In this issue we are debuting a new monthly section for PLSN called In The Volume, which will cover all things related to virtual production. We would love to hear what you think about this new section as well as what you would like to see us cover in terms of virtual production. What kind of work are you doing in the virtual world? Is this segment affecting your work and if so how? Let us know of the projects, products and people you think we should cover In the Volume.
While idea of virtual production is not new—green screen replacement solutions and other film and video tricks have been around for years— what we now think of as virtual production has expanded significantly. This production discipline is not just creating movie magic, its development in the last couple of years certainly has accelerated at a rapid pace in terms of new workflows and opening up new production roles across the entire industry of entertainment segments. These days, virtual production companies are expanding and perfecting In-Camera Visual Effects (ICVFX) where lighting—both digital and real—are combined with LED panels to light cars, products, and people for films, television shows, commercials, and more. There are seemingly no end to the possible uses of extended reality (XR), augmented reality (AR), mixed reality (MR). A lot of it is for film and video work, but it is coming across to live events, immersive experiences and more.
The work of virtual production no longer just the realm of big movie studios for ‘movie magic’. LED stages and volumes—stages with LED walls, floors, and often ceilings to fully envelop within a virtual environment—have been built out across the market ranges and welcome clients from the full range of entertainment segments. Of course, as with every change in processes, there is a learning curve, not just on the how-to but also in answering the ‘is it the right option’ question. PLSN’s In The Volume section every month will look at the projectS, tools and people moving this discipline forward and also explore the considerations of embarking on a virtual production project. We will take deep dives into different virtual production projects as well as speak with manufacturers and rental companies about the latest and greatest in LED panels, media servers, lighting, staging, and other products that make virtual productions a reality. There will be conversations with thought leaders and technical personnel that are moving virtual production forward and are refining the workflows and the process pipelines.
This month, we take a look at a one company’s in-camera process to reflect backgrounds, lighting and reflections on products or talent; we spotlight two virtual production studios—ZeroSpace in Brooklyn and XR Stage in Pacoima, CA; as well have a roundup of recent virtual production news; and checkout what’s new in technology, products, (including taking an in-depth look at a new line of video switchers) and services, that support this marketplace.
40 Years of Lighting The Boss
Back in the physical world, I got the absolute pleasure of speaking with Lighting Designer Jeff Ravitz, who as of this April, has been lighting Bruce Springsteen and the E Street Band for 40 years! Ravitz walks us through his lighting of the Boss and the iconic band, which requires keeping the lighting looks fresh during an over three hour set, but also being ready for Springsteen to turn on a dime and switch up his set drawing from a catalog of almost 300 songs.
Moving from one artist who is a legend to another who is Billboard’s No. 1 record-breaking Emerging Artist our story on Jelly Roll looks at his first headlining arena concert. Lighting Designer Bobby Grey and Lüz Studio Creative Director David Pawsey tells us about their work supporting Jelly Roll’s sold-out show at Nashville’s Bridgestone Arena. Along with the artist, the design and production team were able to realize a visually theatrical show that was both grand in scale and personally intimate for the artist and his fanbase.
As ever, be well and travel safe as the buses and trucks head out on the road.
Michael S. Eddy
Editor, Projection, Lights & Staging News
