Looking forward to our trip to Vancouver, one of the largest VR/AR production hubs in the world and home of our Canadian Partners. We can’t wait to see what virtual production gems Vancouver has to offer.
How do you focus on something that is not there, but is seen “in” the LED wall, something like an animated digital character, that’s inside the LED virtual set?
Pulling focus to objects and subjects that are displayed on an LED wall.
Virtual Production Training / Director of Virtual Production Asa Bailey.
You want to pull focus from the cast on-set to the fully virtual character that’s being displayed on the LED wall. The problem, if you role your optical focal point forward from position A to position B with the on-set camera, as you roll to and then through the actual front of an LED wall, you’ll end up hitting the moiré zone. Moiré is a French word meaning “having a wavy or ripply surface pattern” and it is what we call the effect when the on-set camera focus, hits the LED wall and creates a mess of lines and artifacts in your shot. Not good. So how do you shoot around this and pull focus to subjects inside the LED virtual set?
Continue reading How to pull focus on subjects displayed on the LED wall | Virtual Cinematography
In tech terms the word metaverse refers to a pervasive, always on, digital multi-dimension, that you can see and interact with, think of the internet with millions of web pages you access through a browser, now imagine the internet on everything around you, you can see it, touch it. Also, it’s not one virtual world or dimension, its many, no one company will own the metaverse.
You switch on your AR glasses, and you see a virtual, real-time, overlay of the metaverse, graphics that you can touch over your real world. You can jump in and out of this digital twin universe, it’s AR, VR, you flick through services, apps ways to communicate and collaborate, on/off.
That’s the visual internet or Metaverse dream.
Continue reading The Metaverse, what it is and why its happening
On-Set Facilities CEO Asa Bailey helms virtual productions both on-set and in the cloud and since the pandemic hit, he’s never been busier. In this post we sit down with Bailey to try and extract more about his work as a Virtual Production Supervisor. This post has been updated.
Shooting fully virtual, in-engine is one of the most liberating ways to shoot. Instead of the usual metal seen on any other shoot, there’s no real camera. We use a tethered simul-cam or virtual camera rig, built using an ATOMOS for both view-finder and as an onboard recorder. When we see the shot we want we simply press record on the camera’s recorder and we capture the shot, in real-time. Thanks to the way the GODBOX Real-time Ready architecture works, there’s almost no delay between the virtual camera rig’s operator moves and what’s recorded on the drive. Optical motion capture technology is not cheep, it’s certainly a professional mo-cap solution including all the Vicon cameras (6 VARO 2) a set of passive / active markers and the VICON Shogun software.
The first independent VP test studio of it’s kind in the UK, the new Digital Catapult and Target3D run research and innovation studio will allow independent and early stage production companies in the media and creative industries to experiment with Virtual Production Technologies, and develop new tools and applications.
The race is on, there’s a whole new breed of creative on the way and it’s going to make the shift from shooting on film to digital, look like Pac Man.
In tech circles there is something called coopetition, its where competitive companies work together to serve and innovate to the benefit of the whole (aka NVIDIA, Intel). As they say, “a rising tide lifts all” and that’s the case now with the creative production industry too.
At the event horizon of production technology the Director of Virtual Production and the Virtual Production Supervisors – Overall Technical Direction – VP HOD Role – Virtual Production Systems from Script to Screen. VES backlink.
Virtual production systems are integrations of multiple hardware and software technologies that blur the lines between the real and virtual world, in-camera, in system and in the cloud. Just like technology in any other industry, production technology never stops advancing.
What it’s like to see yourself inside the metaverse? From day one we’ve had a fascination for exploring ways to transcend physical space and put people into digital realms.
Now, in our connected world we have The Convergence, the point in time that we see the coming together of multiple live and recorded data streams, transporting metadata, video, audio, depth and more. All this live data is now available in real-time, all open to developers and UX designers, powered by a new generation of local low-latency computing. Plus the network too, via LAN, at the edge via 5G, and in the cloud via super-fast broadband.
Dark Bay a virtual production company released an eagerly awaited behind the scenes photos from the set of the new Netflix show, Babelsberg 1899 the hotly anticipated new mystery series from Jantje Friese and Baran bo Odar, creators of global hit Dark.
Shooting in Berlin this is the first behind the scenes image to be officially released by the production team. It shows the LED stage and the sett of the ship. One of Europe’s largest, permanently installed LED studios for mixed reality film productions has officially opened: the DARK BAY Virtual Production Stage at Studio Babelsberg near Berlin. With the support of the ARRI Solutions Group, ARRI was responsible for technical coordination of the installation and all components, including more than 70 ARRI SkyPanels. “For productions of the highest quality, state-of-the-art hardware was combined with engineering services to create an innovative overall system in close coordination with the client and business partners,” comments Markus Zeiler, Executive Board member of ARRI. First production to be shot in the DARK BAY is Netflix’s “1899.” The new series by Jantje Friese and Baran bo Odar is captured with ALEXA Mini LF and lenses specially created by ARRI Rental.
Image copyright. Alex Forge / Netflix.