Issue link: https://digital.copcomm.com/i/1495092
E P I C G A M E S | P E R S P E C T I V E 7 9 foreground set pieces. The production company will need to rent an LED volume stage, which comes with a cost, but less scenery will need to be built, so there is a savings associated with going this route. Like a traditional backing, the LED wall will look best with foreground and midground 'real' items; constructed columns, low walls, any architectural element found in the load, and set decoration pieces that may, or may not exist in the load. When it comes to what the best shape is for both shooting scenes and capturing a true image on the volume, an egg shape has the advantage. The two long walls are not parallel, and the shape aids the load (image) to look more natural. From Todd's experience, the long axis allows for long-lensed shots, along with close-ups, which creates a more dynamic scene. Another advantage to the egg-shaped volume set from Baz's perspective is that it's better for sound. Spending time required to perfect the lighting of both the stage environment as well as the lighting within the load is an important aspect to a successful shoot. The virtual production supervisor will work with the director of photography to make sure the lighting is at an optimal level. Considerations include matching the angle of the digital lights with the DP's practical lights, being aware of how the foreground will be lit when the load is built, and whenever possible, avoiding static shots— they will reveal any flaws. Whereas moving shots, especially side-tracking shots, take advantage of parallax to really sell the continuous 3D world created between the real and the virtual. Wide shots can also be problematic, with frustum resolution issues and not being able to match the real set pieces in the foreground with the digital pieces in the load. For a wide shot to work, everything has to work. There is just more to go wrong. Any issue with screen content won't be cropped out of the frame. The most successful shots are close-ups and mid-range shots. By focusing on foreground subjects, the background will be outside the sharp focus of the lens. You'll get all the parallax and color/contrast values of the virtual content while issues related to resolution and real/virtual cohesion are lost in the blur. D. THE 'FRUSTUM', OR WHAT THE CAMERA SEES, TO THE RIGHT OF DP, BAZ ODOINE. E. SALOON INTERIOR IN PRODUCTION WITH FRUSTUM VIEW OUTLINED BEHIND BAZ IDOINE. F. SALOON INTERIOR IN PRODUCTION. F D E