{"id":159614,"date":"2024-05-18T09:03:25","date_gmt":"2024-05-18T09:03:25","guid":{"rendered":"https:\/\/amplify.nabshow.com\/?post_type=articles&#038;p=159614"},"modified":"2026-03-06T01:59:59","modified_gmt":"2026-03-06T01:59:59","slug":"nabshow-etc-europa-virtual-production","status":"publish","type":"articles","link":"https:\/\/jwolfepr.com\/dev\/articles\/nabshow-etc-europa-virtual-production\/","title":{"rendered":"ETC\u2019s \u201cEuropa\u201d Tests the Limits of On-Set Virtual Production"},"content":{"rendered":"\n<div class=\"wp-block-group\"><div class=\"wp-block-group__inner-container is-layout-flow wp-block-group-is-layout-flow\">\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-image size-large\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"570\" data-attachment-id=\"165449\" data-permalink=\"https:\/\/jwolfepr.com\/dev\/etcs-europa-tests-the-limits-of-on-set-virtual-production\/europabts09\/\" data-orig-file=\"https:\/\/i0.wp.com\/jwolfepr.com\/dev\/wp-content\/uploads\/2024\/08\/EuropaBTS09.webp?fit=1200%2C668&amp;ssl=1\" data-orig-size=\"1200,668\" data-comments-opened=\"0\" data-image-title=\"EuropaBTS09\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;Behind the scenes of \u201cEuropa,\u201d written and directed by Jacqueline Elyse Rosenthal.&lt;\/p&gt;\n\" data-large-file=\"https:\/\/i0.wp.com\/jwolfepr.com\/dev\/wp-content\/uploads\/2024\/08\/EuropaBTS09.webp?fit=1024%2C570&amp;ssl=1\" src=\"https:\/\/i0.wp.com\/jwolfepr.com\/dev\/wp-content\/uploads\/2024\/08\/EuropaBTS09.webp?resize=1024%2C570&#038;ssl=1\" alt=\"Behind the scenes of \u201cEuropa,\u201d written and directed by Jacqueline Elyse Rosenthal.\" class=\"wp-image-165449\" srcset=\"https:\/\/i0.wp.com\/jwolfepr.com\/dev\/wp-content\/uploads\/2024\/08\/EuropaBTS09.webp?resize=1024%2C570&amp;ssl=1 1024w, https:\/\/i0.wp.com\/jwolfepr.com\/dev\/wp-content\/uploads\/2024\/08\/EuropaBTS09.webp?resize=300%2C167&amp;ssl=1 300w, https:\/\/i0.wp.com\/jwolfepr.com\/dev\/wp-content\/uploads\/2024\/08\/EuropaBTS09.webp?resize=768%2C428&amp;ssl=1 768w, https:\/\/i0.wp.com\/jwolfepr.com\/dev\/wp-content\/uploads\/2024\/08\/EuropaBTS09.webp?resize=640%2C356&amp;ssl=1 640w, https:\/\/i0.wp.com\/jwolfepr.com\/dev\/wp-content\/uploads\/2024\/08\/EuropaBTS09.webp?resize=750%2C418&amp;ssl=1 750w, https:\/\/i0.wp.com\/jwolfepr.com\/dev\/wp-content\/uploads\/2024\/08\/EuropaBTS09.webp?resize=400%2C223&amp;ssl=1 400w, https:\/\/i0.wp.com\/jwolfepr.com\/dev\/wp-content\/uploads\/2024\/08\/EuropaBTS09.webp?resize=430%2C239&amp;ssl=1 430w, https:\/\/i0.wp.com\/jwolfepr.com\/dev\/wp-content\/uploads\/2024\/08\/EuropaBTS09.webp?resize=150%2C84&amp;ssl=1 150w, https:\/\/i0.wp.com\/jwolfepr.com\/dev\/wp-content\/uploads\/2024\/08\/EuropaBTS09.webp?resize=100%2C56&amp;ssl=1 100w, https:\/\/i0.wp.com\/jwolfepr.com\/dev\/wp-content\/uploads\/2024\/08\/EuropaBTS09.webp?w=1200&amp;ssl=1 1200w\" sizes=\"auto, (max-width: 1000px) 100vw, 1000px\" \/><figcaption class=\"wp-element-caption\">Behind the scenes of \u201cEuropa,\u201d written and directed by Jacqueline Elyse Rosenthal.<\/figcaption><\/figure>\n\n\n\n<div style=\"height:20px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<div class=\"wp-block-group\"><div class=\"wp-block-group__inner-container is-layout-flow wp-block-group-is-layout-flow\">\n<hr class=\"wp-block-separator has-text-color has-luminous-vivid-amber-color has-alpha-channel-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-alpha-channel-opacity has-luminous-vivid-amber-background-color has-background\"\/>\n\n\n\n<h3 class=\"wp-block-heading\">TL;DR<\/h3>\n\n\n\n<ul class=\"wp-block-list\">\n<li><em>USC\u2019s Entertainment Technology Center goes behind the scenes of its latest proof-of-concept project, sci-fi short \u201cEuropa,\u201d at the 2024 NAB Show.