Virtual Production For Broadcast is a major 12 article exploration of the technology and techniques of LED wall based virtual production approached with broadcast studio applications in mind. Part 4 examines image based lighting, new developments in RGBW LED technology and what is typically left for finishing in post.
Wooden Camera is now taking pre-orders for Elite Accessory Systems for Sony BURANO. There’s a new D-Box and B-Box for BURANO, as well as a new EVF System that maximizes the functionality of the Sony BURANO in any operating application. The entire offering is complete with an Elite Accessory System that includes everything operators need for a full cinema setup, as well as a Core Accessory System that includes the foundational accessories for operators to build their custom setup.
One of the creative advantages of virtual production for performers is seeing the virtual environment in which they are performing. Using motion capture techniques extends this into capturing the motion of performers to drive CGI characters. New technologies are rapidly transforming the creative freedom this brings.
Sometimes, there’ll be a need to represent real-world objects in the virtual world. Simple objects could be built like any VFX asset; more complex ones might be better scanned as a 3D object, something some studios have begun to consider as a service to offer.
Sending out a crew to capture a real-world environment can be a more straightforward option than creating a virtual world, but there are some quite specific considerations affecting how the material is shot and prepared for use.
Virtual Production For Broadcast is a major 12 article exploration of the technology and techniques of LED wall based virtual production approached with broadcast studio applications in mind. Part 3 examines shooting locations for virtual production, creating virtual versions of real objects and motion capture.
MRMC has announced the launch of the SR-1, a new pan-tilt head designed for use in locations that are inaccessible or hazardous for camera operators. The system is designed as a next-generation, remote production tool that will enhance the creativity of shots, help capture new angles and easily achieve shots that would be “impossible” by hand.
When conventional VFX are produced, there’s often a real-world lighting reference available. That approach can be used in virtual production, but increasingly, the director of photography might want or need to have some pre-production involvement in the development of a virtual world. The job may be familiar, but the tools are likely to be new.