FMX: The Industry Watering Hole

I came away from my first FMX experience in Stuttgart, Germany, with a similar impression as Doug Trumbull: a wonderful watering hole to exchange ideas and learn about the state of the craft around the world. During our higher frame rate panel discussion with VFX vet Ray Feeney and Johannes Steurer of Arri, Trumbull hinted at the indie sci-fi feature he’d like to direct on his farm in the Berkshires: an intelligent, experimental, first-person “Hypercinema” experience that brings you closer to the action yet would cost a fraction of what the studios now spend. It cries out for 3-D and higher frame rates. At the same time, Trumbull still wants to incorporate practical effects and miniatures to keep it organic.

Thus, my take away about the fascinating virtual production track sponsored by Autodesk is that virtual production is an evolving process with many different applications. At its most complete, as in Avatar or The Adventures of Tintin, virtual production delivers principal photography into the digital pipeline for a total CG experience. And yet we saw examples of different kinds of integration, from the indie Upside Down to War Horse to The Avengers to Rise of the Planet of the Apes to the new Total Recall to Prometheus to Hugo to Real Steal, among others. In fact, the distinctive methodologies utilized by ILM and Weta revealed how diverse virtual production is and how dynamic World Building is to the process.

It’s all glorious food for thought as we head into the hotly contested summer season.

Posted on by Bill Desowitz in 3-D, Animation, Music, Oscar, performance capture, VFX, Virtual Production

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