<\/em><\/li>\n\n\n\n<li><em>Written and directed by USC film graduate Jacqueline Elyse Rosenthal, \u201cEuropa\u201d was shot by<\/em> <em>director of photography Erik \u201cWolfie\u201d Wolford.<\/em><\/li>\n\n\n\n<li><em>As the third ETC project to focus on virtual production, \u201cEuropa\u201d tested the application of metadata and remote collaboration while using the new virtual production stage at Sony Pictures.<\/em><\/li>\n\n\n\n<li><em>Sony\u2019s advanced visualization facility Torchlight also played a major role in developing the final look of the film.<\/em><\/li>\n<\/ul>\n\n\n\n<div style=\"height:10px\" 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-alpha-channel-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-alpha-channel-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<\/div><\/div>\n\n\n\n<p class=\"wp-block-paragraph\">Dedicated to exploring the impact of emerging technologies on Media &amp; Entertainment, the Entertainment Technology Center at USC\u2019s School of Cinematic Arts is pioneering a series of short film projects directed by USC film school graduates that leverage cutting-edge production tools and techniques.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The think tank and research center\u2019s latest proof-of-concept, <em>Europa<\/em>, is the seventh project in the series and the third to specifically focus on on-set virtual production. Written and directed by USC film graduate Jacqueline Elyse Rosenthal, the sci-fi short follows an astronaut on a mission to extract water from Jupiter\u2019s moon Europa who is forced to choose between humanity and morality. <\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The project tested the application of metadata and remote collaboration while using the new virtual production stage at Sony Pictures, operated by Pixomondo and equipped with Sony\u2019s Virtual Production Tool Set, VENICE 2 8K cameras, and Crystal LED panels, as well as the services of Sony\u2019s advanced visualization facility, Torchlight.<\/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=\"Sony at NAB Show 2024: | Panel: Europa\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/QIL_w_lPWhQ?start=7&#038;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\">The filmmakers convened at the 2024 NAB Show with a behind-the-scenes look at how <em>Europa<\/em> was brought to life in a special session sponsored by Sony. Moderated by Sony Pictures Entertainment VP of post-production technology development Daniel De La Rosa, the panel featured Rosenthal alongside <em>Europa<\/em> director of photography Erik \u201cWolfie\u201d Wolford, production designer Angran Li, Sony Torchlight tech vis Devon Mathis, and ETC@USC\u2019s director of adaptive production, Erik Weaver, who served as executive producer for the project. Watch the full discussion in the video at the top of the page.<\/p>\n\n\n\n<div class=\"wp-block-jetpack-tiled-gallery aligncenter is-style-rectangular\"><div class=\"\"><div class=\"tiled-gallery__gallery\"><div class=\"tiled-gallery__row\"><div class=\"tiled-gallery__col\" style=\"flex-basis:66.74757%\"><figure class=\"tiled-gallery__item\"><img data-recalc-dims=\"1\" decoding=\"async\" alt=\"From \u201cEuropa,\u201d written and directed by Jacqueline Elyse Rosenthal.\" data-id=\"159603\" data-url=\"https:\/\/jwolfepr.com\/dev\/wp-content\/uploads\/2024\/09\/Europa04.jpg\" src=\"https:\/\/i0.wp.com\/jwolfepr.com\/dev\/wp-content\/uploads\/2024\/09\/Europa04.jpg?ssl=1\" data-amp-layout=\"responsive\"\/><\/figure><\/div><div class=\"tiled-gallery__col\" style=\"flex-basis:33.25243%\"><figure class=\"tiled-gallery__item\"><img data-recalc-dims=\"1\" decoding=\"async\" alt=\"From \u201cEuropa,\u201d written and directed by Jacqueline Elyse Rosenthal.