LED volume Archives - Versatile Media

Articles Tagged with: LED volume

October 3, 2023

TECHVIS. The Bridge between Visualization and LED Principal Photography

TECH VISUALIZATION is a crucial part of the virtual production pipeline that connects all the stages of virtual production and ensures success for LED volume principal photography.

Our latest project, Bushidō was designed to take advantage of our VP capabilities and demonstrate the preparation workflow for LED volume filming.

THE PROJECT

The short film was created by our VP Supervisor, Raphaël Gaudin who was artistically inspired by the long-standing practice of Bushidō, a feudal code of the Japanese samurai.

The ideology of Samurai, which promoted the importance of loyalty, honour and martial arts was a perfect opportunity that provided choreographed action of fighting sequences and highlighted a traditional Japanese courtyard.

“Bushidō was completely prevised for action accuracy. “

Set in feudal Japan on a cold, winter morning, a samurai duel begins. We collaborated with 2 great performers from the Vancouver Eishin Ryu Iaido Club who were instrumental in making plausible choreography that transported us to our ancient Japanese set where the fight takes place.

In order to prep for the LED stage successfully, we relied on our techvis process.

WHAT IS TECHVIS

During the pre-production phase, a series of steps are undertaken to ensure a smooth and efficient production process. Tech visualization tailored for LED volume filming constitutes a vital aspect of prep. It leverages technology to visualize and strategize the scenes that will be filmed.

Versatile’s workflow from previs to techvis to final LED volume filming.

Upon concluding previsualization and finalizing the previs edit, each scene in the script is meticulously analyzed. Here’s a comprehensive breakdown of techvis:

SETS. The VP Supervisor and a Set Designer collaborate to assess each scene and shot, determining the physical sets and props required. They will also provide guidance to the Virtual Art Department (VAD) for further enhancements to digital locations. This approach ensures seamless synchronization between the virtual environments displayed on the LED screens and the physical sets that are constructed.

CAMERA. Rigorous testing of camera and lens setups ensure compatibility with the LED volume. The volume’s dimensions are considered to ascertain the feasibility of achieving shots. Additionally, an accurate equipment list encompassing cranes and dollies can be compiled.

LIGHTING. A comprehensive plan is formulated to determine the on-set lighting requirements necessary to achieve the Director of Photography’s vision. This includes the placement of physical lights around the set.

OPTIMIZATION. The Virtual Art Department (VAD) and technical teams collaborate to conduct tests, ensuring the LED screens can display the virtual environments in real-time. This intricate process involves fine-tuning the rendering technology and the virtual environment to obtain photorealistic results.

BUDGET AND SCHEDULE. The culmination of techvis yields essential information that becomes an integral part of the shooting plan. It also Identifies shooting solutions to align with a project’s budget.

TECHVIS FOR BUSHIDŌ

Bushidō’s techvis let us extract invaluable data, including what needs to be built physically inside the volume and how to tackle the challenge of blending it with the digital content on our volume.

LED stage representation in engine.

Out of the 47 shots in the final previs edit, 39 can be achieved in-camera with a single set piece; the snowy, cobblestone ground. These range from large establishing shots to long lens closeups, and require a wide range of camera setups from handheld, rails, tripod, Steadicam and cranes.

In the opening shot, where our character climbs up the stairs, the 2 lanterns set in foreground could be built physically or, alternatively, displayed in digital form on the LED volume.

During techvis, we confirm a shot can be executed in two ways.

The size of the stage, in our case 87 ft wide by 30 ft in height, and together with its seamless ceiling, is crucial in filming the shots as envisioned in previs. This results in less physical stage set-ups and eliminates VFX enhancements.

Digital representation in engine of LED volume to scale.

MAKING OF BUSHIDŌ

Winter Courtyard Scene

The temple environment was completed by Versatile’s VAD team in 4 weeks. To create the temple, we first blocked a low polygon model to get accurate proportions. Being able to scout that early environment in VR was a great way to verify scale before moving ahead with production quality assets.

Measuring set and distances to accurately execute performance capture and building virtual environments.

For the far background mountains, we shot a 360 degree photographic panorama instead of creating CG assets. We took advantage of Unreal’s Niagara to generate a snowfall particle system. We also leveraged Unreal’s fog and volumetric shadows.

