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Deepic and virtual imaging; The future of cinema in the hands of technology

BingMag.com <b>Deepic</b> and <b>virtual</b> <b>imaging;</b> The <b>future</b> of <b>cinema</b> in the <b>hands</b> of technology

Who better than Robert Legato, winner of three Academy Awards for Visual Effects (for The Jungle, Hugo and Titanic), to talk about the future? Will this sector affect the film industry? Winner of the American Visual Effects Association Award for Excellence in Innovation and Creativity, he has transformed virtual production into live action for James Cameron, Martin Scorsese, and John Favreau. In fact, testing virtual reality with Favreau in "The Lion King" prompted the director to co-create the "Mendelorin" series for Disney Plus in collaboration with the Industrial Effects Studio Light & Magic (ILM). They built the StageCraft platform, which eliminated the need for real-time shooting, which is very time consuming and expensive. In Manhattan Beach Studios near Los Angeles, actors play on walls and ceilings covered with giant LEDs, in which the physical components of the stage are integrated with the digital development of the screens. This allows filmmakers to create complex and amazing digital backgrounds instantly and in real time, using software such as Epic's Unreal Game Engine.

10 reasons why computer special effects in cinema get worse, not better!

As a result of this groundbreaking technology, scenes covered with LED walls have been found all over the world. ILM has three studios in Los Angeles, one in Paynewood, London and one in Vancouver. Weta and United Studios have one in New Zealand, Warner Bros. has one in Leucden, England. DNEG and Dimension Studios have one in London and Trailis Studios has one in Atlanta. This has reduced the number and scope of real-world shooting, physical component construction, and crowded scenes, and Legato speaks of the importance of LED wall-mounted scenes as well as their impact on the future of the film industry.

- Next How do you assess the success of Mendeleev, the virtual production space, and the impact of LED wall-mounted scenes?

We had something like We did this, but not so easily with the blue screen tool. With the advent of scenes with LED-covered walls, you can now pre-create your own scene, much like the one you were supposed to create, illuminate, create the texture, and make all the necessary decoration adjustments, and then shoot a sequence with those settings. . But now, the LED-covered scene has made illustration work easier. It doesn't even have to be a special effect anymore. It can be an office or a bar or a cave. This means that when it gets cheaper day by day and where all the scenes have LEDs, you can have a wider and deeper imagination and not be limited by budget.

BingMag.com <b>Deepic</b> and <b>virtual</b> <b>imaging;</b> The <b>future</b> of <b>cinema</b> in the <b>hands</b> of technology

- Tell us about the possibility of visualizing and visualizing everything in virtual reality space. In The Lion King, which was a photorealistic test to provide a live-action imitation. Focus and the one holding Gimbal's arm was a lot like a live-action movie, but with a few extra things and some little things. If you're talking about the future, you're enjoying the benefits of computer advancements and tracking and so much more, but I think we still like that chemistry of the actors on stage with the director. We will never get rid of analog tools at all, and we should not do that. Now you can make The Lion King or the Jungle Book more photorealistic and you can shoot it in less time, without the hassle of shooting in real places.

Let me give you an example of a movie that we want to see, but no one wants to make again! The reason is clear: it is very difficult to build and very physically exhausting for Leo. When you are in the freezing cold and wait all day to use only 20 minutes of imaging. He even said that he would not do it again, but he is still highly respected and won an Oscar for this role. But you do not have to endure that torment to show the same amount of initiative and creativity. It can be a film with virtual scenes that is just as visually powerful and impressive.

- and we are now witnessing this as the evolution of virtual production continues.

LED walls provide full access, which years ago, with all CG tools, was a dead end. There is no problem with this anymore. You can set up a scene on a video wall, shoot real actors, move the camera wherever you want, and once you're done, you can move on to another scene without having to leave the studio. Whether the world you can create is science fiction, directional, or whatever. You can just do your normal filmmaking and increase your production value.

BingMag.com <b>Deepic</b> and <b>virtual</b> <b>imaging;</b> The <b>future</b> of <b>cinema</b> in the <b>hands</b> of technology

- But wall LED is not a comprehensive solution. It's a custom thing that works for Mendeleev but not for Dune, and I get negative feedback that the lighting is not real enough.

I think it's not going to replace everything It will take off completely, but it is supposed to open a new path for shooting difficult scenes. I'm working on a movie right now. We are filming a lagoon sequence in New Orleans. We stop work three or four times a day because of the lighting, and as soon as it starts to rain in the middle of the day, all the equipment gets stuck in the mud. LED walls are just to capture the look of the scene and be able to shoot 10 hours a day, instead of just 4 hours. All of this only happens because of money. If I can not see the difference and you can finish a sequence that will take us two weeks in the real place in three days, you can cope with the skill you have, with the lighting problems and everything else and solve them. . You can give light that is not artificial.

