COMMERCIALS VIRTUAL PRODUCTION
different stages: MARS Volume for wides, Twickenham Film Studios for interiors and tights and a pop-up in the back of the studio for the driving scenes. Using a mix of Unreal assets and plates, they shot all transitions in camera. “The key with making a challenging project like this work was a flexible and collaborative approach during creative development and pre-production,” states Chaundler. With the way the VP hardware works, so many technical parts need to come together to make virtual production function effectively. So, planning how it’s all going to combine beforehand and spending a considerable amount of time in pre-production is crucial. “For example, if you’ve not done a storyboard, there’s no plan – and we don’t know what shots we are trying to achieve,” says Dan Hall, head of ICVFX and advanced technologies for 80six. “We don’t know what camera or lenses
are planned and we can’t spec an accurate LED product and volume size. “So, you could find yourself in a situation where the pixel pitch could be incorrect, or the volume is the wrong shape or size. This will result in challenges on-set that could have been avoided.” With good structures in place, agencies can shoot whole commercials in many different locations over one day from the comfort of a studio, but it needs to be properly scheduled. “Let’s say you discovered on-set that you have the incorrect volume size. You’ll then have to change the shot or redress the art department and move things around,” says Hall. “That’s hassle which takes up your shooting time. The VP supervisor should be involved in pre-production as soon as possible, having these conversations with the DOP and producers before shooting starts. I appreciate some projects need a quick turnaround, but if you don’t have that time, there will be limitations on-set.” WHERE IS TECH GOING? As with everywhere, AI is the buzzword. “I foresee an increased use of AI in content creation, enabling more cost- effective content creation and a faster turnaround,” according to Payton.
SET THE STAGE (Top) Amazon Business’ ‘Bloom’ film, shot at ARRI. (Above) Director and DOP Rob Payton, who consults for ARRI
Amazon Bloom Amazon Business’ ‘Bloom’ commercial shot at ARRI Stage London used virtual production for a unique take on a business growing from local to international. Conceived by London-based Joint and produced by Outsider, the film follows a small flower stall transforming into a store, then floral empire, all in one continuous, choreographed take: the signature style of directing duo DOM&NIC. Motion control, precise camera FIZ data and real-time lighting changes were all deployed for a seamless feel throughout multiple 3D environments.
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