The production ofTime Banditshas set a new standard in New Zealands visual effects industry, blending cutting-edge virtual production with traditional filmmaking techniques. Directed by the dynamic trio of Jemaine Clement, Iain Morris, and Taika Waititi, the film harnesses the expertise of some of the worlds leading VFX studios, including Rodeo FX, DNEG, ILM, Distillery VFX, Platige Image, Cause and FX, Leitmotif, Bot VFX, and ReDefine.Leading the visual effects team was Production VFX Supervisor Tobias Wolters, who oversaw the complex integration of digital and practical elements to bring the films unique world to life. The VFX production also benefitted greatly from the logistical expertise of VFX Producers Max Serges and Will Reece, who managed the intricate coordination required for such a large-scale project.One of the most groundbreaking aspects of the film was the construction of a fully tracked LED Volume stagethe first of its kind in New Zealand. This stage allowed for real-time rendering of environments, eliminating the need for many traditional on-location shoots. However, Wolters noted that this technology was not without its challenges.The Volume, while perfect for certain scenes such as night settings or shaded environments, required significant adaptation when dealing with highly reflective surfaces, like snow in the Ice Age sequences. The reflective nature of snow meant that any light mismatches were immediately visible, necessitating a meticulous blend of physical and virtual elements to achieve a seamless result.The success of these sequences was due in large part to the collaborative efforts between the physical art department and the Virtual Art Department (VAD). The art department trusted us at that stage to help and design the physical set together, Wolters explained. Sets needed to be designed together with our virtual art department so that theyd be influenced by each other.For the Volume, panels were rented from one company, while tracking technology came from another. The operation of the Volume, along with the supply of build teams, was handled by DNEG 360 and Dimension Studio. Wolters emphasized the importance of recognizing the tremendous effort of the virtual production and build teams, whose work is often misunderstood or underappreciated.Despite the advantages of the Volume, Wolters and his team found that certain scenes were better suited to traditional blue or green screen techniques. For instance, the ship sequences required physical weather elements, wind, and explosions, which made a gimbal and bluescreen a more practical choice. Similarly, the massive scale of the Fortress of Darkness meant that occupying the Volume stage for such a large structure would have been inefficient, so a bluescreen was used instead.Wolters stressed the importance of flexibility in the production process, particularly given the comedic nature ofTime Bandits, which required improvisation and multiple camera setups. Its always a case-by-case scenario where we explore all options and then find the best solution, he said.Ultimately,Time Banditsstands as a testament to the power of innovation and collaboration in filmmaking. The seamless integration of virtual and practical elements, supported by the expertise of world-class VFX studios and the visionary leadership of Wolters and his team, has set a new benchmark for virtual production in New Zealand and beyond.The post Breaking the Boundaries of Virtual Production: HowTime BanditsTransformed New Zealands VFX Industry appeared first on vfxexpress .The post Breaking the Boundaries of Virtual Production: HowTime BanditsTransformed New Zealands VFX Industry appeared first on vfxexpress .