ROUND TABLE
MC: The collaboration required for VP expands upon the kind of collaboration we’re used to when shooting for VFX, where careful planning results in reduced post-production times, improving cost- effectiveness. This can be translated to VP, which requires intense collaboration between professionals that are no longer islands but part of the process. For instance, DOPs must interact with 3D artists, who now provide the 3D backgrounds beforehand and not just for post-production, to ensure they comply with the shooting requirements, looks, etc. When illuminating LEDs or chroma screens, the crew responsible for the chroma and LED volumes’ processors must interact with the lighting crew to ensure they comply with the chroma needs and DOP’s requirements as well. At the end of the day, this makes filmmaking an even more collaborative process, with professionals who now need to understand new tools and processes to ensure correct results. AA: VP requires cross-departmental collaboration early in pre-production, blending creative and technical roles. The challenge is often any barriers that exist between traditional film crews and real-time artists. Productions might need to employ ‘VP translators’ who bridge the gap between physical production, VFX and VADs. That’s essentially my role as a VAD/VP producer, in tandem with my VAD supervisor and VP supervisor. RC: Filmmakers have always loved to share their craft – and we see a continuation of that in the Starting Pixel community. There’s so much positivity, encouragement and, most importantly, curiosity when someone
shares their latest project in our groups. There’s a palpable glee in the air when creative and tech teams have worked harmoniously together on a VP shoot. Any challenges have been discussed in advance, so we can focus on the craft rather than any technical concerns. During pre-production, options such as virtual location scouting and previs can streamline the production process, ensuring as few creative changes as EVOLVING SO FAST, HOW CAN FILMMAKERS STAY AHEAD OF THE CURVE AND FUTURE-PROOF THEIR CAREERS? MC: The good thing is that their skills are still needed, and it might just be a question of updating themselves to work with new tools and possibilities. VP is possible are required on-set. DEF: WITH TECHNOLOGY
here to help improve storytelling and get better results, as well as to streamline everyone’s lives while still creating great content. It’s also true that the innovations in film production have been slow compared to broadcast, for instance, in which the pace of new technologies can often be crazy. But this also shows that both professionals and companies see the benefits that these new technologies provide for their work, therefore they’re conscious of the need to be updated and aware of new technologies. AA: The key is to stay hands-on and open-minded. Filmmakers who understand both creative and technical storytelling will be better positioned to adapt. Even basic understandings of Unreal Engine, camera tracking and virtual lighting will be critical career future-proofing measures. If you have friends on a VP set, try to get in there and be a fly on the wall. It’s a guaranteed way to learn something new. RC: Demystifying VP is the only way to help decision-makers feel more comfortable with what to expect and what could be achieved with the technology. At Starting Pixel, we aim to share as much of the community’s knowledge with decision-makers across the industry – super-simple YouTube Shorts will break down complex
WHAT IS STILL NEEDED IS broader education and clearer workflows TO HELP SMALLER TEAMS ADOPT VP TECHNOLOGY confidently ”
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DEFINITIONMAGS
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