{"id":119903,"date":"2022-09-01T09:04:22","date_gmt":"2022-09-01T09:04:22","guid":{"rendered":"https:\/\/amplify.nabshow.com\/?post_type=articles&#038;p=119903"},"modified":"2024-09-15T20:37:19","modified_gmt":"2024-09-15T20:37:19","slug":"create-video-games-vfx-virtual-production","status":"publish","type":"articles","link":"https:\/\/jwolfepr.com\/dev\/articles\/create-video-games-vfx-virtual-production\/","title":{"rendered":"Video Games and VFX Make a Very Cute Couple"},"content":{"rendered":"\n<div class=\"wp-block-columns article-content is-layout-flex wp-container-core-columns-is-layout-8f761849 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:100%\">\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Bridging the Gap: Modernizing VFX Workflows with Unreal Engine | Unreal Fest 2022\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/PDLFe-UbaZ8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<h3 class=\"wp-block-heading\">READ MORE: <a href=\"https:\/\/www.ibc.org\/features\/advances-in-virtual-production-where-vfx-and-video-games-collide\/8790.article\" target=\"_blank\" rel=\"noreferrer noopener\">Advances in Virtual Production: Where VFX and Video Games Collide (IBC365)<\/a><\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">Combining physical and digital assets in a real-time filmmaking environment, virtual production encompasses everything from motion capture stages with real-time feedback of digital doubles and virtual worlds, <em>IBC365<\/em>\u2019s <a href=\"https:\/\/www.ibc.org\/features\/advances-in-virtual-production-where-vfx-and-video-games-collide\/8790.article\" target=\"_blank\" rel=\"noreferrer noopener\">Steve Jarratt<\/a> notes, \u201cto the latest advances in LED staging, with camera moves synced to computer generated sets.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Jarratt spoke with Steve Griffith, DNEG\u2019s EP of virtual production, and veteran VFX supervisor Kevin Baillie (<em>The Witches<\/em>, <em>The Walk<\/em>) to discuss the potential of virtual production.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cIn-camera compositing is really the best thing to call it,\u201d says Griffith, pointing out that virtual production is actually a visual effects process and really just another tool in the filmmakers\u2019 arsenal.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img data-recalc-dims=\"1\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/jwolfepr.com\/dev\/wp-content\/uploads\/2024\/09\/DNEG-virtual-production.jpg?ssl=1\" alt=\"virtual production at DNEG\" class=\"wp-image-119987\"\/><figcaption class=\"wp-element-caption\">Virtual production at DNEG<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">Alongside obvious things like cost reduction and minimizing carbon footprints, virtual production can offer a range of benefits, Griffith explains to Jarratt. \u201cThe way that we\u2019ve been trying to describe this to filmmakers is that we\u2019re just now additional tools for your production designer, your director, your DP and your visual effects department,\u201d he says.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cSo for a DP, we become a lighting tool. For a production designer, we become an extension of the set pieces that they create. And we can, in some ways, compress the visual effects schedule, and provide marketing and editorial with all of that material much further up ahead.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Real-time game engines have been transformational in virtual production, Jarratt writes, \u201cbut the current challenge is to have those visuals fully ray-traced, which avoids the need for texture baking while offering the ability to change lighting on the fly.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Griffith says the implications across virtual production and visual effects for these new technologies are huge, \u201cand everyone\u2019s clamoring to get that pipeline going. It\u2019s hard, because in some ways, it\u2019s still not quite there yet. Organic elements like trees and creatures and crowds and things like that are still a ways off, but we\u2019re so close. We\u2019ve been wanting this real-time solution for so long in our industry, and it\u2019s exciting to be at that stage where we\u2019re testing it out.