SPEAKER 1: [NON-ENGLISH SPEECH]
[BEEPING]
FRANK FOERSTER: Cut!
OK, everybody, moving to next scene.
Glad you made it.
Welcome to the Hyperbowl.
This study is a joint venture of four companies--
NSYNK, ACHT, TFN, and Fournell.
And now operates as an independent virtual production
studio that is open to everyone.
With more than 400 square meters of high-res LED,
the Hyperbowl is the largest volume of its kind in Europe.
Even our ceiling is made of the same high-res LED as the walls.
Automotive is a particularly valid use case
for virtual production because its hero,
the car, is such a glossy object.
You can't photograph a car without an environment.
And this is where classical studio shoots or even green
screens hit their limits.
Now, we can radically expand what
can be produced in the studio with all the benefits
that come along with this.
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Here, we have steady lighting conditions
over the whole day, which can be exactly reproduced at any time.
You can shoot multiple locations in one day.
And this is time-saving and cost-efficient,
but this is also, of course, much more sustainable.
And another important aspect is confidential prototypes
can be kept out of public at ease
and still be shot as if they were on location.
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CHRISTIAN GENZ: When I think about how many streets had to be closed for various shoots in the past.
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We do not need that here!
JAN PRAHL: And pretty cool for the first time that it worked out so well. I like it!
JULIAN KRUGER: What really fascinates me
about this technology is that it opens up
so many creative possibilities.
When it comes to content creation,
you can assume that about 80% of the traditional post-production
becomes pre-production.
You can use existing 3D pipelines
to create your environments to be used on an LED stage.
Concept artists, 3D modeling, shading, and lighting,
it's basically all the same, except you have
to bring it all into Unreal.
And make sure that it can be rendered in real-time.
Then you can benefit from all the possibilities
of a real-time engine, such as changing light in real-time
and altering the scene.
But also, virtual interactive shooting plan and previs.
With this process, you can create a lot of content
in very short time.
The ID.4 campaign was shot in only two days.
We had five locations, two abstract worlds, six talents,
and we created a 60-second ad, various formats
for social media, and then also for different international
markets.
ENO HENZE: Virtual production is also
getting a lot of attention for live communication,
such as car launches or virtual keynotes.
For these projects, we have combined the virtual sets
with layers of augmented reality in real-time.
You can add virtual props to your set designs.
And you can even present cars that
only exists as a virtual concept and have never
been physically produced.
STEFAN WENZ: Working for a couple of years
within the automotive area, I know
the expectations of this industry on CG are very high.
Moving footage has always been the supreme discipline.
But with virtual production, known
from Hollywood productions like The Mandalorian,
there's now a cost-efficient solution,
which reflects the high expectations
and can match the creatives' ideas.
Storytelling has become more important with today's
customers buying a lifestyle alongside with the product.
The CG environment can perfectly
match the communication strategy and can
be integrated into a seamless storyline using various media
assets.
Starting at the virtual courtyard
for OEM internal management presentations,
we use at the commercial production, and all other media
assets, the synergies are obvious.
Epic Games supports this by providing a huge Megascans
library for free in all Unreal-based productions, which
can be endlessly enriched by recreating using the Quixel
Mixer technology.
FRANK FOERSTER: Thanks for having us
here from the Hyperbowl.
It was a pleasure to be here.
And enjoy the rest of your Build event.
See you.
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