Universal Pixels (UP) discusses why expert technical delivery is vital to virtual production, and why going virtual is the future of sustainability in film, television and advertising.
Although they are by no means an invention of the pandemic, virtual production (VP) techniques in film, television and advertising have certainly become a more widely accepted, viable option in the last two years.
VP has made all manner of shoots possible during the height of the pandemic, with COVID-safe techniques becoming an accessible norm. Moving out of this era, it’s important to not forget that production-driven VP can often still be the answer to some more traditional challenges.
While the VP market has been integral to the survival of many companies – not to mention beneficial for the creatives keen to discover the more sustainable, reliable production methods – it has also seen some existing video hardware suppliers move into the world of VP without the necessary experience of technical delivery.
Since the end of 2020, UP has been involved in multiple successful VP shoots, taking in productions of various size, scale and budget. What sets UP apart from many is the fact that we have the most up-to-date technical and practical experience in the film, television and advertising markets. The importance of this expertise cannot be understated and has already been recognised by a number of VP experts, such as VP Supervisor Christian Dickens of Virtual Ducks Ltd.
“Having a good relationship with a technically minded company like UP is invaluable for any virtual production,” he says. “The technical knowledge they have – combined with their extensive on-set experience – means VFX companies can stop worrying about the gear and focus on what they do best, which is creating beautiful and striking content. UP don’t just deliver the product as a product, they deliver a comprehensive and highly technical service alongside it.”
WORKING IN HARMONY
UP’s relationships with leading hardware manufacturers such as Absen, AOTO, disguise, INFiLED, Leyard, ROE, Epson, Brompton, and Sony go back to the early ‘00s from ongoing work in other entertainment fields. Thanks to the extensive experience that we’ve gained with media servers, projection, LCD panels, and LED products during this time, we’re able to fully and confidently understand the workflows, colour management, codecs, compression, and equipment preparation needs that are vital to the standard required on any VP shoot.
“In VP shoot environments, it’s all about colour,” says Dickens. “Many directors and DPs are as exacting as they are creative, so they need the correct colour space and the perfect colour temperature every time they shoot. If they shoot film in 56K because of actors’ skin tones, for example, they’re going to want to shoot the LED in 56K as well. Knowing and advising on these nuances in advance is very important.
“There’s a lot of colour science in between what film cameras see and what they’re shooting, as well as what lens, optics, and glass to use. Knowing how to use those things to interpret the colour is a highly sought-after trait in a video company. I think there’s a learning curve for companies coming into the world of VP, but that’s what differentiates UP… they already have solid experience in spades.”
As no two projects are the same, it always makes sense for productions to rent equipment, allowing them to swap elements straight out and replace them with the perfect kit needed for each particular job. At UP, the scope of our work ranges from simple plates playback via projection or LCD monitors to large scale volumes incorporating complex workflows, all under the direction of a production’s VFX team.
“We have people working directly for us from the film world, and that’s the biggest difference between us and the other companies who have a history in live events,” says UP project manager Dan Edmonds. “A lot of AV companies put out their regular crew into film sets, people from their normal events roster. Whereas we have skilled people with real world experience in this specific industry, who genuinely understand what’s required on set. This makes for a far smoother process on the production, as they don’t have that awkward couple of days of people getting to know the ropes and learning how to communicate effectively with one other in what is essentially a different world with similar disciplines.”
By bringing UP onto your shoot, you can rest assured that you will be in safe hands with any and all technical workflow situations.
“The short film we worked on at Rebellion Studios in July and August 2020, Percival, was a great illustration of this,” says Gareth Jeanne, UP’s technical director. “The shoot itself used the Unreal Engine to render its environments in real time, with cinematographer Eben Bolter BSC providing lighting. The shoot was instrumental in showcasing the possibilities of VP in person to many industry figures for the very first time, as well as introducing our work to a wider audience.
“What’s more, we also know where the boundaries are within shoot environments. We don’t overstep them or turn what should be a collaborative and creative technical process into any kind of competition. UP is your friendly and approachable rental partner.”
LONG-TERM RELATIONSHIPS
As well as having a keen understanding of how film, TV or commercial sets operate, and the video hardware suppliers’ place within it, UP is perfectly situated to deliver on the other side of the coin too; thanks to our long-held relationships with key manufacturers.
“We’ve got the right kit and we’re able to present the correct technical solution for your shoot,” said Jeanne. “It’s more a case of keeping an eye on what the manufacturers are doing. These relationships help because we can feed back to them and get things changed if there’s a certain requirement for a certain product. We can actually open up the dialogue and ask them to consider making changes for us.”
Dickens adds: “From my perspective as a freelancer, I’m happy to help UP secure work because they’re very good at everything technical and I know how much VP productions place gratitude and value on that. Dan Edmonds is an incredible asset to have; he has years of experience and that puts him in a league of his own when it comes to video rental.”
As well as the benefits already discussed, the proliferation of VP is becoming crucial in helping film and television productions to achieve their sustainability goals, whether that is due to a reduction in travel and logistics or avoiding the uncertainty and delays created by unpredictable weather and outdoor lighting conditions.
“I think sustainability in general is more about making sure the company behind the VP is also green, rather than just adapting to make the hours during the shoot green,” says Edmonds. “Having experienced crew on your set means we’re not wasting time, so we help to save extra costs and headaches when time is money. And as a certified carbon neutral rental company, being environmentally conscious and forward thinking is in our DNA. Like everything we do, we have the credentials to back it up.”
Jeanne adds: “By choosing to partner with us, you’re choosing a deeply technical partner that places genuine emphasis on sustainability.”
These peerless green credentials, as well as our expert technical delivery, on-set etiquette and unrivalled manufacturer relationships, make UP the ideal partner for any creatives wishing to embrace the possibilities afforded by the ever-improving world of virtual production.
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This article is sponsored by Universal Pixels (UP)