Music & Soundtrack

The sonic goal for this project was to keep the soundtrack as authentic as possible by using taiko drums as the driving percussive instrument. While the melody was piloted by kotos and shakuhachis, traditional Japanese instruments.

Taiko is a traditional Japanese drumming style. The drums are large, dramatic and impactful. It felt like a natural choice to convey an epic ancient samurai duel. Drums are great to build tension and punctuate story beats.

Our sound designer, Evan O’Reilly took inspiration for the soundtrack from researching some world class producers and performers. Kodo, a Taiko drumming troupe based on Sado island, Japan. Their energy, movement and progression is impressive to witness. Something he attempted to bring to this composition. Additionally, he leaned on Hans Zimmer’s discography, specifically the last Samurai for cinematic inspiration.

For sound, the biggest challenge to overcome was understanding the dynamics of the piece. The balancing act between the quieter sections where the atmospheric sounds are the only sonic element present, contrasted with the huge Taiko ensembles at the crescendo of the composition.

“Witnessing the virtual environment and characters develop artistically was a major source of inspiration. This really conceptualized ideas of how this short film could sound. For example, the shakuhachi being a mimesis of the wind after I had seen the cold, dew morning where the duel takes place.”

– Evan O’Reilly, Sound Designer and UE Artist.

Establishing shot of the digital location at sunrise.

TECH AND TOOLS

NVIDIA^® GPUs were crucial to the entire process. With the Ada Generation GPUs, the performance capture session was comfortably running at 30 FPS with 2 live performers, a virtual camera and full environment.

For final rendering, the Ada’s ray tracing capabilities allowed us to meet higher quality output similar to offline rendering solutions using Unreal’s Path Tracer.

Utilizing all our GPU power including the Ada, Bushido was rendered to final pixel in less than 2 days.

NVIDIA’s Ada Generation GPUs are also the computing power behind our new LED stage.

Bushidō is 4 minutes in length. We utilized Unreal Engine 5.2, and Unreal Path Tracer and NVIDIA GPUs including Ada Generation for rendering. Music and Sound software included Ableton Live 11.

Our next blog will showcase the volume filming of Bushidō. Stay tuned!

For more information please contact:

Roula Lainas, Marketing & Business Development Executive
Versatile Media Ltd.
Vancouver, Canada
roula@versatile.media

Twitter / IG / Facebook / LinkedIn / Youtube @filmversatile
#filmversatile #versatilemedia

May 26, 2023

LED Volume Fueled by Latest GPUs and Proprietary Technology

As Versatile Media’s LED volume opening date approaches, the technology behind the stage is a key point of discussion with upcoming productions and how it differs from competing stages.

More LED stages are entering the marketplace and filmmakers are gaining experience and confidence with filming on LED volumes.

The capabilities of our virtual production volume are defined by a few factors, including the adoption of the correct workflow for increased productivity, and proprietary technology such as our LED panels, which determine how sequences can be filmed. The graphics processing unit (GPU) also plays a critical role in driving what and how virtual environments can be delivered to the screen. Taken together, these areas create a significant impact on the quality of results achievable under typical production deadlines.

The Versatile Stage, set to open in South Burnaby, will rely heavily on NVIDIA^® RTX 6000 Ada Generation GPUs as a vital hardware component. The stage was specifically designed around a proprietary solution that facilitates real-time computation and display of graphics across the volume, so adopting the most powerful GPUs presently available was a mandatory decision to make.

Traditionally, LED volume filming involves blending the foreground, midground, and background to create a simulated environment. At Versatile, we take a different approach, striving to seamlessly integrate physical set construction within the digital environment to create truly immersive scenes that can accommodate greater flexibility when on set.

Thanks to this innovative solution, we are able to eliminate some of the standardized hardware and software solutions. The result being a greater number of computing cores driving our volume, enabling vastly improved performance.

Versatile Media uses proprietary VX LED panel

Traditionally, LED volume filming involves blending the foreground, midground, and background to create a simulated environment. At Versatile, we take a different approach, striving to seamlessly integrate physical set construction within the digital environment to create truly immersive scenes that can accommodate greater flexibility when on set.

Achieving this level of integration demands precise camera tracking between the physical camera movement on set and the image displayed on our LED volume. As a result, our technology can offer much greater flexibility when lensing shots, allowing for efficient and effortless changes with camera movement and shot framing.

