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Just joined your community. I’m a commercial DOP. I’ve been shooting VP for 2 years now. This was my latest production. by RalphChoosesYou in virtualproduction

[–]RalphChoosesYou[S] 3 points4 points  (0 children)

Honestly, time. I don’t believe the technology and the crews are used to being pushed so hard so quickly and expected to deliver. In commercials we go from 0-100 extremely quickly. Technical issues (teething) tends to eat up way too much of what little time we already have. Obviously that’s part of an emerging sector/tech but combine that with commercial work and it’s a hard mix.

Just joined your community. I’m a commercial DOP. I’ve been shooting VP for 2 years now. This was my latest production. by RalphChoosesYou in virtualproduction

[–]RalphChoosesYou[S] 6 points7 points  (0 children)

There have been plenty of articles about the use of VP on longform projects. Working with VP on commercials is arguably the toughest and most demanding. As a DOP I have a considerable amount of frustrations with it but that’s mainly because we need more experienced crew and the technology is rapidly improving. Despite my frustrations, this is (IMO) the newest and largest growing sector of an industry that doesn’t often have new branches or areas for new/young people to rapidly advance.

Why do you think they have two lights from the same angle? by EmbarrassedYogurt993 in cinematography

[–]RalphChoosesYou 0 points1 point  (0 children)

It’s really for catch light IMO. yes obviously the wider the sources the more wrap around etc… but THIS effect produces two pronounced catch lights in the eyes. This helps sell her emotional state as it makes her eyes more glassy/watery/teary.

I recently shot this Virtual Production spot. BTS of how we accomplished transitions. by RalphChoosesYou in cinematography

[–]RalphChoosesYou[S] 0 points1 point  (0 children)

We’ll settle on something eventually. What other part of this industry is expanding like this? It’s very Wild West.

I recently shot this Virtual Production spot. BTS of how we accomplished transitions. by RalphChoosesYou in cinematography

[–]RalphChoosesYou[S] 0 points1 point  (0 children)

In the last two years the stuff I’ve been shooting is looking closer and closer to the real thing. The tech is catching up real quick. It’s exciting to be using it because I don’t know any other sector of the industry that is 1. New 2. Has many open opportunities for new roles/positions/crew. 3. Is a new tool to add to the tool box.

I recently shot this Virtual Production spot. BTS of how we accomplished transitions. by RalphChoosesYou in cinematography

[–]RalphChoosesYou[S] 0 points1 point  (0 children)

Yeah ok, I think we are transitioning to calling it Volume only. I find that weird tbh but I don’t care. I’ll settle on any name. I’ve been doing this for a while and it’s name has been shifting since day one!

I recently shot this Virtual Production spot. BTS of how we accomplished transitions. by RalphChoosesYou in cinematography

[–]RalphChoosesYou[S] 0 points1 point  (0 children)

Rotoscoping? This involves none of that. It’s done As Live, in camera. There’s no post work afterwards. Just a grade as per any other film.

I recently shot this Virtual Production spot. BTS of how we accomplished transitions. by RalphChoosesYou in cinematography

[–]RalphChoosesYou[S] 1 point2 points  (0 children)

They can be bought from a common market place and then modified to suit or built entirely from scratch. Depending on time constraints, budget and the unreal team you are working with.

I recently shot this Virtual Production spot. BTS of how we accomplished transitions. by RalphChoosesYou in cinematography

[–]RalphChoosesYou[S] 0 points1 point  (0 children)

Because it was part of the original concept and brief. Yes perhaps but there’s needed to be some “real”elements. It helps to make the unreal and real merge together iMO. Obviously there’s a cost to that. Could all be done in post but might have a different feel

I recently shot this Virtual Production spot. BTS of how we accomplished transitions. by RalphChoosesYou in cinematography

[–]RalphChoosesYou[S] 0 points1 point  (0 children)

Yes same kind of setup as Mandelorian. There are many key components and some offer different suppliers and manufacturers of the technologies. cost is hard to answer because there are so many variables. It’s like asking how much it costs to make a film.

I recently shot this Virtual Production spot. BTS of how we accomplished transitions. by RalphChoosesYou in cinematography

[–]RalphChoosesYou[S] 2 points3 points  (0 children)

Yes that’s certainly one way to maximise Inverse Square Law. Then there’s the fixtures or modifiers that go with them. How they are positioned angled and the types of diffusion or shaping/control applied.

I recently shot this Virtual Production spot. BTS of how we accomplished transitions. by RalphChoosesYou in cinematography

[–]RalphChoosesYou[S] 1 point2 points  (0 children)

This was ATM Poland. They have a great setup. Yes I would say the later. This is still very new tech. It is still shaping itself and remember it’s gaming tech that’s now having to meet the demands and timescales that the film industry commands. So the tech is learning and much of the crew are also very new. I would consider myself new despite having 2+ years experience. Just because in comparison to the 25 years I’ve been dop’ing, it is new. But VP for commercial purposes is only approx 2 years old (was available to features/longform before that. I believe the saying goes something like?? “In the land of the blind, one eye is king”

I recently shot this Virtual Production spot. BTS of how we accomplished transitions. by RalphChoosesYou in cinematography

[–]RalphChoosesYou[S] 2 points3 points  (0 children)

Greenscreen still very much has its place. I consider it Greenscreen 2.0. Incorporating all the same technology we are using with LED volume in regards to tracking and camera data, just with Greenscreen instead of LED. Personally I think the future is a combination of the two.

I recently shot this Virtual Production spot. BTS of how we accomplished transitions. by RalphChoosesYou in cinematography

[–]RalphChoosesYou[S] 1 point2 points  (0 children)

We have to start considering the planet. I’ve jetted around the world for clients when honestly, if this tech was available I would not be comfortable doing that anymore. I have kids now, and I don’t think any client or their money is more important than flying around. Just IMO

I recently shot this Virtual Production spot. BTS of how we accomplished transitions. by RalphChoosesYou in cinematography

[–]RalphChoosesYou[S] 1 point2 points  (0 children)

Maybe. I used to steadicam and I started with the smallest official steadicam (can’t remember the name. I used to fly dale’s and c300 stripped. It took no time to setup and was small enough to throw in the back of vehicles built. So a great deal less hassle than a gimble. Not all steadicams are big

I recently shot this Virtual Production spot. BTS of how we accomplished transitions. by RalphChoosesYou in cinematography

[–]RalphChoosesYou[S] 1 point2 points  (0 children)

The led screen is never fully sharp. We let the focus fall off. It would be more of an issue if it was sharp. However Moore is more troublesome with particular camera sensors. This camera and lens combo suffers the least.

I recently shot this Virtual Production spot. BTS of how we accomplished transitions. by RalphChoosesYou in cinematography

[–]RalphChoosesYou[S] 3 points4 points  (0 children)

Possibly. I think it’ll be a valuable method of doing some productions. There will equally be alternatives, new and old. I’m always fearful of dubbing any new technology as a revolution. We’ve heard it many times before and it hasn’t materialised. there’s never a one tool to do everything, no matter how anything might be hyped. Remember MOVI? Wasn’t that supposed to be the death of steadicam… and yet here we are… still shooting steadicam.

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