Using immersive technologies to facilitate location scouting in audiovisual media production: a user requirements study and proposed framework

Abstract

In common with many industries, the audiovisual sector is likely to be transformed by real-time graphic engines in combination with immersive technologies such as Virtual Reality and Augmented Reality. This technological mix enables what is presently known as Virtual Production, introducing a new process to the audiovisual professional, capable of fostering creativity, collaboration, and decision making, while at the same time increasing efficiency. The potential for Virtual Production to transform workflows and creative processes within large-scale productions in the audiovisual sector is significant and includes the prospective introduction of new capabilities for remote co-creation of content. However, barriers to democratisation need to be overcome, particularly in relation to adoption of the technology by small and medium independent productions that generally have limited access to resources and technical knowledge. Following an extensive study of the current literature and involvement in the research of professionals working in the field through online interviews, this article documents a first step towards filling this gap by investigating Virtual Production adoption scenarios for small and medium independent productions. The primary aim is to design intuitive, engaging, and effective solutions to address the needs of Directors, Cinematographers, and Producers. Thanks to the valuable time and experience of industry professionals, this study has gathered user requirements for a Virtual Production design solution capable of facilitating location scouting and pre-production. A novel framework for remote exploration of target locations within immersive environments, co-created with relevant stakeholders, is presented to lay the foundations of future co-design work.

Keywords: Audiovisual production; Augmented reality; Location scouting; Real-time graphic engines; Virtual production; Virtual reality.

Fig. 1

The ‘Lion King’ Director Jon Favreau working in VR (left). Steadicam operator shooting the virtual scene within an empty room equipped with sensors and computers to track physical camera movements in real time (right). Images extracted from Youtube channel [4]

Fig. 2

‘Forrest Gump’ Screenplay. From [28]

Fig. 3

Adaptation of‘ The Long Tail’ graph

Fig. 4

Initial System Design Diagram

Fig. 5

Capture phase. Legend: D=Director; C=Cinematographer; SD=Set Designer; P=Producer; AD = Assistant Director; LSM = Location Scouting Manager

Fig. 6

Setup Phase

Fig. 7

VR Pre-Production

Fig. 8

Role specific tasks

Fig. 9

Traditional linear AV workflow, as opposed to the proposed pre-production design solution

Fig. 10

System Design Diagram incorporating ideas and feedback (Phase 1 and Phase 2)

Fig. 11

System Design Diagram incorporating ideas and feedback (Phase 3)

Fig. 12

Final output after capturing data with iPhone 12 Pro’s LiDAR and processing with Scaniverse app (top). Wireframe view (bottom). Images from [1]