“Part of the efficiency equation for adopting the new NVIDIA^® RTX 6000 Ada Generation GPUs was understanding its impact on the VAD work required to run in real-time when shooting on the volume. We can now allocate more resources towards enhancing the visual quality of our virtual environments instead of time spent optimizing scenes. As the filming industry becomes more proficient in its practices, we see a growing demand for higher-quality photorealistic VAD work, making the upgrade to RTX 6000 GPUs even more valuable and ensuring we are future-proofing our LED sound stages.“

-Steve Read, VP, Versatile Media, North America

Versatile has also created a unique VX LED panel that plays a crucial role in the company’s volume stage. This panel can generate images at a remarkable speed of up to 240 fps, with a brightness of over 2000 nits, highlighting again the need for additional GPU computational power.

As both LED and previz expectations increase and directors and cinematographers need to experience it as close to live action as possible, so will the demand on GPU power.

The NVIDIA^® RTX 6000 Ada Generation professional graphics card puts us one step ahead with our evolving real-time pipeline for productions. It’s a huge contributor to efficiency and ease, but more importantly, like virtual production, it is putting the creative power in the hands of filmmakers.

ABOUT VERSATILE MEDIA LTD.

Versatile Media Ltd. is a global media company founded in 1993. The company has over 500 creative and technical artists and R&D staff, globally. Our North American virtual production studios are located in Vancouver, Canada. The company has built a full cycle virtual production workflow for both servicing the film and television industry as well as original IP and co-produced projects.

For more information please contact:

Roula Lainas, Marketing & Business Development Executive
Versatile Media Ltd.
Vancouver, Canada
roula@versatile.media

Twitter / IG / Facebook / LinkedIn / Youtube @filmversatile
#filmversatile #versatilemedia

August 26, 2022

Directing a Car Chase Sequence in Real-Time. A Q&A with Virtual Production Supervisor, Raphaël Gaudin

With a filmmaking playground literally in our backyard (studios), our VP Supervisor, Raphaël Gaudin together with our creative team wanted to produce a piece that was inspired by our tech’s capabilities.

Car chase sequences are usually complex to previz in a traditional linear workflow. We wanted a piece to showcase how efficient and creative our VP tools are to use. There is also a playful synergy between being able to create animation and action for directing that feels like gaming on your favourite console.

The end result? Wasteland, a one and a half minute animated car chase sequence made up of 41 shots with diverse camera setups including drone, onboard vehicles, aerial and handheld shots.

Our Virtual Production Supervisor and Director of Wasteland, Raphaël Gaudin answers your questions.

Why did you want to make Wasteland?

Wasteland is an internal project that we created to showcase our Virtual Camera and Live Editing capabilities together with Unreal Engine 5.

We knew we wanted to do something that would be challenging to create in a traditional manner. Our goal as a studio is to help filmmakers achieve their vision using our stages and custom VP tools. We decided on a dynamic car chase sequence. It had to fulfill a few key elements; organic and fast pace with a wide range of camera angles and techniques.

How long did Wasteland take to complete?

The 1 min, 30 second story is made up of 41 shots and from concept to final edit including sound design and colour grading, it took 3 weeks. The team included 6 VAD artists, on-set included 3 Supervisors and 3 UE TDs. I was both the director and editor as it allowed me to have full creative control and made the process more fluid. However, most directors we’ve worked with rely on an on-set editor, which is what our VCAM and Editorial stages are for.

What did Post Production look like?

We used Unreal Engine 5 as our main tool. During shooting and on-set editing, we also relied on DaVinci Resolve for colour grading and offline editing. No compositing work was done after the shots were rendered.

Can you tell us about the soundFX?

We knew sound was going to be a big part of this piece because we didn’t have any dialogue to convey the story and the cars are essentially the main characters. We also had a lot of cuts because of the direction and pace. Engine sounds were key to the success of the sequence. We invested some time in building motor vehicle sounds straight into UE5 so we could record it during shoot day. We didn’t use it in Post but it turned out to be a very useful reference for SFX, which was created by Studio X Labs. Music was composed in-house by one of our TDs, Evan O-Reiley.

How did you like directing?

I liked it very much and it was a very enjoyable process, as well. It helped me put myself into a creative head space. Using our real-time tools, gave me a unique perspective as both the client (director) as well as a crew member who is there to educate other directors and DPs on our workflows. I was able to give valuable feedback to the team.

What software and hardware did you use on Wasteland?

