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The Future of the Moving Image: Virtual Production Technology

Year 2024, Volume: 4 Issue: 2, 214 - 234, 31.12.2024
https://doi.org/10.59280/film.1530664

Abstract

The moving image production process is based on the universal rules of physical science, sensitive to technological innovations, and focused on the viewer experience. The opportunities created through new technologies in the television and cinema industry transform production practices by forcing production companies to be sensitive to technology. Virtual production technology is recognised as one of the groundbreaking innovations in moving image production and is used by production companies in various ways. The technology in question includes innovative production models such as the creation of virtual universes for the realisation of productions, the use of backgrounds consisting of LED screens, and the possibility of simultaneous rendering. The fact that game engines such as Unity and Unreal Engine are involved in the moving image production process and offer the possibility of simultaneous rendering blurs the boundaries between traditional production and post-production stages. In addition to global developments in virtual production technology, production companies operating in Turkey are also focusing on the subject and realising pioneering initiatives. This study has been conducted to discuss the potential of virtual production technology in Turkey. For this purpose, The Prince Series, which is one of the first productions to use virtual production technology in Turkey, was analysed technically by content analysis method. It was concluded that the virtual production technology used in the series eliminates time-space dependency, is an important alternative to green screen and blue screen technologies and makes significant contributions to the production process in terms of actor management, image management and art management. It is predicted that virtual production technology will become accessible to independent producers in Turkey in time and can be integrated into all stages of moving image production.

References

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Hareketli Görüntünün Geleceği: Sanal Prodüksiyon Teknolojisi

Year 2024, Volume: 4 Issue: 2, 214 - 234, 31.12.2024
https://doi.org/10.59280/film.1530664

Abstract

Hareketli görüntü üretim süreci fizik biliminin evrensel kurallarına bağlı, teknolojik yeniliklere duyarlı, izleyici deneyimine odaklanan bir yapıya sahiptir. Televizyon ve sinema endüstrisinde yeni teknolojiler aracılığıyla oluşan fırsatlar, yapım şirketlerini teknolojiye duyarlı olmaya zorlayarak üretim pratiklerini dönüştürmektedir. Sanal prodüksiyon teknolojisi hareketli görüntü üretiminde önemli yeniliklerden biri olarak kabul edilmekte, yapım şirketleri tarafından çeşitli biçimlerde kullanılmaktadır. Söz konusu teknoloji, yapımların gerçekleştirilmesi için sanal evrenler oluşturulması, LED ekrandan oluşan arka planların kullanılması, eş zamanlı render olanağı sunması gibi yenilikçi üretim modellerini kapsamaktadır. Unity ve Unreal Engine gibi oyun motorlarının hareketli görüntü üretim sürecine dahil olarak eş zamanlı render imkânı sunması, geleneksel yapım ve yapım sonrası aşamaları arasındaki sınırları muğlaklaştırmaktadır. Sanal prodüksiyon teknolojisindeki küresel gelişmelere ek olarak Türkiye’de faaliyet gösteren yapım şirketleri de konuya odaklanmakta, öncü girişimler gerçekleştirmektedir. Çalışma, sanal prodüksiyon teknolojisinin Türkiye’deki potansiyelini tartışmaya açmak amacıyla gerçekleştirilmiştir. Bu amaç doğrultusunda sanal prodüksiyon teknolojisini Türkiye’de ilk kullanan yapımlardan biri olan Prens Dizisi içerik analizi yöntemiyle teknik açıdan incelenmiştir. Dizide kullanılan sanal prodüksiyon teknolojisinin zaman-mekân bağlılığını ortadan kaldırdığı, yeşil perde ve mavi perde teknolojilerine güçlü bir alternatif olduğu, oyuncu yönetimi, görüntü yönetimi, sanat yönetimi açısından üretim sürecine önemli katkılar sunduğu sonucuna varılmıştır. Sanal prodüksiyon teknolojisinin zamanla Türkiye’de bağımsız yapımcılar için de erişilebilir hâle geleceği, hareketli görüntü üretiminin tüm aşamalarına entegre edilebileceğine dair öngörüler sunulmuştur.

Thanks

Değerli Hocam, editöryal süreçteki emekleriniz için teşekkür eder, iyi çalışmalar dilerim.

