Hollywood wants to get back to work but with the threat of COVID-19 unabated, producers are turning to virtual filmmaking to complete shoots
When “Good Trouble” returns to screens, fans of the Freeform TV drama will reconnect with the two young women, Callie and Mariana, trying to make it in Los Angeles.
“It’s the tip of the iceberg,” Nicholson said. “People have to utilize these tools to get back on line. Once they’ve utilized them and realized its faster, better, cheaper, you will see a lot more virtual production coming down the pipeline." “Once you take the machinery of that show and bring it out to successive locations, you are exponentially increasing your risk factor,” said Fargnoli.
Virtual production isn’t new. But thanks to the video gaming world, the technology has advanced well beyond the use of green screens, where actors perform in front of a blank screen that is green or blue and later replaced by an alternate background. On a Manhattan Beach stage, the filmmakers could recreate the dusty ochre tinged backdrop of a Tunisia-like world.“To a lot of folks, virtual production can often sound like we are making ‘Avatar,’” said Richard Bluff, visual effects supervisor for “The Mandalorian,” speaking on a video panel for the National Assn. of Broadcasters earlier this month.About half of “The Mandalorian’s” first season was shot against LED screens, Bluff said.
Today, Stargate generates over $26 million globally annual revenue and employs more than 150 digital artists, producers and technicians. The company has studios in Toronto and Vancouver, Canada; Bogota, Colombia, and Beijing, allowing it to benefit from any tax incentives in those regions, but much of its work is handled out of Los Angeles. Globally, sales grew by double digits last year, Nicholson said. He declined to disclose earnings but said the company is profitable.
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