We used Unreal Engine 5, Autodesk Maya for asset creation, DaVinci Resolve for colour grading and editing and UE5 for everything else, which includes environment layout, rigging, stage operations and rendering. The project was rendered on a single NVIDIA A5000 GPU, peaking at 23gb of VRAM. The card’s capacity is 24Gb.

What were some of the challenges you and the team faced?

There was always a debate around the way we should approach the day of filming. We had doubts whether to record the cars performances and the cameras separately or recording all performances simultaneously. We ended up being more efficient shooting performances and VCAM all at once, live and on-set. This meant we could keep cameras rolling for longer takes and have more material faster and allow for happy accidents (no pun intended). It also depends on directorial style but I fully embraced it.

What would surprise people to know about this short film?

The cars were not hand animated, in fact nothing was hand animated for this project. The cars were set up with the UE5’s CHAOS Vehicles system and the cameras were recorded using our own VCAM solution. The cars were animated using game controllers live and while filming. Actually 3 cars were used to achieve this; two are visible in the sequence and a third car was set up to hold the VCAM on most shots.

I always suspected that we would have to do some sort of animation “fixes” at some point, but we didn’t need to.

What’s next for Wasteland?

On its own, this is a fully realized project. However, you can take this high end previz as a prototype/test for quickly realizing your vision using Versatile’s tech and bridging the gap from previz to final pixel LED content.

Watch Wasteland here on YouTube

August 17, 2022

Mentorship for Next Gen Filmmakers Joined By Academy Award Winning Cinematographer

In partnership with The Blue Planet Science Fiction Film Festival, Versatile Media Ltd. has launched The Blue Planet Versatile Vision Science-Fiction Film Initiative in China that will allow up-and-coming filmmakers to explore the possibilities offered by Virtual Production. Pairing a traditional Sci-Fi script competition with creative workshops and our technology, winning teams will unlock opportunities for training and production at Versatile Media’s studios.

A collaboration with Academy Award winning cinematographer, Peter Pau of Crouching Tiger, Hidden Dragon, is confirmed. As chief mentor for our Sci-Fi initiative, Mr. Pau will provide hands-on guidance to the selected filmmaking teams, advising participants on how to utilize Versatile Media’s cutting edge technologies for artistic storytelling.

Known for profound achievements in the art of film, Mr. Pau has always encouraged innovative filmmaking techniques and paid attention to how new technologies are changing the film industry and society. He has actively promoted the application of Virtual Production in the film & television industries and is one of the earliest supporters of the Versatile Production Pipeline. He believes that Sci-Fi and high-tech films are inseparable from virtual production.

Mr. Pau has extremely high standards for new filmmaking techniques. For him, virtual production technology must be able to bring creative artists enough freedom and allow them to shoot films indistinguishable from, or even better than traditional principal shooting.

Virtual production is not just the use of LED volumes, it’s a whole new way of thinking about filmmaking. In the past year, Mr. Pau was able to work directly with our team and The Versatile Stage, utilizing the production-intuitive tools that are setting our system apart. When the opportunity came along to mentor a new generation of storytellers, he was on board.

Mr. Pau adds: “You can shoot your film partially or entirely through Virtual Production, depending on your budget. It allows projects to have boundless creativity with imagination being the only limits to the appearance of the final picture.”

More on The Versatile Vision Science Fiction Film Initiative

Earlier this year, we launched Versatile Vision for its inaugural year in partnership with the 4th Annual Blue Planet Sci-Fi Film Festival. Twenty-one teams will be selected based on their sci-fi project submissions. These teams will be invited to an immersive training with our virtual production technology. Five of those teams will have the chance to utilize our technology to film a short proof-of-concept for their projects to then pitch at a large-scale industry event that Versatile Media will host at the end of the year.

*The Blue Planet and Versatile Vision Initiative*

The Versatile Vision program inspires great sci-fi projects and filmmakers with a platform, training, and experience with the most cutting-edge filmmaking technologies.

About Versatile Media Ltd.

Versatile Media Ltd. is a global media company founded in 1993. The company has nearly 500 creative and technical artists and R&D staff, globally. The newly created North American virtual production studios are based in Vancouver, Canada. The company has built a full cycle virtual production workflow for both servicing the film and television industry as well as producing its own IP and co-produced projects.

