Unreal Engine Release the Bible for Virtual Production

Unreal Engine Release the Bible for Virtual Production

Virtual Production Director Viewfinder

Unreal released the “Virtual production field guide” which is a modest name for the bible for all involved in Virtual production. The Field guide is free to download from Unreal and it covers all sectors across virtual production from its definition to its departments all is covered in Unreals guide. The guide speaks to a range of industry icons from The third floor, Magnopus and splice TV.

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The Guide is split up into four chapters:

  1. The introduction to virtual production, where it discusses what exactly virtual production is, where it came from, and who virtual production is for.

  2. The second chapter goes more into detail on what the different types of virtual production there are currently, which are: Visulation, Performance capture, Hybrid green screen live and full live LED walls. This chapter also discusses the virtual production spectrum and where projects land on within it, for example fully animated virtual productions are right at the top of the spectrum. Live action is another project type which is the middle point of the spectrum which combines real talent with virtual assets, a almost augmented solution.

  3. Chapter 3 is the most exciting chapter is breaks down all the team which goes into a virtual production from the producer and director to virtual arts and stunt departments. The third chapter has some very interesting and valuable interviews within it, with some of the biggest industry names like Connie Kennedy, Kaya Jabar and Kenneth Branagh.

  4. The latest chapter is a very eye opening chapter on the direction of virtual production and where demands will grow in terms of assets and services.

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Short cut to the best bits

The full Virtual production Guide is a hefty 94 pages long so we decided to save you time by reading it and telling you the best sections.

Chapter 2 is a most read for anyone even remotely interested in virtual production it explains all you need to know about the different genres of virtual production a simple and fast way. It briefly explains the definition between the different virtual productions full virtual and live action.

Pages 20-22 are very insightful on just why there’s a need for virtual production and why it can help your productions. Some of the benefits include the opportunity to cut production and post production times with real-time renders tasking place on set cutting later post; directors and creatives are granted full freedom from the engines real-time and dynamic abilities. The engines games heritage brings its own advantages with the ability of multiuser collaboration though the online game options.

The interview with Kenneth Branagh the award-winning actor, director and producer was very insightful, to hear someone who’s worked on the likes of Thor, Cinderella and Dead again talk about virtual production and how he hopes to incorporate it into his work is very exciting for everyone within virtual production. Kenneth shares his experience of working with virtual production with the effect of LED screen on set to the aid of previz, Kenneth Branagh has used it all.

The hole of chapter 4 is worth reading due it stating where virtual production might head and where opportunities will rise in coming years. They state that the demand for good 3D assets are only going to grow and will become its own market. The need for virtual production services is increasing and wont stop but this opens areas for virtual production comanpies and also specialised virtual production crews.


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