtual screen outside the windows, no question,” she admits. “It’s a perfect VP film.
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