\" data-id=\"159604\" data-url=\"https:\/\/jwolfepr.com\/dev\/wp-content\/uploads\/2024\/09\/Europa07.jpg\" src=\"https:\/\/i0.wp.com\/jwolfepr.com\/dev\/wp-content\/uploads\/2024\/09\/Europa07.jpg?ssl=1\" data-amp-layout=\"responsive\"\/><\/figure><figure class=\"tiled-gallery__item\"><img data-recalc-dims=\"1\" decoding=\"async\" alt=\"From \u201cEuropa,\u201d written and directed by Jacqueline Elyse Rosenthal.\" data-id=\"159601\" data-url=\"https:\/\/jwolfepr.com\/dev\/wp-content\/uploads\/2024\/09\/Europa02.jpg\" src=\"https:\/\/i0.wp.com\/jwolfepr.com\/dev\/wp-content\/uploads\/2024\/09\/Europa02.jpg?ssl=1\" data-amp-layout=\"responsive\"\/><\/figure><\/div><\/div><\/div><\/div><\/div>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cOn this production, we really wanted to push the boundaries. We wanted to see what&#8217;s coming next,\u201d Weaver said, explaining how the industry is moving from OSVP 1.0 to 2.0. \u201cAnd in 2.0, bigger isn&#8217;t necessarily better. Better is better,\u201d he continues. \u201cThe Sony stage is a really great example of that \u2014 you get darker blacks, you get better off-angle access, other things like that.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Rosenthal described how the production team built six environments with approximately 1,000 hours of previs and tech-vis over the course of two-and-a-half months in preparation for the film using Sony\u2019s advanced visualization facility Torchlight. \u201cWolfie, my DP, and I were really committed to bringing you to a world that felt extremely real,\u201d she said. \u201cWe wanted the audience to feel so involved in these worlds, which is really hard when you&#8217;re creating something that no one&#8217;s ever been to before.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Torchlight, says Mathis, has two major spheres of influence within the production process. The first one is advanced visualization, helping filmmakers understand what their film will look like in final pixel. \u201cA lot of these final looks come later down the pipeline,\u201d he explains. \u201cSo we take a lot of stuff that happens in the middle or the end, and we bring them to the front where filmmakers can now at the start really understand what it is they&#8217;re working with, what it could look like,\u201d as well as how changes made by, say, a production designer, could affect the DP or the visual effects.<\/p>\n\n\n\n<figure class=\"wp-block-gallery has-nested-images columns-default is-cropped wp-block-gallery-1 is-layout-flex wp-block-gallery-is-layout-flex\">\n<figure class=\"wp-block-image size-large\"><img data-recalc-dims=\"1\" decoding=\"async\" data-id=\"159610\" src=\"https:\/\/i0.wp.com\/jwolfepr.com\/dev\/wp-content\/uploads\/2024\/09\/EuropaBTS06.jpg?ssl=1\" alt=\"Behind the scenes of \u201cEuropa,\u201d written and directed by Jacqueline Elyse Rosenthal.\" class=\"wp-image-159610\"\/><\/figure>\n\n\n\n<figure class=\"wp-block-image size-large\"><img data-recalc-dims=\"1\" decoding=\"async\" data-id=\"159611\" src=\"https:\/\/i0.wp.com\/jwolfepr.com\/dev\/wp-content\/uploads\/2024\/09\/EuropaBTS07.jpg?ssl=1\" alt=\"Behind the scenes of \u201cEuropa,\u201d written and directed by Jacqueline Elyse Rosenthal.\" class=\"wp-image-159611\"\/><\/figure>\n<\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">Once the filmmakers have an understanding of what their film will look like, Mathis continues, the second area of influence is planning the logistics of the shoot. \u201cIf we have these cameras and these lights, how can we position and plan out a whole shoot before any of us even get here?\u201d he says by way of example. \u201cHow can we plan for your movie before you actually send people to shoot that?