- Real time motors like the Unreal 5 make all kinds of lighting improvements They have brought and they will bring.

Yes, and since you are talking about the future, it is not something that is happening now. I am walking in this direction. I do not understand it at all, but this technology allows you to have infinitely more tools to produce images and be able to do it instantly and in real time. If I was going to teach a photographer how to get into a virtual reality environment and bring his assistant with him and you would light it up and say I want a 20K image here and a 12x12 one here and they would start Saying that, damn it! I can give the light in a way that I could do in a huge scene. The result is the same, but there is resistance and fear.

We do not have many clubs, John Thales or Vittorio Storaros, but photographers can adapt to this technology. This is a bit like when the synthesizers came about. Everyone hates the sound these instruments make, and suddenly a place where one can ride an instrument alone and play an orchestra, if he is talented enough, the music that comes out of it is amazing, and now we can work. Do more and do not need an 80-piece orchestra. He needs his imagination and a computer, and he can reproduce something extraordinary.

But I have to say again, this is the future, and people are adapting and adapting to change. They are afraid to take their job from them, instead of improving their work, but the set designer is still creating the scenes, whether it is physical and tangible, or on the wall and virtual. It is still the same old work of art. The same is true of the photographer. They have to illuminate the digital scene, just like when they illuminated a normal scene. If they do their job well, they can achieve almost the same result by placing the bulbs in exactly the same spot. But this time, the lights are virtual and not physical, plugged into a wall outlet.

BingMag.com <b>Deepic</b> and <b>virtual</b> <b>imaging;</b> The <b>future</b> of <b>cinema</b> in the <b>hands</b> of technology

- Where do you see this technology coming in the next 5 years?

In the next 5 years, we will sift through companies that are not doing well.

Of course, I do not want to name names, but I have worked with a few recently that were still in the early stages of adapting to technology. They have the ability to master the technical dimension of the technology and the hard part of it, and to do something that does not fill the stage, how to use the software and all the technical issues. But what was lacking in the middle was art. I got to work and re-directed the art to the artistic side, and only then did I get a good result. It is said that what sets men apart from boys is their artistic skills, photography and production value, and this may happen in the next five years. Almost every TV show, every big studio, or every scene that starts, will have an LED wall scene. Imagine being able to shoot 5 scenes with a guest actor just by changing the scene at the touch of a button. I can have Tom Hanks in my movie and only hire him for three days to play him, which I could not afford otherwise.

- Now let's talk about the technology of acting. And it's about performance: digital face painting and rejuvenation.

The advent of digital face painting makes it so natural that it's all about beam tracking and enlightenment, and things like that. Those who really devoted themselves to sorting lines, and what used to be traditionally limited, you can now do without restrictions. You can have any actor who plays instead of another actor, it can be any character, in any size. It will reach a point where the hair no longer goes to the seam. You can have an actor who plays for someone else, instead of spending six hours on face and makeup. The art of doing this and all that stuff will stay in place. It will become commonplace to be able to add something to a person's real self and make it look natural.

I think it's not going to be a moment where you can be an actor with an actor. Replace artificial. But he can be the person who builds the character and the combination of the two becomes a movie star. This can happen where a short person plays the role of an action star and no one notices. I can not name, but there are action stars who can not really play many action scenes, and they are replaced by their stuntmen and a kind of face shift. So my guess is that we're going to have a hybrid movie star whose face and acting ability will be completely different.

BingMag.com <b>Deepic</b> and <b>virtual</b> <b>imaging;</b> The <b>future</b> of <b>cinema</b> in the <b>hands</b> of technology

- Add to that the rejuvenation is getting better day by day. Take a look at what Lula did with Mark Hamill as Luke in the finale of the second season of Mendeleev. They integrated themselves with Deepfike technology as part of their preparation for editing images and videos from "Return Separation"

He is not an artist who is much more natural and less expensive than what we see in the Irish man (the way ILM uses it is marker-free and light-oriented). And that will take its toll on digital face painting in the future, where you no longer have to sit in a chair for five hours and have things stuck to your face, and this technology looks just as good.

The use of it by carbald people is amazing and will help make it easy to do. You see this defective tool (using machine learning), where Bill Heider does his own unique work on a TV show, and they skillfully make him look like Arnold Schwarzenegger.

The existing line is gradually disappearing, and uniting the lines and those who are working in my field should become more like a filmmaker. Appearance and art are the same and are not going to take away anyone's job.

Source: IndieWire

Tags: deepic, virtual, imaging;, future, cinema, hands, technology

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