By Jason Starne
The world of media and entertainment is in the middle of a love affair with an element of virtual production that some might call a double-edged sword. “The volume,” as it’s affectionately known, has brought both admiration and frustration to those who work with it. It’s a love/hate relationship, where the hate arises from the complexity of its components, which involve different hardware and software manufacturers that must harmonize seamlessly to create a truly magical virtual production experience. Yet the love story unfolds when all these elements come together, birthing a working environment that ignites the creative spark in everyone involved.
Jason Starne
The decision to introduce our LED volume, which is aptly named The Volume, as a tool for Camp Lucky and its clients was a logical progression in the ever-evolving landscape of media and entertainment. Our existing stages were already in use, serving as a foundation for the leap into virtual production. We recognized that this technology was the next disruptor in the industry, poised to revolutionize the way stories are told. Educating our clients about the potential of virtual production sparked their imaginations, inspiring them to conceive new and grander creative ideas.
Historically, production and post have been isolated realms, with communication often nonexistent between the two. Virtual production has bridged this communication gap. Now, discussions with VFX and CG teams, as well as post leads, start much earlier in the creative process. Art directors, once distant from the CG team, are now engaged in upfront discussions about digital environments and props. This newfound collaboration breathes life into projects before the cameras even roll.
One of the most significant early surprises in our journey with The Volume was the challenge of controlling color. We explored a few different approaches before we found a workable pipeline, necessitating investments in new processors not available during our initial launch – specifically the new NovaStar MX Series processor and the VMP software that was released with it. We can now set specific LUTs and have even further control globally. Adapting to these unforeseen challenges pushed us to innovate and refine our pipeline.
Several concerns and misconceptions emerged as various departments embraced The Volume. Teams responsible for art, props and grip and electric were worried about the potential obsolescence of their roles. To ease these concerns, we conducted workshops and demos and even offered directors spec shoot days, working with them to familiarize them with the process of virtual production. Over time, these doubts were replaced with confidence and excitement.
Understanding virtual production can be elusive until you experience it firsthand. It’s easy to be drawn to the massive screens on the stage, but this can distort the perception of the scene due to the inherent nature of virtual production. The key is to view the takes through the camera lens, focusing on what lies within the camera frustum. It takes time and practice to grasp this perspective fully.
Since integrating The Volume into our workflow, client collaboration has undergone a transformation. We now spend more time engaging with clients at the outset of a shoot. Uncertainty about whether the project will involve plates or a 3D scene from Epic Games’ Unreal Engine is addressed from the beginning. The most frequently asked question we hear relates to the time and effort required to create volume environments, which initially posed a challenge for some creatives. However, once they witness the value of adjusting schedules to accommodate this time, hesitation turns into enthusiasm.
In the ever-evolving landscape of virtual production, several key takeaways and best practices have emerged. Technologies like NeRF (neural radiance fields) allow us to reconstruct 2D imagery and automatically construct a 3D mesh with textures. Marketplaces and plugins are developing at a rapid pace. And last but not least, more and more training and information is being shared among those who are making it happen.
Above all, it’s essential to recognize that an LED volume is a powerful tool, but it’s the team that uses it that truly drives creativity. Embracing the technology, despite its infancy, opens up a ton of possibilities for creative expression. The future promises an abundance of moving pictures that will leave audiences asking, “How did they do that?”
In the end, the LED volume isn’t just a technological marvel but a catalyst for creative evolution. It’s the beginning of a new era in media and entertainment, where the fusion of technology and artistry knows no bounds. As creators and innovators continue to grasp and embrace the potential of virtual production, we’re on the cusp of witnessing cinematic wonders that will leave us all awestruck. After all, it’s not the tool itself but the imagination of those who wield it that propels us into an exciting future of storytelling.
Jason Starne is the director of virtual production at Camp Lucky.