\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">For <em>Europa<\/em>, that meant \u201ca lot of interesting tech days\u201d spent exploring how to best plan the shoot for the film\u2019s cave environment, including questions like, \u201cWhat can we get away with inside of the volume for where the camera needs to be?\u201d and \u201cAre we going to shoot off the wall?\u201d or \u201cWhere are we going to need green support or blue support?\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">There were also special considerations for the DP, such as \u201cWhat kind of focal length would you want to like take a look at and see because you know you can&#8217;t have access to set all the time,\u201d Mathis says. \u201cSo through those means we can really solve a lot of questions for Wolfie, for the production design, well ahead of time.\u201d<\/p>\n\n\n\n<div class=\"wp-block-jetpack-tiled-gallery aligncenter is-style-rectangular\"><div class=\"\"><div class=\"tiled-gallery__gallery\"><div class=\"tiled-gallery__row\"><div class=\"tiled-gallery__col\" style=\"flex-basis:66.74757%\"><figure class=\"tiled-gallery__item\"><img data-recalc-dims=\"1\" decoding=\"async\" alt=\"From \u201cEuropa,\u201d written and directed by Jacqueline Elyse Rosenthal.\" data-id=\"159600\" data-url=\"https:\/\/jwolfepr.com\/dev\/wp-content\/uploads\/2024\/09\/Europa01.jpg\" src=\"https:\/\/i0.wp.com\/jwolfepr.com\/dev\/wp-content\/uploads\/2024\/09\/Europa01.jpg?ssl=1\" data-amp-layout=\"responsive\"\/><\/figure><\/div><div class=\"tiled-gallery__col\" style=\"flex-basis:33.25243%\"><figure class=\"tiled-gallery__item\"><img data-recalc-dims=\"1\" decoding=\"async\" alt=\"From \u201cEuropa,\u201d written and directed by Jacqueline Elyse Rosenthal.\" data-id=\"159601\" data-url=\"https:\/\/jwolfepr.com\/dev\/wp-content\/uploads\/2024\/09\/Europa02.jpg\" src=\"https:\/\/i0.wp.com\/jwolfepr.com\/dev\/wp-content\/uploads\/2024\/09\/Europa02.jpg?ssl=1\" data-amp-layout=\"responsive\"\/><\/figure><figure class=\"tiled-gallery__item\"><img data-recalc-dims=\"1\" decoding=\"async\" alt=\"From \u201cEuropa,\u201d written and directed by Jacqueline Elyse Rosenthal.\" data-id=\"159602\" data-url=\"https:\/\/jwolfepr.com\/dev\/wp-content\/uploads\/2024\/09\/Europa03.jpg\" src=\"https:\/\/i0.wp.com\/jwolfepr.com\/dev\/wp-content\/uploads\/2024\/09\/Europa03.jpg?ssl=1\" data-amp-layout=\"responsive\"\/><\/figure><\/div><\/div><\/div><\/div><\/div>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cThere is no way we could have made this film without Torchlight,\u201d Rosenthal commented, noting that the production team essentially shot the film seven different times during pre-production. By the time of the actual shoot, \u201cwe could do it with our eyes closed,\u201d she said.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The pre-production process \u201creally made a lot of difference for our lens selection,\u201d Wolford said.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cI decided early on we really needed a techno crane. We had a very delicate snow. We couldn&#8217;t be putting track down and doing all these moves and the techno crane would just let us move quickly through all of the shots,\u201d he recalled. \u201cEven if we just needed a lock-off high. You just extend it out. So we needed to make sure the crane would fit in [and] we needed to make sure I still had enough room for the lighting.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Shots, the DP said, were modeled in Unreal Engine beforehand, \u201cand we gray box them, and then we lit them, and then continued watching it. And then we&#8217;d get onto set.