Virtual Production

Here is how this works in practice. We set up virtual production in South Africa, bringing together LED volume operators, real-time environment artists, camera-tracking crews and the conventional production departments that virtual workflows still depend on. Virtual production merges live-action filming with real-time computer graphics: photoreal environments rendered in engines such as Unreal are displayed on LED volumes or composited live, so lighting, reflections and interactive backgrounds are captured in camera.

Here is the short of it. Our teams handle the camera tracking that drives correct perspective, the colour pipeline that keeps the virtual and physical elements steady, and the close planning between the DP, the gaffer and the virtual-art department that the technique demands. Environment content can be built from plates shot across South Africa's locations or created digitally. Cape Town Film Studios and the surrounding facilities give the stage space and crew depth for volume work. Because the country's film-services industry is mature and competitively priced, virtual production can be resourced within South Africa as one integrated workflow from shoot to finish.

Here is the breakdown. South Africa is well positioned for virtual production. Cape Town is the country's production capital, with a deep, top-tier crew base and Cape Town Film Studios, a major full-service tricky skilled in tech demanding global series such as the Starz show 'Black Sails' and Ridley Scott's 'Raised by Wolves'. That set up infrastructure of skilled grips, gaffers and camera crews transfers directly to the needs of virtual production. The country's locations also feed the pipeline: plates captured across the Cape Peninsula, the Karoo, the Drakensberg and the bushveld can become photoreal virtual environments.

Here is what that looks like on the ground. English is the working language of the industry, simplifying planning with global virtual-production supervisors, and the SAST time zone at UTC+2 suits European schedules. The DTIC production rebates, in the past a rebates of around 25 percent of qualifying local spend, carries an uplift for post-prod and content work completed in South Africa, and the favourable rand exchange rate keeps technology-led production cost-good. ATA carnets are accepted for imported gear.