This was the first venture into Green Screen Virtual Production Previz at the company, as well as the first major use of Real-time for final pixel renders. We created a game-ready conceptual version of the environments for Director Robert Rodriguez with the intention of bringing onto set. We had 3 days to create the environments, as well as for me to get our Virtual Production setup working.

On set we used the Vector Vanishing Point to track the camera and sent a feed to the monitors for the talent and clients to see. We were able to discuss with them different needs and make adjustments on the fly.

The post production for the project was just when the COVID 19 Pandemic hit, which gave us time to adjust our pipeline to experiment using Unreal as a Final Pixel alternative. When production picked up again we proceeded to make the majority of the environments in Unreal with only two Real-Time artists. I was involved in creating the asphalt floors with rain droplet patterns as well as the environments for Ariana Grande as well as the final environment with the modern metropolis city. I was also in charge of creating and maintaining the render pipeline between the Real-Time and Compositing departments.