Virtual Production? Certainly.
With over thirty commercial projects shot in an LED volume for clients like Amazon, Coca-Cola, Volkswagen, and NBC Universal, I am experienced and comfortable shooting in Virtual Production.
I've learned a lot of techniques, the best practices, and can help guide your creative to be most effective in the tricky world of Virtual Production. I can also let you know when it's just better to shoot on-location.
Minjee Lee (LPGA) | Aon
Magical Moments in Camera? Let's do it.
We had two great magical moments to show off virtual production on this Aon spot (Agency: Unlisted).
First, we needed to go from a typical LPGA locker room to a "dream space" where Minjee could reflect on all the work she's done to prepare. We created a large, open room with panels lining the walls. Each panel turns on and replays Minjee's great moments along with all the data she uses to calculate her shots. Virtual Production allowed us to see these moments in camera - so the agency and client know exactly what it looks like - no green screen anxiety.
Second, we wanted the player to walk from the dream space right out to the tee. Rather than split screening this in post-production, we split the wall screen into two Unreal environments, created a clean line of turn down the middle, and panned the camera to create the split screen.
Not every project is right for virtual production. But when it's the right tool for the shoot, it is magical.
Safeguards | ReliaQuest
A stadium full of fans? Easy.
We filmed this in two practical sets (Security Operations Control, Cafe) and one virtual set (football field).
We brought turf in, created a looping plate of the stadium fans, added the image of a field goal, and hung five Apurture Novas above the volume to give the feel of stadium lights.
No motion tracking was needed to pull off a believable stadium shoot.
Upshift Live | Amazon Freight Partners
A semi-truck in 5 locations? Done.
We used multiple Unreal environments, motion tracking, and practical art on set to create this event-opening video for Amazon.
In my experience, virtual production and volumes work best as extensions of a practical set. For our 3 hero offices, we built those sets in front of the LED wall, so we could have movement and nature outside of the window.
For a number of scenes, we also used animated plates (truck rushing by her, the baseball, and military flashbacks). This keeps it simple when on set, which means more time shooting.
HCA | Color Thread
A semi-truck in five locations. Done.
A five-way split-screen? Yep.
This project is a great use of virtual production: stylized and a single shot at each location. On-location would have required so many company moves, but in a volume, we can keep everyone comfortable (you know you like to stay comfortable).
For consistency, we created an 18-inch wall along the edge of the screen to hide the lip, which helped us sell the split-screen effect in the closing shot. We wanted a misdirect, thinking we were split-screened, but when they all come together to bring home the message of unity, it's a fun little surprise.
Yes, we added the flooring and cut to the proper angle to keep those lines straight. The right way is the hard way, and it pays off.
WWE | WrestleMania Goes Hollywood | The Miz + Maryse
On an aircraft carrier? Copy that.
While I stand by my philosophy of "practical art sells virtual production," sometimes it's just not possible.
When I directed a campaign for WWE's Wrestlemania Goes Hollywood, we recreated 6 classic movie scenes - one of which was Top Gun. Getting any sort of authentic air-craft carrier equipment on set was out of scope, so my solution was a few extras and a blast of smoke on the entrance.
This, along with keeping the floor out of frame, was enough to ground the spot. And those jets (all in Unreal) turned out great! We even have a waving flag on the tower.
WWE | WrestleMania Goes Hollywood | Seth Rollins + Becky Lynch
An iconic location? Check.
Our talent was only available on certain days in Florida, so how do we re-create the Joker dancing scene from a location in the Bronx? Virtual Production.
We built one section of stairs with a landing at the top and bottom and placed it in front of a perfectly copied Unreal environment of the stairs. On each shot, we'd be careful to line up the handrails. Lighting is key to the match in both the studio and the Unreal environment.
WWE | WrestleMania Goes Hollywood | Bloodline
An exact copy of a restaurant? Gotcha.
I got to recreate the "Funny How?" scene from Goodfellas for WWE's Wrestlemania Goes Hollywood campaign. This is an example of when custom Unreal environments really shine - you know exactly what you want your location to look like, you don't have to scout for it, and you just need a few practical props in the frame.
Here, we had tables in front of our main talent, and three tables with a few extras behind them. The cameras were locked, so no motion tracking was needed once we set up the shot.
A bonus on this was we filmed with two cameras (two frustum) at the same time, allowing for a quicker shoot and more streamlined performances.
LendingLeaf
Clones and robots? Let's go.
This fun spot for a lending app used a simple application of virtual production, a single graphic texture plate on the wall. We were not hiding that we filmed in a studio. In fact, the real gag of the shoot was the use of a motion-control cinebot and cloning our lead talent (who appears as different versions of himself each time) in what ends up looking like a one-shot take.
