Seen in → No.128
This one is a good take on a topic I’m putting more and more attention towards. I’m not sure if I should talk about Synthetic Reality, or pre-Metaverse, or something else but this growing intersection where you find gaming, especially gaming engines; special effects; tv and movies more generally; VR, AR, XR; Fortnite and its ilk; even spaces and architecture. In the piece the author considers the new “post” virus constraints and how they might affect an accelerated transition to game engines as virtual studios and world creation. The opportunities he lists around digital artefacts and megascans are especially worth a look.
Local side note: Being in Montréal, I find this view especially intriguing since all the industries involved are present and thriving (or they were, pre-Covid), with a well-known excellence in overachieving with small teams and budgets. The reality he describes seems like a perfect fit.
Editorial side note: I’m thinking about a publication / “intelligence unit” focused on that intersection and looking at the longterm path to some form of Metaverse which could emerge from many of those components. Reply if you’d like to know more when I’ve got something more fleshed-out to share, or if you have opinions and opportunities for discussion and collaboration.
With a little bit of imagination, it’s easy to see how 60–80% of all the TV shows and movies we watch (especially outdoor scenes, large rooms, or vistas through windows) will, in the very near future, actually be billions of digital triangles (Nanites as the folks at Unreal/Epic Games call them) that make up these 3D worlds, and the majority of all productions will be studio based or at the very least one key location that could double up for many different environments. […]
Filmmakers from around the world will no longer be confined by budget and geographic location access to shoot their stories. They no longer need massive crews to support their roaming villages. And they can make projects at a scale that would have shocked David Lean, all from the confines of a small gymnasium and an online network of global digital artists who can earn a decent living working away from the West’s major metropolises and their associated costs of living. […]
The larger stages will still be in demand, but expect to see a huge amount of productions needing a couple of 3,000–7,500 SQFT video backdrop stages instead. In the video below you can see how Disney+’s ‘The Mandalorian’ shot a good number of scenes (around 50% of the series) in a 1,500 SQFT video space.