馃攳
The technology that鈥檚 replacing the green screen - YouTube
Channel: Vox
[0]
[Music]
[0]
you know the green screen and blue
[2]
screen you know it becomes the
[4]
missed covered planet deserted jump
[5]
background
[6]
[Music]
[12]
what happens when the imaginary planet
[15]
is already
[16]
there
[16]
[Music]
[19]
the moment you step in the middle of the
[22]
volume
[25]
you're just you're just there the volume
[28]
is the epic sounding name for the
[30]
combination of
[32]
high resolution led panels imagine
[35]
awesome huge tv screens wrapping around
[38]
a stage
[38]
the physical set design matched to the
[41]
panels
[42]
and 3d models plopped into an
[44]
environment the same way they do
[46]
in a video game then it can respond to
[48]
camera movement to simulate the real
[50]
world
[51]
disney pluses the mandalorian a live
[53]
action star wars tv show
[55]
used this technique my name is charmaine
[58]
chan
[59]
and i'm a lead compositor at industrial
[61]
ida magic
[72]
is it physically like confusing being on
[75]
on this set oh absolutely i mean the
[78]
thing is like you're
[80]
you're shooting all day let's say in the
[82]
same
[83]
exact scene and like you're at that
[86]
location it doesn't feel like
[88]
it's something fake it just feels like
[91]
an extension
[92]
of a regular set stage you know you got
[95]
to be careful because there are times
[96]
where
[97]
people don't see where the end of the
[99]
stage is and where the leds are
[100]
you have like wiley coyote and
[102]
roadrunner situations where somebody's
[104]
like running into the wall
[105]
or something yeah we definitely made
[109]
sure that no one's running
[111]
in that stage because of that reason
[113]
charmaine is credited as part of the
[115]
brain bar
[116]
the group of visual effects artists that
[119]
operated this system
[120]
one might adjust models like a rock or a
[123]
spaceship
[124]
in the panels while another might tweak
[126]
live animations
[127]
like a burning fire charmaine often
[130]
adjusted color
[131]
it was funny because it looked very much
[133]
like you know back in the days when you
[135]
would have
[136]
telephone fundraising stuff like on pbs
[139]
it was just rolls of people with phones
[142]
ready to go
[143]
but instead of phones we had computers
[145]
in our walkies as mandalorian vfx
[147]
supervisor ian milham
[149]
tweeted the set crew and brain bar
[151]
operating the panels
[153]
let them radically change environments
[155]
in just a few hours
[156]
or beyond set as they launched it
[160]
into hyperspace
[161]
[Music]
[163]
my normal working life is very much
[166]
behind a computer
[167]
in a dark room somewhere in the corner
[170]
now i'm actually
[172]
in there with the gaffer
[175]
with the prop designers with the set
[178]
designers
[179]
most people that we would never see
[181]
because we're
[182]
in the post-production process it was
[185]
very
[185]
accelerating but sets like this one
[187]
weren't just fun for charmaine
[189]
they helped to remove creative
[191]
roadblocks as a compositor
[193]
we're the ones who kind of take all the
[195]
renders take all the cg elements and put
[197]
them together
[198]
to make it look like it's a seamless
[200]
integrated photo so think of it as like
[202]
advanced photoshop
[203]
but for dealing with moving imagery
[206]
charmaine worked on this scene in the
[209]
last jedi we get this
[210]
footage of kylo in front of a green
[213]
screen
[215]
if you're lucky this green screen will
[217]
be evenly lit
[218]
with no seams and it's a piece of cake
[221]
that's never the scenario spending the
[224]
time almost frame by frame making sure
[225]
we can remove that
[227]
green screen so that we can put kylo on
[228]
top of that
[230]
removing a green screen is actually
[232]
still pretty hard
[234]
for one it doesn't work with green
[236]
characters
[238]
yoda's green
[243]
removing one solid color or keying can
[246]
look good but you still need detail work
[249]
see how these fine branches just
