"It's a little bit bleeding edge. It's a little bit fingers crossed sometimes with what's going on," says Jim Rider, a veteran of visual effects turned virtual production supervisor, encapsulating the thrilling uncertainty of Hollywood's latest technological revolution.
In the latest episode of the VP Land podcast, Rider charts the course from his early days manipulating miniatures and optical composites to his current role overseeing a state-of-the-art LED volume at Pier59 Studios.
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Behind the Scenes
The expense of virtual production often comes from a different "pile of money" than traditional production costs, making budgeting a challenge
Tight production schedules don't always allow enough time for the upfront work required, like building 3D environments
Some producers are hesitant to change established production methods, even if VP could save time and money
The Breakdown
Pier59 Studios in NYC has the largest LED volumes on the East Coast with a 65' x 18' curved wall with a 2.6mm dot pitch
The stage uses Disguise for media server, Unreal Engine for 3D scenes, Sony VENICE and RED Komodo cameras, complete with Asus ProArt Monitors and Asus ProArt Studiobooks
