The rest were created as full CG by ILM and on the studio backlot.Īctors in The Mandalorian performed in a 20-foot high, 270-degree semicircular LED video wall with ceiling and a 75 foot in-diameter performance space, called the Volume. Photogrammetry teams headed to Utah and Iceland among other locales to shoot these plates which wound up comprising about 40% of the show’s final backdrops. The location backdrops were drafted by visual-effects artists as 3D models in Maya, onto which photographic scans were mapped. This workflow is very natural for filmmakers.” Virtual environments have to be built before the deadline for principal photography. “You have to build sets before you can shoot them in live action and now that’s the same in our VFX workflows. “The good news in this transition is that it brings workflow back to something akin to traditional filmmaking,” Morin says. On set: Shot on an LA stage surrounded by massive LED walls displaying dynamic digital sets The Mandalorian executive producer and director was Dave Filoni working with episode directors including Bryce Dallas Howard and Taika Waititi. That shift requires adapting the VFX workflow so that you can use games engine and virtual reality tools to decide ahead of time where to put the camera and, if there are multiple directors shooting in the same world over a series, they need to agree on continuity.” “If you want a photoreal virtual world on set you have to build it before going on set. “The defining characteristic of this workflow is that most of the creative work is done in pre-production instead of post,” explains Morin. “This project demonstrates the most multi-faceted use of our technology yet,” says David Morin who heads up Epic’s LA Lab.Īs pioneered by The Lion King director and The Mandalorian showrunner Jon Favreau, multiple people including the art designers, production designer Andrew Jones, visual effects supervisor Richard Bluff and cinematographer Greig Fraser ASC ACS were able to collaborate in VR prior to principal photography in order to choose locations, block and light scenes. Joker and Murder on the Orient Express included scenes lit by video walls. The Lion King’s creative team used the Unity engine for several processes including location scouting. “Most of the creative work is done in pre-production instead of post,” David Morinįor example, the art departments on The Meg, Le Mans 66 (Ford v Ferrari), Ad Astra, and Rocketman all used Unreal Engine for previsualisation. While all these elements have been used in various combinations before, deployment for the fast-paced nature of episodic television had never been attempted. The integrated suite of technologies included a motion tracking system from Profile Studios and Epic Game’s Unreal engine. The Mandalorian was shot on an LA stage surrounded by massive LED walls displaying dynamic digital sets. Star Wars feature films are shot on massive sets occupying large soundstages at Pinewood in the UK, supplemented with exotic location work in Tunisia or Ireland and copious VFX from the likes of Industrial Light & Magic (ILM).īut for the TV spin-off, Disney+ used a groundbreaking virtual production methodology that radically shrunk the footprint, eliminated location shoots and essentially performed real-time, in-camera compositing on set. The Mandalorian: Groundbreaking virtual production
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