References

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  • Başer, E., & Söğütlüler, T. (2023). Değişen izleme eğilimleri çerçevesinde dijital platformlar ve içerik reklamları üzerine bir inceleme. Akdeniz Üniversitesi İletişim Fakültesi Dergisi, 41, 1-26. https://doi.org/10.31123/akil.1303391
  • Bay, M. (Director). (2007). Transformers [Film]. Paramount Pictures. https://tv.apple.com/
  • Bédard, P. (2022). Virtual production and the transformation of cameras: Mechanical, virtual, and actual. Animation, 17(2), 226-243. https://doi.org/10.1177/17468477221102498
  • Bell, P. (2001). Content analysis of visual images. In T. Van Leeuwen & C. Jewitt (Eds.), Handbook of visual analysis (pp. 10–34). Sage. https://doi.org/10.4135/9780857020062.n2
  • Bennett, J., & Carter, C. (2014). Adopting virtual production for animated filmmaking. In Proceedings of the 7th Annual International Conference on Computer Games, Multimedia and Allied Technology (pp. 81-86). https://doi.org/10.5176/2251-1679_CGAT14
  • Bird, B., & Pinkava, J. (Directors). (2007). Ratatouille [Film]. Pixar Animation Studios. https://tv.apple.com/
  • BluTV (2024). Prens. BluTV. https://www.blutv.com/diziler/yerli/prens
  • Bodini, A., Manohar, A., Colecchia, F. (2024). Envisioning the future of virtual production in filmmaking: A remote co-design study. Multimed Tools Appl (83), 19015–19039 https://doi.org/10.1007/s11042-023-16308-7
  • Bordwell, D., Thompson, K., & Smith, J. (2010). Film art: An introduction (7th ed.). McGraw-Hill.
  • Božek, P. (2019). Virtual production technology vs. environment. Acta Tecnología, 5(4), 109-114. https://doi.org/10.22306/atec.v5i4.68
  • Brillhart, K. (2023). Camille—Virtual Production Case Studies Considerations for Working With LED Walls for Independent Filmmakers. SMPTE Motion Imaging Journal, 132(4), 33-49. https://doi.org/10.5594/JMI.2023.3263888
  • Brown, W. (2012). Avatar: Stereoscopic cinema, gaseous perception and darkness. Animation, 7(3), 259–271. https://doi.org/10.1177/1746847712456254
  • Bullerjahn, C., & Güldenring, M. (1994). An empirical investigation of effects of film music using qualitative content analysis. Psychomusicology: A Journal of Research in Music Cognition, 13(1-2), 99. https://psycnet.apa.org/buy/1996-05713-004
  • Cameron, J. (Director). (2009). Avatar [Film]. 20th Century Fox. https://www.disneyplus.com/tr-tr
  • Chanpum, P. (2023). Virtual production: Interactive and real-time technology for filmmakers. Humanities, Arts and Social Sciences Studies, 9(17). https://doi.org/10.14456/hasss.2023.2
  • Cofer, G., Shirk, D., Dally, D., Meadows, S., & Magid, R. (2018). Three keys to creating the world of ‘ready player one’ visual effects & virtual production. In ACM SIGGRAPH 2018 Production Sessions. https://doi.org/10.1145/3233159.3233168
  • Collier, M. (2001). Approaches to analysis in visual anthropology. In T. Van Leeuwen & C. Jewitt (Eds.), Handbook of visual analysis (pp. 35–60). Sage. https://doi.org/10.4135/9780857020062.n3
  • Columbus, C. (Director). (2001). Harry Potter and the Sorcerer’s Stone [Film]. Warner Bros. https://tv.apple.com/
  • El-Khoury, J., Bilani, N., Abu-Mohammad, A., Ghazzaoui, R., Kassir, G., Rachid, E., & El Hayek, S. (2019). Drugs and Alcohol Themes in Recent Feature Films: A Content Analysis. Journal of Child and Adolescent Substance Abuse, 28(1), 8–14. https://doi.org/10.1080/1067828X.2018.1561575
  • Eschenbacher, A. (2018). Real-time cinematography in a virtual production environment: Developing a virtual camera prototype for commercial productions [Bachelor’s thesis, Stuttgart Media University]. Etherawe. (2023, March 7). Virtual production insights. Etherawe. https://www.etherawe.co.uk/virtual-production-insights/