International Growth

Versatile Media’s global expansions include a 44,000 square foot film centre in Vancouver that will include at least one high-end, large LED volume as well as traditional sound stages and amenities. In addition to Vancouver’s stages, the global initiatives will also see the construction of a 12 acre film base near Hangzhou where, among other installations, 5 LED volumes will be built, in addition to 2 existing LED stages, as well as capture and visualization stages.

The goals for Versatile Media Ltd., are to contribute to the technological transformation taking place in the entertainment sector, empower filmmakers and to bring audiences completely new experiences.

About The Blue Planet

The Blue Planet is China’s first Sci-Fi-themed film festival and an all-embracing cultural event that crosses boundaries and opens new frontiers. Since its inception in 2019, it has collected over 750 Sci-Fi projects from more than 30 countries and regions around the world. It showcases the new explorations and vision in Sci-Fi movies of young filmmakers, globally. The Blue Planet is now the biggest platform in China for Sci-Fi film screenings, talent exchange and Sci-Fi content gatherings. Blue Planet is also the only domestic platform for the integration of technology and film & TV. The Blue Planet initiated the Global Alliance of Sci-Fi Film Festivals, aiming to promote the communication and co-operation of domestic and international Sci-Fi films.

Check out the first Sci-Fi short film produced entirely on The Versatile Stage:

For more information please contact:
Joan Xu
Versatile Media Ltd.
joanxu@versatile.media

website: versatile.media
Twitter / IG / Facebook /LKD @filmversatile

#filmversatile #versatilemedia

August 5, 2022

Vehicles, Action Sequences & LED Stage Filming

It’s been 4 long years since Vancouver hosted SIGGRAPH and the wait is finally over.

This year we are more than excited to take part in both the NVIDIA Session Series, Illuminating the Future of Graphics and the SIGGRAPH Job Fair.

From Script to Screen: Virtual Production For LED Filmmaking

August 11th at 11am join our VP, Steve Read and Virtual Production Supervisor, Raphael Gaudin. This session will talk about how cinematography, VFX, and Editorial for complex vehicle and action sequences come together in a real-time environment to deliver the final pixel on our LED volumes.

Raphael will be presenting our latest work on vehicle chase sequences and how we use our virtual production workflow to achieve the director’s vision as well as taking advantage of Unreal Engine 5 to bridge the gap between previz and final pixel LED content.

*Previsualizing a car chase sequence in real-time using UE5.*

We will also be premiering our latest techviz workflows and R&D technology to demonstrate how complex car-driving sequences are taken from script, to principal photography on our LED volumes.

*Shooting complex car-driving scenes on The Versatile Stage.*

Our session seats 80 attendees, classroom style and audience is first come first serve. In case you do miss it, SIGGRAPH will be including all sessions here after the show.

SIGGRAPH Job Fair

Meet our recruiting team at the SIGGRAPH Job Fair on Monday, August 8th.
Want to learn about our job openings and our upcoming LED sound stages opening in Vancouver? Come see us at SIGGRAPH 2022.

For more information please contact:

Roula Lainas, Marketing & Business Development Executive
Versatile Media Ltd.
Vancouver, Canada
roula@versatile.media

versatile.media

Twitter / IG / Facebook /LKD @filmversatile
#filmversatile #versatilemedia

July 13, 2022

How We Filmed our Sci-Fi Short in 4 Days

*Shooting New Air on The Versatile Stage*

Versatile Media Ltd. releases its first short film, New Air produced entirely using the company’s virtual production workflow and patented tools, marking the first project achieved entirely with real-time workflows. The featurette was prevized, shot and posted in 10 days.

There are many great examples of Virtual Production having a heavy hand in the creation of A-list films and series including The Mandalorian, Star Trek, WestWorld and the newly released The Batman to name a few. The percentage of what was shot on a volume versus other traditional methods may vary.

But for director and CEO of Versatile Media Ltd. Leo Lee, the challenge and goal has always been to make every production step real-time. The industry may still not be there yet, however, we are moving at lightning speed towards that goal.

The essence of Virtual Production, which is also the core of the Versatile Virtual Production pipeline, is to make every production step real-time through technological tools and methods. After four years’ of extensive R&D, we’ve developed several core technologies including the elimination of moire patterns, seamless camera tracking and virtual focus pulling, allowing filmmakers to fulfill their creative vision without decay.

