Vardnan Sivarajah

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on the atlas — 31

highlights — 95

There are still many people around the world who choose to download their music (even via torrents illegally) and steer clear of any streaming platforms. These people are almost impossible to convert into users because the product that they desire (music) is easily available to them. YouTube also has every song along with the subsequent music videos for people to stream and watch simultaneously to enjoy when they do want to use the internet.
Spotify SWOT Analysis 2022: Is the Freemium model a Strength?
They will lose many users if they suddenly revoke the free version from the market; this won’t be a smart method to fix this issue.
Spotify SWOT Analysis 2022: Is the Freemium model a Strength?
All users who don’t pay contribute very little in terms of the streams they have. The company should convert these users to subscribers but this is not easy to achieve
Spotify SWOT Analysis 2022: Is the Freemium model a Strength?
Although Spotify is a streaming giant as evident from their status as the market leader, they really don’t have anything too different about their business to be qualified as a unique selling point. In order to maintain the market share and to project it even further, they should work on developing a core competency or some other factor that sets them completely apart from the competition.
Spotify SWOT Analysis 2022: Is the Freemium model a Strength?
As a result, they end up paying not only the artists but also their labels and other stakeholders. A considerable portion of the revenue they earn is spent to acquire more and more licenses.
Spotify SWOT Analysis 2022: Is the Freemium model a Strength?
In order to be able to feature various artists on their platform, Spotify actually has to purchase a license for streaming the content.
Spotify SWOT Analysis 2022: Is the Freemium model a Strength?
As of the second quarter of 2021, they surpassed everyone with a whopping 31% share in the market! A bigger share means bigger revenues and profits for the company!
Spotify SWOT Analysis 2022: Is the Freemium model a Strength?
Real-time engines allowed the bridging of advanced technologies with traditional live-action film equipment, and when combined with immersive technologies like VR, we succeeded in putting the filmmakers back inside their films. We gave them the creative freedom to explore, while ensuring that their intentions and actions flowed through to post production, and by doing so allowed those artists and technicians to focus on making that vision exceptional, rather than trying to figure out what it should be. As this approach and the technology continues to advance, we’ll move towards more realistic …
Lion King | Magnopus
The characters within these virtual scenes could even be puppetteered when necessary, using a variety of controllers. Head and mouth movements could be mapped to the VR user’s own head and mouth movements, enabling a performer to “become” an actor in the scene.
Lion King | Magnopus
To solve this, we knew we needed to put the filmmakers back inside their movies, and put the traditional tools of cinema back in their hands. By building the world of the film in a real-time game engine we could put the filmmakers inside that world through virtual reality, and by connecting interfaces to their traditional live action cinematography equipment, we could give them and the crew an experience similar to live action filmmaking. Instead of standing over someone’s shoulder looking at a monitor, we could put them “inside the monitor.”
Lion King | Magnopus
The filmmakers lose the ability to be ‘hands on’ during the creative process and they lose the ability to react instinctively to the environment, and to the performances of other crew members, as they do on a live action set.
Lion King | Magnopus
Traditionally in visual effects work, The Director, Cinematographer, and other department heads find themselves giving notes while looking “over the shoulder” of a technical operator. The direction they give can take days weeks or even months to be addressed, and the accuracy and quality of those revisions are subject to the creative interpretation of the artists and technicians at the desk, who might not have received the direction first-hand.
Lion King | Magnopus
One of the interesting aspects is that this project reduced the need for second unit. The virtual production stage team in LA did not have great time pressures or schedule issues. Moving locations took only seconds. If a location needed to be revisited for a pickup shot this could be done again in minutes. “Shooting second unit at the same time as the main unit was a rare thing. We rarely had to, but if we wanted to, you could easily because you could technically run three or four shoots that are totally independent, running completely different scenes, in that same stage at once. But this was…
How Virtual Production Worked On-set of the Lion King – fxguide
“You could actually walk around and see if that’s your best shot or if that’s what your best set looks like,” Legato said. “It could become part of the production process where every production house has a VR setup.”
