Mist-covered planet - Deserted jungle

霧氣籠罩的星球--荒蕪的叢林。

- Background for a bar - Packed athletic stadium

- Panoramic waterfall What happens when the imaginary planet...is

- 全景瀑布 當想象中的星球......會發生什麼？

already there? “The moment you step in the middle of the

已經到了？"當你踏入其中的那一刻。

Volume, you're just, you're just there.” “The Volume” is the epic sounding name

音量，你只是，你只是在那裡。""卷 "是一個聽起來很有史詩感的名字

for the combination of high resolution LED panels — imagine awesome huge TV screens

高分辨率LED面板的組合--想象一下令人敬畏的巨大電視屏幕。

wrapping around a stage — the physical set design matched to the panels, and 3D models

圍繞著舞臺--與面板相匹配的物理佈景設計，以及3D模型。

plopped into an environment the same way they do in a video game.

陷入一個環境，就像他們在電子遊戲中一樣。

Then it can respond to camera movement to simulate the real world.

然後，它可以響應相機的移動來模擬真實世界。

Disney +'s the Mandalorian, a live action Star Wars TV show, used this technique.

迪斯尼+的《星球大戰》真人電視劇《曼陀羅人》就採用了這種技術。

“My name is Charmaine Chan and I'm a lead compositor at Industrial Light and Magic.

"我叫佘詩曼-陳，是工業光魔的首席合成師。

Is it, is it physically, like, confusing being on this set?

它是，它是物理， 喜歡，混亂的是在這個組？

“Oh absolutely, I mean, the thing is like you're, you're shooting all day, let's say

"哦，絕對的，我的意思是，這件事就像你，你整天都在拍戲，比方說

in the same exact scene and like you're at that location, it doesn't feel like it's something

在相同的一模一樣的場景，就像你在那個位置，它不覺得這是什麼東西

fake. It just feels like the extension of a regular stage. You gotta be careful because

假的。只是感覺像是正規舞臺的延伸。你得小心，因為

there are times people don't see where the edge of the stage is and where the LEDs are.”

有的時候人們看不到舞臺的邊緣在哪裡，LED在哪裡。"

You have Wiley coyote and Roadrunner situations where somebody is like running into the wall

你有Wiley coyote和Roadrunner的情況下，有人就像撞牆一樣。

or something. “Yeah. We, we definitely made sure that

或什麼的。"是啊，我們...我們，我們一定要確保

no one's running in that stage because of that reason.”

沒有人因為這個原因跑到那個階段。"

Charmaine is credited as part of the Brain Bar - the group of visual effects artists

佘詩曼被譽為Brain Bar的一員--視覺效果藝術家的團體。

that operated this system. One might adjust models, like a rock or spaceship,

操作這個系統的。人們可能會調整模型，就像石頭或飛船一樣。

in the panels, while another might tweak live animations, like a burning fire. Charmaine

在面板中，而另一個可能會調整現場動畫，如燃燒的火焰。佘詩曼

often adjusted color. “It was funny cause it, it looked very much

經常調整顏色。"這很有趣，因為它，它看起來非常的

like, you know, back in the day when you would have

就像，你知道，在一天的時候，你會有。

telephone fundraising stuff, like on PBS and it was just like rows of people phone's ready

電話籌款的東西，像在PBS和它只是像一排人 電話的準備。

to go, but instead of phones we had computers and our walkies.”

要去，但我們有電腦和我們的對講機，而不是電話。"

As Mandalorian VFX supervisor Ian Milham Tweeted, the set crew and Brain Bar operating the panels

正如Mandalorian VFX主管Ian Milham在推特上所言，片場工作人員和Brain Bar操作的面板

let them radically change environments in just a few hours or be on set...as they launched

讓他們在短短的幾個小時內徹底改變環境，或者在現場......因為他們推出了。

it into hyperspace. “My normal working life is very much behind

它進入超空間。"我的正常工作生活非常落後

the computer in a dark room, somewhere in the corner. Now I'm actually in there with

在一個黑暗的房間裡的電腦， 在角落裡的某個地方。現在，我實際上在那裡與

the gaffer, with the prop designers, with the set designers, most people that we would

和道具設計師，佈景設計師，大部分的人，我們都會去做的

never see because we're in the post production process. It was very exhilarating.”

