We run a weekly summary of the various conversations in the groups, so you don't have to keep up to day with all the live posting. Just sit back on the bus, in the bath or while watching the TV.
The chat begins with a query about renders appearing dark and different from the viewport, leading to suggestions about checking movie render queue settings and turning off cinematic quality to align renders with the viewport appearance.
A question about alternatives to the Evertz 5700msc-ip genlock generator is raised, with the Tektronix unit (spg700) and Ross in an open gear chassis mentioned as potential options. Recommendations for the Rosendahl Nanosyncs HD (discontinued) and alternatives like Lynxtechnic Yellowbrik / AJA GEN10 are discussed. The Brainstorm DXD-8 is highlighted as a nice lower-budget alternative with individual output options and a caution about timecode as a bought add-on.
Queries about VP quality LED rental companies in Luxembourg lead to mentions of FABER in the Netherlands and Nordisk Film Shortcut's 360 stage. Discussions evolve into the balance between realism and emotional impact in filmmaking, with insights into the importance of creative storytelling over mere realism. The value of virtual production (VP) as both a technical and creative tool is emphasized, alongside the evolution of VFX in storytelling.
The conversation shifts to discussing the potential of new camera tracking technologies, such as Wonder Dynamics, for enhancing virtual production by allowing complex tracking and background plate cleaning without leaving the studio. The significance of this technology for indie VFX studios and its implications for capturing motion and camera data are explored.
The chat welcomes new members introducing themselves and their affiliations with various creative and technical ventures in the virtual production, VFX, and immersive technology sectors. A discussion about the UK's Immersive Arts project funding program by UKRI is shared, highlighting its aim to integrate immersive technologies into the creative sector.
Updates on projects and technologies continue with mentions of Duncan Jones' involvement in a new project and the utility of Unreal Engine (UE) in creative productions. New introductions from professionals in the virtual production and advertising fields are made, showcasing the diverse expertise within the group.
The conversation covers the affordability and features of LG Magnit MicroLED walls for virtual production, with technical discussions about panel performance and tone mapping issues. The potential of smartphones, particularly the iPhone, as accessible technology for storytelling and content creation is debated, alongside the role of tech companies in democratizing filmmaking tools. The chat concludes with insights into the direction of virtual production technology and the strategic considerations of tech corporations in innovating for the creative industry.
Group: Digital Human
Toni mentions the uncanny valley, sparking a discussion.
Rob suggests combining Live Face, MVN, and AI voice synth for world domination.
Jake comments on the absence of uncanny valley and promotes optical over MVN. Shares a link to a voice changer test by Greg.
Michael talks about his experience with Murf and Respeecher for voice synthesis and changing.
Toni asks about MVN, and Rob explains it's software for the Xsens body capture suit.
Philippe and an unnamed participant share links and thoughts on motion capture and learning English.
Michael shares a LinkedIn post about Media2Face co-speech facial animation.
Jake finds it interesting.
Rob mentions real-time animation, sharing a TikTok link.
A discussion on workflows for Xsens suit MVN to meta human, with links shared for tutorials and workflow examples.
Jake praises Teflon's talent in "vtubing" using Unreal Engine.
Rob and others discuss potential projects, including recreating Max Headroom and a live weekly show with realtime avatars.
Michael shares a link about Death Stranding 2 game.
Deborah seeks and shares advice on photogrammetry companies in the Middle East and character casting for a project with MetaHumans, receiving community feedback on the characters and visual aspects.
Toni mentions the ISE: digital humans conference, asking if anyone knows the panelists.
An unnamed participant asks for advice on using Marvelous Designer for cloth simulation with MetaHumans.
Jake responds affirmatively to assisting with Marvelous Designer.
Group: VP Show and Tell
Dan shared his experience of making a VP stop motion short film with his partner using basic equipment at home and a borrowed slider for camera moves, aiming to inspire others.
Scott, Rob, and others praised Dan’s work and expressed their admiration.
Colin shared a link about artificial intelligence not being foolproof, to which Dan related with a humorous response about learning the hard way.
A conversation about learning curves, camera sliders, and lifts ensued, highlighting their importance in animation projects like "Isle Of Dogs."
Deborah requested contact details for the camera slider and lift designer.