'The Lion King's' VR helped make a hit. It could also change movie making - Los Angeles Times
Legato also has high hopes for virtual reality in film and TV production. The technology could allow cinematographers to more easily plan how they want to shoot a certain scene. It could also allow designers to preview film sets before they’re built.
'The Lion King's' VR helped make a hit. It could also change movie making - Los Angeles Times
Favreau is already using a game engine developed by “Fortnite” creator Epic Games to create the digital backgrounds for Disney’s upcoming “Star Wars” television series “The Mandalorian,” a much-anticipated project he’s making for Disney+, the company’s key subscription service set to launch in November. The use of Epic’s technology allows the company to render the visual effects faster than would normally be possible for a live-action series.
'The Lion King's' VR helped make a hit. It could also change movie making - Los Angeles Times
Legato, the lead VFX supervisor on “The Lion King,” said the process of using the real-life camera movements injected new, unexpected energy into certain scenes. For example, Legato was initially skeptical about a scene in which a young Simba practices his roar on an insect. But the team was able to experiment with different camera angles that would make the moment more intimate.
'The Lion King's' VR helped make a hit. It could also change movie making - Los Angeles Times
“The VR hardware was the breakthrough here because it allowed us to jump into the set together,” Favreau said. “It allows people with a live-action film background to collaborate on a virtual production. ... It allows me and [cinematographer] Caleb Deschanel to stand on Pride Rock.”
'The Lion King's' VR helped make a hit. It could also change movie making - Los Angeles Times
Using HTC Vive headsets, the director could drop into the 3D digital world of the African landscape they created on the computer — much like popping inside a video game — to change the position of a tree, move the sun to alter the lighting or experiment with a new camera angle.
'The Lion King's' VR helped make a hit. It could also change movie making - Los Angeles Times
“We really see a future where any production creating any key virtual content would benefit from this approach, where we build a bridge between the production world and the virtual world,” said Valdez, who is based in London
'The Lion King's' VR helped make a hit. It could also change movie making - Los Angeles Times
“VR is quite famously trying to find its place in consumer society, but ... we’ve clearly found it has all these strengths in the filmmaking trade.”
'The Lion King's' VR helped make a hit. It could also change movie making - Los Angeles Times
But for Hollywood directors and digital effects experts, VR holds more promise as an advanced production tool. The ability to film scenes and scout locations in virtual reality could have benefits for multiple productions, said “Lion King” visual effects supervisor Adam Valdez, who works for the Technicolor-owned effects company MPC Film. The new technological advancements promise to cut down on production costs, save time and better plan the shooting of film scenes and television episodes, and not just for all-CGI undertakings like “The Lion King.”
'The Lion King's' VR helped make a hit. It could also change movie making - Los Angeles Times
For some, the original will always reign supreme. Others will prefer the Broadway version. But many have, and will, appreciate the new Lion King for its stunning visuals and commitment to a single, distinctive style. It is, if nothing else, a technical triumph. And whether or not you like the end result, it will go down in history as one of the first 'virtual productions' with a Hollywood budget. One that proves the potential of VR as a way to make movies.
Inside the virtual production of ‘The Lion King’ | Engadget
And unlike The Jungle Book, the team didn't have to shoot around any live-action performances. Everything was CG.
Inside the virtual production of ‘The Lion King’ | Engadget
MPC's task was to translate that camerawork, which had been shot in the Unity game engine, into a version of the movie that had final, production quality, assets and animation.
