Learning about Virtual Sets and using them whenever possible is a step all producers can take to reduce costs, creative compromises, carbon emissions, and solid waste. Want to sell your clients on this money-saving, planet-saving option? We can help. When we created the East Coast’s first Virtual Backlot, we promised to provide the Tri-State production community with the proper guidance to use it. Here are some of the things you should know.

Upgrade your sets for less.

Virtual Sets deliver a degree of detail that would be wildly expensive to create with practical sets. And that rich, convincing, VSet detail costs less than a practical set, too! For example, a typical low-cost office set consists of backlit blinds on the windows and a modest assortment of Ikea furniture. The virtual version, on the other hand, can show a view out the window that’s appropriate to the location, season, and time of day. Picture this— walls and shelves decked out with binders, awards, and books… Workstations loaded with computers, staplers, lamps, papers, phones, family photos, and coffee cups… without ever prop shopping. And as a bonus, ensurance that set continuity becomes a non-issue, too.

Sustainable sets made simple.

The Industry is just starting to acknowledge the immense toll practical sets wreak on the environment. Part of the problem is their inherent transience. But when we dig a little deeper, the problem is more nuanced. Take luan, for example. This lightweight plywood is a popular set-building material because it’s easy to move around. Luan is harvested from rainforests and is “a massive source of deforestation” according to Hollywood’s sustainability consultant, Emille O’Brien. On the opposite end of the spectrum, Virtual Sets eliminate solid wastes, altogether, and create a minuscule carbon footprint. Because Virtual Sets are inexpensive and easy to use, there’s often no good reason not to.

Shoot anywhere in the universe.

Virtual Sets can enhance your production beyond budget constraints and environmental impact, too. With the infinite creative possibilities they offer, VSets are nothing short of revolutionary. With our Virtual Backlot, you can shoot in remote or even imaginary locations— the rainforest, a plane, or another planet—and you’re never more than 15 minutes from Midtown! Vast, photorealistic environments like “Black Panther’s” Wakanda are now possible. How do you think they created six virtual miles of futuristic cityscape and 60,000 individual buildings…? Answer: Virtual Set.

Our Virtual Set experts can set you up with everything you need to incorporate this valuable tool into YOUR methodology.

Let’s talk.

We know that Motion Control can be intimidating, but it doesn’t have to be! Today’s MoCo technology is easier than ever to master. Let me show you how MoCo makes precision moves manageable, so getting the shot can be fast, cost-effective and maybe even ‘good times’.

MoCo is about the mindset.

As a Cinematographer, DP, and Effects Supervisor, I’ve come to rely on non-linear problem solving to arrive at the simplest and most cost-effective solutions. Start with the shot you want to create, then ‘zoom out,’ breaking it down into smaller, more manageable components. Next, envision how they all fit together. When you ‘zoom out’ this way, it’s easier to see all the facets of a single shot, and you open the door to ‘eureka moments’. For example, what looks like a complex camera-moving problem can often be reimagined, and you’ll discover that it’s simpler to move the object, instead.

Get the story behind the shot.

Getting the backstory helps you process the ‘how’ and ‘why’ behind great Motion Control executions. That’s always more valuable than just knowing ‘what’ was done. One side-by-side, time-lapse product shot demanded a novel solution… It started with two hand models smearing deodorant sticks on a sheet of sandpaper. Then came the 2-3 hours of time-lapse to show off the product’s performance. Because of the time-lapse, we wouldn’t know if we had a good take for hours. We also had to repeat this demo with several competitors’ products. We were severely crunched for time, but MoCo came to the rescue! We build 3 sandpaper cubes, then wrote a simple Motion Control move to turn the cubes from facet to facet. This way, we were able to shoot 12 takes at a time instead of one. In record time, our delighted client got about 50 takes to choose from! Now, any time you run into a similar problem, you’ll have a sense of how MoCo can help solve it.

Find a right-sized solution.

