Disguise servers, key to the virtual production of 'La Fortuna'

The miniseries Fortune, directed by Alejandro Amenábar and co-produced by Movistar+, AMC Studios y MOD Pictures, features several scenes shot in virtual production studios managed by media servers disguise vx4.

Fortune tells the story of the discovery of a Spanish frigate sunk by the British navy off Portugal in 1804 and the ensuing legal battle over ownership of the treasure. In this way, the series is set in various places including Washington D.C. In order to include exteriors in this city, but continue to maintain the core of production In Madrid, the series team resorted to tecnología de producción virtual de MO&MO Film, a Barcelona company.

The director of photography Alex Catalan AEC contacted the production services company, who would end up designing and shooting the virtual production scenes. The study of MO&MO Film in Madrid it has walls LED Gloshine 2.6mm MV con procesamiento NovaPro UHD y servidores de medios disguise vx 4, tecnologías que se encargaron de hacer posible el flujo de trabajo de la producción virtual.

David Monguet, supervisor de producción virtual de MO&MO Film Services, considera que fue “un orgullo” rodar con Alejandro Amenábar su primera serie de televisión, así como trabajar con Álex Catalán, uno de los directores de fotografía “más exigentes de España”: “El proyecto salió a la perfección, como todos nuestros proyectos con disguise, con una configuración y programación sencillas”.

Escenas rodadas con producción virtual

Beneficiándose de la producción virtual, el equipo de Fortune pudo crear VFX en cámara for the car scenes filmed in Washington D.C. Similarly, they were also filmed sequences showing images from American television reports.

The cinematographic results of many of these scenes were achieved using disguise Designer together with him servidor vx 4. Some key tools were color adjustment layer, which was “essential”, or the blur layer, which helped the Catalan cinematographer show depth of field in some cases.

He PreComp, as a type of mapping, was used in a blur layer and the color adjustment was applied to manipulate all layers simultaneously. The wrapping tool helped adjust the camera perspective in some scenes, while the integration of disguise's ACES helped achieve color control for VFX sequences.

Juanma Nogales y Javier Pacin, digital post-production studio supervisors Twin Pines (The Plague, Elite, Akelarre) told in Panorama Audiovisual the greater technical challenges of Fortune: https://www.panoramaaudiovisual.com/2021/11/16/mayores-retos-tecnicos-efectos-visuales-fortuna-movistar/

https://youtu.be/-EHjd0nZauo