A discussion on technical aspects of stop motion photography took place, focusing on manual sequencing, sync issues between camera and TV, and solutions for flicker and exposure.
Toni and David inquired about shutter speeds and potential solutions for using TVs and monitors in virtual production.
Suggestions for resolving flicker issues in films were discussed, including using Resolve's flicker removal tool and adjusting exposure.
Peter shared his experience with using OLED for virtual production, sparking a conversation about the challenges of high gloss screens and potential remedies.
Rob shared a LinkedIn post about virtual production, and Gabriel shared a link about AI x VP.
Deborah shared a link to a VFX breakdown reel for "Poor Things."
Michael emphasized the importance of storytelling and emotional connection in content creation.
A discussion on the use of virtual production in TV shows, specifically mentioning "Suits" and "Grey’s Anatomy," took place, highlighting the use of cityscapes and translites.
Karim discussed the use of translites in set design, mentioning a large project in Norway.
Jake shared his excitement about being early on his first day at work.
Chris sparked a conversation on the cost comparison between translites and LED screens, discussing their pros and cons.
Deborah shared a link about Brompton's approach at ISE 2024.
Rob shared a report on UK film and TV production spend in 2023, initiating a discussion on the industry's financial trends and the inclusion of virtual production in statistical reports.
Rob highlighted a deal on game development assets from Leartes Studios.
Colin shared news about the USD's creators being honoured by the Academy.
Marwan discussed the evolution of keyers in virtual production, referencing a Malaysian agency’s advertisement and its behind-the-scenes (BTS) work.
Summary of WhatsApp Chat from the "Events, Training and Job Opportunities Noticeboard" Group
Monday, 29th January 2024
Virtual Production (VP) Courses Discussion:
A participant expressed interest in starting an online VP course, considering options at CG Pro and CG Spectrum.
Deborah recommended Lux Machina for comprehensive VP training and the CG Pro Summit for good industry insights. She also suggested consulting Tupac from Satore Studio in Lisboa for a creative audio-visual approach.
Jake inquired about the specific type of VP the participant was interested in (all digital, real-time greenscreen, Stagecraft/XR).
The participant thanked Deborah and mentioned participating in a Lux Machina masterclass, expressing interest in in-camera VFX, greenscreen, and LED volume.
Jake suggested looking for hands-on courses in Ireland, as the participant would be returning there in April, and recommended the disguise online course, Greg Corson's YouTube channel, and Offworld YT channel for learning.
Nick highly recommended offworld.live for tutorials related to Unreal Engine (UE) workflows and composure.
Rob asked about desired training programs, mentioning the need for unique content.
Deborah and Michael discussed the importance of hands-on experience post-training, with suggestions for incorporating practical sessions.
Daniel announced new Colour Science Courses in collaboration with Final Pixel Academy and Daniel ColorQ, starting in March.
Tuesday, 30th January 2024
Martin highlighted a must-attend event on 3D Video and Mixed Reality in Fashion, run by Microsoft x Fashion Innovation Agency (London College of Fashion), and free to attend.
Maysa agreed with Deborah about the trend of combining greenscreen with VP processes.
Wednesday, 31st January 2024
Deborah inquired about attendance at the Visual Effects Society / Visual Skies event.
Discussions around signing up for the event, with some challenges due to membership requirements and it being fully booked.
Joe and Martin discussed UK Grant Funding Program and upcoming digital fashion trends.
Rob considered merchandise for events to promote engagement.
Thursday, 1st February 2024
Andrew, Joe, Rob, and others discussed the success of the previous night's event and the potential for organizing similar open events in the future.
Deborah shared insights from the evening, highlighting the importance of learning about VS services and the challenges of insuring remote jobs.
Friday, 2nd February 2024
Rob announced available slots for the BSC VIP event on the 15th February, thanking Chris Couzens from Sony.
Andrew shared a link to a career opportunity in virtual production.
Jorquera and others discussed travel and meeting arrangements in Bangkok.
Saturday, 3rd February 2024
Andrew shared links to Sony Virtual Production Demos and the VES Virtual Production Day.
Sunday, 4th February 2024
Rob hinted at more details coming soon for an event.
Mayur sought a VES member to accompany to an event.
David updated on his availability for the BSC show due to a postponed gig.
Summarised by ChatGPT directly from the groups discussion