Post Magazine

July/August 2019

Issue link:

Contents of this Issue


Page 30 of 43

AR/VR 29 POST JULY/AUG 2019 ing exponentially. Just think, James Cameron used early prototypes of virtual cameras for Avatar, but just a few years later, we're able to apply those ideas in VR, allowing multiple creatives to walk into a fully virtual environment from anywhere around the globe and elevate the collaborative experience. What might tomorrow hold? Imagine a paradigm shift that could completely change the future of content and collaboration, positioning VR as the future of production. GOING VIRTUAL From a production standpoint, the collaborative benefits of creating in VR are endless. But from a CG standpoint, there are a few other interesting benefits that are often overlooked. The most essential improvement was the better use of time. Working on the Mercedes-Benz proj- ect, it was shocking to experience the impact of a high-end crew only being focused on the shots. That meant no phones or other distractions. This benefit is a holdover from traditionally-shot proj- ects. Normally, on a live-action shoot, wasted time is taken more seriously as everyone understands that every second counts. Meanwhile, in CG, the overall philosophy is that you can always revise, fix and change anything. Flexibility like this is a good safety net, but less beneficial as a methodology when you're paying CG artists by the hour. Virtual produc- tions seem to encourage a dynamic, more focused process, which I consider a great benefit in harvest- ing the best results more quickly and efficiently. Then, there are the other costs. With VR pro- ductions, there are obvious savings on every line item. Imagine no need to travel, no permits, no wait time between setups and no weather delays, as well as smaller crews and locations that are always available. Even better, with VR, all equipment exists forever once you program it into the system, so any acquisition, maintenance and storage costs are significantly lower. Replicating the real-world experience of film- making is paramount for creatives to operate in the virtual world and the platform offers the possibility of integrating everything from camera bodies to the anamorphic lenses, answering creative requests in realtime. Additionally, lighting, production design and performance can be set up well ahead of time by individual designers as opposed to a specific shoot day. Need costly reshoots or pick up shots? In VR, they are always an affordable option. The list goes on. That doesn't mean there aren't challenges. Creating in VR doesn't have a familiar-enough work- flow yet, so there are bound to be missteps along the way. That's why it's important that everyone be as educated as possible before production begins — with pre-production laid out and every aspect of the workflow exposed and discussed before a single frame is "shot." As long as everyone has trust in the process, the transition from one medium to the other is seamless and nothing is lost. THE FUTURE OF PRODUCTION The rise of VR production is an eventuality. One only needs to look at Sony Pictures Entertainment's re- cent acquisition of Nurulize to see where things are heading now. That's why it's important to not only be open to a VR production mind set, but also to put together a team of filmmakers who are similarly ready for the challenge. Over the years, I've learned that the right collaborators are the most important consideration when trying something new. The production space is no stranger to the con- stant pace of innovation and VR is no different. In fact, VR may be evolving faster than expected. Even now, everything we've had to "hack" together for the Mercedes-Benz project is now already available and integrated into the current VR tools. The next steps of adding volumetric capture, greenscreen and motion-capture tools are right around the cor- ner. It's time to stop catering to the past and start being more engaged in the limitless future of virtual production. So celebrate, evaluate and dive in. SHOTGUN GOES TO OUTER SPACE FELIX & PAUL STUDIOS ARE DRIVING CREATIVE IMMERSIVE EXPERIENCES I mmersive entertainment company Felix & Paul Studios (, with offices in Montreal and Santa Monica, is known for breaking new ground in virtual reality — and soon, augmented reality and mixed reality — craft- ing original narrative interactive experiences such as MIYUBI, extensions of top franchises such as Jurassic World and Isle of Dogs, and in-depth doc- umentary programs such as The People's House, which toured the White House with President Barack Obama and First Lady Michelle Obama. Most recently, the studio released the documen- tary Traveling While Black, a stop-motion animation Gymnasia, and the first two installments of their Space Explorers series. The studio has a highly experienced team of 60, spread across offices in Montreal and Los Angeles, providing end-to-end creative capabilities and proprietary tool develop- ment. The team at Felix & Paul Studios has also been using Shotgun ( for several years to help streamline production man- agement across all projects. "Our studio is a home for all types of creators, Felix & Paul recently released the first two episodes of its Space Explorers series.

Articles in this issue

Links on this page

Archives of this issue

view archives of Post Magazine - July/August 2019