OFF-WORLD
Production Designer
For this project, I was working with students from the virtual production class. They were in charge of the virtual environment, and we were tasked to create a physical set to use in the LED Volume stage that blends with the digital background they created. In this case, I was presented with a visual reference of the overall vision of the project and with an advanced version of the final look for the digital environment.
DESIGN
DESIGN
Research board (colors and textures) Mars set.
Case study
Still shot from the digital environment in Unreal Engine.
The idea was to create a Mars-looking world that appears realistic. Having a reference of how the background will look helps to be able to create something that matches the space and aesthetics. I started doing research on the colors and textures that we can find on Mars.
Before moving forward with the making of the physical pieces, I created a 3D model in Rhino to draft the set and understand the scale of the pieces. I wanted to have a visual representation of how the set would look on the LED Volume stage and make sure that the director approves. I also wanted to have a sense of proportion and see how the pieces would interact with the actors and with the background provided.
Top and Front view LED Volume stage drafting. Created Rhino.
3D model preview with background and colors on the LED Volume. Created Rhino.
Previewing the outcome through 3D software like this helps not only the production design department but also the director and everyone involved. With this technology, the team can pre-visualize shots and plan the scenes ahead. A key element to achieving a realistic and seamless blend of physical assets with the virtual environment on the LED Volume stage is how the set pieces are distributed in the space or the “blocking.” The magic happens by strategically blocking the screen’s border with the set elements to create a cohesive and continuous world. Through virtual cameras, we are able to frame the shots on the 3D model and understand the cinematography during pre-production.
After understanding the dimensions of the stage and the space we needed to cover, we decided to work with Styrofoam. We built tools that helped cutting and sculpting the Styrofoam using wire and PVC pipes. The set pieces were hand carved and then covered in epoxy resin for durability since actors were going to be stepping on them. We had to divide the set into two major pieces in order to be able to transport them to the stage. To avoid having a visible line in the middle of the ground, we created a more natural division that appears to be part of the space.
MAKING
The making of the set pieces with Styrofoam. Hand sculpted. Covered with resin epoxy.
The making of the set pieces with Styrofoam. Painting and dry brushing to create more texture.
TRANSPORTATION & SETUP
The setup time of this set was relatively fast at the stage since there were not many pieces to arrange. The main challenge for this project was to create a space that looks real. Replicating nature and getting the right look can be tricky since we are already used to how things look in a natural environment. Even though humans have not technically been on Mars, we do have research and scientific proof of how the planet’s surface looks like. Small rocks were made to be distributed around the stage to bring up the rocky surface and mulch was added to the ground creating texture.
Transportation of the set pieces.
Assambly timelaps.
The set built at the LED Volume stage.
Once the set is built on the stage, the next step is to start testing the digital environment on the LED Volume. The advantage of having this technology during production is that corrections can be done on site. Since most film sets are created using 3D technology, the utilization of this optimization provides several advantages. It enables improved presentation protocols for directors and producers, and facilitates faster and more precise design reviews within the Art Department. Going a step further, game engines such as Unreal Engine (UE) and Unity offer the ability to create intricate virtual sets that appear as if they were captured by a camera in real time. By utilizing control monitors, directors and Directors of Photography (DP) can observe immediate set extensions. Additionally, recent advancements have allowed these sets to be displayed on large surround LED screen stages. These screens eliminate the need for extensive post-production and Visual Effects (VFX) work to adjust lighting and incorporate 3D elements. Furthermore, they enhance actor interactions and provide greater flexibility in camera movements.
SHOOTING
Behind the scenes from Off-World at the LED Volume stage.
Behind the scenes from Off-World at the LED Volume stage.
COMING SOON
Proof of concept has been approved and it is currently in production! Off-World will be released in 2024. Stay tuned!