永遠看不到，因為我們在後期製作過程中。這是非常令人振奮的。"

But sets like this one weren't just fun for Charmaine. They helped remove creative

但像這樣的套路不僅僅是佘詩曼的樂趣。他們幫助消除了創意

roadblocks. As a compositor, we're the ones who kind of

路障。作為一個作曲家，我們是那些那種

take all the renders, take all the CG elements and put them together to make it look like

把所有的渲染，把所有的CG元素，並把它們放在一起，使其看起來像。

it's a seamless, integrated photo. So think of it as like advanced Photoshop, But we're

它是一個無縫的，集成的照片。所以你可以把它想象成高級Photoshop，但我們是...

dealing with moving imagery.” Charmaine worked on this scene in The Last

處理移動的意象。"佘詩曼曾在《最後》中的這一幕

Jedi. “We get this footage of Kylo in front of

絕地武士"我們得到了這個鏡頭，凱洛在前面的。

a green screen. If you're lucky, this green screen will be evenly lit, with no seams.

一個綠色的螢幕。如果你運氣好，這塊綠屏會均勻地亮起來，沒有縫隙。

And it's piece of cake. That's never the scenario. We're spending the time, almost frame by

而且是小菜一碟。這絕不是方案。我們花時間，幾乎是一幀一幀的。

frame, making sure we can remove that green screen so that we can put Kylo on top of that.”

框架，確保我們可以去除綠幕，這樣我們就可以把凱洛放在上面。"

Removing a green screen is actually still pretty hard. For one, it doesn't work with

去除綠屏其實還是挺難的。首先，它不能與

green characters. “Yoda's green.”

綠色的字元。"尤達的綠色。"

Removing one solid color — or “keying” can look good, but you still need detail work.

去掉一個純色--或者說 "摳圖 "可以看起來不錯，但你還是需要做細節工作。

See how these fine branches just disappear. The perspective of the background also doesn't

你看這些細枝末節怎麼就消失了呢？背景的透視也不

naturally change - that has to be designed into the final composite.

自然而然地改變--這必須被設計到最終的複合材料中。

Ditching the greenscreen and projecting or playing the image behind the actors…. gets

拋棄綠幕，在演員身後投影或播放影像.... 得到了

you closer, but not quite there. No!

你更近了，但還沒到那一步。不！

You can get detail and an illusion of depth and better light. Instead of green screen

你可以得到細節和深度的錯覺，以及更好的光線。而不是綠屏

spilling on the actor, you get blue sky, and red desert actually lighting them.

灑在演員身上，你會得到藍色的天空，而紅色的沙漠其實也在照亮他們。

That basic technique has worked in everything from 2001 to Oblivion, but you miss the proper

從2001年到Oblivion的所有作品中，這種基本技術都是有效的，但你錯過了適當的。

perspective shift, or parallax, in the background, since it's just a video playing on a screen.

透視轉移，或視差，在背景，因為它只是一個視頻播放在螢幕上。

The volume tackles some of those problems. You can also adjust light and objects on the

量解決了其中的一些問題。你還可以在

fly. And the reflections actually work, because

飛。而反射實際上是有效的，因為

they are reflecting the other screens instead of green screen - which was especially important

他們反映了其他螢幕，而不是綠色螢幕 - 這是特別重要的。

for Mando — the show's main character. “His whole armor was reflective from head

為曼多--該劇的主角。"他的整個盔甲從頭到尾都是反光的

to toe, whether it be his pauldron or his helmet, it was just like, you can't avoid

從頭到腳，無論是他的寶鼎還是他的頭盔，就像，你無法避免的一樣

seeing things being reflected. So creating this volume where we literally could close

看到東西被反射。所以，創造這個體積，我們可以從字面上關閉

up the whole thing into one giant circle and have an environment all across these screens.

