DEFINITION THE VIRTUAL FRONTIER
AA: VP is becoming more affordable, with smaller stages and off-the-shelf tools lowering the barrier of entry for mid-tier and even indie productions. What is still needed is much broader education and clearer workflows to help smaller teams adopt the technology used for VP confidently. Like any tool, if used properly it can create incredible efficiencies, but it takes experience to wield it effectively. RC: It’s a general misconception that you have to throw the kitchen sink at VP to make it work. When the right set-up is used for the right shot, VP can be incredibly cost-effective. Smaller LED walls, the use of live chroma keying, iPhone camera tracking, etc, can all come into play for simple shoots with close shots and static backplates. DEF: DEMAND FOR VIRTUAL PRODUCTION SKILLS IS RISING, BUT IS EDUCATION KEEPING PACE? WHAT ARE THE BIGGEST SKILLS GAPS IN THIS AREA AND HOW DO WE ADDRESS THEM?
RC: A general understanding of ‘the art of the possible’ is missing from traditional departments. We know there is still trepidation, possibly from having had poor experiences in the pioneering days, or misconceptions around time and budgets. We feel simple orientation training for above and below the line would greatly demystify the tech. Senior VP supervisors are difficult to train. It’s as much having a set of soft, interpersonal skills as it is the expertise in production to be able to discuss and advise on what’s possible in pre- production and on-set with the directors and cinematographers, while managing the technicians responsible for imagery. These people tend to be very mature, experienced and really understand the VP architecture of a shoot. MC: VP is no longer a niche inside the production workflow, it’s becoming a tool we should use when required, as I mentioned before. But it’s not an isolated thing, it must be integrated into the production workflow. We’ll still need cameras, camera operators,
lighting, props and so on, but cameras and lenses will have to be tracked and calibrated, and lights must comply with the requirements of the LED wall or chroma set. This means the directors, DOPs and the rest of the crew must adapt to these requirements, especially when going about planning a scene. Illuminating a chroma set or large LED wall requires different approaches, and both the DOP and lighting crew, as well as other professionals involved, must expand their knowledge and experience to comply with VP requirements, which still, of course, need their skills. The good news is that universities and film schools have already identified this issue – and VP is now a part of the curriculum at many of these institutions, which is great news for the industry. DEF: HOW HAS VP BEEN CHANGING THE WAY IN WHICH FILMMAKERS COLLABORATE? ARE THERE NEW CHALLENGES IN HOW DEPARTMENTS INTERACT – AND WHAT’S STILL MISSING FROM THIS PROCESS?
© DISGUISE
IN THE WILD VP takes pressure off location scouting teams and allows for fewer crew on location, as sets can be recreated in the studio
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