Meredith Brace Sloss and Jess Marley from Halon Entertainment recently sat down to discuss their experience in virtual production, virtual art department, photogrammetry, and VFX.
With a wealth of knowledge spanning various aspects of the film industry, they shed light on the evolving virtual production pipeline, its viability for different budget ranges, and the future of the technology.
The goal is to do as little in post as possible, right? And do as much on the wall as possible.
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Behind the Scenes
Halon Entertainment offers services in previs, post-vis, finals, techvis, and virtual art department, covering assets for AR, VR, virtual production, and photogrammetry.
The goal in virtual production is to do as much on the LED wall as possible and minimize post-production work. Mandalorian set the stage for the virtual production pipeline, but a significant portion still goes through the traditional VFX pipeline for finishing.
Bringing the virtual art department in early allows for collaboration with the physical art department, stage vendors, and creative teams to optimize the process and save money.
Virtual scouting, as seen in Pinocchio, enables directors to explore the virtual world at different scales and plan shots effectively.
Photogrammetry and techniques like NeRFs and Gaussian Splats are being utilized to capture real-world environments for virtual production, eliminating the need for full CG recreations in some cases.
It feels performative in a way that I noticed the difference that the performances the actors gave was just wildly different than a green screen or a big empty box.
Final Take
