Issue link: https://digital.copcomm.com/i/1495092
8 0 P E R S P E C T I V E | M A R C H / A P R I L 2 0 2 3 In addition to providing an image, the wall is also a lighting instrument. The ultimate goal is that the wall is an accurate representation of the real world, including image content, color acuity and light. Very bright things should look very bright; shiny things should look very reflective. When evaluating whether or not a color looks correct, what matters most is what the camera sees. The rule of thumb is that all final image evaluations are done by looking at a calibrated monitor. One of the many new terms used in setting up a load on volume stage is the need to 'evaluate the load.' Of course, the various departments have their own criteria, which are unique to their specific crafts. For the DP, they will look for and evaluate three things: check that the technical requirements are satisfied; evaluate the artistic requirements and discuss the best way to shoot the image (and set pieces). From the Production Designer's point of view, they are interested in what the first shot is so the Art Department can prep the set and collect the set decoration pieces that will be needed for that particular shot, or scene. Another area that is vitally important is color, and again, color should not be evaluated by viewing the physical components, but rather by looking at a calibrated monitor. It is best to evaluate the set colors after the DP and virtual production supervisor have completed adjusting their lights, as the illumination on an object will greatly affects the color. Most of the fine adjustments are completed when all set pieces and set decoration items are on set, in their final place. The Brain Bar technicians (the team of artists and engineers operating the equipment that drives a space used for virtual production. aka volume control) will adjust colors using the 'color-correcting window,' which can be done in 2D and 3D. The 2D technique is called an alpha mask, which color corrects everything behind the 2D mask only. To color correct in the volume, a volume alpha mask is used. These tools allow the technician to adjust only that area in question to accomplish a perfect match. A 'live load' or a 'dynamic load' allows for adjustments to be made in real-time, in the load, A. PRODUCTION DESIGNER TODD CHERNIAWSKY PREPPING THE WESTERN STREET. B. PLACING A DIGITAL FLAG OVER THE WESTERN STREET. C. VOLUME DISPLAY MONITOR CONTROL STATION. A C B