\u201d<\/p>\n\n\n\n<h2 class=\"wp-block-heading has-black-color has-text-color has-link-color wp-elements-1\">A Cloud-First Approach<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Noah Kadner, virtual production editor at <em>American Cinematographer<\/em> and author of the <em>Virtual Production Field Guide<\/em> series for Epic Games, detailed a visit to the <em>Europa<\/em> set in an article written for <em><a href=\"https:\/\/virtualproducer.io\/spotlight-the-virtual-production-of-europa\/\">Virtual Producer<\/a><\/em>.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Production for <em>Europa<\/em> took place across various time zones and regions, including Australia, New Zealand, India, Scandinavia, Iceland, Canada and the US, Kadner reports, employing \u201ccloud-first\u201d principles for remote collaboration as outlined by the <a href=\"https:\/\/movielabs.com\/production-technology\/the-2030-vision\/\" target=\"_blank\" rel=\"noreferrer noopener\">MovieLabs 2030 Vision<\/a>.<\/p>\n\n\n\n<figure class=\"wp-block-gallery has-nested-images columns-default is-cropped wp-block-gallery-2 is-layout-flex wp-block-gallery-is-layout-flex\">\n<figure class=\"wp-block-image size-large\"><img data-recalc-dims=\"1\" decoding=\"async\" data-id=\"159609\" src=\"https:\/\/i0.wp.com\/jwolfepr.com\/dev\/wp-content\/uploads\/2024\/09\/EuropaBTS05.jpg?ssl=1\" alt=\"Behind the scenes of \u201cEuropa,\u201d written and directed by Jacqueline Elyse Rosenthal.\" class=\"wp-image-159609\"\/><\/figure>\n\n\n\n<figure class=\"wp-block-image size-large\"><img data-recalc-dims=\"1\" decoding=\"async\" data-id=\"159599\" src=\"https:\/\/i0.wp.com\/jwolfepr.com\/dev\/wp-content\/uploads\/2024\/09\/EuropaBTS10.jpg?ssl=1\" alt=\"Behind the scenes of \u201cEuropa,\u201d written and directed by Jacqueline Elyse Rosenthal.\" class=\"wp-image-159599\"\/><\/figure>\n\n\n\n<figure class=\"wp-block-image size-large\"><img data-recalc-dims=\"1\" decoding=\"async\" data-id=\"159607\" src=\"https:\/\/i0.wp.com\/jwolfepr.com\/dev\/wp-content\/uploads\/2024\/09\/EuropaBTS03.jpg?ssl=1\" alt=\"Behind the scenes of \u201cEuropa,\u201d written and directed by Jacqueline Elyse Rosenthal.\" class=\"wp-image-159607\"\/><\/figure>\n<\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">Leveraging metadata, says Kadner, was another chief concern. Comprising \u201cdetailed information about various elements and processes, including digital assets, scene descriptions, camera settings, and production notes,\u201d metadata \u201chelps facilitate efficient organization, tracking, and integration of virtual and physical production elements, enhancing collaboration across departments and streamlining post-production workflows.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Good stuff all around, but notoriously difficult to achieve when \u201ceven seemingly simple tasks such as a consistent naming convention across production departments can be complex,\u201d as Kadner notes.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">To achieve this goal, the <em>Europa<\/em> production employed the Rebel Fleet team to handle all the metadata for the project. Rebel Fleet, in turn, created <a href=\"https:\/\/www.rebelfleet.co.nz\/konsol\/\" target=\"_blank\" rel=\"noreferrer noopener\">Konsol<\/a>, \u201ca software solution designed to capture, organize, and streamline the use of metadata across the production process,\u201d he says.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cKonsol aims to solve everyday challenges in post-production by ensuring all captured information \u2014 from camera sheets to VFX data \u2014 is accurately documented, easily retrievable, and effectively communicated between various departments.