\u201d<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"DNEG\u2019s dojo scene in \u2018The Matrix Resurrections\u2019 | Spotlight | Unreal Engine\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/HygVE6I9LxM?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">Baillie defines virtual production as \u201canything that uses real-time technology in a filmmaking process,\u201d he says. \u201cSo it\u2019s not just LED walls, it\u2019s not just SimulCam\u2026 It\u2019s all of these things. And I think Unreal and Unity, the game engines really improving in terms of quality, have allowed for real-time technology to bridge the gap between [digital and] the live action departments that have over a century of culture and experience and knowledge baked into them.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The VFX supervisor, who oversaw the visual effects on director Robert Zemeckis\u2019s live-action <em>Pinocchio<\/em> feature for Disney, believes that quality and accessibility form the two separate arcs of advances in virtual production technology. Accessibility means that VP tools and techniques are no longer limited to big-budget studio productions with enormous headcounts. \u201cNow, the commercially available tools are so good and so robust that you can have a team of one running a virtual production setup,\u201d Baillie says. \u201cYou can start lean from a team size perspective, and then ramp up as needs be.\u201d<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img data-recalc-dims=\"1\" height=\"685\" width=\"1280\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/jwolfepr.com\/dev\/wp-content\/uploads\/2024\/09\/mhg_2d_r3_v65e_0812_220812_18cs_g_r709_1a22e9dd.jpg?resize=1280%2C685&#038;ssl=1\" alt=\"\" class=\"wp-image-119997\"\/><figcaption class=\"wp-element-caption\">Jiminy Cricket (voiced by Joseph Gordon-Levitt) and Pinocchio (voiced by Benjamin Evan Ainsworth) in Disney&#8217;s live-action <em>Pinocchio<\/em>. Cr: Disney Enterprises<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">But the opportunities to improve the quality of the visuals using virtual production techniques could be even more exciting to filmmakers. Baillie points to his recent work on <em>Pinocchio<\/em> as an example, recounting how the production team shot and assembled almost all of the film inside Unreal Engine before any sets were built or even a single frame of live action footage was shot. Using ray tracing, the filmmakers were able to view shadows and reflections interactively, allowing them to act instantly on that feedback.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cInstead of having that video game-looking [imagery], like we were forced into having before this technology, it\u2019s now like what would happen in the real world,\u201d Baillie says. \u201cAnd that\u2019s useful from a technical perspective, because if you design a set, and you want the light to interact with it in a certain way, and it looks that way in Unreal, you can say, yeah, it\u2019s going to work more or less that way when I build it for real. So, it\u2019s useful for cinematographers, production designers, and so on.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">As virtual production techniques and technology continue to improve, Baillie anticipates that filmmakers will be able to tweak their edits right up until the soundtrack is finalized, he tells Jarratt.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cI think quality, speed, flexibility, those are all things that, as they improve you\u2019ll see the world get closer and closer to the point where a lot of filmmaking started, where it\u2019s the director and a very small team collaborating together on a project. And the filmmaker is getting closer and closer to being able to touch the final pixels on the screen, directly interacting with them. Which in the world of traditional visual effects for the last 30-40 years, has very much not been the case. It\u2019s been an obscured process, hidden behind a big black curtain of visual effects companies. And I think that is changing and will continue to change quite rapidly.