You know the green screen (and blue screen).
You know it becomes the: Mist-covered planet, Deserted jungle
Background for a bar, Packed athletic stadium – Panoramic waterfall
酒吧的背景 拥挤的运动场 全景瀑布
What happens when the imaginary planet…is already there?
“The moment you step in the middle of the Volume,
you’re just, you’re just there.”
“The Volume” is the epic sounding name
for the combination of high resolution LED panels
— imagine awesome huge TV screens wrapping around a stage —
the physical set design matched to the panels,
and 3D models plopped into an environment the same way they do in a video game.
Then it can respond to camera movement to simulate the real world.
Disney +’s the Mandalorian, a live action Star Wars TV show, used this technique.
“My name is Charmaine Chan and I’m a lead compositor at Industrial Light and Magic.
我是Charmaine Chan 工业光魔公司的首席特效合成师
Is it, is it physically, like, confusing being on this set?
请问 在这样的片场工作 是否会让你感到困扰？
“Oh absolutely, I mean, the thing is like you’re,
噢 当然 我是说
you’re shooting all day,
Let’s say in the same exact scene
and like you’re at that location,
it doesn’t feel like it’s something fake.
It just feels like the extension of a regular stage.
You gotta be careful because there are times when people don’t see
where the edge of the stage is and where the LEDs are.”
You have Wiley coyote and Roadrunner situations
where somebody is like running into the wall or something.
“Yeah. We, we definitely made sure
that no one’s running in that stage because of that reason.”
Charmaine is credited as part of the Brain Bar –
the group of visual effects artists that operated this system.
One might adjust models, like a rock or spaceship, in the panels,
while another might tweak live animations, like a burning fire.
Charmaine often adjusted color.
“It was funny cause it, it looked very much like,
you know, back in the day when you would have
a telephone fundraising stuff like,
on PBS and it was just like rows of people phone’s ready to go,
but instead of phones we had computers and our walkies.”
As Mandalorian VFX supervisor Ian Milham Tweeted,
the set crew and Brain Bar operating the panels
let them radically change environments in just a few hours or be on set…
as they launched it into hyperspace.
“My normal working life is very much behind
the computer in a dark room, somewhere in the corner.
Now I’m actually in there
with the gaffer, with the prop designers, with the set designers,
和灯光师 道具设计师 布景师一起工作
most people that we would never see
because we’re in the post production process.
It was very exhilarating.”
But sets like this one weren’t just fun for Charmaine.
They helped remove creative roadblocks.
As a compositor, we’re the ones who kind of take all the renders,
take all the CG elements and put them together
to make it look like it’s a seamless, integrated photo.
So think of it as like advanced Photoshop,
But we’re dealing with moving imagery.”
Charmaine worked on this scene in The Last Jedi.
If you’re lucky, this green screen will be evenly lit, with no seams.
幸运的话 这个绿幕的打光会是均匀 无缝衔接的
And it’s piece of cake. That’s never the scenario.
We’re spending the time, almost frame by frame,
making sure we can remove that green screen
so that we can put Kylo on top of that.”
Removing a green screen is actually still pretty hard.
For one, it doesn’t work with green characters.
Removing one solid color — or “keying” can look good,
but you still need detail work.
See how these fine branches just disappear.
The perspective of the background also doesn’t naturally change –
that has to be designed into the final composite.
Ditching the greenscreen and projecting or playing the image behind the actors….
You can get detail and an illusion of depth and better light.
Instead of green screen spilling on the actor,
you get blue sky, and red desert actually lighting them.
That basic technique has worked in everything from 2001 to Oblivion,
but you miss the proper perspective shift, or parallax, in the background,
since it’s just a video playing on a screen.
The volume tackles some of those problems.
You can also adjust light and objects on the fly.
because they are reflecting the other screens instead of green screen –
which was especially important for Mando —
the show’s main character.
“His whole armor was reflective from head
to toe, whether it be his pauldron or his helmet, it was just like,
you can’t avoid seeing things being reflected.
So creating this volume where we literally could close up the whole thing into one giant circle
and have an environment all across these screens.
We were getting exactly what we wanted to out of his helmet.”
The brain bar could focus on details that made the final product as seamless as possible
— which was still a lot of work.
“I would go in and whether it be a rock or a barrel or something,
我会检视片场 不管是一个石头或者桶 还是别的什么
I would try to color correct it to match what was on the set.
But where color correction was more important
was when we’re dealing with the bigger parts of the sets.
So whether that be the dirt on the ground versus dirt in our digital scene.
And the lighting from the scene affected the dirt on the ground.
So we would have to like,
because we had a blue sky and suddenly now there’s all this blue on this rock.
We would have to color correct the ground and the rock
to also have just as much blue as the blue that we just introduced.
Before they started shooting, I would have. Five to 10 minutes
to have that all lined up and ready to go.”
I can imagine that, that there are some creative
breakthroughs that this makes possible for, for your job.
What would those be with this technology?
“I’ll be honest. I would not be mad if
I never have to do a green screen keying or extraction ever again.
Now I get to be a person who’s doing the shot
and I can help basically finalize a shot in camera.
It just makes it a more cohesive filmmaking process,
and this puts us right in there next to everyone else
who’s creating these shows or films.”
It was great to talk to Charmaine
and learn a little bit about her work and some of the amazing things that she’s worked on.
This video is actually from a sponsor, which is Verizon.
They just turned on 5G Nationwide.
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I’m guessing that a lot of creative breakthroughs will come from it too.
So this is the 5G America’s been waiting for, and it’s only from Verizon.
Verizon doesn’t directly impact our editorial,
but their support makes videos like this possible.
You know the green screen (and blue screen).