\u201d<\/p>\n\n\n\n<figure class=\"wp-block-gallery has-nested-images columns-default is-cropped wp-block-gallery-3 is-layout-flex wp-block-gallery-is-layout-flex\">\n<figure class=\"wp-block-image size-large\"><img data-recalc-dims=\"1\" decoding=\"async\" data-id=\"159605\" src=\"https:\/\/i0.wp.com\/jwolfepr.com\/dev\/wp-content\/uploads\/2024\/09\/EuropaBTS01.jpg?ssl=1\" alt=\"Behind the scenes of \u201cEuropa,\u201d written and directed by Jacqueline Elyse Rosenthal.\" class=\"wp-image-159605\"\/><\/figure>\n\n\n\n<figure class=\"wp-block-image size-large\"><img data-recalc-dims=\"1\" decoding=\"async\" data-id=\"159608\" src=\"https:\/\/i0.wp.com\/jwolfepr.com\/dev\/wp-content\/uploads\/2024\/09\/EuropaBTS04.jpg?ssl=1\" alt=\"Behind the scenes of \u201cEuropa,\u201d written and directed by Jacqueline Elyse Rosenthal.\" class=\"wp-image-159608\"\/><\/figure>\n\n\n\n<figure class=\"wp-block-image size-large\"><img data-recalc-dims=\"1\" decoding=\"async\" data-id=\"159607\" src=\"https:\/\/i0.wp.com\/jwolfepr.com\/dev\/wp-content\/uploads\/2024\/09\/EuropaBTS03.jpg?ssl=1\" alt=\"Behind the scenes of \u201cEuropa,\u201d written and directed by Jacqueline Elyse Rosenthal.\" class=\"wp-image-159607\"\/><\/figure>\n\n\n\n<figure class=\"wp-block-image size-large\"><img data-recalc-dims=\"1\" decoding=\"async\" data-id=\"159606\" src=\"https:\/\/i0.wp.com\/jwolfepr.com\/dev\/wp-content\/uploads\/2024\/09\/EuropaBTS02.jpg?ssl=1\" alt=\"Behind the scenes of \u201cEuropa,\u201d written and directed by Jacqueline Elyse Rosenthal.\" class=\"wp-image-159606\"\/><\/figure>\n<\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">Kadner also describes how Sony\u2019s VENICE 2 cameras were outfitted with a custom <a href=\"https:\/\/sonycine.com\/articles\/sony-announces-new-virtual-production-tool-set\/\" target=\"_blank\" rel=\"noreferrer noopener\">Virtual Production Tool Set<\/a> to enhance their use in a virtual production environment.&nbsp;\u201cVirtual VENICE, Sony\u2019s Camera and Display Plugin for Unreal Engine, is a unique tool that visualizes undesirable moir\u00e9 artifacts before they can potentially ruin a shot,\u201d he writes, \u201ca key concern in virtual production along with the ability to preview wall content on specific optics and a suite of Color Calibrator tools geared to the VENICE\u2019s sensor.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Wolford tells Kadner how \u201cTorchlight helped take scenes from different crews in different countries and harmonize and optimize them into something that would fit into a reasonable LED wall stage,\u201d he says. \u201cThey helped us cross the last mile to production and made a big difference.\u201d<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">READ MORE: <a href=\"https:\/\/virtualproducer.io\/spotlight-the-virtual-production-of-europa\/\" target=\"_blank\" rel=\"noreferrer noopener\">Spotlight: The Virtual Production of Europa (Virtual Producer)<\/a><\/h3>\n\n\n\n<h2 class=\"wp-block-heading has-black-color has-text-color has-link-color wp-elements-2\">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=\"Behind the Scenes of EUROPA | Virtual Production | Sony Official\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/56Rbs5_HoLU?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<\/div>\n<\/div>\n<\/div><\/div>\n","protected":false},"excerpt":{"rendered":"<p>ETC@USC\u2019s latest proof-of-concept film, \u201cEuropa,\u201d explores the application of metadata and remote collaboration in on-set virtual production.<\/p>\n","protected":false},"author":2,"featured_media":165449,"menu_order":0,"template":"","meta":{"_acf_changed":false,"_breakdance_hide_in_design_set":false,"_breakdance_tags":""},"categories":[248],"class_list":["post-159614","articles","type-articles","status-publish","has-post-thumbnail","hentry","category-amplify"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.8 - 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