Virtual production vs. CROMA: Can you only be one?

In this tribune, David I. García, CEO, and Raquel Esteban, Executive Producer, both part of the Zaragoza company specialized in virtual production and extended reality Magic FennecThey analyze the survival of chroma -based productions in the face of the new virtual production studies, highlighting the benefits of each of its proposals and appearing to the future of audiovisual production.

The Virtual production based on LED screens It has come to help evolve the industry. Beyond the multi -user possibilities and the Real -time edition, that allow making accurate and fast decisions at the time of production and give multiple possibilities to the filmmakers and directors of photography, this technology is characterized by the ability to operate in two modes: plates or parallax. While the first option could be an evolution of the Classic Retroprojection, the second goes on to enable the tracking camera and exploration of a 3D environment based on a real -time engine, which can make a true difference.

The combination of these techniques brings many possibilities to productions, but It is not worth everything: It will depend on each production its use or not. For example, it is highly recommended for scenes where they enter into play highlights, as starring vehicles. For example, from Magic Fennec we were working on Berlin (Vancouver Media, Netflix) and the production team had planned a scene that could lead to a certain risk. In order not to expose this process to talent, they decided to shoot those first planes in virtual production regardless plates To bet on parallax.

This technology also makes a significant difference in scenarios that have risks or that are usually overpopulated. It allows to simulate these environments without the need to transfer the production team to the place, contributing to the reduction of environmental impact. In addition, it facilitates complete management on weather and lighting conditions: From simulating dawn to recreating specific climatic conditions such as rain or snow, eliminating the pressure of working against the clock. If a specific scene is required under the light of sunset for 12 hours, it is completely feasible. This flexibility extends to the generation of crowds or the creation of complex scenarios.

The film and TV industry, "guilty" of virtual production

Virtual production is the Really transformative change of the 21st century in relation to audiovisual. We do not consider that it breaks the magic of cinema, but complements it by providing alternatives and options to give more possibilities than they could have in certain outdoor contexts. The technique itself continues to break schemes: every day there is something new that makes us upload one more step. And where will it end? Sincerely, We look forward to knowing.

For example, six months ago a new update of Unreal Engine (engine we use en Magic Fennec) that allows us to control Elements of the lighting of virtual environments directly from an application for a tablet. Other recent improvements are light cards of virtual studies. They are geometric elements that can be sent to the screen directly in order to illuminate the scene, allowing each aspect of the lighting of the scene to refine.

Virtual production is the Really transformative change of the 21st century Regarding audiovisual. We do not consider that Break the magic of cinema, but the complements contributing alternatives.

Virtual productions have come to stay. We can say that there is a guarantee of evolution materialized by industry companies. Disney themselves and Sony, two of the greatest promoters of the audiovisual sector have invested in Epic Games (Unreal Engine developer), to enhance this environment. Sony bought Pixomondo, one of the largest companies specialized in production with LED and Disney screens continues Industrial Light and Magic.

At present, we can talk about a Direct line For these agents to decide where they want to evolve, which is wonderful. Technology will continue to develop and, eventually, will reach other people who work with it.

The green screen in a virtual production world

Faced with a virtual ICVFX production with LED walls that continues to advance at a great pace, chroma (or green screens) have slowed their use. Today, they offer in general terms three work models that complement production and postproduction processes.

The first is the standard, the typical we know. We recorded in chroma and maintain the reference points and then move on to postproduction. The process has not evolved so much, but the flow is maintained. The second changes with the introduction of simulcam, or simulated camera. With this technique based on tracking, the realization and production equipment can see a preliminary view (which will have to be completed in postproduction) of the final result. In this way, the director can better choose the shots and better manage talent, or the photography director may be able to better control lighting. It also serves to make the client in the filming process of an advertisement can take Real -time decisions, being able to spin in great detail, get the result that I expected and even have a first previous composition in 24h.

The third use, which we have applied in some processes broadcast how Mapi, is the application of these Real -time techniques, with elements such as augmented reality or extended sets. There are many examples in this regard, but the reality is that we are still very limited by the performance of technology. For example, effects and transparencies They are still very expensive elements of rendering in real time.

Will virtual production replace chromas?

Given the stability of chromas, and the effervescence of virtual production, one might think that one will replace the other. However, we think that postproduction with chroma and the virtual production They have to go hand in and They will live at 100%. Sometimes they even do so in the same plane where the inner frustum, or in other words what the camera records, is a green background and the Outer frustum, the rest of the screen, is the 3D scenario that would be generating dynamic reflections, illuminating the scene and saving much of the postproduction.

For Spain, although chroma is an old acquaintance, virtual production is still something new and that entails ignorance about its limitations and use. But The future is already present, If we want to see it from our country you have to look out to the ocean and see what is happening, it is convenient Lose fear.

Before the Chromas stability, and the Efervescence of production Virtual, one might think that one will replace the other. However, we think that Croma postproduction and virtual production They have to go hand in and They will live at 100%

The great evolution that will mark the deployment of the virtual production It will not depend on technology, but it will be a question of thought. It is necessary to understand all the possibilities can give these tools and that this is reflected in the scripts and production equipment. Of course, real -time engines will continue to improve and have a better hardware, allowing greater performance and better color control, or a better calibration software that gives more visual fidelity. But just investing in people who really know about virtual production, and moving this philosophy to all production teams, we can improve. It's like any type of profession: The more you do, the better you are.

The efficacy and profitability of virtual production in Spain, as well as the use of chroma when necessary, resides in the Intelligent and creative integration of these resources according to the specific needs of each project. The decision of when and how to use virtual production or chroma should be based on a Detailed evaluation of artistic and logistics objectives, as well as the impact that these technologies can have on narrative, visual authenticity and production efficiency.

The fundamental thing is to consider how these tools can contribute added value to production, either improving visual quality, reducing displacement and logistics costs, or allowing greater flexibility in postproduction. Investment in virtual and chroma production is fully justified when its application is aligned with a strategic vision which seeks to optimize resources, enhance creativity and overcome the traditional limitations of production.