James Dinsdale, Virtual Production Supervisor, Dimension/DNEG 360 explains how virtual production was used to help Taika Waititi bring Apple TV+ series, Time Bandits, to life.
Virtual production (VP) has brought significant advantages as a tool for efficiencies and new creative heights – and the recent adaptation of Time Bandits was no exception.
For reimagining the iconic film – known for its ambitious narrative and time-hopping adventures – for the hit Apple TV+ series, the ability to merge physical and digital worlds in real time was invaluable.
Building the expansive and diverse worlds of Time Bandits, from Viking settlements to 1920s New York, would have been a monumental challenge using conventional production methods. Constructing physical sets for each unique environment would have been expensive, and logistically tricky for a production in Wellington, New Zealand. As such, the project serves as a prime example of how virtual production is advantageous to modern content creation.
So, how did virtual production help transform a complex, multi-era narrative into a visually stunning and compelling series?
The flexibility of virtual production
In the making of any film or TV show that is set in multiple locations, virtual production can offer a fantastic alternative to shooting on location, not only significantly reducing filming time, but also allowing the team to experiment with different aesthetics and provide flexibility in changing the locations and environments to meet the director’s need.
In the case of Time Bandits, VP allowed the production team to make real time adjustments on the fly for directors including Taika Waititi, Jemaine Clement and Iain Morris, such as switching entire environments in minutes.
For example, after being tasked with transforming from a quiet Mayan suburb into a busy main village centre with a view of a tower, the production team overhauled the set in just 45 minutes, a feat which would be impossible with traditional filming techniques.
The use of VP also allowed the team to overcome practical challenges such as lighting. One episode in the series features UK national landmark Stonehenge — a well visited tourist attraction, filming at Stonehenge is possible but only within limited time frames. The Time Bandits team didn’t have long enough on location to capture all the necessary shots and ran into the issue that certain lighting equipment required for the shoot wasn’t feasible to use on-site. This is where photogrammetry came into play.
Photogrammetry was used to scan and digitise the environment, enabling the creation of an accurate and realistic 3D model of Stonehenge that seamlessly integrated with digital backdrops. This process not only let the team get all the shots they needed in the correct lighting, it also allowed for visual continuity between the real and virtual worlds by preserving details from the physical sets in the digital space.
The virtual production tech behind Time Bandits
At the heart of the VP setup making this kind of flexibility possible was a 22-meter diameter, 6-meter high LED stage, built with approximately 2000 Roe BP2V2 panels with Megapixel LED processors to support it – creating a high-resolution LED wall that could project dynamic backgrounds, maximising immersion for actors and filmmakers.
Behind the scenes, Unreal Engine powered the creation of environments for Time Bandits. The software allowed the team to construct realistic settings, and make realtime changes—essential for working on such a dynamic set. For complex simulations, such as snow accumulation on jagged rocks in an Ice Age scene, the 3D animation software Houdini was put to work.
The combination of next-gen tools ensured that all environments, whether icy landscapes or bustling cities, could be tweaked throughout the shoot to match the creative vision of the show. Plus, virtual production techniques enabled the team to experiment freely, testing camera movements and scene layouts before the physical sets were even constructed. This iterative process helped refine shots and establish a consistent look and feel.
Managing technical and creative challenges
Despite the virtual production successes, as with all nascent technologies, there were new technical requirements to overcome.
For example, anamorphic lenses were switched to spherical lenses after the first two episodes. This change required recalibrating over 40 lenses, a time-consuming task that was managed without delay to the production.
Another memorable challenge was balancing practical and digital elements for a 1920s Harlem car chase. With limited studio space, the team was able to craft a realistic car chase set in an authentic New York cityscape, complete with vintage cars and bustling streets.
Using a looped virtual environment, the filmmakers were able to control every aspect of the scene – from lighting to background elements – resulting in a visually compelling sequence that would have been far more difficult to achieve on location.
Ultimately, the flexibility that virtual production provided allowed the team to adapt to last-minute script changes and complex lighting requirements, ensuring the production stayed on schedule while meeting the creative demands of the story.
Time Bandits 2024 stands as a testament to a team who fully embraced virtual production. From recreating historical landmarks to navigating dynamic action sequences in limited spaces, virtual production has redefined the standards for modern filmmaking – proving that there are no limits to where a story can go and bringing to life a world that might otherwise have remained on paper.
Jon Creamer
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