Inside the virtual production of ‘The Lion King’ | Engadget
The workflow of The Lion King was vastly different to The Jungle Book. MPC worked on 'master scenes' in London with industry-standard tools such as Maya. It then developed an "asset management system" that could translate the scene into something that was compatible with Unity, a popular game engine. These contained low-resolution versions of the final assets and "fairly long clips of animation" that could be triggered on command. The rest of The Lion King team worked out of a production facility in Playa Vista, Los Angeles. Favreau, Deschanel, Legato and other important crew members could sli…
Inside the virtual production of ‘The Lion King’ | Engadget
Toward the end of production, MPC discussed VR as a filmmaking technique. At the time, the consumer versions of both the HTC Vive and Oculus Rift were nearing release, and developers were excited about their potential for consuming and creating content. "We were already talking towards the end of The Jungle Book about new technology, and 'should we use VR?'" Newman explained. "And the idea of 'virtual production' was discussed." A 'virtual production' meant creating a digital world with characters, or 'actors' that could be 'shot' while wearing a VR headset. It would be like a video game, but …
Inside the virtual production of ‘The Lion King’ | Engadget
So Jon, Caleb, James Chinlund, Andy Jones and I could all walk in together as a group of filmmakers, a group of collaborators, and see things for the first time, look at things from different angles. Caleb might have a better idea to shoot something to take advantage of a sunset that's happening, and again it’s like music, where you're bouncing off of each other. And when you're done it’s a very successful location scout that otherwise you could never have done together in a CG world. But in the real world, or in our case a virtual world, we all can share in it and we all can respond to what w…
Q&A with Rob Legato - The Lion King | Technicolor
So in trying to tap into that, everything is designed to be done in real time, including location scouting, where you can have multiple people talking about a shot or a scene, and it becomes a live collaborative input arena. You need live input to do it, and that's the virtual part of it. When we're in VR, which is different from what we did on The Jungle Book, the VR experience gives you the visceral feeling of being there, of being up high or at a faraway distance, all those various things, you feel it.
Q&A with Rob Legato - The Lion King | Technicolor
During the course of the show around 1250 artists, production and support staff were working on the movie. 650 in London, 550 in Bangalore, 50 in LA.
The Lion King | Technicolor
Our foliage library was counting 921 assets, 25 unique tree species (238 variations), 49 unique plant species (494 variations), 18 unique grass species (148 variations). 41 Hero Trees.
The Lion King | Technicolor
We built the entire world in CG, which is an area of 150 square kilometers. It's 11 times as big as LAX or 28,000NFL football fields
The Lion King | Technicolor
We traveled 18,000 KM around North and South Kenya with 6 photographers and 4 Videographers.
The Lion King | Technicolor
We sent 6,182 compositing submissions for approval, meaning every shot was reviewed 4.1 times on average to receive final approval.
The Lion King | Technicolor
We sent 7,975 animation submissions for approval, meaning every shot was reviewed 5.4 times on average to receive animation approval.
The Lion King | Technicolor
with an average of 100 Frames per daily equals to 46 days of footage. 30,807 dailies, only 3.6% of all dailies made, were sent to Disney to review with Andy, Rob or Jon.
The Lion King | Technicolor
1,490 shots, e.g. 170,668 Frames or 7,111 Seconds or 119 Minutes of final images were delivered to Disney. 145 shots that got started were omitted in the process.
The Lion King | Technicolor
We built 17 hero characters, 63 unique species in 365variations from Aardvarks to Zebras. Across 1,490 shots, we animated 9,063 characters and 31,421 crowd agents.
The Lion King | Technicolor
“It’s very dynamic in that respect and really opens up the creative scope because you’re not locked into anything you don’t feel is working, and it’s not going to require a big, expensive reshoot,” says Newman. “We can relight it, we can move the camera, we can make changes at any point and the performance doesn’t change. It gives filmmakers more creative freedom and that gives them the leeway to make better choices.”
The Lion King | Technicolor
“Not only are the characters being developed more refined, but so are their movements and performances,” Giordana adds. “Because of the system that we used, we could do reshoots after virtual production and final animation, with close to final assets – characters with full muscles, tendons, and even fur. For example, playing it back in the engine, you could see Simba through his final animation on the final set, and the director could actually direct the camera vis-à-vis his performance. It’s very powerful because now you're shooting with your final performance.”