  • Ewis, K. A., Abdelfattah, A. M. S. S., & Kamel, M. H. (2024). The Role of Artificial Intelligence an extended reality in developing virtual production and its future challenges. International Design Journal, 14(6), 147-157. https://doi.org/10.21608/idj.2024.382707
  • Favreau, J. (Director). (2016). The Jungle Book [Film]. Walt Disney Pictures. https://tv.apple.com/
  • Favreau, J. (Director). (2019a). The Lion King [Film]. Walt Disney Pictures. https://tv.apple.com/
  • Favreau, J. (Director). (2019b). The Mandalorian [TV Series]. Disney+. https://www.disneyplus.com/tr-tr
  • Forman, J., & Damschroder, L. (2007). Qualitative content analysis. In L. Jacoby & L. A. Siminoff (Eds.), Empirical methods for bioethics: A primer (Vol. 11, pp. 39-62). Emerald Group. https://doi.org/10.1016/S1479-3709(07)11003-7
  • Glotov, S. (2022). Virtual production in The Lion King (2019): Formal and stylistic presentation. Novos Olhares, 11(2), 153-160. https://doi.org/10.11606/issn.2238-7714
  • Grau, O., Helzle, V., Joris, E., Knop, T., Michoud, B., Slusallek, P., ... & Starck, J. (2017). Dreamspace: A platform and tools for collaborative virtual production. SMPTE Motion Imaging Journal, 126(6), 29-36. https://doi.org/10.1049/ibc.2016.0031
  • Halaçoğlu, B. N. (2021). Makinimanın gelişimi: Film yapımının sanal prodüksiyona dönüşümü. Dumlupınar Üniversitesi Sosyal Bilimler Dergisi(68), 73-89. https://doi.org/10.51290/dpusbe.823660
  • Helzle, V. (2023). Immersive media productions involving light fields and virtual production LED walls. In Immersive video technologies (pp. 575–589). Elsevier. https://doi.org/10.1016/B978-0-32-391755-1.00026-2
  • Hurwitz, M. (2023). I see you: How James Cameron and his visual effects team create an otherworldly reality in Avatar: The Way of Water. Sound & Vision, 88(4), 43-50. https://www.soundandvision.com/
  • Ilmaranta, K. (2020). Cinematic space in virtual production. In L. T. De Paolis & P. Bourdot (Eds.), Augmented reality, virtual reality, and computer graphics: 7th International Conference, AVR 2020, Proceedings, Part II (pp. 321–332). Springer. https://doi.org/10.1007/978-3-030-58468-9_23
  • Industrial Light & Magic. (2020, February 20). Groundbreaking LED stage production technology created for hit Lucasfilm series The Mandalorian. Retrieved August 2, 2024, from https://www.ilm.com/groundbreaking-led-stage-production-technology-created-for-hit-lucasfilm-series-the-mandalorian/
  • İşbilen, A., & Uslu, B (2022). Prens. [TV Series]. MGX Film. https://www.blutv.com/diziler/yerli/prens
  • İşbilen, A., & Uslu, B (2024). Making of Prens. [Film]. MGX Film. https://www.blutv.com/filmler/yerli/making-of-prens
  • Jackson, P. (Director). (2001). The Lord of the Rings: The Fellowship of the Ring [Film]. New Line Cinema & Warner Bros. https://www.primevideo.com/
  • Johnson, K. R., & Holmes, B. M. (2009). Contradictory messages: A content analysis of Hollywood-produced romantic comedy feature films. Communication Quarterly, 57(3), 352-373. https://doi.org/10.1080/01463370903113632
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There are 69 citations in total.

Details

Primary Language English
Subjects Radio-Television, Communication and Media Studies (Other), Cinema-Tv Production and Management
Journal Section Research Articles
Authors

Türker Söğütlüler 0000-0003-1154-1112

Early Pub Date December 27, 2024
Publication Date December 31, 2024
Submission Date August 9, 2024
Acceptance Date October 22, 2024
Published in Issue Year 2024 Volume: 4 Issue: 2

Cite

APA Söğütlüler, T. (2024). The Future of the Moving Image: Virtual Production Technology. Türkiye Film Araştırmaları Dergisi, 4(2), 214-234. https://doi.org/10.59280/film.1530664

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