TENET #1 - EARLY AND OFTEN

This is a really basic rule. A show has a better possibility of implementing virtual production at a very high level the earlier it can incorporate all stakeholders. Additionally, frequent involvement of all parties will lead to the most efficient and smooth production process.

TENET #2 - VIRTUAL PRODUCTION IS PRODUCTION

Virtual production happens during principal photography and is not part of the VFX process. Everything from budgeting to scheduling needs to be though of as production days. For instance, if a show is shooting in an incentivized area, rental and labor costs of virtual production will count in the production incentive and not visual effects. However, asset creation still falls under VFX for both budget and logistical purposes.

TENET #3 - FIX IT IN PREP

The phrase "fix it in post" has been used frequently in Hollywood for years. So much so that it's spread like a joke both inside and outside the business. Virtual production turns that aphorism on its head. We are now working in prep to deliver final pixel-ready footage that can be shot on the day, rather than altering shots in post-production. Therefore, we must prioritize prep both on a creative level and within the budget. By starting some key positions and responsibilities earlier than we have in the past, we can be more productive, save overspending on production, and reduce postvis.

TENET #4 - NEVER CUT PRELIGHT/TECHVIS DAYS

Pre-Light days give DPs the chance to iron out any kinks with the Control Team so that volume work goes quickly and efficiently when it's time to shoot. A problem that frequently arises with shows that use virtual production poorly is that they eliminate the pre-light days to reduce costs during principal photography yet end up adding much more cost in post-production when shots need to be replaced or edited.

TENET #5 - SETS NOT SHOTS

When doing a traditional break down of VFX for feature script or episode, we need to price each individual shot separately. In virtual production, one of the most important things to keep in mind is that we consider sets, not shots. With VFX we need to count shots because each shot needs to be worked on individually. In VP, once the environment or plate is on the wall, filmmakers are free to get as many shots as needed.

With these principles in mind, it’s a good time to dive into the advantages and disadvantages to virtual production. While the technology and techniques are new and exciting, they are not a silver bullet to solve every problem.