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  • You know the green screen (and blue screen). You know it becomes the:

    你知道綠屏(和藍屏)。你知道成為。

  • 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 Volumeis 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 panelsimagine 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 stagethe 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 colororkeyingcan 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 Mandothe 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 Verizonthey 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 Widebandit'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。

You know the green screen (and blue screen). You know it becomes the:

你知道綠屏(和藍屏)。你知道成為。

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取代綠屏的技術。 (The technology that’s replacing the green screen)

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    林宜悉 發佈於 2020 年 10 月 23 日
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