THE LAST 48

an ICVFX production

in association with Humber College

SYNOPSIS

THE LAST 48

With only 48 hours remaining until picture lock, John and his AI assistant are tasked with completing the edit for the movie, Absence. Upon deactivating the AI assistant due to constant workflow interruptions, John discovers that the AI has ulterior motivations of its own. After waking up in a mysterious expanse, John is left at the mercy of the AI as he attempts to reclaim control over the project, and his own body.

THE LAST 48

OFFICIAL TRAILER

Background

BACKGROUND

THE LAST 48

“The Last 48” is an ICVFX Virtual Production collaboration between Humber College’s Film and Television Production Advanced Diploma program and the Animation 3D Advanced Diploma program, shot at the LED Volume at Humber College’s partner William F. White International Inc. – in the WFW TechLab. Led by faculty Dr. Eva Ziemsen (film/VP) and Cory Avery (3D), with support from industry mentors Jun Li (VP TD), Sehba Wakil (3D) and Sheida S. Sims (VAD), the students have been working on this project for several months of development and pre-production and are currently in production. We want to thank Miranda Buder Binsley and Yi Man and the entire team at William F. White International for their on-going support and collaboration. Stay tuned for more behind-the-scenes posts and eventual trailers of the production. The final project will play as the interstitials at the students’ final screening and will also be distributed as a ‘stand-alone’ film to festivals.

THE LAST 48

How It Works

33ccec_0342f3e73aea41be9d8c1cb9996613df~mv2.png

THE LAST 48

BEHIND THE SCENES

33ccec_db4e26eed5f04d5eaf14763b687d4248~mv2.png

EDITING BUNKER

Directed by Jackson Adams

THE DESERT

Directed by Heather Woolridge

33ccec_f39338173d3444708d40832cf63f6f8b~mv2.png

Interviews

KEY INTERVIEWS

THE LAST 48

We conducted interviews with key crew members on set. This is what they had

to say!

Nathalia Campos

Lead Producer & Showrunner

Tina Assefi

3D Lead & Virtual Art Director

Jackson Adams

Director, "Editing Bunker"

Heather Woolridge

Director, "The Desert"

Start Reading

KEY INTERVIEWS

Why do you think this is a valuable pipeline for creative filmmakers? How does it affect the stories you can tell? (Budget, scope, genres)

"This is a very new technology and approach to filmmaking that is changing how films are made. To be able to have this experience and learn about it so early on in my career was truly a blessing. Virtual production also allows filmmakers to achieve magnificent ideas that are usually rather difficult to do with traditional filmmaking, and we can do that way cheaper."

LEAD PRODUCER & SHOWRUNNER

NATHALIA CAMPOS

KEY INTERVIEWS

Describe how your role is different in a Virtual Production ICVFX pipeline. How did you have to adapt your role from the traditional workflow of film production to this emerging ICVFX pipeline of shooting in an LED Volume?

"There are quite a few differences between setting up a file for an ICVFX project in Unreal Engine and a game level. Optimization and building the environment itself look very different because it needs to run at a minimum of 24 frames per second on the LED volume when launched. The environment also can’t be too large because that will impact the frames per second, yet it needs to meet the requirements the art directors and directors want visually."

3D LEAD & VIRTUAL ART DIRECTOR

TINA ASSEFI

KEY INTERVIEWS

"With virtual productions, there’s the element of a digital space to take into consideration. When preparing anything, whether it’s set decoration, shots, or lighting, the virtual wall becomes an element of that preparation. Does the set decoration match what’s on the wall? Can we achieve a shot against the wall? — It can’t be too wide because we’ll lose space for the trackers or reveal the edges of the wall itself. We can’t be too close, or the camera will pick up the moiré effect that comes from shooting against the LED lights. Will the lighting match the lighting in the digital environment? Will our on-set lights spill onto the wall and shatter the illusion? There’s also a lot of preparation required to get everything together to match. You can’t walk on set the day of and expect the camera to work flawlessly against the wall and set decorations. For the desert scene, we dedicated four separate sessions to ensuring what the camera saw looked as real as it possibly could in our virtual environment."

DIRECTOR, "THE DESERT"

HEATHER WOOLRIDGE

EDITING BUNKER

CREW

THE DESERT

CREW