OSORO Virtual Production
commentary by Cathy Ye for British Cinematographer Mag
Osoro
is a magical realism, proof of concept short film exploring love, loss, and the pursuit of second chances, directed by Sheila Nortley, and produced by Martina Russo. Shot on Sony Venice 1 and Panavision Panaspeed lenses, supported by Panavision.
Why virtual production?
As Osoro traverses realms and many different environments, VP provided the ideal flexibility for world creation, allowing us to shoot out 7 locations in one day. The choice for VP was finalized by our producer, Martina Russo, who recognized its cost-saving potential and opportunity to utilize cutting-edge technology. VP eliminates extensive set construction and location shooting, minimizes VFX shots, and expedites post-production. VP also handles reflections (window, skin, etc) better than green screen, and is advantageous for driving scenes, eliminating the need for process trailers, car rigs.
Main Takeaways:
Virtual production suits fantasy, sci-fi, and difficult-to-access locations, but may miss the unique magic of on-location shooting. Observe the subtleties of real environments, and enhance the image with elements that “dirty up” the image - ie wind, in-camera light flares, varied textures of light, etc. VP also suits projects needing continuous natural light and multiple locations. With research and a willingness to try new technology, VP is accessible to all filmmakers.
Pre-Production:
Prep was more than double that of any short film I’d shot. What previously was “fixed in post” moved to “fixed in pre”. We decided to shoot the most expensive or difficult-to-access locations in VP: desert, early 2000’s double decker bus, luxury apartment, and wedding registry. Due to budget constraints, we utilized 2D assets from stock websites, and plate capture for London specific locations. Fun fact: the double decker bus plates were obtained by shooting on a Hop On Hop Off tour bus in Lambeth with my BMPCC6K!
As a novice VP cinematographer, I worried that my inexperience might hinder decision making and affect expectation management. Research and testing became crucial parts of my prep. The Sony Digital Media Production Centre in Pinewood Studios, who sponsored our Sony Venice 1 camera body, was an invaluable resource that offers free training and support to filmmakers, and welcomed testing on their LED wall. Ramaz Studios’s logistical support and generosity in allowing a pre-light day also contributed to a seamless and enjoyable set day.
Main challenges?
Realism is the central challenge, with lighting as a major factor. I found lighting stroke-by-stroke the most effective approach, beginning with key light, fill, backlight, accents, in that order. Empowered by SHL’s generous lighting support, we had a wide array of tools at our disposal. Perspective matching was our second biggest challenge due to a low angle plate capture that caused visual incongruence. Future solutions include pre-researching creative framing options, and creating plates either at eye level, or with testing. For a further realistic image, adding practical set elements to the foreground and background enhances visual depth.
