DEFINITION THE VIRTUAL FRONTIER
GETTING STUCK IN VP is fairly new and rapidly evolving, so organised training courses help filmmakers stay afloat
WORDS KATIE KASPERSON
A sword is only as good as the one who wields it, and virtual production technology is no different. Arguably no longer in its infancy, VP is a field that balances creative and technical expertise, brings VFX processes forward in the production pipeline and saves time and money on location scouting, stunts and the like. Touted for their efficiency, VP tools like LED volumes and Unreal Engine are making their mark, but few in the industry have truly mastered them. A balancing act between camera, lighting and VFX teams, a basic understanding of VP can benefit any filmmaker, whether they’re fresh out of film school or a long-standing pro. To avoid creating a chasm between those trained and untrained in VP, several organisations have launched educational programmes, offering hands-on studio experience, crash courses in content engines and more. Like any new tech, it pays to learn early – it could mean the difference between getting on board or being left behind. BARRIERS TO ENTRY While there are technical barriers to working with VP, the main obstacle is psychological – even veteran filmmakers can find the process daunting. There’s a fear of the unknown at play, as well
as a resistance to change, and until filmmakers experience a virtual set first hand those doubts will only persist. That’s why it’s crucial to receive hands-on training, even if brief. While some courses – like MetFilm School’s BA in digital film practice – are full-on university degrees, many are designed to accommodate working professionals. Disguise, for instance, offers the VP Accelerator programme, available around the globe. Mo-Sys Academy runs three- and five-day introductory sessions as well as the more comprehensive ten- day foundational course. “The use of VP is booming in film, broadcast and beyond,” begins Florian Gallier, strategic partnerships manager at Mo-Sys. “It’s essential to experiment with all of these technologies. Everyone involved in the filming process must engage in testing, trials and learning,” argues Gallier, from ‘emerging talents’ to ‘established crews’. Mo-Sys Academy “provides a comprehensive understanding of VP tech from planning to implementation,” Gallier continues, “ensuring the best outcomes. Hands-on training is crucial for upskilling talent in this rapidly growing field.” THE NITTY-GRITTY Once filmmakers get a taste for VP, the real challenge begins: learning the ins
and outs of the hardware and software present on a virtual set. Courses such as ROE Visual’s ROE Academy and Disguise’s Masterclass series focus on specific elements of VP, like LEDs, volume calibration, colour charts, compositing and so on. While these classes might not provide as thorough an overview of the entire production pipeline, they dig deep into a single area, suiting professionals who’ve already claimed a speciality. What makes VP unique – and potentially intimidating – is its highly technical nature. Programming lighting cues, calibrating a camera or developing 3D objects in Unreal Engine don’t tend to appear in most filmmakers’ everyday skill sets. Those with backgrounds in animation and VFX might feel more at home than folks who aren’t as comfortable with computers.
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