When you ‘zoom out’ and see the big picture, a shot that looks complex on the surface might be achievable with an absurdly simple solution. One commercial product job required oversized pills to roll out of a shot, revealing the ‘hero product’ in the background. The producer first came to us with an elements list a mile long. He envisioned the pills being actuated by arms from above, but given the production time it would have taken to shoot all the picture and matte passes, this would have been a herculean task. (Not to mention all the rig removal and reflection restoration)… The right-sized Motion Control solution was inexpensive and far from complicated. We put the pills on tiny sleds with a magnet, then ran a magnetic rig under the table to move them. Our magnetic rigging was invisible, the effect was in-camera, and the solution created ZERO post-production ramifications. Again, great success!

Don’t be afraid to ‘retro-tech.’

So, as you can see, being clever and inventive is infinitely more important than just having the latest gadget! I’ll tell you one more story about seeing things differently. On another shoot, we had a challenging water shot to pull off. We needed a high-speed macro shot of a pebble falling into the water, making a crown-shaped splash, but without seeing the stone. In linear thinking, one might say we have to hide the pebble somehow. By breaking it down and seeing all the angles, I was able to devise a simple solution. We cut a hole in the bottom of a shallow tank, stretched some latex across the gap, and connected a motion-controlled motor to push and pull the center of the latex creating a beautiful ‘crown effect’ without the pebble.

Lastly, get good advice.

I can’t imagine any aspect of cinema requiring a more ‘consultative’ approach than Motion Control. When you hire a motion control company, you should be getting some solid advice as to how best to achieve the desired shot. Work with a supplier who spends some quality time with you discussing the nuances of the shoot, planning out the schedule, resource allocation, and system redundancies. This sort of service and support helps your production to contain costs and deliver uncompromised creative work.
The takeaway.

Motion Control is a unique blend of analytical problem-solving and out-of-the-box creativity. Get your mind around big shots by breaking them down into smaller components; tailor the solution to the problem; and seek out the best advice you can get. You’ll be amazed at how this ‘Big Picture’ approach can help make your MoCo projects manageable, and even fun!

About Alex Fernbach.

Alex Fernbach is a Director and Cinematographer who’s worked on TV commercials for some of the world’s most iconic brands, as well as feature films, television documentaries, short films and trailers. He is an industry-renowned thought leader, having appeared as a featured speaker at major universities, film festivals and industry events.

Alex is an innovator at the forefront of Motion Control Technology and in-camera Visual Effects. The pursuit of this passion led him to design and invent the 1st Array Camera in the US, which he sold to ‘The Matrix’, producing the legendary ‘bullet time’ effect and revolutionizing cinema.

Alex is also the co-owner of Cobalt Stages, along with his lovely partner, Kara Vedder.

High-speed camera work demands critical synchronization of events which is virtually impossible to do manually. Luckily, we’re in the business of designing innovative technological solutions to meet all your production needs.

Cobalt’s Programmable Logic Controller (PLC)

Alex, our resident tech guru, designed and engineered a digital interface to synchronize the camera, camera mover, all your rigs, cuing, EVERYTHING to precisely coordinate each and every component for critically choreographed shots. (Shout out to Stage Manager Luke, who serves as our in-house Ladder Logic programmer. He spearheaded the whole system setup from engineering, wiring, to programming!)

The device triggers actions in a specified sequence and with millisecond precision to keep events on cue during high-speed camerawork. This is essential for high-speed shots because, as Alex put it, “You can have a high-speed camera mover, but you have to focus on something. If you can’t trigger the event, the subject might not be there when the camera gets there. So, for example, if you want to shoot a person falling with the shot starting wide and ending on an ECU (to show the grimace on his face), critical timing is key.”

