VFX ROUND TABLE INDUSTRY.
People who find themselves generating the environments, lighting and characters for gaming will find much of the process to be identical in virtual production. People who focus more on the interactive design side of gaming will find opportunities in UX, with more roles likely soon to come. HE SUN: Gaming technology has been used in the VFX/film industry for a very long time, tools like Bullet Rigid Body Dynamics Solver or the concept of LODs (level of details) come from gaming tech and have been used in the VFX industry for years. Recently, the use of gaming tools and talent in VFX have become more apparent with the rise of real-time engines such as Unreal and Unity. I believe this will continue to evolve. In addition, it’s not only the technology and talent that are transferable to VFX, but also the non- linear production methodology used in gaming development, and I think we’ll see more of this. LALA GAVGAVIAN: Gaming tools and the skills to use them have been integral to the filmmaking process for a long time now, particularly during pre-production. These tools can enhance the creative process for filmmakers by giving them more options, while also saving them money. One example of this is through the use of previsualisation and virtual production workflows, which allow filmmakers to bring their ideas to life earlier in the process. That’s a relatively new integration made possible by advancements to game engines. So as game engines evolve and offer new functionality, VFX users will certainly look at how they can integrate any and all new tools for their work where it makes sense.
“Each tool was born from solving a specific creative problem. The reason why we have Steadicam today is because Hal Ashby wanted a shot that was impossible to achieve before”
PHILIPP WOLF: Yes, I think that gaming tools and personnel can be utilised more in the VFX industry. The gaming industry is already ahead of the film industry in terms of real-time rendering and other technological advancements. Those could for example help to streamline the VFX production process, allowing for more efficient and cost-effective methods. This can be particularly beneficial for independent film productions. Will there ever be a time when VFX specialists adopt standardised tools, or is the advancement of technology moving too quickly for it all to become uniform? RA: There have been many efforts to standardise the behind-the-scenes workflow of data passing from on-set to 3D application to editing timeline; the most recent being the USD (Universal Scene Description) format. However, historically, standard formats have not always resulted in standardised tools and workflows. If you feel the industry moving rather quickly on the tech side right now, I think you’re correct in likely sensing that we’re in a transition. But it’s not exactly clear what the industry is transitioning into. We may be moving so quickly now that more fragmentation and democratisation seems tied together and inevitable. LG: The foundation of a VFX pipeline is often standardised and unique to each studio, and in the case of Digital Domain, it’s the result of practical experimentation over our 30-year history. We also have several proprietary tools that give us a
few advantages in specific fields, and those would be difficult to standardise across the whole industry. The same is true for most VFX teams that are creating new techniques and tools all the time. We have some of the best artists in the world working for us, and many of them are experts in a specific set of tools. The technology continues to advance at a rapid pace though, and new tools are frequently being introduced. Ultimately, VFX specialists adopt the tools that allow them to save time and be as efficient as possible. Expecting everyone to have the same tools and techniques isn’t necessarily the best way for them to excel in their craft and stay at the forefront of their field. QJ: It’s already the case now, I can cite quite a few companies who offer standardised kits and VP services in a box. If you have an empty room and enough money, some companies can bring you all in one for the right amount of money. Now, in my opinion, this makes sense in a small-scale industry, for YouTubers, music videos maybe and certain commercials, but that also means you might take longer to have an ROI. Not every project will need the same tools, organised in the same manner. Standardised tools exist because someone invented them while pushing boundaries. Each tool was born from solving a specific creative problem. The reason why we have Steadicam today is because director Hal Ashby wanted a shot that was impossible to achieve before. It’s the same with VFX, if you
77. FEBRUARY 2023
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