If you’re in a car and a red bus goes by, there’s red bounce light automatically from that bus. That was one window. When it came to choosing the right filming locations, the showrunners opted for California-based places that look uncannily similar to destinations like the Philippines or the Syrian desert. We wrote the code for building new trackers based on Intel’s technology. You’re in for 10 to 12 weeks of shooting with everything that comes at you from different directors and a lot of variables, split units, pickups. Be one with nature in this stunning open space that offers an incredible view of the Han River. The work of the producers, directors and camera people who do location filming allows us to see parts of the world we would never otherwise see. At this point, it’s a lot easier to be in a virtual casino than it is to be in a real one. We’re not talking about replacing reality by any means. We shot plates from the Los Angeles Metro and determined how to shoot plates for the show. Please wait while we check that you are connected to the BBC internal network, Sorry, we couldn't confirm that you were on the BBC internal network, Journalism's filming and recording section, BBC Newsgathering operations (BBC staff only), Dutch royal river pageant tests the water for live TV backpack. November 2020; June 2019; Photography: Archie Brooksbank photography. You’re seeing maybe one-tenth of the original data. This is the shift that the visual effects artists must do to be able to handle the pace and the pressures of real time. With our Virtual Backlot, we are creating an immersive world in the background—again, either photographic or rendered—in which you can look any direction. I built eight feet of it and took it to Paramount Stage 9, swung it out in the middle of the Enterprise and said, “There it is. We have three DaVinci Resolve Studio systems complete with DaVinci Resolve Micro Panels that we’re operating on set for Run because we’re adjusting color of the foreground and doing real time compositing. It was one of the most pleasant shoots I’ve ever been on. Trivia [edit | edit source] What lenses did you use on set with the Panavision DXL? And then, maybe, when they want to drop downstream and do pickups, you need to be able to jump forward in the data stream to keep everything in sync. We were shooting with the Panavision DXL, so we wanted to shoot in 8K. We can have any combination at any resolution: LEDs, OLEDs, projectors from Canon and Sony. On Run, we tried many different types of tracking. So it was fun when Stephanie Hueter of Blackmagic Design asked whether I’d like to talk to Sam about his latest adventures. Filming will instead continue in a London studio. Anything can happen on a set. The creative necessity and requirements of the show should dictate the technology configuration. Across 10 episodes, that’s about 3,000 shots. Part of the ThruView system is the pixel-mapping of proprietary lights that we have built that have true kinetic control, 126 DMX addresses per light, so that you can “ripple” the light. All I have to do is make it taller.” Bob Wise and Gene Roddenberry looked at it and said, “That looks pretty cool at eight feet. It worked. Our ThruView system allows us to adjust and control all the lights on set: Run had about 250 DMX-controlled ARRI SkyPanels. Normally speaking, you can take a tracker, touch it to the surface of your screen and are at the same place—zero point. In addition, our location features behind-the-scenes pump and filtration areas that make excellent backdrops for chase scenes, a “mad scientist” area with bubbling vats, a cafeteria and a café setting with an ocean view, 175-person movie theater, a 50-person classroom, and more. 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