Why Millisecond Accuracy Matters

With tools like Phantom high-speed cameras being more in-demand than ever, productions also require accessories to use the technology successfully. While the camera is moving fast, timing becomes vastly more important. When you’re shooting at normal speed, a fraction of a second doesn’t matter much. If it’s high-speed, however, the tolerance is closer to a millisecond. A switch or an electronic eye may trigger the action, but getting the shot depends on having the hardware and interface to control the cues. Being off by ¼ sec at 24 fps might not be a deal breaker. But, the same shot at 1000 fps would have the action happen after the station break. You get the point.

Flexibility to Create Without Limits

Cobalt is the Tri-State Area’s destination for innovation, and we can customize a user-friendly technology package for any production needs you can think of. We even put Cobalt’s Programmable Logic Controller in a travel case – compact, quick-n-easy, and the solution for all your critical choreography needs!

Make Cobalt your go-to tech partner.
Lets talk.

We are and have always been so blessed to meet, to know and to work with filmmakers and storytellers from all walks of life and the Woodstock Film Festival has always been a wonderful and exciting venue – good for establishing and then nurturing so many of those unique relationships. The Hudson Valley Film Commission really knows how to stack the plate and make it all happen. And during the course of our favorite festival this year we ran into some exciting potential clients such as our good friends at Nous Entertainment, Gigantic Pictures and Marker Tech, to name a few. And we invite other filmmakers, both new and established, to ask about our VR Stages and cutting-edge Virtual Production system. It’s such an exciting time to be in the biz and to celebrate storytelling with our many friends upstate in the Hudson Valley.

So, yes, we are loving the fall, and for oh so many reasons… and this fall, in particular, is winding up to be our biggest yet! Stay tuned!

BIG news is coming to this space!

And we are ready to share.

In case you aren’t familiar… Mo-Sys is an award-winning, world-renowned maker of virtual production solutions. We’ve been watching them VERY closely, and have been headed down the virtual path with them for a while now. We have been learning with the Mo-Sys guys at NAB, Cinegear, and their laboratory in LA. Its now in our hot little hands, and ready for you.

Where is this Mo-sys we have?

The answer is: in our clutches, and anywhere you want it to be. You can come to our stage to use it, or we can come to you – on location or in any studio. Even in Brooklyn. We don’t judge.

Did you ask why?

Because it’s cost effective, and makes your life easier. And the rest of the production world has caught on, and knows its true. It’s ONE state of the art system that works for BOTH a green-screen AND LED application. Virtual production means no travel costs, no location fees, no set construction costs or waste—just unrestricted camera movement, amazing production value and complete creative freedom.

The badass hardware.

The design and form factor is tidy and impressive; the operating system is extremely well designed; and in most cases, it obviates the need for the sometimes problematic ‘Brain Bar’. Cobalt’s NEW virtual production solution enables a wide range of implementation options, from simple camera tracking metadata (used in post), to full up ‘final pixel’ 4K composites, and everything else in between. You really can’t ask for more than that. It is impressive, and is now the Industry standard.

The future of film is virtual.
Virtual is NOW.

Want to composite your high res 4K Live Action into dynamic, photorealistic Unreal environments with precision camera tracking, while shooting? It’s an end-to-end virtual production solution that can combine pre-viz, production, and post. Now clients can choose the workflow that’s perfect for their virtual project. Yes, color correction and compositing can be done onset while shooting. The world of filmmaking has exploded into the virtual realm, and is in Cobalt’s hands, once again.

Let’s Talk!

Team Cobalt is no stranger to a good challenge. When presented with a tricky situation, we pounce at the chance to provide for the solution. One such opportunity recently came about on the set of Apple TV’s series, “Dickinson”.

When it comes to cameras and camera riggings, Team Cobalt has an ace up our collective sleeves. There’s hardly a problem we can’t solve in this regard. Team Cobalt has decades of ‘hands on’ PhD level experience in the field as producers and cinematic artists. So, when we were contacted about EFX needs and a camera rigging issue, we knew exactly how to tackle ?

