On Your Way A man falls from the sky in field of debris.
In terms of shot complexity and number, On Your Way was a quite ambitious project. In order to reduce the amount of shots tying up resources in post-production, the student team decided to use rear-projection whenever possible, taking the Ncam tracking data to compensate for the flat projection surface in a perspectively correct way. Thus the amount of VFX shots could be reduced tremendously. Half of the shots were still shot against blue screen, offering the possibility to address Dreamspace developments, such as Live View, Ncam depth and VPET.
Up to the point of shooting, the production could be considered the biggest use case for Dreamspace related technology apart from integration tests, as it applied not only single components in isolation but tried to make use of the entire pipeline suggested by the Dreamspace consortium. Ncam was used to gather camera tracking data, that was streamed to Live View and to several VPET clients alike.
The decision-makers were able to manipulate virtual assets by transforming them via VPET, while the results underwent a real-time compositing and rendering process for being previewed on monitors on set. Additionally, depth data was recorded.
On Your Way was shot on an Arri Amira camera in 3k and 48fps. For most of the shots the Amira was mounted onto a crane using a low-friction tripod head for creating shakes and vibrations. Since On Your Way was a production with real production implications, such as packed shooting days, tough schedules and high expectations, it was not possible to allocate the space the Dreamspace project would have needed to test all the developments in detail. Consequently the most findings could be derived from preparing the Katana scene for Live View and from applying VPET.