Our first two attempts were more about the process than the end result—trial and error in the name of knowledge. This third outing, in the form of a commercial shoot, would have to look seamless to be judged a success. But this time we had the resources and know-how to do it right. (More or less.)
the r&d of it
Diamond panels // 2.6 pixel pitch // Sony Venice // Scorpio Full-Frame Anamorphics
You can shoot more locations in less time than would be required on location, and you can easily shoot those locations in story order.
Success on the volume demands a certain level of experience—across all departments. (Just look at how much more the filmmakers were able to achieve in the second season of “Mandalorian.”)
Often a truly beautiful shot can take more planning than in the real world, but the amount of control this approach offers definitely makes it worth the effort.
A filmed plate shot can be prepped for the screen in a matter of days, where a digital environment can take several weeks. (The catch is that filmed plates lack the parallax of an Unreal environment.)
Matching objects in the real world to those on the volume takes practice, but as LED panels improve this will become less of an issue. Trees and plants are especially difficult, as any mismatched shadows or saturation become obvious cues to the eye that something isn’t quite right. (The very latest panels are already addressing this issue, so it should get easier.)
If you made it this far and want to know more, over at Medium, Richard Janes wrote one of the better pieces on the broader implications of the volume’s potential effect on filmmaking and the industry.
BTS CREW
CINEMATOGRAPHY NOAH DEATS
PRODUCER/EDITOR RACHEL GOLDFINGER
music courtesy wolf at the door
creative team
Director Russ Lamoureux
cinematographer Darran Tiernan
1ST AC PETER GERAGHTY
2ND AC SAMAR KAUSS
DIT MIKE DEGRAZZIO
GAFFER DAVE MADDUX
KEY GRIP DANNY BARFIELD
SOUND MIXER PAUL STULA
PRODUCTION DESIGNER KIRT JOHNSON
ART DIRECTOR JESSICA ANDERSON
LOCATION SCOUT DAN BEAL
VFX PRODUCER ANDREW TURNER
VFX Supervisor Johnny Gibson
VFX Supervisor Matthew Kemper
UNREAL SUPERVISOR STEFFEN REICHSTADT
editorial/POST OPTIMUS, CHICAGO