Home Articles List Article Information
International Design Journal
Journal Archive
Volume Volume 15 (2025)
Volume Volume 14 (2024)
Volume Volume 13 (2023)
Volume Volume 12 (2022)
Volume Volume 11 (2021)
Volume Volume 10 (2020)
Volume Volume 9 (2019)
Volume Volume 8 (2018)
Volume Volume 7 (2017)
Volume Volume 6 (2016)
Volume Volume 5 (2015)
Volume Volume 4 (2014)
Volume Volume 1 (2012)
Mohammed, M. (2023). The Artistic Properties of Cinematography with Volumetric Screen Technology and Virtual Production. International Design Journal, 13(5), 401-414. doi: 10.21608/idj.2023.312649
Mamdouh Salah Mohammed. "The Artistic Properties of Cinematography with Volumetric Screen Technology and Virtual Production". International Design Journal, 13, 5, 2023, 401-414. doi: 10.21608/idj.2023.312649
Mohammed, M. (2023). 'The Artistic Properties of Cinematography with Volumetric Screen Technology and Virtual Production', International Design Journal, 13(5), pp. 401-414. doi: 10.21608/idj.2023.312649
Mohammed, M. The Artistic Properties of Cinematography with Volumetric Screen Technology and Virtual Production. International Design Journal, 2023; 13(5): 401-414. doi: 10.21608/idj.2023.312649

The Artistic Properties of Cinematography with Volumetric Screen Technology and Virtual Production

Article 28, Volume 13, Issue 5, September and October 2023, Page 401-414  XML PDF (1.84 MB)
Document Type: Original Article
DOI: 10.21608/idj.2023.312649
View on SCiNiTO View on SCiNiTO
Author
Mamdouh Salah Mohammed
Lecturer at the Department of Photography, Cinema and Television, Faculty of Applied Arts, Helwan University, Egypt
Abstract
The use of techniques for separating the foreground from the background is part of the cinematic technical history since the invention of the art of cinema, to achieve the required artistic and creative aspect of storytelling. New and innovative technology was introduced recently, which is the Volumetric Screens, that enables the director of photography through virtual production to project the finished graphic designs onto a screen behind the actors during the filming process, eliminating the need for chroma keying and background compositing in post-production. The importance of this study comes from the need to study the characteristics of the image produced and the creative possibilities offered to the cinematic imagery and their impact on the artistic and creative side to help the director of photography in choosing the most effective method to achieve the artistic and dramatic purposes, to make optimal use of this technology, and the limits and problems facing designers in this field.
The research questions are summarized in the following points: What are the visual properties of the image produced by the technology of the volumetric screen? What are the advantages offered by this new technology to filmmakers that make it a better option than the traditional keying techniques? What are the limitations of this technology? How can it be developed in the future?The research aims to assist the director of photography in choosing between the different techniques.
Through the methodology of the descriptive approach this research follows the characteristics of the image produced using the volumetric screen technology, and through the analytical approach it tries to identify the most important advantages offered by this technology that outperform the previous methods, as well as the potential defects, obstacles, and possibilities for the future development of this technology. The study discusses the recent breakthroughs in Unreal gaming engine technology that allows an almost instant renders of the 3D space of the background and it’s use in the virtual production environment, as well as the color representation of the LED screens and its accuracy, the light and color reflections on the photographed subject and the frame rate limitations that comes with the new technology. It also provides a look on the future expected updates of the technology implementing AI to the production process and providing better LED screens with enhanced resolution and higher frame rates.
In conclusion of this research, some of the most important results are that: Volumetric screen and virtual production technology offers several new features and opportunities that can be used creatively during the film shooting process. Virtual production is the next logical step in the constant development of front projection technologies and color keying processes, and it helps to develop the cinema industry today in several technical aspects. The volumetric screen provides a greater opportunity for the actors to interact with the real environments designed for the cinematic film.
The researcher recommends preparing specialized courses for cinematographers in VFX and their modern technologies and conducting more research on the spread and impact of virtual production on Arab and Egyptian cinematic works.
Keywords
Cinema Technology; Digital Cinema; Virtual Production; XR Studios; Chroma Keying; Cinema; Visual Effects
Supplementary Files
References
  1. Gress, J. (2015). Digital Visual Effects and Compositing. New York: New Riders.
  2. Holben, J. (2020, Febuary 6). The Mandalorian: This Is the Way. Retrieved from American Cinematographer: https://theasc.com/articles/the-mandalorian
  3. Ikmaranta, K. (2020). Cinematic Space in Virtual Production. In Augmented Reality, Virtual Reality, and Computer Graphics - 7th International Conference. Springer.
  4. ILM. (2020). The Virtual Production of The Mandalorian Season One. Retrieved from Youtube - Industrial Light and Magic: https://www.youtube.com/watch?v=gUnxzVOs3rk
  5. Jobin, R. E. (2022). The Catalysts, Standards, and Diffusions of Virtual Production Technologies and Workflows. Baylor University.
  6. Kadner, N. (2019). The Virtual Production Field Guide Volume1. North California: Epic Games.
  7. Lejeue, C. (2022). Virtual Production: A Study on its Environmental Impact. Unicersity of South California.
  8. Lodderhose, D. (2023, May 21). Technologies Like AI & Unreal Engine Are A Having Big Impact On The Entertainment Business. Retrieved from Deadline: https://deadline.com/2023/05/ai-unreal-engine-technology-disruptors-1235364383/
  9. Morton, R. (2005). King Kong: The History of a Movie Icon from Far Away to Peter Jackson. New York: Applause Theater & Cinema Books.
  10. OptiTrack. (2023, July). OptiTrack for Virtual Production. Retrieved from OptiTrack Official Website: https://optitrack.com/applications/virtual-production/
  11. Jalal, Amr M. (2016). The Impact of Technological Evolution on the Design of Cinematic Picture. International Design Journal, Vol.6 (No.1), 159-167.
  12. Priadko, O., & Sirenko, M. (2021, April). Virtual production: a new approach to filmmaking. Bulletin of Kyiv National University of Culture and Arts, pp. 52-58.
  13. Ragone, A. (2007). Eiji Tsuburaya: Master of Monsters. San Francisco: Chronicle Books.
  14. Sawicki, M. (2007). Filming the Fantastic: A Guide to Visual Effects Cinematography . London: Focal Press.
  15. Seymour, M. (2013, October 8). Gravity: Vfx that's anything but down to earth. Retrieved from FxGuide: https://www.fxguide.com/fxfeatured/gravity/
  16. Mahmoud, Ahmed M. (2019, April). Plasma light as one of the New lighting techniques in the Cinema and Television. International Design Journal, Vol.9 (No.2), 189-196.
  17. Stasukevich, I. (2014, December). Cosmic Odyssey, Create a Large-Format Canvas for the Science-Fiction Drama Interestellar. American Cinematohrapher, pp. 38-53.
  18. Uneal Engine 5. (2023). Retrieved from Unreal Engine: https://www.unrealengine.com/en-US/unreal-engine-5
  19. Wright, S. (2007). Compositing Visual Effects: Essentials for the Aspiring Artists . London: Focal Press.
Statistics
Article View: 221
PDF Download: 277