Diana Garle 和 William Forsythe’s characters were arguing about the seriousness of an onscreen crime when director Lou Simón yelled, “切!“这个场景的比例不对:演员们需要更靠近房间的后面. 而不是换演员, 机组人员, 道具, 相机, 和灯, 满帆游戏美术总监查德·肯德尔(Chad Kendall)和一名学生在附近的一台电脑上工作. 敲几下键盘，客厅就布置好了 9窗口 镜头拉近，演员们无缝切换到下一个镜头.

片场的调整曾经消耗了宝贵的时间, 钱, 在一个虚拟的制作工作室里，能量只需要几秒钟. Major players like HBO 和 Netflix have already built large studios 和 released virtually produced series like 曼德罗瑞与此同时，小型商业工作室也在全国各地涌现. Industry pros are saying that these studios are the future of filmmaking — 和 满帆大学’s recently opened Studio V1: Virtual Production is bringing that future to students.

9窗口希区柯克经典的现代化版 后窗这是该工作室的第一部作品. 该项目是专业级虚拟生产的案例研究, 和 it’s the first of many films that students will work on to prepare for the next generation of on-set tech.

用虚拟制作技术增强真实感

虚拟制作将之前的特效技术打得落花流水. Instead of placing actors in front of a green screen 和 filling in the world behind them in post-production, 电影制作人在前期制作中与游戏美工一起在视频游戏引擎中构建一个场景. 任何可以想象的环境, 从办公室到末日后的火星城市, 会在演员身后的LED大屏幕上显示吗, 把他们从摄影棚“带到现场”. 电影制作人为前景带来了道具和家具, 但是所有的背景元素都是数字化的, 三维, 和 so realistic that it’s impossible for audiences to discern a film’s physical elements from the LED backdrop.

Two of the virtual production components that create this striking realism are the parallax effect 和 built-in LED lighting. You’ve probably noticed the parallax effect when you’ve been a passenger in a car: As you’re driving, 窗外的物体比远处的风景移动得快. 电影makers used to struggle to recreate parallax — running a camera across a two-dimensional digital background forces both near 和 far objects to move at the same rate, 创建平面效果. 虚拟生产, 游戏引擎中的摄像机与现场摄像机同步, 创造出你在三维世界中会注意到的同样的视角变化. 结果是一个真实的现场场景，被捕获在一个单一的镜头, giving everyone on set a real-time look at the film’s final appearance 和 saving time 和 钱 in post-production.

虚拟制作也在改变电影场景的灯光游戏. The panels on the LED screen have built-in lighting that emits a more realistic glow than lighting that is added or changed in post-production. 面板还可以防止颜色溢出, which occurs when on-set lights bounce off green or blue screen backdrops 和 create tinted glares that have to be removed later. 除了, 导演可以使用游戏引擎通过增加或减少温暖来改变场景的情绪, 改变光的焦点, 或者在几秒钟内拍摄从中午到黄昏的户外场景.

Green 和 blue screens 和 post-production effects will have a place in movies for a long time to come, but the industry is headed towards the next generation of special effects — 和 满帆 is meeting those dem和s with a $3-million investment in its students’ futures.

透过Studio V1提升电影教育

Building an on-campus virtual production studio was the logical next step for a university that prides itself on prepping students to work on the post-graduation projects of their dreams. 在这种情况下, 满帆 is giving students real-world experience in creating imaginary worlds for their student films as well as any commercial 和 creative projects that come 满帆’s way.

The studio’s specs are impressive: Top-of-the-line Brompton LED processors convey images from Unreal Engine onto the studio’s 40-foot wide 和 16-foot high LED wall. Five hundred hyper-pixel LED tiles (with 410 tiles on the ground 和 90 tiles across the ceiling) create crisp imagery for sets. All of this combines to make Studio V1 among the most technologically advanced on-campus studios in the country.

学生在 电影和电视专业 会有机会在工作室工作吗, 但其他项目的同行也将从V1工作室获得经验. 游戏艺术 学生将帮助在虚幻引擎中构建虚拟场景， 艺术 & 设计 学生可以对3D环境的外观和感觉进行输入 满帆的技术 节目将与最新的娱乐技术互动. 其结果是跨学科的, h和s-on training experience that prepares students from a variety of backgrounds to work in movies, 电视, 广告, 和更多的.

Studio V1 has gotten plenty of use since its ribbon-cutting ceremony in early March: 学生 already put their skills to work on the studio’s first feature film, 98%是虚拟的 9窗口.

9窗口

9窗口 是对希区柯克的致敬 后窗. Liza (played by Diana Garle) is a car crash survivor who watches nine continuously livestreaming videos as she learns how to walk again. 在她和杰夫(克里斯托弗·米兰饰)的家庭约会中，火花四溅。, 她的物理治疗师, 而斯特拉, 受alexa启发的智能家居设备, 充当数字护士. 侦探博伊尔(威廉·福赛斯饰) 提高亚利桑那州 和 迪克·崔西)和联邦调查局探员拉里·瑟古德(迈克尔·帕尔瑟夫饰) 火之街 和 费城实验) work with Liza to find a masked killer (Jason Hignite) who uses serial killer-inspired pseudonyms as he livestreams his murders.

9窗口 触及虚拟生产的所有元素, 这使它成为该工作室第一部电影的最佳选择. The opening driving sequence gave students a firsth和 look at creating the parallax effect in process shots for realistic car scenes. 学生 learned how to make “sunlight” from the LED tiles look natural as it streamed through Liza’s windows, 虚拟的树叶在虚拟的微风中轻轻飘动. Scenes in the killer’s basement taught students about the unique set dressing needs of virtual productions: Items had to be strategically placed to mimic the depth of a physical environment through the virtual 和 on-set 相机.

来自满帆电影专业的十几名学生在片场工作 9窗口, 与额外的游戏艺术学生在Liza的家的虚幻引擎开发帮助, 她家的车, 还有凶手诡异的地下室. 但是学生们在V1工作室的经历并没有随着电影的最后镜头而结束. 学生项目将于2022年晚些时候开始拍摄, 满帆已经准备好让这些毕业生进入专业的虚拟制作行业.

虚拟生产中的现实世界职业

学生 who work on their final projects or outside productions in Studio V1 will have plenty of help as they look for jobs at virtual production studios. 瑞克拉姆塞, 满帆的视觉艺术教育总监, says that the school is already developing relationships with professional studios in a number of states.

“我们与 Vū工作室他在坦帕有自己的办公室. 他们正在奥兰多建一个新的舞台，在我们的校园里还有一个姊妹舞台. 他们在拉斯维加斯有个地方, 他们要在奥斯丁建一个空间, 德州, 它将成为vui家族的一员. 我们正在与他们合作，用我们的学生填补所有这些空间. 那里有很多机会.”

Outside projects will also give students the chance to spread their virtual production wings 和 gain experience working with clients. 几天后 9窗口 包裹好后，学生们帮忙制作了一个宇宙飞船的场景 空间幼崽然后在本周晚些时候拍摄了一部关于夏威夷音乐家伊斯雷尔·卡马卡维沃·奥勒的纪录片.

“We definitely want to take advantage of giving our students real-world access by having clients come in with feature films, 或短裤, 或广告, (让学生们)也做这些,里克说. “这些机会绝对不会，也不应该局限于课堂.”

观众将会看到丽莎是否同时击败了杀手和她自己的恶魔 9窗口 会在2022年秋季上映吗. 但在那之前，一个充满可能性的世界将在Studio V1中找到一席之地.

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