VFX AND VIRTUAL PRODUCTION SUPERVISOR
INTERDEPARTMENTAL WORK
VIRTUAL PRODUCTION CALLS, MORE THAN EVER, TO A COLLABORATIVE WORKING DYNAMIC THAT BRINGS DOWN THE SEPARATION THAT MADE DEPARTMENTS IN TRADITIONAL FILMMAKING VERY SEGMENTED. EXISTING NOW AS A DEPARTMENT WITH ITS OWN AUTONOMY, VIRTUAL PRODUCTION ACTS AS A HUB WHERE THE DIFFERENT DEPARTMENTS EACH CONTRIBUTE TO THE ART OF THE OTHER.
THE NEW WORKFLOW REIMAGINES ROLES DISTRIBUTION ON-SET FOR BETTER SHOOTING DYNAMICS, WHILE GUARANTEEING VIRTUAL PRODUCTION QUALITY
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LONG CALL-CHAIN INVOLVING NUMEROUS PEOPLE THAT BARELY PASS ON THE REQUEST ARE REPLACED FOR ONE TO ONE ON SET COMMUNICATION FOR FASTER CHANGES
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ONE TO ONE DYNAMIC ENABLES CONTENT OPERATORS TO EXPRESS THEIR FEEDBACK ON REQUEST ENABLING CONSTRUCTIVE, COLLABORATIVE WORK
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DIRECTOR’S CALL IMMEDIATELY ARRIVES TO VIRTUAL PRODUCTION CREW WITH KNOWLEDGE ON HOW THE SYSTEM WORKS. IN THE OLD WORKFLOW THE VIRTUAL PRODUCTION SUPERVISOR HAS VERY LIMITED UNREAL KNOWLEDGE, WHICH MAKES THE UNREAL TD THE FIRST ONE IN THE CALL-CHAIN TO ACTUALLY HAVE CONTENT KNOWLEDGE BUT THE LAST IN THE COMMUNICATION CHAIN.
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VIRTUAL PRODUCTION AREAS BECOME MANAGED DIRECTLY BY THE PEOPLE WITH KNOWLEDGE ON HOW TO OPERATE THEM
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RESPONSABILITY OF DOP
CAMERA
LIGHTING
RESPONSABILITY OF PRODUCTION DESIGNER
SET DESIGN
COSTUME
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RESPONSABILITY OF VIRTUAL PRODUCTION SUPERVISOR AND DOP.
THE WAY LIGHTING FROM THE OUTER FRUSTUM WORKS NEEDS SPECIFIC KNOWLEDGE ON LED WORK THAT CALLS FOR A COLLABORATIVE RESPONSIBILITY BETWEEN THESE TWO HODS
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RESPONSABILITY OF VIRTUAL PRODUCTION SUPERVISOR
VIRTUAL SET
VIRTUAL CAMERA
SWIPE TO SEE THE DYNAMIC COLLABORATIVE WORKFLOW
MAKE DIRECTOR'S VIEW A REALITY
THET GET THERE BY DIFFERENT MEANS
SIMULATION
TWEAKS AND PAINTING TO CAMERA
LIGHTING COMPOSITING
REAL-TIME IS NOT A PATH-TRACER APPROACH
NOT PHYSICAL BASED BRDFS MODELS – (MOST VISIBLE IN FRESNEL SPECULARITY, REFLECTIONS AND REFRACTIONS)
LACK OF INDIRECT SPECULARITY
IN THE BIDIRECTIONAL REFLECTANCE
DISTRIBUTION FUNCTION, INCOMING RAYS CAN EITHER BE SOURCE RAYS OR BOUNCED RAYS. WITHOUT A PROPER PATH-TRACING MODEL, ENERGY CONSERVATION IS FAKED RESULTING IN FLAT AND BRIGHT GI, WHILE NOT CONTINUING THE TRACE FOR PROPER REFLECTANCE ON THE SECONDARY BOUNCES.
REAL-TIME CGI REQUIRES A MUCH MORE TRADITIONAL ON-SET APPROACH WHERE PROPS BECOME BELIEVABLE THROUGH LIGHTING TWEAKS. IT IS ALL ABOUT MOVIE MAGIC. THAT IS WHY THE VIRTUAL PRODUCTION SUPERVISOR SITS IN THE MIDDLE POINT BETWEEN PHYSICAL SET AND CONVENTIONAL CGI. IT HAS THE BEST OF BOTH WORLDS.
IN THIS NEW WORKFLOW, VIRTUAL PRODUCTION EXISTS AS A DEPARTMENT ON ITS OWN AND HAS ALL RESPONSIBILITY FOR REAL-TIME IMAGERY, WHILE THE VFX SUPERVISOR HOLDS THE RESPONSIBILITY FOR ALL OFFLINE-RENDERED IMAGERY. BOTH ARE PART OF A VERY STRICT COLLABORATIVE WORKFLOW, BUT NONE IS DEPENDENT IN TERMS OF HIERARCHIES FROM EACH OTHER.