To create the Oscar-winning freeform camera and imagery of astronauts in Earth orbit, the actors wore partial spacesuits on sets illuminated by large LED panels. And that stood, in part, on Peter Jackson’s early efforts in The Lord of the Rings (2001-2003) and Robert Zemeckis’ The Polar Express (2004).Īnother giant leap was taken when Gravity arrived in 2013. James Cameron’s Avatar is one such project, coining the term virtual cinematography to describe the motion capture of both actor and camera movement to drive more realistic computer animation shots. So a better description would be that it’s the intersection of the physical production world with virtual elements.Īnd when you look at it like this, you can easily see how earlier productions provided the foundations for today’s techniques. Thanks to groundbreaking productions like The Mandalorian, many of us associate virtual production with in-camera VFX and LED volumes.īut the term “virtual production” encompasses many different workflows of which the LED volume is just one. So let’s take a look at what’s driving this incredible demand, and where opportunities can be found for newcomers and veterans alike. This situation is compounded by roles that are constantly being refined and redefined. You don’t have to look hard to see how virtual production is taking the film, TV, and streaming industries by storm.Īnd like all new developments, the demand for qualified talent is high, while the availability of skilled people is low.
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