\u201d<\/p>\n\n\n\n<div style=\"height:20px\" aria-hidden=\"true\" id=\"glossary\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<hr class=\"wp-block-separator has-text-color has-luminous-vivid-amber-color has-css-opacity has-luminous-vivid-amber-background-color has-background\"\/>\n\n\n\n<hr class=\"wp-block-separator has-text-color has-luminous-vivid-amber-color has-css-opacity has-luminous-vivid-amber-background-color has-background\"\/>\n\n\n\n<p class=\"has-luminous-vivid-amber-background-color has-background has-medium-font-size wp-block-paragraph\" style=\"font-style:normal;font-weight:700\">Understand the ABCs of Virtual Production with The Virtual Production Glossary<\/p>\n\n\n\n<p class=\"wp-block-paragraph\" style=\"font-size:16px\">Virtual production techniques and technologies have taken Hollywood by storm, making VP the single hottest topic for everyone from broadcasters, studios and streamers to independent production and post-production facilities. Get a handle on virtual production techniques and terminology with <a href=\"https:\/\/www.vpglossary.com\/\" target=\"_blank\" rel=\"noreferrer noopener\">The Virtual Production Glossary<\/a>, which was made possible with the support of the Visual Effects Society, the American Society of Cinematographers, Epic Games, and Netflix.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\" style=\"font-size:16px\">Designed to document terminology, definitions, and describe roles actively used in virtual production, The Virtual Production Glossary was written and edited by Noah Kadner, Addison Bath, Michael Keegan, David Morin, Miles Perkins, Ben Schneider, and Sebastian Sylwan, VES, and was created with the input of numerous industry professionals who generously provided their time and expertise, including Ben Grossmann, Casey Schatz, Girish Balakrishnan, Matt Rank, Adam Davis, Brittany Montero, Curtis Clark, ASC, Stephen Rosenbaum, Dane Smith, John Refoua, ACE, Kim Richards, Matt Madden, Michael Goi, ASC, Phil Galler, Rob Legato, ASC, Susan Zwerman, VES, Wyatt Bartel, Fae Corrigan, Vlad Bina, Steve May, Haarm-Pieter Duiker, Fernando Rabelo, Rhiannon Murphy, and Heather McCann.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\" style=\"font-size:16px\">In addition to providing an alphabetical list of terminology, The Virtual Production Glossary is also <a href=\"https:\/\/www.vpglossary.com\/categories\/\" target=\"_blank\" rel=\"noreferrer noopener\">searchable by category<\/a>, including <a href=\"https:\/\/www.vpglossary.com\/vpg\/cinematography\/\" target=\"_blank\" rel=\"noreferrer noopener\">Cinematography<\/a>, <a href=\"https:\/\/www.vpglossary.com\/vpg\/editorial\/\" target=\"_blank\" rel=\"noreferrer noopener\">Editorial<\/a>, <a href=\"https:\/\/www.vpglossary.com\/vpg\/volume-operations\/\" target=\"_blank\" rel=\"noreferrer noopener\">Volume Operations<\/a>, and <a href=\"https:\/\/www.vpglossary.com\/vpg\/vfx\/\" target=\"_blank\" rel=\"noreferrer noopener\">VFX<\/a>.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\" style=\"font-size:16px\">The database of virtual production terms contained in the glossary is made available under the Creative Commons CC-BY-4.0 license. You can download a handy PDF version of The Virtual Production Glossary <strong><a rel=\"noreferrer noopener\" href=\"https:\/\/amplify.nabshow.com\/wp-content\/uploads\/sites\/12\/2022\/09\/VP_Glossary_V011022522.pdf\" target=\"_blank\">HERE<\/a><\/strong>, and guidelines for submission of entries and additional feedback can be viewed <strong><a rel=\"noreferrer noopener\" href=\"https:\/\/www.vpglossary.com\/about-this-site\/\" target=\"_blank\">HERE<\/a><\/strong>.<\/p>\n\n\n\n<hr class=\"wp-block-separator has-text-color has-luminous-vivid-amber-color has-css-opacity has-luminous-vivid-amber-background-color has-background\"\/>\n\n\n\n<hr class=\"wp-block-separator has-text-color has-luminous-vivid-amber-color has-css-opacity has-luminous-vivid-amber-background-color has-background\"\/>\n\n\n\n<div style=\"height:20px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<h2 class=\"wp-block-heading\">Next, Watch This:<\/h2>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"From VAD to Volume: The End-to-End ICVFX Pipeline | Unreal Fest 2022\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/TEShez25DKM?