Someone’s dream comes true every time they step into a movie theater. Spectators – Watch your favorite stories play out on the silver screen. Cast – Play the characters that bring the story to life.The director, the writer, the crew – all orchestrating everything to bring us the best possible version of that story. The heroes who aren’t, the people who make the magic possible on screen, and those are the visual effects artists. Recently appeared in the documentary series Disney+ light and magic This is the story of the best of such artists who came together in a dream factory called Industrial Light and Magic (ILM).
From humble beginnings in a Van Nuys warehouse to today’s megastructures, ILM has spearheaded nearly every major change and visual effects improvement in the industry.created by George Lucas himself in the ’70s to provide effect for his little film called Star Warsthe history of the company is meticulously presented throughout light and magicSix episodes from the era of utilitarian effects to the current era of digital VFX. However, although documentaries are a privilege to watch, Dennis Mullen, Phil Tippett, Joe Johnston, Ken Ralston Speaking more about their technology, there is a particular new technology that has monopolized our attention: volume.
In the last decade, Volume is probably one of the greatest innovations made by the wizards of ILM. Its debut was a game changer in many ways, Star WarsThe first live-action series, mandalorianwas a big hit by allowing the production team to create both otherworldly landscapes and alien-like interiors with a realism that was impossible until that moment (although Baby Yoda certainly helped a lot too). The rocky plains of Arvala-7, the lava river of Nevarro, and the interior of the client (Werner Herzog) offices, all of which are examples of places made possible by the incredible power of Volume.
cool but what exactly teeth volume?
What are Volumes?
A circular studio made up of high-definition LED panels. It’s that simple. For those inside, the 360-degree LED panels fit together seamlessly so all he doesn’t know is that it’s not one giant screen. Not only that, but the ceiling is built on the same principle and uses images generated by Unreal Engine. All of which were designed to serve the purpose required by the production team to build any kind of landscape or location. Whether it’s mundane or alien, Volume makes it possible.
The need for striking tools like Volume actually arose out of a desire for a better blend of VFX and storytelling. The magic of visual effects alone is not enough to wow your audience. “It’s just a magic trick and people know how it’s done, or at least think they know how it’s done.” Rob BredowChief Creative Officer, ILM, light and magicFor those inside the volume, especially the actors, I’m in scenery with characters, interaction with The world the characters live in makes all the difference.
In other words, despite Volume’s impressive capabilities, it doesn’t completely eliminate the need for practical effects. What happens in the immediate vicinity of the actors and within the LED walls that make up the entire structure must be real. Things like desks and chairs should be physically there, but everything else isn’t. This reminds us of an important aspect of the job in making a feature film that we audiences never get to experience in person, but it’s important to the team behind the camera and the cast in front of them. I am making a movie. Being actually on set instead of in a studio full of blue screens.
“I think we like all this digital stuff, visual effects stuff. It’s interesting, but at the end of the day, you really needed to see another human being. Jon Favreauone of the masterminds behind mandalorianHe was one of the pioneers of this kind of technology and used a similar system in his live-action remake. jungle bookas he explains in the documentary Disney Gallery: The MandalorianAnother Star Wars project that served as a testing ground for that was Solo: A Star Wars Story, used an LED panel placed in front of the Millennium Falcon’s cockpit for flight and hyperspace sequences. For all immersive purposes, watching an actor’s face reflect light coming from outside, like in his Kessel Run sequence, makes a huge difference.
With volumes, this kind of lighting effect can be obtained anywhere in the volume. For cinematographers, having real lights to work with made composing shots much easier. This kind of work no longer needs to be “fixed after the fact” as they say, it is now done at the beginning of the production process. “By taking the position [production] The process of creating images that are typically not seen until months after they are taken [is] We moved to the beginning of the process,” says the legendary producer and president of Lucasfilm. Kathleen Kennedy.
setting new standards
The system itself is now vastly improved from its more simplistic purpose. A physical cockpit is a static structure, but what about a real human moving inside the volume itself? Something has to be done about perspective. otherwise it won’t work. So the volume acts as a motion capture volume (hence the name), but rather the other way around. Cameras placed throughout the set capture the position of the camera and adjust the viewpoint accordingly.
Volume stagecraft technology is a resurrection of many techniques used as rules before the advent of blue screens. “With the actors being directed by the director, with what they can see and experience, I think you’re back to real filmmaking. There are always artists who prefer to – Tony Gilroy came out saying that recently Andor, Star Wars The shows he produces don’t use volumes, only actual sets.
But that tends to be the exception, most directors are familiar with and comfortable with using stage techniques.I love Marvel’s Juggernaut Thor: Love and Thunder Employed tools – in Taika Waititi He himself was already learning the ropes when he directed the first season finale of . mandalorianEven Disney’s competition is moving to adapt to this new reality. HBO’s our flag means death Using the LED volume stage, dragon house We utilized Warner’s virtual stage crafting tool called V-Stage. One thing is for sure, Volume is here to stay and is the new gold standard for visual effects in filmmaking.
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