Terminal 1 is an immersive space at Glastonbury Festival designed to spread the message that “No Human is Illegal”. Dimension partnered with Glastonbury’s accessibility team to create a VR walkthrough of Terminal 1 so everyone could be a part of it.

Terminal 1 VR experience

Glastonbury

In a high-tech future, a security robot (Alexander Skarsgård) secretly gains autonomy and must interact with humans. To stay hidden, it joins a new mission protecting scientists on a dangerous planet… even though it just wants to binge soap operas.

Dimension and DNEG 360 provided previsualisation for the new sci-fi thriller/comedy based on Martha Wells’ bestselling books. Available to watch now on  Apple TV+. 

Murderbot

Adapting cult classics is no easy feat, especially when it features multiple visually-captivating worlds. So for Taika Waititi to reimagine Terry Gilliam’s ‘Time Bandits’ it was clear that an in-depth virtual production approach would be needed. 

Time Bandits

Röyksopp Live at HERE at Outernet

Röyksopp Live in London HERE, Outernet 

As a partner in Vicon’s VFX pioneer program, Dimension had early access to their new markerless solution and we put it through its paces for a rapid visualisation test project.

Memories

Vicon Markerless film

Introducing Evergreen — a Dimension motion capture demo driving live MetaHumans for in-camera VFX via an LED volume. Watch the behind the scenes below.

Set on a forested riverbed, the demo features two physical actors performing live against an LED volume. At the same time, directable mid-ground MetaHuman characters are puppeteered in realtime on a neighbouring performance capture stage.

The MetaHuman characters are driven by data generated from motion capture actors next door, captured using Vicon cameras. This realtime animation is played out on the LED volume for the physical actors to see and interact with.

The demo highlights a new way of using directable mid-ground MetaHuman characters. Because they're puppeteered in realtime, it allows for more dynamic and authentic interactions, such as characters helping each other traverse rocks.

See the in-camera edit below to watch the positive impact of the LED volume on the actors with realistic lighting and interaction with the MetaHuman characters.

Evergreen

Motion Capture Driving MetaHumans for ICVFX

Dimension and DNEG 360 supported the Venom VFX team by providing precise motion capture data in Unreal Engine to visualise every twirl in Venom’s dance with Mrs. Chen – showcased in the breakdown below.

We created a performance capture stage at a 1:1 scale to the practical shoot’s set. We took a LiDAR scan in Unreal Engine and recreated key structures in our mocap stage – like the staircase and jukebox that Venom interacts with.

Our stage featured 44 Vicon V26 Valkyrie motion capture cameras, full body and hand tracking, and two Blackmagic reference cameras. We retargeted the data onto a 7-foot Venom VFX asset and streamed it directly into Unreal Engine

By visualising the scene in Unreal Engine, the VFX team could see how Venom and Mrs Chen interacted in the final composition – offering invaluable realtime feedback to VFX Supervisor John Moffatt and the VFX team.

Venom: The Last Dance

Dimension and DNEG 360 showcase ‘The Evolution of Virtual Production,’ a documentary short made in association with Luno and Panalight.

This virtual production feature demonstrates the endless possibilities awaiting filmmakers, efficiently shooting various genres and eras across five days.

From a Revenant-style, post eco-disaster drama, to a gladiatorial battle to the death in the Colosseum and an intimate Edwardian period piece, we set out to show how virtual production is empowering filmmakers to craft brilliant cinematic stories.

With each day, we demonstrated new ways virtual production empowers filmmakers and enables creative control. From period drama and wide-lens, to improved raytracing and realtime caustics – watch and get in touch to learn more. 

The Evolution of Virtual Production, at Cinecittà Studios

The Evolution of Virtual Production at Cinecittà Studios

Based on the global anime sensation, Sony Pictures’ Knights of the Zodiac brought the Saint Seiya saga to the big screen in live action. Dimension employed  visualisation and virtual production techniques to craft a central car chase.

We created a high concept test film in Unreal, visualising a car chase and tunnel scenes. We then delivered concept visualisation, VAD, techvis, on-set services and content management, building and shooting on a car stage within an LED volume. 

The virtual production techniques employed delivered epic car scenes, made highly realistic using wind, smoke, water, lighting and motion blur, ultimately delivering in-camera VFX that was featured in the final film. 

Knights of the Zodiac

Made with Missing Pieces and Critical Mass, ARIYA VR transports users into the all-electric Nissan model.

Created in super high fidelity for Meta Quest 2, the interactive experience brings you up close and personal with the SUV. Step inside to experience the design, feel the powerful performance, and explore the interior and exterior features.

The Nissan ARIYA VR experience takes realistic virtual reality marketing to new levels, and sets a precedent for showcasing innovation in the automotive industry.

Our case studies

Terminal 1 VR experience

Murderbot

Time Bandits

Röyksopp Live at HERE at Outernet

Memories

Evergreen

Venom: The Last Dance

The Evolution of Virtual Production, at Cinecittà Studios

Knights of the Zodiac

Nissan ARIYA

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