The DP on the “Dickinson” set called for a lightweight camera rig that was repeatable and easy to transport to a restoration village house (with significant weight and access restrictions). The modified rig had to fit exact specs while, of course, maintaining all camera functionality. Team Cobalt brought home the bacon with a super sharp rig that delivered on every expectation. Happy client, happy life! #CobaltOnThe Road

Team Cobalt = Rapid Response Problem Solvers.

As most in the biz know, the filmmaking world is blowing up with never before imagined state of the art hardware and software applications. From high end precision robotic cameras and rigs, to VR stages and volume sets, the Industry continues to push the storytelling envelope to bold new heights!! And… in case you haven’t noticed… we’re not just dipping our toes in the pool. We are NECK DEEP, and ready for more!

Whether it’s episodics, features or foodies, we can make the shot happen. When you combine our Team’s collective experiences with technique, cinematography, and our passion for Next Gen storytelling… you’ll see that we are as primed as ever to put a solution where your problem once was. Team Cobalt is mobile and ready. We can bring the magic to any client, to any set, and on any schedule.

Production needs? Need a stage – or two? EFX Support?? Want to try Virtual???

Let’s Talk!

The challenge.

We leaned heavily on our team’s deep expertise, our comprehensive inventory of onsite Motion Control robotics and Phantom know-how for a recent commercial shoot with a large Hispanic grocery store chain, Vallarta. We were asked to produce a commercial where Vallarta’s vibrant fresh flavors would come alive! The store’s meat, vegetables, herbs, spices, and citrus juices needed to collide on camera, choreographed in a midair ballet, no less —not all at the same time, but sequentially. Vallarta knew what they wanted to see, but they needed Cobalt’s extensive background and knowledge in production to realize their vision.

The solution.

To deliver Vallarta’s delicious concept, we created one-of-a-kind rigs to orchestrate the shoot’s astounding array of manual, pneumatic, electromagnetic, and robotic elements. By shooting 1000 frames a second, a tenth of a second’s action was slowed down to 4 seconds onscreen. This enabled Vallarta to show audiences citrus juices meeting onions, then adding peppers, and so on, with ingredients crashing in the specific order and combination that the client envisioned. Using our programmable logic computer, we empowered this production to trigger multiple rigs with millisecond accuracy, releasing slingshots laden with fresh ingredients so they’d spring into action in front of the camera. To simulate wood-fired grilling, we built a unique grill rigged with lights and gas jets to create the appearance of flames, embers, and sparks rising up through it. Then, a manually-operated rig allowed the camera to look up through the grill and flames, and then pivot to look down onto the sizzling steak.

The impact.

We specialize in solving complex technical challenges. Consequently, our Turnkey soundstage is well-equipped to support clients with advanced rigs and technology. And, we like to share our toys, too! Even with many decades of Motion Control magic behind us, the complexity of these shots and this installation’s uniqueness will stand as a testament to our “Science in the Service of Art” credo. With our unique rigs, Vallarta captured their food on camera from new and exciting perspectives. Their audiences will have the opportunity to experience the stores’ freshness and flavor in a whole new way. And, when the shoot wrapped… it was simple… everyone left happy 🙂

Let’s Work Together!

“The only way to do great work is to love what you do. If you haven’t found it yet, keep looking. Don’t settle. As with all matters of the heart, you’ll know when you find it.” – Steve Jobs.

THIS is who we are! Our work has literally become our play! Every day it seems as though a new challenge presents itself with each call, text or email, but we jump in wholeheartedly because storytelling is genuinely what we love to do. ❤️

As you can see, we got a little flashy, pushed a lot of color and geometry in some exciting ways here. The goal was to channel retro while appealing to a younger demographic. And so, we just blew up the frame with some colorful product and literally made it all dance with traditional stop motion animation! The end product was playful and engaging. And that’s why we’re invited to the production table time and time again. Keep an eye out for news about our upcoming Christmas shoot.

Ready to fire up the Airstream again 😉

Learning about Virtual Sets and using them whenever possible is a step all producers can take to reduce costs, creative compromises, carbon emissions, and solid waste. Want to sell your clients on this money-saving, planet-saving option? We can help. When we created the East Coast’s first Virtual Backlot, we promised to provide the Tri-State production community with the proper guidance to use it. Here are some of the things you should know.

