Television Asia Plus | October 2020

Page 19

TRENDING Bringing video game magic to the big screen

By Quentin Staes-Polet, General Manager, Southeast Asia and India, Epic Games intuitive process also means the crew can make adjustments during shooting, avoiding the need to compromise the final cut after shooting has wrapped. Pushing the boundaries with photorealism Will the sense of realism and excitement be lost in virtual production? On the contrary, by replacing traditional green screens with scene projections, actors can get a better sense of the environment they are acting in and the shared vision of the production crew. With real-time rendering, the background can adapt according to the camera’s perspective, making the entire scene more interactive.

The pandemic has pushed producers and filmmakers to be more creative in their storytelling. Despite the lockdowns in place, many stellar examples of remote production came to the forefront, showcasing the industry’s determination to create. This has opened up the pathway for the industry to deliberate on its future and how virtual and remote production can be woven into the filmmaking process. Filming is still inefficient Over the past 40 years, technology in filming has progressed greatly. Animation and special effects are continuously becoming more realistic, making possible what was never imagined just two decades ago. However, the production process remains riddled with both inefficiencies and high costs, and real solutions have been hard to come by. In the pre-production phase, planning and visualising complex scenes takes a significant amount of time, particularly when an alignment between the creative vision and technical realities is required. Complex movie sets can sometimes take months to build, and unfavourable weather and light conditions often throw the filming schedule into disarray. Even after all the footage is captured, post-production can take another year or more. In a post-pandemic world, producers with tightening budgets can’t afford to allow inefficiencies to seep in. Virtual production and leveraging real-time video game technology might be the answer. Reimagining filmmaking Virtual

production,

powered

by

video game technology, can be a gamechanger in the creation of content, ranging from DIY digital productions to future blockbusters. With its ability to save on production time and costs, virtual production can be a lifeline for filmmakers of all sizes. For instance, with the use of video game technology, filmmakers can build digital environments that mirror the quality of final frame renders. This gives everyone in the production team the same vision of the final product. Changes can also be incorporated through an iterative and collaborative process, essentially transforming the rigid, linear pipeline of traditional filmmaking into parallel processes that cut down the overall timeline of a production. Creative decisions about shots and sequences can be resolved much earlier in the process and not left to post-production. Another core benefit of using a game engine is that the technology is realtime, providing an incredible advantage for virtual production. When applied to filmmaking, live rendering alleviates the uncertainty of traditionally siloed preproduction andvisual effects production, as they are replaced with working imagery that is far closer to the final cut. Extended post-production cycles are par for the course in the making of visual effects-intensive movies. As a result, it is often difficult for filmmakers to visualize final screen output while directing on the live-action set. With in-camera visual effects captured on LED stages, final frames can be previewed through the camera lens, and creative teams can manipulate lighting, virtual environments, and effects collaboratively on set. This more

The real-time nature of an LED stage also allows for movement of objects in a scene, such as the position of the sun or other light source, or trees moving in a breeze. Physical set pieces in the foreground can be merged seamlessly with digital environments and objects, heightening the sense of realism. Overall, the ability to view shots that are very close to final helps to ensure the continuity, fluidity, and agency of each scene, which potentially shaves off days of unnecessary shooting and months off post-production. A natural evolution for the entertainment industry Virtual production is not new. The awardwinning Game of Thrones series utilised virtual production techniques to exceed the audience’s expectations of the series. In the beginning, virtual production was used in previsualisation to ensure the alignment of creative and technical vision across film departments. As the storylines got more complex, a virtual scouting toolset—powered by Unreal Engine—was also deployed to stage elaborate and highly imaginative sets. In The Mandalorian Season 1, Epic’s Unreal Engine was used to project lifelike virtual environments onto massive LED screens that immersed the actors and crew in the Star Wars universe, giving directors full visibility and creative control of digitally enhanced sequences while shooting on set. Virtual production allows film departments to work more closely in real-time, to reach the shared vision of the final product in the most time and cost-efficient manner. At a time when the industry is grappling with the fallout of the global pandemic, virtual production may be the natural evolution for the entertainment industry.

October 2020 television asia plus

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Articles inside

How 5G will change the game for Asian streaming services

4min
page 25

How a global ‘forced experiment’ has helped innovate video production in Asia

5min
pages 24-25

AVIA hosts first virtual summit

1min
page 23

China Daily Roundtable: Creative industry insiders talk survival strategies amid the pandemic

2min
pages 23-24

IPV: Creating Video Remotely in Lockdown

1min
page 22

Hong Kong International Film and Television Market welcomed close to 7,000 international buyers

1min
pages 22-23

The Asia TV Forum & Market to go fully digital in 2020

1min
pages 20-23

The 35th MIPCOM goes live online

2min
pages 20-21

Bringing video game magic to the big screen

4min
pages 19-20

Celebrating superwomen on ZEE5 Global

3min
page 18

Meet Taiwan’s rising star of short formats

3min
pages 17-18

3 Ways to approach OTT monetisation

3min
pages 16-17

Surviving a pandemic: A look at the evolving tastes of Asian consumers in OTT and pay-TV viewership

10min
pages 12-14

A Message from the Editor

1min
pages 3-4

Why TV5 is one Filipino broadcaster to watch out for

4min
page 11

pocket.watch: Pushing the boundaries of content by kids for kids

4min
page 10

Studio 100 Media appoints head of licensing

1min
page 9

ABP Network announces a strategic role revision

1min
page 9

Fugitive gears up for growth by establishing an international network of senior sales consultants

1min
page 9

TAICCA and CATCHPLAY announce joint investment in SCREENWORKS ASIA to Build Taiwan’s content powerhouse

1min
page 8

iQIYI releases The Long Night, the fifth suspense drama of its highly-acclaimed ‘Mist Theater’

1min
page 8

Moonbug partners with Tencent Video to expand its reach across China

1min
page 8

Pay-TV services revenue in Japan to grow at 1.9% CAGR over the next five years

1min
page 7

84% of Indonesian consumers are willing to see ads in exchange for free streaming video

1min
page 7

COOCAA, Clip TV announce strategic partnership and co-branded smart TV package

1min
page 7

Upstream broadband usage, faster speeds spike higher in Q2 2020

1min
page 6

CP Communications, Mobile Viewpoint bring next-gen IQ-Sports Producer Series to market

2min
page 6

Vietnam Television launches dedicated 4K studio

1min
page 5

Synamedia zeros in on industrial-scale piracy with new intelligence-first security model

2min
page 5
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