Issue link: https://digital.copcomm.com/i/1500728
62 PRODUCTION SOUND & VIDEO – Summer 2023 In the last five years, we've seen the sudden rise of "virtual production," largely brought about by the development of interlocking LED panels to create larger-than-life "Video Walls." This technology goes by many names. "The Volume," "Infinity Stage," and "Virtual Stages" are just a few that spring to mind. The terminology is not standardized, screens that play back content. This technology is versatile in its use. Narrative-driven productions can create immersive digital sets on stage, eliminating the need for time-consuming post-production visual effects work. Talent can visualize the environment that they're in, making for more naturalistic and believable performances. This can be useful for things as mundane as simulating a car ride or as extravagant as setting foot on an alien planet. In broadcast environments like game shows, concerts, and award shows, LED panel systems can create infinitely unique experiences. Photorealistic or abstract, it doesn't matter. Fireworks can be in the room when someone wins an award or the hosts can float through space. Much of the visual spectacle once exclusive to hundred-million-dollar blockbusters can now be achieved and broadcast in real time thanks to the proliferation of this technology. And if this year's NAB show was any indication, these systems are here to stay. Unfortunately, many productions have taken to referring to virtual production as an "on-set visual effect" in order to circumvent the need to hire IATSE members. Visual Effects Artists do not currently work under a union contract, meaning employers can bypass the need to contribute to benefit funds that provide artists with a pension or NAB President and CEO Curtis LeGeyt speaking on the subject of Artificial Intelligence.