WEBVTT 1 00:00:27.325 --> 00:00:30.825 Hello, this is Juyoung Lim from Westworld 2 00:00:30.825 --> 00:00:36.875 In this lecture, we will take a look into in-camera VFX projects 3 00:00:36.875 --> 00:00:39.175 and form an understanding on ICVFX 4 00:00:39.175 --> 00:00:42.125 and see how they are used 5 00:00:42.125 --> 00:00:43.525 Through this lecture 6 00:00:43.525 --> 00:00:45.375 I hope you can learn 7 00:00:45.375 --> 00:00:48.375 what technologies are used and what is important 8 00:00:48.375 --> 00:00:52.625 to use in-camera VFX and also how it can be implemented 9 00:00:52.625 --> 00:00:54.725 in actual filming circumstances 10 00:00:54.725 --> 00:00:58.775 Composition of ICVDX 11 00:00:59.025 --> 00:01:01.775 First, I will tell you about the preparation process 12 00:01:01.775 --> 00:01:03.625 of in-camera VFX 13 00:01:03.625 --> 00:01:08.225 ICVFX start from the pre-production stage 14 00:01:08.225 --> 00:01:09.775 and continues all the way 15 00:01:09.775 --> 00:01:12.525 until the end which is the post-production stage 16 00:01:12.525 --> 00:01:14.525 In this table 17 00:01:14.525 --> 00:01:16.825 you can see that contrary to the normal pipeline, 18 00:01:16.825 --> 00:01:18.775 there are environment asset preparation 19 00:01:18.775 --> 00:01:20.525 on the pre-production stage 20 00:01:20.525 --> 00:01:24.375 and this environment asset is quality checked for lighting 21 00:01:24.375 --> 00:01:27.175 and then in the production stage 22 00:01:27.175 --> 00:01:29.725 the whole final plate is produced 23 00:01:29.725 --> 00:01:32.225 and within this plate 24 00:01:32.225 --> 00:01:34.925 the post-production stage takes place 25 00:01:34.925 --> 00:01:39.425 making the final product 26 00:01:39.425 --> 00:01:43.375 To tell you what ICVFX is once again 27 00:01:43.375 --> 00:01:45.575 I will tell you the structural elements 28 00:01:45.575 --> 00:01:47.675 of ICVFX one by one 29 00:01:47.675 --> 00:01:50.725 First is the most important LED volume 30 00:01:50.725 --> 00:01:54.075 LED volume refers to a media wall 31 00:01:54.075 --> 00:01:55.825 made of LED 32 00:01:55.825 --> 00:01:58.525 As you can see 33 00:01:58.525 --> 00:02:00.975 it is a desktop environment that is 34 00:02:00.975 --> 00:02:03.725 separated from the real set or where the actors are 35 00:02:03.725 --> 00:02:06.025 where virtual environment or 2D image is 36 00:02:06.025 --> 00:02:08.575 played with LED 37 00:02:08.575 --> 00:02:12.275 The actual production method is determined 38 00:02:12.275 --> 00:02:15.325 by how the LED wall is designed 39 00:02:15.325 --> 00:02:18.775 The size of the LED wall, how the LED wall is composed, 40 00:02:18.775 --> 00:02:20.975 and whether there is an LED wall on the ceiling 41 00:02:20.975 --> 00:02:23.325 or if there is one on the floor 42 00:02:23.325 --> 00:02:24.675 what pitch the LED wall on 43 00:02:24.675 --> 00:02:27.375 the walls are composed of 44 00:02:27.375 --> 00:02:28.725 if they are in low pitch 45 00:02:28.725 --> 00:02:30.575 and how bright they are 46 00:02:30.575 --> 00:02:32.225 These all affect 47 00:02:32.225 --> 00:02:34.076 how the content is composed and 48 00:02:34.076 --> 00:02:35.426 filmed 49 00:02:35.426 --> 00:02:39.226 So when beginning on the final ICVFX 50 00:02:39.226 --> 00:02:41.576 it is good to think about how to design the LED wall 51 00:02:41.576 --> 00:02:44.426 and if the production takes place where there 52 00:02:44.426 --> 00:02:45.926 is an LED wall 53 00:02:45.926 --> 00:02:47.676 it would be good to 54 00:02:47.676 --> 00:02:50.326 first see what construction the 55 00:02:50.326 --> 00:02:52.076 LED wall there has 56 00:02:52.076 --> 00:02:53.876 The second important element is 57 00:02:53.876 --> 00:02:56.726 in-camera VFX network 58 00:02:56.726 --> 00:02:58.526 This network element 59 00:02:58.526 --> 00:03:00.676 doesn't refer to an actual network 60 00:03:00.676 --> 00:03:03.626 but it's more of a connection 61 00:03:03.626 --> 00:03:06.426 It could be an IP based network 62 00:03:06.426 --> 00:03:09.376 using switch 63 00:03:09.376 --> 00:03:11.626 or it could also be a network 64 00:03:11.626 --> 00:03:16.176 sending video signals or other signals using SDI cable 65 00:03:16.176 --> 00:03:18.176 The diagram you see 66 00:03:18.176 --> 00:03:20.576 gives details on both types mentioned 67 00:03:20.576 --> 00:03:26.026 What's important here is that production using ICVFX and LED wall 68 00:03:26.026 --> 00:03:29.176 is not done with just one device 69 00:03:29.176 --> 00:03:34.626 Rendering engine, media server, image processor, camera tracker 70 00:03:34.626 --> 00:03:38.976 All these devices must move in the 71 00:03:38.976 --> 00:03:42.226 same speed in one network 72 00:03:42.226 --> 00:03:44.126 and must be synced 