VIRTUAL SANITY The impressive 90 sq m Sony
Crystal LED screen just outside Paris
“It also allows us to have a speed of execution during shoots. We know that the colours on the screen are compliant with the ones recorded by the Sony Venice cameras,” adds Corsini. A LEAGUE OF ITS OWN Studios de France, leading set provider for broadcast in France, is owned by AMP Visual TV. “With the Novelty-Magnum-Dushow Group, AMP Visual TV and Sony, we had common interest to set
IT’S A WORLD PREMIERE: IN VIRTUAL PRODUCTION, THERE IS NO EQUIVALENT be able to slide floors underneath – be they LED or other kinds. We also have an LED ceiling that allows us to do integration if necessary. “Today, we are very happy and satisfied with the settings done and the material for future projects. It’s a world premiere: in virtual production, there is no equivalent,” insists Corsini. The collaboration between Plateau Virtuel and Studios de France has been active for a number of years. It’s based on trust – and use of the full range of Sony’s technological innovations. “Sony is a true partner, who operates beyond the traditional customer-supplier relationship,” says Thomas Menguy, general delegate, Plateau Virtuel. “On such technological projects, requiring constant R&D, a collaborative and regular relationship with the manufacturer is essential. We have a constructive and winning partnership. This came to life when we carried out the installation with the technical teams and Sony engineers.” “We are the only company in the world to supply LED panels and cinema cameras. We know each technical specification and how best to use it. To maximise the potential of these two solutions, the engineering teams developed and designed each of them in close collaboration,” concludes Yasuharu Nomura, general manager and VP business department, Sony Corporation. Find out more on pro.sony/virtualproduction
up at this location,” says Igor Tregarot, deputy general manager at Studios de France. “We could introduce it as ‘tomorrow’s lab studio.’ Combining this with a company like Sony gives us dynamic. “Our clients are often people looking for ‘not like everyone else’ ways of doing
production. We really are in a premium environment here,” points out Tregarot. “We were well supported by Sony’s teams that came
directly from Japan,” says Corsini. “Project managers and product managers participated as well as software technicians. They took a few days to calibrate
the screen, colour grading and strong
highlights that can occur between two tiles as well. “Most studio screens
are placed on the ground,” he continues, “but for us it was important to have a suspended structure in order to
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