The Lion King | Technicolor
What MPC has been able to do is a quantum leap even over what we did on The Jungle Book.
The Lion King | Technicolor
“Virtual reality is more a tool than the end result,” says Deschanel. “You have to live in it and feel what it’s like to be at Pride Rock in order to decide what you want to do and where you want to do it. But other than that, you really are doing exactly what you do when you make a movie
The Lion King | Technicolor
set scouts with the core creative team all in one VR session walking – and flying – around the set and discussing where we wanted the action to take place,” says Jones. “VR is such a powerful tool to help everyone get on the same page for a movie of this scale. And then, my previs team would whip up some amazing blocking that we all could discuss and reposition in the game engine in real time.
The Lion King | Technicolor
“Everything is designed to be done in real time, including location scouting, where you can have multiple people talking about a shot or a scene, and it becomes a live collaborative input arena,” adds Legato. “You need live input to do it, and that's the virtual part of it. When we're in VR, [it] gives you the visceral feeling of being there, of being up high or at a faraway distance. And Jon, Caleb, James Chinlund, Andy Jones and I could all walk in together as a group of filmmakers, a group of collaborators, and see things for the first time, look at things from different angles…bounce [idea…
The Lion King | Technicolor
The knowledge acquired through the experiences of The Jungle Book and The Lion King allowed MPC to refine constantly the tools used for Virtual Production and now, elaborates Favreau, “MPC has a suite of tools that are available to any filmmaker based on the innovations that we made on The Lion King.”
The Lion King: a film shot inside a game engine, with VR and Virtual Production by Jose Antunes - ProVideo Coalition
In that sense, The Lion King represents a milestone. As Rob Legato said, “when we’re in VR, which is different from what we did on The Jungle Book, the VR experience gives you the visceral feeling of being there, of being up high or at a faraway distance, all those various things, you feel it. So Jon, Caleb, James Chinlund, Andy Jones and I could all walk in together as a group of filmmakers, a group of collaborators, and see things for the first time, look at things from different angles. Caleb might have a better idea to shoot something to take advantage of a sunset that’s happening, and aga…
The Lion King: a film shot inside a game engine, with VR and Virtual Production by Jose Antunes - ProVideo Coalition
These advantages, continues Paolo Burelli, “allow virtual cameras to ﬁlm scenes with much higher freedom and expressiveness; however, this can potentially contrast with the ﬁlming conventions developed in traditional cinematography. Such conventions describe aspects like the way the camera should be placed or the way it should be moved to make a transition between two different scenes, and adherence to these conventions is often important to generate a cinematographic experience and not to disorient the viewer – e.g. by crossing the line of action (Arijon, 1991).
The Lion King: a film shot inside a game engine, with VR and Virtual Production by Jose Antunes - ProVideo Coalition
However, contrary to a real-world camera, a virtual camera has no physical presence in the virtual world and its properties can change over time and adapt to the events ﬁlmed (Haigh-Hutchinson, 2009).
The Lion King: a film shot inside a game engine, with VR and Virtual Production by Jose Antunes - ProVideo Coalition
That’s how The Lion King was created. Rob Legato, who reteamed with director Jon Favreau, MPC, and other filmmakers from The Jungle Book to bring the beloved characters from another Disney classic back to the screen – in a whole new way, said this about the process: “the VR component we introduced after The Jungle Book allows you to walk in like you would on a real set, put the camera where you want, and the physicality of it helps you to psychologically root yourself. You start doing very natural camera work because you’re in an environment that you’re familiar with. You know where the light …
The Lion King: a film shot inside a game engine, with VR and Virtual Production by Jose Antunes - ProVideo Coalition
nd these new consumer-facing VR hardware products led us to the opportunity of using a gaming platform to emulate live action film production in a VR space – even though the film is completely digitally rendered, every environment is made digitally by the artists at MPC, and every character is keyframe animated.”
The Lion King: a film shot inside a game engine, with VR and Virtual Production by Jose Antunes - ProVideo Coalition