VFX 420 Fundamentals of Virtual Production
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Summary
This course introduces the fundamentals of virtual production using in-camera visual effects (ICVFX) on an LED volume stage. Topics include LED volume setup and system readiness, camera tracking and lens calibration, real-time environment control in Unreal Engine, and screen and media playback management. The course emphasizes on-set workflows for blocking, lighting, and camera movement, focusing on the integration of physical performance, camera behavior, and virtual imagery. Through hands-on exercises and case studies, students examine how technical decisions support cinematic intent, production constraints, and storytelling requirements.
Texts
Zwerman, Susan, and Jeffrey A. Okun, eds. The VES Handbook of Virtual Production. Routledge, 2024.
Supplemental readings and technical documentation may be provided by the instructor.
Grading
| Class Assignment 1 |
30% |
| Final Project (Group Presentation) |
20% |
| Final Project (Individual Participation and Contribution) |
50% |
Prerequisites
VFX 200 (Introduction to Visual Effects) or equivalent coursework in visual effects, animation, or digital filmmaking.
An overview of what virtual production is, why it is used, and how it differs from conventional production and post-production workflows. The session introduces core components, including real-time engines, camera and lens tracking, LED volumes, virtual art department workflows, and key production roles. The Week also discusses selected case studies that illustrate different approaches, such as performance capture, simulcam, LED volume shoots, and real-time previs, with emphasis on what each method enables creatively and operationally.
Introduction to the primary software and pipeline tools used in virtual production, with a focus on Unreal Engine as a real-time environment and visualization platform. The session also introduces version control concepts and workflows, emphasizing why versioning is critical in collaborative, real-time production environments.
Introduction of physical and technical components of a virtual production stage. The Week covers the setup and operation of the LED wall, processing systems, camera tracking, and synchronization. It also explains the function of the Brain Bar and examines space extension concepts, demonstrating how virtual environments can extend beyond the physical boundaries of the stage.
Practicing of filming within the volume, focusing on how camera position, blocking, lighting, and performance direction affect the integration between physical and virtual elements. The session covers key integration principles, including perspective and scale alignment, frustum behavior, exposure and color consistency, reflections, and continuity. Introduction of final assignment.
Two groups present their project work for review and discussion. Introduction of plate playback workflows in the LED volume, with a demonstration of Pixera and how filmed content can be used on the LED wall for backgrounds.
Using the two groups’ finalised Unreal Engine project files for the final films, the class covers the workflow for bringing a UE5 project onto the volume and preparing it for playback. The session focuses on configuring the editor and render nodes, verifying cluster readiness, and configuring Switchboard to launch, monitor, and manage the nDisplay system.
Pre-lighting and filming rehearsals for both groups, focusing on stage setup, blocking, camera planning, and lighting adjustments to confirm integration, continuity, and readiness for the final shoot.
Dedicated filming session for Group 1, focusing on executing the planned shoot within the volume while managing camera, lighting, and performance in alignment with the virtual environment.
Dedicated filming session for Group 2, focusing on executing the planned shoot within the volume while managing camera, lighting, and performance in alignment with the virtual environment.
Screening of the completed films, followed by individual presentations in which each student explains their role, responsibilities, and contributions, and reflects on the challenges encountered during production and how those challenges were addressed or worked around.
This syllabus is subject to change as necessary during the quarter. If a change occurs, it will be thoroughly addressed during class, posted under Announcements in D2L and sent via email.
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have any questions be sure to consult with your professor.
All students are expected to abide by the University's Academic Integrity Policy which prohibits cheating and other misconduct in student coursework. Publicly sharing or posting online any prior or current materials from this course (including exam questions or answers), is considered to be providing unauthorized assistance prohibited by the policy. Both students who share/post and students who access or use such materials are considered to be cheating under the Policy and will be subject to sanctions for violations of Academic Integrity.
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Phone number: (312)362-8002
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