Scouting for the volume

IBC

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Virtual production opens up more possibilities for location use but the actual process of capturing and preparing those locations for the LED wall can be complex, time-consuming and costly.

“Location Managers are as important as ever on virtual productions,” says Mark Moran, Executive Producer on upcoming Amazon Studios sci-fi feature Mercy, starring Rebecca Ferguson and directed by Timur Bekmambetov. 

For Mercy, many shoot days were on Amazon’s volume at Culver City Studios, but for every day they filmed on the volume, there were multiple days beforehand where they shot plates in the real world. 

“Filming these plates [over a real urban environment] required elaborate planning,” adds Moran. “The permits and logistics for that kind of shoot are complex, and need to be handled early and efficiently to give adequate time for the volume team to ingest, stitch, and colour-correct the many hours of high-res footage. It was well worth it because this is what allowed us to quickly teleport our stars between dozens of rich environments and angles.”

When a film, TV show, or commercial is primarily shot on a virtual production stage and requires background plates, the focus of the location manager changes.

“Instead of worrying about bringing a film crew to the site, the scout’s job is to gather detailed images or video of the location, which will be turned into a virtual background,” John Rakich, President, Location Managers Guild International (whose credits include Shadowhunters and The Changeling) tells IBC365. “While traditional on-location scouting may be reduced, the job still requires identifying and securing real-world locations for the background plates, which will be projected in the virtual production environment.”

A good location professional uses all the tools available, such as Google Maps, online libraries, and digital databases, whether the project is being filmed on location or in a volume. 

“It’s all about making the most of the resources to find the best locations,” Rakich explains. “Lighting and natural surroundings still matter, but more for how they will look when recreated digitally. The scout needs to capture the location at the right time of day to get the best light and mood for the scene. They also need to make sure they have permission to use the location’s appearance. Overall, the role shifts from organising physical shoots to making sure the virtual version of the location looks real and fits the needs of the production.”

Tech changes the workflow and skillset

Scouting has constantly changed: starting with taking photos on film and physically stitching them together on manila envelopes, then moving to digital photography and printing booklets, and now showcasing locations on websites. “Traditional scouting is still essential but understanding how virtual environments work and how real locations fit into them is a big advantage,” Rakich says. “New skills like understanding the functionality of Unreal Engine helps when working with VFX teams and creating more seamless physical and digital productions.”

Location managers need to stay ahead by integrating new techniques and technologies into their workflow. 

“I’m always focused on capturing more – and better – data with fewer trips,” says Location Manager Zachary Quemore (The Revenant, Star Wars: Skeleton Crew). “I’ve added tools like drones, 360 cameras, HDRI, volumetric photography, and 3D models to my scouting process. The goal is to provide the production team with higher-quality data to make better location decisions. Now, that data isn’t just used for reference photos, it can be imported into Unreal Engine or projected onto the volume as building blocks for the final shot, just like we used to do with our traditional photos.”

Quemore has taken courses on virtual production with Epic Games (Unreal) and on coding for Unity. He has a working knowledge of C++, Blueprints, C#, and Python and says this knowledge is useful when discussing options with virtual art departments (VADs) and creatives. 

“I believe there’s significant potential for VR technology in our industry, and we’re only just scratching the surface of what it can do. Right now, VADs are the primary users of VR, but I see its usefulness extending to many other departments as well. That’s why I’ve been developing a VR scouting app aimed at providing creatives with more comprehensive data to make informed decisions. This technology not only reduces travel costs and provides resources to make better decisions but also creates reusable assets for the entire filming process.” 

If a picture is worth a thousand words, then being able to walk through a location in VR is worth a million; it offers a spatial relationship in addition to the scouting photos taken. 

“The value [location managers] bring to this space is significant,” Quemore insists. “Location departments are uniquely positioned to contribute throughout the entire filmmaking process. If productions wait until later stages to introduce or capture this data, they miss out on crucial information that can lead to significant savings.”

Leann Emmert, Location Scout and Manager, has worked on Pacific Rim Uprising, The Fabelmans and Dune: Part One. “I rely heavily on the internet when I start a film,” she says. “I’ll always start a project with an image search for inspiration and then move to Google Earth, Google Maps and Apple Maps to get the lay of the land. Google Earth has geotagged images and street view can be invaluable in seeing what things look like from the ground.”

In one example, she used Google Earth satellite views to find the iconic conical mountain playgrounds for Kong: Skull Island. “Those shapes left unique shadows that were easy to see from space. However, nothing takes the place of actually going to a place and finding that specific angle that works for the story I’m scouting for.”

Google Maps/Earth may be an essential time saver for virtual exploration, but it can often be unreliable. Since the world is constantly changing, such tools can quickly become outdated. 

“That’s why I’ve integrated drone mapping into my workflow,” Quemore explains. “Once I identify a potential location using Google Maps, I visit the site and fly my drone to create an up-to-date orthomosaic map and 3D model. This gives the production a current, detailed view of the location. I often upload these maps to Google Earth so that various departments can use them to plan logistics and take accurate measurements.”

Digital libraries are useful for quickly prototyping and testing concepts, but they often lack the creative depth needed for directors to fully realise their vision. 

“Directors typically prefer to either shoot their own footage or use the assets from the digital libraries as a foundation, building off them to bring their unique ideas to life on screen,” says Quemore.

Real versus imagined environments 

The added challenge for virtual production is that certain locations must meet practical needs alongside having the right aesthetic. These include ease of access for the scanning process, proper lighting conditions for capture, and legal permissions to create digital twins of the site.

“On the other hand, if the environment is largely imagined – perhaps a futuristic cityscape or a fantasy world – the scout’s role shifts from finding a complete, existing location to finding elements that can be combined and built into the final environment,” informs Quemore. “This could involve scouting specific features like unique geological formations, architectural details, or landscape elements that can be used as building blocks in creating a virtual world. The scout may also look for natural environments that can be enhanced or altered in post-production to fit the director’s vision. This is more of what I would consider ‘asset-based scouting’.”

Legal considerations 

Permits are often required by locations to scan and create a digital twin of the site. Many property owners are hesitant to allow this, as physical location filming is a significant source of revenue. Once a 3D copy of the location is made, studios could potentially reuse it indefinitely, which threatens the location's revenue stream. 

When locations do allow it, there are typically strict agreements in place limiting the use of the digital model to the current project, with additional compensation required for future use. Additionally, if the film alters the model – such as ‘destroying’ it on-screen or making changes to key features – the location owner, architect, or stakeholders must approve those modifications. 

The cost of capturing assets

The process of capturing and preparing locations for the LED wall can be time-consuming and costly. It’s a complex task that involves numerous factors such as lighting, traffic, and accessibility. 

“For example, optimal lighting conditions are critical when capturing on-location as assets must undergo a process called ‘de-lighting’,” says Quemore. “This involves stripping the captured model of all existing lighting data, including shadows and highlights, so it can be relit according to the production’s needs. 

“Capturing in poor lighting conditions can hinder this process, so the ideal time is usually during overcast days or early mornings when shadows are soft and minimal. This limits when and how you can capture a location, adding another layer of complexity.”

Planning pays dividends

Capturing and processing locations for virtual production is a challenging, expensive, and time-intensive task. First, you must secure permission from the location owner, which often involves a fee. Then, a team is sent to capture the site, which incurs additional costs. Once the data is collected, another team processes it for use on the volume, a process that can take days or even weeks. Only then is the scene ready to be projected onto the LED wall for filming.

As Quemore explains: “Given the high cost and effort involved, productions need to carefully weigh what offers more value and control: filming on a real location or opting for virtual production. Location managers have the expertise to help make this decision.”