American Cinematographer - March 2022 - 60

The Virtual World
A techvis image created by Happy Mushroom for the ASC MITC
StEM2 project The Mission - detailing the Arri Creative Space LED
wall, the virtual environment, physical props/set design, virtual
actors, and stage structural components.
Use Cases
Techvis can be used to design
and coordinate blocking within a
specific physical location, such
as working out the field of view
for a given format size, or which
lenses, camera rigs and other
tools and gear will be required.
On Venom: Let There Be Carnage,
shot by Robert Richardson, ASC,
The Third Floor worked with
the production-design, camera,
directing and visual-effects teams
to maximize shooting plans and
sets.
For the San Quentin State
Prison set, this included creating
to-scale techvis location schematics
with 2nd-unit director
Brian Smrz to plan placements for
cameras and characters. Techvis
- in combination with previs -
also helped determine modular
filming options, which maximized
resources by making the most
time- and gear-efficient use of
setups and background actors.
Additionally, techvis can help
determine how much of a set
to build practically and, if the
The early engagement and guidance of the
director of photography are critical to the
success and utility of techvis.
60 / MARCH 2022
production is using greenscreen,
what sizes will be needed and in
what positions the material will be
placed - as well as to coordinate
on-set physical effects with
postproduction visual effects.
The Third Floor created techvis
with the team on The King's Man,
shot by Ben Davis, BSC, to work
out a complex trench-warfare
sequence involving stunt work,
practical effects, and plenty of
digital set extensions and postproduction
enhancement.
" The production had designs
and a CG model for a German artillery
weapon called 'Big Bertha,'
as well as a portion they planned
to build practically, " says Jason
Wen, visualization supervisor
at The Third Floor London. " Via
techvis, they could also look at
digital extensions for artillery,
mountains of shell casings, digital
doubles, and effects that would
support the practical artillery
pieces and stunt performers. "
Techvis can also be used to
plan crowd replication via multiple
passes - potentially involving
elements like plate photography,
motion control and digital extras
- for sequences taking place in
such environments as concerts,
sporting events or battlefields.
For a sequence featuring the
armies of Wenwu (Tony Leung)
in Shang-Chi and the Legend of
the Ten Rings, shot by Bill Pope,
the production team used techvis

American Cinematographer - March 2022

Table of Contents for the Digital Edition of American Cinematographer - March 2022

Contents
American Cinematographer - March 2022 - Cover1
American Cinematographer - March 2022 - Cover2
American Cinematographer - March 2022 - 1
American Cinematographer - March 2022 - Contents
American Cinematographer - March 2022 - 3
American Cinematographer - March 2022 - 4
American Cinematographer - March 2022 - 5
American Cinematographer - March 2022 - 6
American Cinematographer - March 2022 - 7
American Cinematographer - March 2022 - 8
American Cinematographer - March 2022 - 9
American Cinematographer - March 2022 - 10
American Cinematographer - March 2022 - 11
American Cinematographer - March 2022 - 12
American Cinematographer - March 2022 - 13
American Cinematographer - March 2022 - 14
American Cinematographer - March 2022 - 15
American Cinematographer - March 2022 - 16
American Cinematographer - March 2022 - 17
American Cinematographer - March 2022 - 18
American Cinematographer - March 2022 - 19
American Cinematographer - March 2022 - 20
American Cinematographer - March 2022 - 21
American Cinematographer - March 2022 - 22
American Cinematographer - March 2022 - 23
American Cinematographer - March 2022 - 24
American Cinematographer - March 2022 - 25
American Cinematographer - March 2022 - 26
American Cinematographer - March 2022 - 27
American Cinematographer - March 2022 - 28
American Cinematographer - March 2022 - 29
American Cinematographer - March 2022 - 30
American Cinematographer - March 2022 - 31
American Cinematographer - March 2022 - 32
American Cinematographer - March 2022 - 33
American Cinematographer - March 2022 - 34
American Cinematographer - March 2022 - 35
American Cinematographer - March 2022 - 36
American Cinematographer - March 2022 - 37
American Cinematographer - March 2022 - 38
American Cinematographer - March 2022 - 39
American Cinematographer - March 2022 - 40
American Cinematographer - March 2022 - 41
American Cinematographer - March 2022 - 42
American Cinematographer - March 2022 - 43
American Cinematographer - March 2022 - 44
American Cinematographer - March 2022 - 45
American Cinematographer - March 2022 - 46
American Cinematographer - March 2022 - 47
American Cinematographer - March 2022 - 48
American Cinematographer - March 2022 - 49
American Cinematographer - March 2022 - 50
American Cinematographer - March 2022 - 51
American Cinematographer - March 2022 - 52
American Cinematographer - March 2022 - 53
American Cinematographer - March 2022 - 54
American Cinematographer - March 2022 - 55
American Cinematographer - March 2022 - 56
American Cinematographer - March 2022 - 57
American Cinematographer - March 2022 - 58
American Cinematographer - March 2022 - 59
American Cinematographer - March 2022 - 60
American Cinematographer - March 2022 - 61
American Cinematographer - March 2022 - 62
American Cinematographer - March 2022 - 63
American Cinematographer - March 2022 - 64
American Cinematographer - March 2022 - 65
American Cinematographer - March 2022 - 66
American Cinematographer - March 2022 - 67
American Cinematographer - March 2022 - 68
American Cinematographer - March 2022 - 69
American Cinematographer - March 2022 - 70
American Cinematographer - March 2022 - 71
American Cinematographer - March 2022 - 72
American Cinematographer - March 2022 - Cover3
American Cinematographer - March 2022 - Cover4
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