disguise Media Servers powers virtual production of 6 episodes ‘La Fortuna’

Virtual production for feature films and television is part of a new wave of adaptable, efficient and cost-effective methods aimed at reducing the need for complex shots without compromising quality. disguise platforms offer creatives and technologists production software with media server hardware to enable them to take advantage of new and virtual workflows.

Recently, The wealtha six-episode Hispanic-American miniseries airing on Movistar+ and AMC+, turned to virtual production powered by disguise vx 4 media servers. With Barcelona-based MO&MO Film Services designing the scenes for virtual production and facilitated behind-closed-doors visual effects, the film included exterior scenes of Washington D.C. on the set of their shoot in Madrid.

The wealth is the story of the discovery of a Spanish frigate sunk by the British navy off Portugal in 1804 and the ensuing legal battle for ownership of the treasure. Stanley Tucci directs a Spanish and American cast in the miniseries directed by Alejandro Amenabar and co-produced by Movistar+, AMC Studios and MOD Pictures.

Through an introduction by AEC Cinematographer Alex Catalan, MO&MO Film Services was asked by MOD Pictures to design and shoot the virtual production scenes. The Madrid-based virtual studio featured Gloshine MV 2.6mm LED walls with NovaPro UHD processing and disguise vx 4 media servers, facilitating the virtual production workflow.

“We were proud to shoot his first TV series with Alejandro Amenbar and with Alex Catalan, one of Spain’s most demanding DPs,” commented David Monguet, Virtual Production Supervisor at MO&MO Film Services. “The project went perfectly, like all of our disguised projects, with easy setup and programming.”.

The process facilitated the creation of in-camera VFX for car scenes using plates shot in Chicago and scenes shot in Washington, D.C., showcasing the exterior seen from the windows of the Spanish Consulate . There was also footage shot showing American television news reports.

Disguise Designer with vx 4 servers achieved the desired cinematic results for many of these scenes. These included the Color Adjustment Layer, which was a must, and the Blur Layer, which helped DoP Catalan show depth of field in some cases. PreComp as a mapping type was used in a blur layer and a color adjustment was applied to manipulate all layers simultaneously. Additionally, the dress-up tool helped adjust the camera perspective in certain scenes, while the ACES integration of disguise allowed for color control for VFX sequences.

Source: disguise

Debbie Diamond Sarto is associate editor at Animation World Network.