{"id":1791,"date":"2021-06-21T13:21:17","date_gmt":"2021-06-21T13:21:17","guid":{"rendered":"http:\/\/microsites.bournemouth.ac.uk\/virtual-production\/?p=1791"},"modified":"2021-06-21T13:22:12","modified_gmt":"2021-06-21T13:22:12","slug":"studentprevis","status":"publish","type":"post","link":"https:\/\/microsites.bournemouth.ac.uk\/virtual-production\/2021\/06\/21\/studentprevis\/","title":{"rendered":"Student Previsualisation Project"},"content":{"rendered":"

What follows is a report from a student group using the Green Screen as a Previsualisation studio.<\/p>\n

Real-Time\u00a0Previs\u00a0Experience\u00a0Feedback<\/h2>\n

We used two different scenes to test the Previsualisation\u00a0setup in the Green Screen studio. We realised\u00a0an exterior environment with bright sunlight and sharp shadows, and an interior environment with more diffused lighting.<\/span>\u00a0<\/span><\/p>\n

With the Unreal Engine\u00a0setup,\u00a0we were able to\u00a0get a live feedback of\u00a0a \u201cslap comp\u201d so that all cast\u00a0and crew\u00a0could\u00a0see the live action footage overlayed to the CG background and with additional CG foreground elements.\u00a0This approach helped us to make more aware choices about framing, composition, camera movements and lighting.\u00a0<\/span>\u00a0<\/span><\/p>\n

We prepared a custom output system, so we could record at the same time the already mentioned \u201cslap comp\u201d,\u00a0the background and the foreground CG elements from Unreal (we used these to have a more refined comp for our work-in-progress edit), the clean plate from the camera for the traditional\u00a0postproduction\u00a0process and the\u00a0camera track information from the motion\u00a0capture system.<\/span>\u00a0<\/span><\/p>\n

We were given a great setup,\u00a0anyway\u00a0during the process we faced many little and big\u00a0technical issues. For\u00a0example,\u00a0some of our props (e.g.:\u00a0sand) reflected IR light, which caused\u00a0a loss of accuracy in the Motion Capture system.\u00a0To\u00a0fix\u00a0this,\u00a0we had to reconfigure the IR cameras on set, and\u00a0to do a lot of clean up over the motion data. We\u00a0came across many little problems in terms of acquisition of\u00a0the\u00a0Unreal Engine\u00a0render passes in real time,\u00a0colour space management from one system to the other,\u00a0image streams resolution compatibility\u2026 After the first full day of\u00a0work,\u00a0we ended up with only\u00a0fifteen seconds of footage, and it was not good enough to be used anyway, but eventually we\u00a0got (almost) everything working.\u00a0<\/span>\u00a0<\/span><\/p>\n

Some of the outdoor scene assets are from a previous group project, and great thanks for those go to Dermott Burns, Edward Barnes, Alexandra Kim Bui, Alexander Lechev, Ollie Nicholls.\u00a0<\/span>Finally,\u00a0of course a huge thank you to the people who gave us this\u00a0incredible\u00a0opportunity and helped\u00a0us with any minute they had. Thank you to Richard Southern,\u00a0Oleg\u00a0Fryazinov, Neil\u00a0Goridge, Edward\u00a0Sedgley.\u00a0<\/span>\u00a0<\/span><\/p>\n

Cast & Crew<\/strong><\/h4>\n