PART 2: VIRTUAL PRODUCTION ROUND TABLE INDUS TRY.
LEVY: This is one of the most discussed topics for mixed reality productions currently. We observe many of the studios, OTT platforms, post/VFX houses doing a lot of work on the topic – even Arri has been innovating here. I hope to see a standardised, automated process to achieve the desired result of matching the foreground with the LED backgrounds. MARINA PRAK: LED panels having a large colour gamut/space will deliver better accuracy, simply because they can reproduce more colours. For on-camera purposes, the LED panels are the limiting factor. By knowing the colour gamut the panels reproduce (and not touching or changing these), you can solve colour accuracy in the render. The best solution is to send out your video with a white level as high as possible, and not change the colours in the LED processing. HAMILL: In simple terms, we are recording huge monitors mixed with live action, though this differs if completely in Unreal. Matching the screens to the camera sensor to achieve consistent colour is a challenge (one of many). Calibration of the screens is one area – colour science, LUTs and more all add to the equation – and a dedicated mature colour pipeline would be essential. The areas are evolving, and achieving a consistent colour workflow from in-camera VFX to LED walls will require further development. Custom LUTs, inverse LUTs, decisions on gamuts, cameras, sensors, resolution, HDR/SDR and colour space for both areas impact each other. They are getting closer, and it is a field that is growing and maturing. Which areas of virtual production still need work? And how will these problems be resolved? PILBOROUGH-SKINNER: Virtual production isn’t for every shot. It’s a fantastic tool in our arsenal, but we’re very open with film crews about what shots should be done on location, sound stage or green screen. Something we offer at Garden Studios is a hybrid approach, where we can look at a script and recommend which technique would be best to achieve the result productions are looking for. This transparency about the technology is helping to foster more confidence in using it when it’s right.
Training and education will play a huge part in making these newly created roles a success. HOCHMAN: Lighting is a big one. Lately, we’ve seen a few articles showing how RGB versus RGBW or RGBWW lighting is fundamentally different for illuminating people. We’d like to see more wideband emitters used as part of volumes, especially since Helios is prepared to drive these multi-primary pixels natively. LEVY: Generally speaking, the current process of achieving ICVFX using LED volumes is very complex and expensive. Eventually, the price of LED technology will come down, and the simplification and automation of many of the processes involved will reduce the associated difficulty and risk. The other important step which needs to happen – and is ongoing – is education: from higher education, to DOPs, producers, VFX supervisors, and our friends in the gaming, live events and broadcast world. A lot of continuing education on how technology and workflows are developing will be essential. HAMILL: While VP technology advances at high speed, we are facing an education and training gap for this sector. More technical education about real-time
HUNT: There are plenty of technical challenges being identified and solved as time goes on, but one of the biggest tasks is changing the way people work – and how virtual production affects other departments. We’ve used LED screens in film and drama since before the term virtual production was coined, so we’ve seen how well some productions have embraced it, and how others have struggled. Both produce great lessons. The role of a good VP producer is key: someone on the production side, independent of suppliers, who can navigate challenges and liaise with every department leads to a much smoother experience for all. I still see a shortage of good people in this role. KAESTNER: Virtual production is opening up a whole new world of possibilities for filmmakers and visual effects designers. Job roles and responsibilities are shifting, and new skill sets are being created on every show. I am certain that over the next five years, there will be a whole new set of job descriptions across the industry.
“Over the next five years, there will be a whole new set of job descriptions across the industry. Training and education will be a huge part”
29. FEBRUARY 2022
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