Upgrade your sets for less.

Virtual Sets deliver a degree of detail that would be wildly expensive to create with practical sets. And that rich, convincing, VSet detail costs less than a practical set, too! For example, a typical low-cost office set consists of backlit blinds on the windows and a modest assortment of Ikea furniture. The virtual version, on the other hand, can show a view out the window that’s appropriate to the location, season, and time of day. Picture this— walls and shelves decked out with binders, awards, and books… Workstations loaded with computers, staplers, lamps, papers, phones, family photos, and coffee cups… And as a bonus, ensurance that set continuity becomes a non-issue, too.

Sustainable sets made simple.

The Industry is just starting to acknowledge the immense toll practical sets wreak on the environment. Part of the problem is their inherent transience. But when we dig a little deeper, the problem is more nuanced. Take luan, for example. This lightweight plywood is a popular set-building material because it’s easy to move around. Luan is harvested from rainforests and is “a massive source of deforestation” according to Hollywood’s sustainability consultant, Emille O’Brien. On the opposite end of the spectrum, Virtual Sets eliminate solid wastes, altogether, and create a minuscule carbon footprint. Because Virtual Sets are inexpensive and easy to use, there’s often no good reason not to.

Shoot anywhere in the universe.

Virtual Sets can enhance your production beyond budget constraints and environmental impact, too. With the infinite creative possibilities they offer, VSets are nothing short of revolutionary. With our Virtual Backlot, you can shoot in remote or even imaginary locations— the rainforest, a plane, or another planet—and you’re never more than 15 minutes from Midtown! Vast, photorealistic environments like “Black Panther’s” Wakanda are now possible. How do you think they created six virtual miles of futuristic cityscape and 60,000 individual buildings…? Answer: Virtual Set.

Our Virtual Set experts can set you up with everything you need to incorporate this valuable tool into YOUR methodology.

Let’s talk.

We know that Virtual Production and Motion Control can be intimidating, but it doesn’t have to be 😉 Today’s technology is easier than ever to master. So, let me show you how you can get the shot, and be fast, cost-effective and maybe even have ‘good times’.

Count on Cobalt’s Virtual Production experts.

The demand for Virtual Sets has increased exponentially in the past year. VSet is a must-have resource for today’s producers and directors, so we make ourselves available to share our expertise. We’re the first soundstage to offer Virtual Sets to the public on the East Coast, so our team has in-depth experience to guide you. Whether you want to sell your clients on a Virtual Production methodology, or whether they requested it themselves, we can help.

Your secret-weapon production partner.

Producers and production managers/coordinators love working at Cobalt because we understand their challenges far better than your average soundstage. As a company founded by producers, for producers, we’re uniquely equipped to offer an additional layer of support you won’t find anywhere else. When you book our locations and services for your productions, we take the time to listen, and we’re quick to offer solutions that save productions time, money, and stress.

Motion control, under control.

There’s no cinematic discipline that requires a more consultative approach than Motion Control. And fortunately for the Tri-State production community, Cobalt’s own Alex Fernbach has been a pioneer in the field! As the inventor of the array camera that he created for the “Bullet Time” scene in “The Matrix”, Alex now brings his encyclopedic knowledge and unparalleled creativity to advise our clients. We recently pulled off a miraculous MoCo job that entailed an undisclosed comedic celebrity TV Special, with 48 hours’ notice to coordinate equipment and talent in three time zones, as well as, a custom rig that had to fit in an extraordinarily tight space. Cobalt’s very own “Stage Manager Steve” even drove the rig overnight to Chicago, so our client wouldn’t miss a beat. We never want to let you down, and that’s just how we roll… sometimes all the way to Chicago 😉

Let us be YOUR secret weapon and see how we make everything easier for the production community. Let’s talk.