Issue link: https://digital.copcomm.com/i/1530710
9:00 AM – Controlling Sharks in Real Time The technology behind our virtual sharks went beyond basic anima- tion. Our custom rigging system allowed for intricate shark move- ments: from the ripple of skin to the flex of a jaw. We utilized Fusion Studio for real-time composite previews and DaVinci Resolve Studio to streamline shot development, integrating everything into our mo- bile setup for instant editing. Our system offered full control over lighting, angles, and inter- action points. We could adjust Diva's eyeline for shark encounters, dynamically alter the sharks' swim paths, and tweak environmen- tal elements right on set. No need for weeks-long post production waits. By combining Ultimatte 12 4K with our tracking system, we ensured the shoot went smoothly, cutting reshoots and eliminat- ing delays. 11:00 AM – Rapid Adjustments, Seamless Composites Mid-morning brought a challenge. Getting a precise shot where the shark appears mere inches from Diva's hand with- out a post-production overhaul was tough. With the ability to ad- just the virtual model in real time and overlay it into live footage, we nailed the shot. This not only allowed real-time decision-making but enabled us to experiment with new angles and shot compositions using DaVinci Resolve Studio's node-based editing tools for quick iterations. 2:00 PM – Refining the Sharks By the aernoon, the real magic began. Our shark models weren't just static creatures. Using advanced particle simulations in Fusion Studio, we added real-time water bubble effects from the sharks' gills and fins. Our so-body rigging system simulated the subtle cloth-like texture of shark skin, especially during fast movements. Our senior VFX artist Lucas Zoltowski worked closely on set with both Martin and Matthew to fine-tune every aspect, ensuring each shark model had its distinct features, from the overbite of a great white to the hammerhead's anatomical quirks. 5:00 PM – Wrapping Up, Finishing Touches By day's end, we had captured not only clean RAW footage but also matte passes and full composites, ready to drop into the post-pro- duction pipeline. Which, thanks to our two HyperDecks, was easy work. Our Lidar-based scans ensured that virtual and real elements blended seamlessly, allowing Diva and the digital sharks to co- exist effortlessly in the immersive virtual lab. Additionally, Fusion Studio's robust tools let us finalize the complex underwater envi- ronments—the murky depths, swirling sand, and wrecked ships all creating a dynamic backdrop for each sequence. With a special thank you to Lidar Lounge, BigSmall TV, Asa Bai- ley, Zeiss Ncam, Blender, Epic, Unreal Engine, and JangaFX. The team utilized the Zeiss Ncam system for camera tracking.