[252]
disappear
[254]
perspective of the background also
[255]
doesn't naturally change
[257]
that has to be designed into the final
[259]
composite
[260]
ditching the green screen and projecting
[262]
or playing the image behind the actors
[265]
gets you closer but not quite there
[271]
[Music]
[272]
[Applause]
[277]
you can get detail in an illusion of
[280]
depth and better light
[281]
instead of green screen spilling on the
[283]
actor you get blue sky
[285]
and red desert actually lighting them
[288]
that basic technique has worked in
[290]
everything from 2001
[292]
to oblivion but you missed the proper
[295]
perspective
[296]
shift or parallax in the background
[299]
since it's just a video playing on a
[301]
screen
[303]
the volume tackles some of those
[306]
problems
[306]
you can also adjust light and objects on
[309]
the fly
[310]
and the reflections actually work
[312]
because they are reflecting the other
[314]
screens
[315]
instead of a green screen which was
[317]
especially important for mando
[319]
the show's main character his whole
[321]
armor
[322]
was reflective from head to toe whether
[325]
it be his pauldron or his helmet
[327]
it was just like you can't avoid
[330]
seeing things being reflected
[332]
[Music]
[333]
so creating this volume where we
[336]
literally could close up
[338]
the whole thing into one giant circle
[341]
and have an environment all across these
[344]
screens
[345]
we were getting exactly what we wanted
[347]
to out of his helmet
[348]
the brain bar could focus on details
[350]
that made the final product
[352]
as seamless as possible which was still
[355]
a lot of work
[356]
i would go in and whether it be a rock
[359]
or a barrel or something i would try to
[361]
color correct it to match what was on
[363]
the set
[364]
but where color correction was more
[367]
important was when we're dealing with
[369]
the
[369]
bigger parts of the set so whether that
[372]
be
[373]
the dirt on the ground versus the dirt
[375]
in our digital scene
[377]
and the lighting from the scene affected
[379]
the dirt
[380]
on the ground so then we would have to
[383]
like because we had a blue sky and
[385]
suddenly now there's all this blue
[387]
on this rock we would have to color
[389]
correct the ground and the rock
[391]
to also have just as much blue as the
[394]
blue that we just introduced
[396]
before they started shooting i would
[398]
have
[399]
five to ten minutes to get that all
[402]
lined up and ready to go
[404]
i can imagine that there are some
[407]
creative breakthroughs
[408]
that this makes possible for for your
[411]
job what would those be
[412]
with this technology i'll be honest i
[415]
would
[416]
not be mad if i never have to do
[419]
a green screen keying or extraction ever
[422]
again
[423]
now i get to be a person who's doing
[427]
the shot and i can help basically
[430]
finalize a shot in camera it just makes
[433]
it a more
[435]
um cohesive
[438]
filmmaking process and this puts us
[441]
right
[442]
in there next to everyone else who's
[444]
creating these
[445]
shows or films
[456]
it was great to talk to charmaine and
[457]
learn a little bit about her work and
[459]
some of the amazing things that she's
[461]
worked on
[462]
this video is actually from a sponsor
[463]
which is verizon they just turned on 5g
[467]
nationwide so with 5g nationwide and in
[469]
more and more cities
[470]
you get the unprecedented performance a
[473]
5g ultra
[474]
wide band it's really fast the world's
[476]
fastest 5g
[477]
you can download an album in a few
[478]
seconds it's not just going to change
[480]
your phone
[481]
it'll change everything i'm guessing
[483]
that a lot of creative breakthroughs
[484]
will come from it too
[485]
so this is the 5g that america has been
[488]
waiting for and
[489]
it's only from verizon verizon doesn't
[491]
directly impact our editorial
[493]
but their support makes videos like this
[496]
[Music]
[501]
possible
Most Recent Videos:
You can go back to the homepage right here: Homepage