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<div style=\"height:20px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<hr class=\"wp-block-separator has-text-color has-luminous-vivid-amber-color has-css-opacity has-luminous-vivid-amber-background-color has-background\"\/>\n\n\n\n<hr class=\"wp-block-separator has-text-color has-luminous-vivid-amber-color has-css-opacity has-luminous-vivid-amber-background-color has-background\"\/>\n\n\n\n<p class=\"has-luminous-vivid-amber-background-color has-background has-medium-font-size wp-block-paragraph\" style=\"font-style:normal;font-weight:700\">A Brief Voyage Through the History of Virtual Production<\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large is-resized\"><img data-recalc-dims=\"1\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/jwolfepr.com\/dev\/wp-content\/uploads\/2024\/09\/MandalorianS3.gif?ssl=1\" alt=\"From season 3 of \u201cThe Mandalorian,\u201d courtesy of Lucasfilm and Disney+\" class=\"wp-image-119518\" style=\"width:574px;height:auto\"\/><figcaption class=\"wp-element-caption\">From season 3 of \u201cThe Mandalorian.\u201d Cr: Lucasfilm and Disney+<\/figcaption><\/figure>\n<\/div>\n\n\n<p class=\"wp-block-paragraph\" style=\"font-size:16px\">While virtual production is definitely having a \u201cmoment\u201d in Hollywood and beyond, VP technologies and techniques have by no means just appeared overnight, cinematographer <a href=\"https:\/\/neiloseman.com\/the-history-of-virtual-production\/\" target=\"_blank\" rel=\"noreferrer noopener\">Neil Oseman<\/a> observes in a recent blog post. The use of LED walls and LED volumes \u2014 a major component of virtual production \u2014 can be traced directly back to the front- and rear-projection techniques common throughout much of the 20th century, he notes.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\" style=\"font-size:16px\">Oseman takes readers on a trip through the history of virtual production from its roots in mid-20th century films like <em>North by Northwest<\/em> to cutting-edge shows like Disney\u2019s streaming hit, <em>The Mandalorian<\/em>. Along the way, he revisits the \u201cLED Box\u201d director of photography Emmanuel Lubezki conceived for 2013\u2019s VFX Academy Award-winner <em>Gravity<\/em>, the hybrid green screen\/LED screen setups used to capture driving sequences for Netflix\u2019s <em>House of Cards<\/em>, and the high-resolution projectors employed by DP Claudio Miranda on the 2013 sci-fi feature <em>Oblivion<\/em>. <\/p>\n\n\n\n<p class=\"wp-block-paragraph\" style=\"font-size:16px\">Oseman also includes films like <em>Deepwater Horizon<\/em> (2016), which employed a 42\u00d724-foot video wall comprising more than 250 LED panels, Korean zombie feature <em>Train to Busan<\/em> (2016), <em>Murder on the Orient Express<\/em> (2017), and <em>Rogue One: A Star Wars Story<\/em> (2016), as well as <em>The Jungle Book<\/em> (2016) and <em>The Lion King<\/em> (2018), before touching on more recent productions like 2020\u2019s <em>The Midnight Sky<\/em>, 2022\u2019s <em>The Batman<\/em> and Paramount+ series <em>Star Trek: Strange New Worlds<\/em>.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\" style=\"font-size:16px\">READ MORE: <a href=\"https:\/\/neiloseman.com\/the-history-of-virtual-production\/\" target=\"_blank\" rel=\"noreferrer noopener\">The History of Virtual Production (Neil Oseman)<\/a><\/h3>\n\n\n\n<hr class=\"wp-block-separator has-text-color has-luminous-vivid-amber-color has-css-opacity has-luminous-vivid-amber-background-color has-background\"\/>\n\n\n\n<hr class=\"wp-block-separator has-text-color has-luminous-vivid-amber-color has-css-opacity has-luminous-vivid-amber-background-color has-background\"\/>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>Real-time game engines may have transformed virtual production, but the current challenge is to have those visuals fully ray-traced.<\/p>\n","protected":false},"author":2,"featured_media":168627,"menu_order":0,"template":"","meta":{"_acf_changed":false,"_breakdance_hide_in_design_set":false,"_breakdance_tags":""},"categories":[248],"class_list":["post-119903","articles","type-articles","status-publish","has-post-thumbnail","hentry","category-amplify"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.1 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Video Games and VFX Make a Very Cute Couple | Jennifer Wolfe<\/title>\n<meta name=\"description\" content=\"Real-time game engines may have transformed virtual production, but the current challenge is to have those visuals fully ray-traced.\" \/>\n<meta name=\"robots\" content=\"noindex, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Video 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