#Sets for Films

[secretdazedragon]

[vp-sets]

Virtual Production Stages Offered by VP Sets: Tailoring Sets for Films! 

In the busy world of filmmaking, where ideation encounters technology, virtual production stages have appeared as a game-changer. These steps, suggested by technical companies, cater to the various requirements of filmmakers by delivering customisable sets that can acclimate to any chronology, era, or visual style. This blog examines the idea of virtual production stages suggested by a set rental organisation, concentrating on how these stages improve flexibility, imagination, and efficiency in film production. Creation of 3D standards and assets using software like Unreal Engine or similar media, including textures, lighting, and facts to improve authenticity.

Understanding Virtual Production Stages

Virtual production tools integrate cutting-edge technologies, such as real-time computer graphics and interactive backgrounds, with conventional filmmaking methods. These locations function as versatile backgrounds that can alter from historical geographies to futuristic cities seamlessly. Key technologies and components typically presented by VP Sets include:

Real-time Rendering: High-fidelity visuals generated in real-time, powered by engines like Unreal Engine or Unity. Allowing filmmakers to see and interact with complex digital backgrounds immediately.

Dynamic Lighting and Effects: Advanced lighting techniques that imitate natural and unnatural light heads. Improving realism and environment within virtual sets.

Interactive Elements: Tools for exploiting set components, such as props, architecture, and climate circumstances, in real-time during filming, contributing outstanding innovative control.

Conclusion

In conclusion, virtual production stages presented by VP Sets portray a transformative strategy for filmmaking. Leveraging cutting-edge technology to improve originality, efficiency, and visual storytelling. From flexibility and cost efficiency to innovative freedom and scalability. Virtual production stages entrust filmmakers to discover their artistic visions with exceptional management and innovation. The industry persists in adopting virtual production as a traditional practice. The function of  VP Sets in delivering customizable virtual backgrounds will play a critical role in shaping the future of cinematic adventures worldwide.

[airlocksandaviaries]

OK TUMBLR PRETEND WE'RE ALL ON SET TOGETHER PICK A JOB

if you actually work/have worked as one of these pls select it and tell me in the tags im curious

if you've worked as multiple, pick your favorite

everyone else, VOTE ON VIBES ALONE!!

[firelise]

CONCLAVE [2024] ↳ Isabella Rossellini as Sister Agnes Eminences, although we Sisters are supposed to be invisible, God has nevertheless given us eyes and ears...

[doodle-list]

Been wanting to make an art deco inspired piece since I watched One Piece Gold because OH MY GOD I ABSOLUETLY LOVED IT

[911onao3]

"So, where were we?" / "Hey, at least it's not a tsunami, right?"

3x18 / 4x01

[turturros]

Conclave (2024) dir. Edward Berger

[starlordquill]

Careful. This is the moment when the supposedly dead killer comes back to life for one last scare. Not in my movie.

SCREAM (1996) dir. Wes Craven

[gresit]

MONKEY MAN (2024) dir. Dev Patel

[corneredcopia]

💃🕺 more dancing stobotnik 🕺💃

[fascinationstreetmp3]

James Spader as Michael Boll BAD INFLUENCE (1990) dir. Curtis Hanson

[70sscifiart]

Frank Frazetta, Boris Vallejo, and John Berkey all created art for the 1977 film Orca. Via @GregRozeboom

[firelise]

Film & TV I Think About A Lot » Much Ado About Nothing (1993) dir. Kenneth Branagh

Sigh no more, ladies, sigh no more. Men were deceivers ever, One foot in sea, and one on shore, To one thing constant never. Then sigh notso, but let them go

[ophelialoveshandsomemen]

Say what you will about Van Helsing 2004; hate it, love it, be indifferent, But the All-Hallow's masquerade ball went sooooo hard and it had zero right to do so! It's a fun, campy, monster mash movie with wonderfully dated ( and expensive) cgi and non-stop action meant to be a popcorn flick one takes out to watch around spooky season. And it has this* chef's kiss* GORGEOUS 6 minute sequence plopped arbitrarily in the second act, which unexpectedly surpasses nearly every other ball in the last 30+ years of film( notable exception being the Cinderella 2015 ball) for literally no reason other than to be dramatic af.

Like feast your eyes on this Gothic masterpiece!!! Who doesn't want to immediately live in this picture?!??

They used those candles with oil in them so that they would have real candles, real string orchestra( I believe), probably around 100 real life extras( something which is tragically absent in modern film), said extras are all in beautiful fully decked-out costumes( which are in luxuriously dark colours, but nearly no fully black, another thing you cannot say for much modern cinema), REAL CIRQUE DU SOLEIL PERFORMERS for all the acrobatics!!!! Hell, instead of filming in a sound stage, where they could control the reverb and the acoustics and the size of the set and the bloody lighting ( they apparently had a heck of a time emulating the firelight for this sequence) and the temperature( it's very cold in stone churches!) better, they filmed in a Baroque church in Prague! As I said, peak dramatic splendour, jfc...

Think about that a second...They filmed a vampire masquerade in a Baroque Catholic Church( St. Nicholas' in Lesser Town, if you were curious) with amazing over-the-top acoustics and marble statues and real, tiled floors and marble pillars and a choir loft which they very much utilized, covered the pipe organ and the altar with a grand brocade curtain so it wouldn't be so obviously a, you know, a church! And there's a gold gilt elevated and canopied pulpit into which they put two vampire kiddies for, again, the sake of being dramatic.

And the costumes! They remind me of the 25th anniversary Phantom of the Opera Masquerade costumes. Same quality, like they're old, well-cared-for costumes pulled out of a warehouse, instead of fast industry churn-outs. With lots of trim and colour and masks and lace and feathers and..just...ugh.. they are all perfect! Just look at all the head pieces on the ladies and the hats on all the gentleman ( save Dracula of course) and the powdered wigs on the musicians. ANNNNDD! The dresses are historically correct!!!!!! It's the 80's bustle era! Nobody does the 80's bustle era in film anymore and it's a bummer. Oh and one other thing! Anna's ( and other women's) hair, at least here in the ball, is also historically accurate because it's all pinned up! None of those fucken modern beachwaves at a ball! Everybody's got updo's!

Gah, I swear, Dracula in his gold cloak really does things to me in this scene!

By the way, the acrobatics are bonkers in here for just background stuff!! Especially the random guys on unicycles and the dude playing the violin whilst standing on a ball...Like....WHAT?

Anyways, all this to say, that this masquerade ball feels sooo real and tangible and because of that it blows every other film out of the water, and no, I will not change my mind!!!!!

Here's a few more gifs, bcuz, why the hell not, this scene is sexy as fuu*ck?

Alright I need to go to bed now.

[misunderstood12]

i hope a crow finds its way to me<3

[anyataylorjoys]

A VIRGIN AMONG THE LIVING DEAD La nuit des étoiles filantes (1973) dir. Jesús Franco