METAVERSE ROUND TABLE INDUSTRY.
on real human connection – no matter where the users are in the world – in environments that are exciting, unique and new. How will the metaverse shape production workflows within your respective areas of expertise? ROAZZI-LAFORET: The metaverse and larger Web3 community will introduce more democratised and community- based methods of building and marketing projects than currently exist. For example, funding film projects with NFTs and selling digital or IRL (in real life) merch in metaverse rooms. There are going to be many more entry points than before, too, and influence will shift from traditional gatekeepers to the larger community. For example, Decentralized Pictures launched their democratised film fund in May 2022, and have created a community-based voting methodology to determine which projects and artists will receive support from their non-profit foundation. NOBLE: The idea of building entire virtual worlds requires collaboration on a colossal scale, relying on a mix of professionals
“Many of the workflows in traditional production do remain the same when creating for the metaverse”
with different creative talents, technical abilities and geographical locations. So many collaborative possibilities will be opened up. We are already seeing the immersion of real-time platforms, such as Omniverse, with end users changing how they approach content creation. Productions are now able to budget a workflow as OPEX – as opposed to CAPEX – due to the lower requirements on individual workstations and the centralisation of creative applications. It’s going to be exciting to see how tools like these will be adopted in the creation and delivery of assets for the metaverse. LEVY: Arri’s hardware sits very much in the production phase of a project, but we are seeing an increased need for information about our hardware during the previz and techviz stages. Our products deliver low-latency camera, lens
and lighting data directly into the game engine, providing more accurate visual behaviours in virtual environments. ALLAN: Building internal virtual worlds in which artists create will be key to success. Our focus is on connecting the tools already being used, such as Autodesk’s Maya, 3ds Max and Epic’s Unreal Engine, rather than creating new walled gardens that make it harder to realise multiplatform delivery of the same content to different virtual spaces. BRODERSEN: Many of the workflows and roles in traditional production do remain the same when creating for the metaverse. For example, if we think of the role of the lighting designer, it’s just as critical in virtual production, if not more, as it is on a physical set. New workflows inevitably expand horizons. What’s the creative potential? HOCHMAN: The more tools and infrastructure that get built for metaverse applications, the more worlds and scene options will be available to directors, art designers and other key players. It will become an incredible backlot, available for anyone to use and interact with. In the future, especially with GhostFrame and faster cameras, I can imagine multiple DOPs
57. JULY 2022
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