KEVINOBRIEN.FILM
Virtual Production? Certainly.
With over 30 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.