Issue link: https://digital.copcomm.com/i/1400113
positions within the same environment, multiple dressing situations and day/night lighting scenarios. Thus, we created numerous variants and tagged the set dressing and physical set parts that needed a scanned and textured digital twin. There is a whole new data management level for volume variants based on how we plan the shoot, alongside the production manager and the first assistant director. In the case of The Mandalorian, it helped that the production manager (Clint Spillers) had an excellent understanding of digital and physical design. Ji Young Lee, the Assistant Art Director, was also tireless in liaising among multiple departments. There is a new jargon developing around these constantly evolving workflows. Here are a few examples that are both helpful and amusing: -LED Volume: The LED panel system that surrounds a virtual production stage. The one on The Mandalorian used was elliptical in plan 90 x 70 feet with a height of twenty-three feet. -Volume Variants: Several LED volume load and physical set combinations within the same environment. The differences (variations) can range from a different LED volume position relative to the environment to just a few set decoration changes. -Crossover Volumes: Two-volume variants covering overlapping areas within the same environment. (As in the example from episode four on the previous page.) -Lidar, Photogrammetry and Hybrid Data: The Virtual Art Department uses a complex 3D data acquisition workflow made up of photogrammetry, Lidar scans or a combination of the two. THE MANDALORIAN, SEASON 2. PRODUCTION DESIGNERS DOUG CHIANG AND ANDREW L. JONES. EPISODE 5. UNREAL ENGINE CYCLORAMA RENDER USED FOR LIGHTING AND COLOR PROOF ON THE LED VOLUME. HOWEVER, SINCE IT IS A 2D IMAGE, NOT A 3D SET, IT WILL ONLY FUNCTION FROM THE VOLUME CENTER AS A NODAL PARALLAX-FREE "BUBBLE." ONCE THE FULL 3D SET IS LOADED IN VOLUME, THE PHYSICAL CAMERA CALIBRATES TO THE 3D UNREAL ENGINE ENVIRONMENT AND THE CORRECT PARALLAX WILL APPEAR WITHIN ITS FRUSTUM. LIGHTING AND LOOK DEVELOPMENT: SAFARI SOSEBEE, STEVEN HENSLEY, ERIK CASTELLANOS SET PLANS: REBEKAH BUCHBINDER. A. LED STAGE (VOLUME VARIANTS) RELATION TO THE BUILD ELEMENTS. B. LED STAGE SHOOT— WITNESS CAMERAS WITH FULLY LOADED RENDERED SETS. LED CEILING LED CEILING A B Disney LED WALL LED WALL