Every iteration of Epic’s Unreal Engine also brings exciting and disruptive changes to the production pipeline of the entertainment industry and thus brings our sector closer to real-time production processes. Our R&D team have embraced the UE technology and have worked over the past 4 years to build upon it with our holistic virtual production filmmaking solution that enables more filmmakers and creators to utilize these new advancements.

“We purposely chose to make a VFX-heavy Sci-Fi short film, with the intention to prove to the industry that a film can be produced entirely through VP with ease and efficiency. – Leo Lee, Director.

The 9-minute sci-fi short was filmed on one of Versatile’s largest stages spanning 270 degrees in diameter, 6 x 24 meters with 2.0 pixel patented panels and running on 116 NVIDIA RTX 8000 GPUs. The processing power provided hash rate for full-screen, real time rendering, meaning all 10,000 panels were refreshing digital environments at full resolution. Two sets of tracking systems work together to achieve the low-latency tracing. Together with the great advantages of UE, our cinematographer was granted an enormous amount of creative freedom with their camera movements, setting up multiple camera positions and pointing cameras within 2 meters of the LED panels. The camera used for this film was the RED Helium.

Versatile’s lighting control system was combined with UE’s built-in lighting design along with physical lighting to achieve the reliable control of both ambient and hard light set ups.

“Live action shooting is limited by physical space, but Virtual Production allows us to set lighting and camera positions at any place. We can always maintain the best on-site lighting, that’s really a re-definition of time and space, giving us so much more creative freedom.” -Marc He, Cinematographer, New Air.

Sets & VAD

New Air tells the story of a mother and daughter struggling to live on an alien planet with no oxygen.

As an apocalyptic Sci-fi film, New Air is made up entirely of VFX scenes and 3 sets; a sandy alien surface, interior cabin of the spacecraft and a laboratory; each scene was large in scale and unique in style.

*Only 3 physical props were used on-set of New Air*

A traditional production workflow will shoot with physical sets & location, greenscreen and a VFX-post method. In the case of New Air, the only physical sets were the space craft door, rock cliff and a medical gurney; the rest of the set-decoration relied on digital assets built by the Virtual Art Department.

Our VAD (Virtual Art Department) team spent half a day processing the 4D photogrammetry to Elizabeth Tuner, the actor who played the mother, in order to duplicate her for the last scene. While our actress was on-set shooting, the asset team was simultaneously optimizing her CG model version.

Tuner talks about her experience as a performer and working through a typical timeline in post. ”The whole on-set day was very efficient, I immediately went to ADR right after finishing our shoot. Seeing what could be the final product so quickly, is amazing! It normally takes months before I even have a taste of that.”

*Actors prepare before shooting opening scene*

Synopsis

On a distant planet, human explorers are forging a new future on a brutal, resource-scarce world. A mother and her young daughter battle for survival together, and sometimes against one another, as they fight to stay alive with humanity’s punishing new rules. How far will mankind go to forge new roots in a new, untamed environment? What endures when civilization is gone and survival is all that is left?

About Versatile Media Ltd.

Versatile Media Ltd. is a global media company founded in 1993. The company has nearly 500 creative and technical artists and R&D staff, globally. The newly created North American virtual production studios are headquartered in Vancouver, Canada. The company has built a full cycle virtual production workflow for both servicing the film and television industry as well as producing its own IP and co-produced projects.

International Growth

Versatile Media’s global expansions include a 43,000 square foot film centre in Vancouver that will include at least one high end, large LED volume as well as traditional sound stage and amenities. In addition to Vancouver’s stages, the global initiatives will also see the construction of a 12 acre film base in Hangzhou where, among other installations, 5 LED volumes will be built, in addition to their 2 existing LED stages, as well as capture and visualization stages.

For more information please contact:

Roula Lainas, Marketing & Business Development Executive
Versatile Media Ltd.
Vancouver, Canada
roula@versatile.media

versatile.media

Twitter / IG / Facebook /LKD @filmversatile
#filmversatile #versatilemedia

TECHVIS. The Bridge between Visualization and LED Principal Photography

LED Volume Fueled by Latest GPUs and Proprietary Technology

Directing a Car Chase Sequence in Real-Time. A Q&A with Virtual Production Supervisor, Raphaël Gaudin

Mentorship for Next Gen Filmmakers Joined By Academy Award Winning Cinematographer

Vehicles, Action Sequences & LED Stage Filming

How We Filmed our Sci-Fi Short in 4 Days

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