起來，整個變成一個巨大的圓圈，在這些螢幕上都有一個環境。

We were getting exactly what we wanted to out of his helmet.”

我們從他的頭盔中得到的正是我們想要的東西。"

The brain bar could focus on details that made the final product as seamless as possible

腦筋急轉彎可以關注一些細節，讓最終的產品儘可能的完美無缺。

— which was still a lot of work. “I would go in and whether it be a rock

- 其中還是有很多工作要做。"我會走進去，不管是一塊石頭

or a barrel or something, I would try to color correct it to match what was on the set. But

或槍管之類的東西，我會試著把它的顏色校正到與片場的一致。但是...

where color correction was more important was when we're dealing with the bigger parts

當我們在處理大的部分時，色彩校正更為重要

of the set. So whether that be the dirt on the ground versus dirt in our digital scene.

的佈景。所以，無論是地面上的土與我們數字場景中的土。

And the lighting from the scene affected the dirt on the ground. And we would have to like,

而現場的燈光影響了地上的泥土。而我們就不得不喜歡。

because we had a blue sky and suddenly now there's all this blue on this rock. We would

因為我們有一個藍色的天空，突然 現在有所有的藍色在這塊石頭上。我們會

have to color correct the ground and the rock to also have just as much blue as the blue

要對地面和岩石進行顏色校正，使其也有同樣多的藍色。

that we just introduced. Before they started shooting, I would have. Five to 10 minutes

我們剛剛介紹的。在他們開始拍攝之前，我會有。五到十分鐘

to have that all lined up and ready to go.” I can imagine that, that there are some creative

有這一切排隊 並準備好了。"我可以想象，有一些創意...

breakthroughs that this makes possible for, for your job. I'm wondering what would those

突破，這使得可能的，對你的工作。我想知道那些

be with this technology? “I''ll be honest. I would not be mad if

是用這種技術？"我 "說實話。我不會生氣，如果

I never have to do a green screen keying or extraction ever again. Now I get to be a person

我再也不用做綠屏摳圖或提取了。現在我可以成為一個人

who's doing the shot and I can help basically finalize a shot in camera. It just makes it

誰在做的拍攝，我可以幫助 基本上最終確定一個鏡頭在相機。它只是讓它

a more cohesive filmmaking process, and this puts us right in there next to everyone else

一個更有凝聚力的電影製作過程，這讓我們在那裡緊挨著其他人

who's creating these shows or films.”

誰在創作這些節目或電影。"

It was great to talk to Charmaine and learn a little bit about her work and some of the

很高興能與佘詩曼交談，瞭解她的工作和她的一些想法。

amazing things that she's worked on. This video is actually from a sponsor, which

驚人的事情，她的工作。這個視頻其實是贊助商提供的，這

is Verizon — they just turned on 5G Nationwide. So with 5G Nationwide, and in more and more

是Verizon--他們剛剛在全國範圍內開通了5G。是以，隨著5G全國，並在越來越多的。

cities, you get the unprecedented performance of 5G Ultra Wideband — it's

城市，你可以獲得5G超寬帶的空前性能--它是

really fast, the world's fastest 5G. You can download an album in a few seconds.

真的很快，全球最快的5G。你可以在幾秒鐘內下載一張專輯。

It's not just gonna change your phone, it'll change everything. I'm guessing that a lot

它不僅會改變你的手機，還會改變一切。我猜測，很多

of creative breakthroughs will come from it too.

的創新突破也將由此而來。

So this is the 5G America's been waiting for, and it's only from Verizon.

所以，這就是美國人一直在等待的5G，而且只有Verizon才有。

Verizon doesn't directly impact our editorial, but their support makes videos like this possible.

Verizon並不直接影響我們的編輯工作，但他們的支持使得這樣的視頻成為可能。