[Lee Jong-gil's Movie Reading] Chromakey Goes, Virtual Production Comes

VA Corporation Subsidiary Mofac CEO Jang Seongho
Virtual Production Platform VA Studio Hanam Phases 1, 2, 3 Established
LED Video Unrestricted by Time and Space... Overcoming Physical Limits of Chroma Key Implementation
Already Used in US Dramas and Films: "Efficient Progress from Filming to Planning and Post-Production"

Blue and green screens serve as backgrounds for visual effects (VFX) compositing. They are used in almost every film. By placing a person or object in front and filming, the footage can be seamlessly inserted into a completely different scene. This technique is called chroma keying. It enables the creation of scenes that are difficult to shoot as well as impossible visuals. However, the process requires considerable time and cost, and it is challenging to elicit realistic acting.

VA Corporation’s ‘VA STUDIO HANAM 1, 2, 3’ in Hanam, Gyeonggi Province, minimizes these drawbacks. It is a virtual production platform spanning 11,265 square meters (3,408 pyeong). The core components are large-scale light-emitting diode walls (LED Walls) and in-camera VFX equipment. It facilitates simultaneous film shooting and VFX compositing. The method involves placing subjects in front of LED Walls displaying virtual backgrounds and filming them together. This overcomes physical limitations such as light reflection, which are difficult to achieve with chroma keying. It has already been used in Hollywood productions like the TV series ‘The Mandalorian’ and ‘Westworld,’ as well as the film ‘Midnight Sky.’

At the forefront of domestic adoption is Jang Seong-ho, CEO of MOPAC, a subsidiary of VA Corporation. Over the past three years, he has resolved many issues and unlocked the potential of virtual production. With diverse production know-how and advanced technology secured, a new production environment will be offered next month. He expressed confidence, saying, "It will enhance not only the quality of films but also the significance of collaboration," and "It will establish itself as a new filmmaking grammar."

- What process does this involve?

"Before filming, the background footage to be displayed on the LED Wall must be designed in harmony with production design, concept, filming, and lighting. Once an appropriate stage is prepared and suitable lighting and camera angles are planned, the director and heads of each department view the virtual world together to decide on scale, texture, and movement. This is called ‘virtual scouting.’ It broadens the scope for variation during filming and allows for adaptation to various changes. This is possible because LED footage can be brought in regardless of time and space."

- It seems the harmony between LED footage and the stage is crucial...

"In a virtual studio, the art director’s designed virtual space forms the basis for producing the LED footage. It must be realistically realized focusing on the planned space and movement paths. Various auxiliary tasks occur simultaneously at this stage. Photogrammetry (creating 3D models using photographs) is used to match props and costumes with characters in the virtual space, and real-scale data is used to construct buildings and other structures on set. The latter employs 3D printers. Detailed printer outputs and suitable materials are used for painting and placement. This allows for an overall view, enabling effective budget management."

- Does it offer a much wider range of light expression than chroma keying?

"Yes. It is difficult to naturally depict sunsets, dawns, and evenings with traditional keying methods. Color grading (DI) is also heavily required to reduce the disparity between actors’ skin tones and backgrounds. Using LED footage eliminates the need for blue or green color spill on actors. Above all, it can realize a wide spectrum of colors and light intensity without causing any unnaturalness. Real-time compositing is possible with sufficient color and extensive sources."

- How much time and cost can be saved?

"Film and drama are collaborative arts. The more frequent the communication, the higher the expenses. Virtual production allows all department heads to participate at decision-making moments. It is not just about giving filming time but efficiently progressing planning, design, and post-production as well. There is no need to uniformly illuminate blue or green screens. Since the background source emits light itself, equipment such as lighting can be simplified. Naturally, filming setup time is also reduced."

- This could greatly improve the quality of works.

"Since all department heads view and decide on images close to the final version together, it is easier to reach the desired direction and level. In advertising, clients and planners can also pre-check the correlation between products and images."

- Is there a possibility of moir? (wave pattern) effects on the LED Wall?

"This can be managed by optimizing the camera sensor and lens angle. Appropriate LED and media server equipment can also address this."

- It seems works showing virtual spaces will increase.

"Because it can capture large-scale worlds at a relatively low cost. It will also show strengths in character-focused filming. Time and space are variable. The protagonist’s scenes spanning the sea, roads, office, and home can be filmed within a day. There is no need to travel to many locations or shoot overnight, which can improve staff working conditions."