Other Virtual Production Articles
On-Set Facilities CEO Asa Bailey helms virtual productions both on-set and in the cloud and since the pandemic hit, he’s never been busier. In this post we sit down with Bailey to try and extract more about his work as a Virtual Production Supervisor.
The Midnight Sky used a ‘pop up’ LED Volume stage for virtual production in the film. ILM’s StageCraft, as used on The Mandalorian, is an option for filmmakers to use on any production. It requires that a temporary volume can be built and deployed, such as the filmmakers did here for most of the sequences where George Clooney’s character looks out from the Barbeau Observatory.
Like every other industry, the COVID-19 crisis has forced the world of VFX to adapt and develop new ways of getting the job done. What’s interesting is the fact that this industry was already blazing the innovative trail of virtual production, enabling everything from epic sci-fi scenes to iconic location-based shots, to something as seemingly mundane as a scene inside a house to all be captured virtually on a closed set.
Virtual Production and the Future of Filmmaking – An Interview with Ben Grossmann, Magnopus (Forbes)
Interview with Ben Grossmann, Oscar-winning and Emmy Award-winning Visual Effects Supervisor, Virtual Production Supervisor on The Lion King and cofounder of Magnopus—an AR/VR company that developed the systems used in the creation of the film—about virtual production and what it means for the film industry.
Think virtual production is the preserve of James Cameron? The confluence of games engines with faster PCs, LED backlots and off-the-shelf tools for anything from performance capture to virtual camera is bringing affordable real-time mixed reality production to market. Cameron saw this coming, which is why he has upped the ante to where no filmmaker has gone before and decided to shoot the first “Avatar” sequel as a virtual production under water.
To help design and visualize the enormous sets and complex action sequences required, the production team turned to Painting Practice, an award-winning design studio whose services include—among other things—previs, animation, VFX, production design, concept art, and digital matte painting.
During the final episode of Variety‘s Sustainability in Hollywood event presented by Toyota Mirai, Rob Bredow, senior vice president and chief creative officer at Industrial Light & Magic, and Janet Lewin, senior vice president and general manager at ILM and co-producer of The Mandalorian, talked to artisans editor Jazz Tangcay about how the virtual production of The Mandalorian has allowed the show to reduce its carbon footprint.
Jon Favreau’s Golem Creations in partnership with Industrial Light & Magic (ILM) collaborated with Epic Games to bring The Mandalorian to life using a new form of virtual production. Here in Part 1, we talk to Richard Bluff, Visual Effects Supervisor, about the lessons learned in mounting The Mandalorian. ILM along with production technology partners Fuse, Lux Machina, Profile Studios, NVIDIA, and ARRI, the team developed a new real-time surround stage.
A new episode of The Hollywood Reporter’s Behind the Screen does a deep dive into the making of Jon Favreau’s The Lion King and tackles the question as to whether it should be considered an animated movie.
Al Moloney chatted to director Jon Favreau about creating the world of The Lion King, working with visual effects company MPC and his use of vfx as a director.
A behind the scenes look at the groundbreaking virtual production technology used on The Mandalorian. Over 50 percent of The Mandalorian Season 1 was filmed using this ground-breaking new methodology, eliminating the need for location shoots entirely.