73 00:03:44.126 --> 00:03:47.576 So if there is a lack of understanding in how this network 74 00:03:47.576 --> 00:03:50.276 is composed, what signal comes from 75 00:03:50.276 --> 00:03:52.626 where and goes to where 76 00:03:52.626 --> 00:03:55.726 there will be many difficulties in the 77 00:03:55.726 --> 00:03:58.376 production process and also 78 00:03:58.376 --> 00:04:00.476 in the content preparation process 79 00:04:00.476 --> 00:04:03.076 So it would be good to start from 80 00:04:03.076 --> 00:04:05.976 understanding where in the in-camera VFX diagram 81 00:04:05.976 --> 00:04:07.276 you are, and what 82 00:04:07.276 --> 00:04:10.426 is important in the area 83 00:04:10.426 --> 00:04:12.626 that you are in charge of 84 00:04:12.626 --> 00:04:15.326 Third is NVIDIA sync 85 00:04:15.326 --> 00:04:16.776 Even if we take out the NVIDIA 86 00:04:16.776 --> 00:04:20.076 I want to tell you once again about sync 87 00:04:20.076 --> 00:04:21.576 Sync here 88 00:04:21.576 --> 00:04:23.526 are two things 89 00:04:23.526 --> 00:04:27.326 First, sync within LED wall 90 00:04:27.326 --> 00:04:28.526 and the sync 91 00:04:28.526 --> 00:04:31.076 between network devices 92 00:04:31.076 --> 00:04:33.326 These are the two 93 00:04:33.626 --> 00:04:37.076 First, the sync within LED wall is 94 00:04:37.076 --> 00:04:39.376 is an LED wall uses a single processor 95 00:04:39.376 --> 00:04:42.626 meaning one rendering machine 96 00:04:42.626 --> 00:04:45.726 or in one media server 97 00:04:45.726 --> 00:04:50.026 this sync might not be a big deal 98 00:04:50.026 --> 00:04:52.676 But if LED wall becomes of larger volume 99 00:04:52.676 --> 00:04:54.226 and many rendering engines 100 00:04:54.226 --> 00:04:56.676 or many media servers 101 00:04:56.676 --> 00:04:58.326 are used to playback it 102 00:04:58.326 --> 00:05:01.276 each rendering engine or media server 103 00:05:01.276 --> 00:05:04.326 must have the same speed and rendering 104 00:05:04.326 --> 00:05:08.226 playback source or 3D environment 105 00:05:08.226 --> 00:05:09.726 to screen it on camera 106 00:05:09.726 --> 00:05:13.326 If not, a certain part of the screen can be ripped off 107 00:05:13.326 --> 00:05:17.076 or a certain artifact can stand out awkardly 108 00:05:17.076 --> 00:05:18.426 and this will affect the production 109 00:05:18.426 --> 00:05:21.626 as it will not be able to use as the final plate 110 00:05:21.626 --> 00:05:25.626 There will be more labor and cost 111 00:05:25.626 --> 00:05:28.526 needed to fix these errors 112 00:05:29.126 --> 00:05:30.876 so to solve these 113 00:05:30.876 --> 00:05:34.476 all elements of the LED 114 00:05:34.476 --> 00:05:35.776 must move 115 00:05:35.776 --> 00:05:38.476 with the same sync 116 00:05:38.476 --> 00:05:41.276 NVIDIA sync is an example of that 117 00:05:41.276 --> 00:05:43.726 These days, not only NVIDIA sync 118 00:05:43.726 --> 00:05:47.126 but also using other methods like SMTP 210 119 00:05:47.126 --> 00:05:50.376 one can achieve the sync method 120 00:05:50.376 --> 00:05:52.876 so I think studying about this 121 00:05:52.876 --> 00:05:54.926 will help you 122 00:05:54.926 --> 00:05:57.826 Net element is multi-user editing 123 00:05:57.826 --> 00:05:59.326 Multi-user editing is 124 00:05:59.326 --> 00:06:01.976 a term used in a certain game engine 125 00:06:01.976 --> 00:06:03.426 But other tools 126 00:06:03.426 --> 00:06:05.826 other media servers or game engines 127 00:06:05.826 --> 00:06:09.076 also provide similar solutions 128 00:06:09.076 --> 00:06:11.326 This solution is 129 00:06:11.326 --> 00:06:15.826 needed to control environments when being on live 130 00:06:15.826 --> 00:06:17.576 or while filming, or to cooperate with 131 00:06:17.576 --> 00:06:20.826 other people 132 00:06:20.826 --> 00:06:22.626 Without this function 133 00:06:22.626 --> 00:06:25.826 it is impossible to edit certain parts or 134 00:06:25.826 --> 00:06:27.776 apply real time changes to 135 00:06:27.776 --> 00:06:29.726 the 3D environment or 2D image plates 136 00:06:29.726 --> 00:06:32.426 that are being played on the LED wall 137 00:06:32.426 --> 00:06:34.826 With this multi-user editing 138 00:06:34.826 --> 00:06:38.176 various devices in a session 139 00:06:38.176 --> 00:06:41.276 can be spread out to everyone in that project 140 00:06:41.276 --> 00:06:43.176 and saved 141 00:06:43.176 --> 00:06:45.426 and load it 142 00:06:45.426 --> 00:06:48.476 which enables controlling the lighting 143 00:06:48.476 --> 00:06:50.226 or camera lenses 144 00:06:50.226 --> 00:06:52.426 or adding specific task 145 00:06:52.426 --> 00:06:54.176 to a certain area 146 00:06:54.176 --> 00:06:58.276 So when doing an ICVFX project 147 00:06:58.276 --> 00:06:59.576 this multi-user editing, 148 00:06:59.576 --> 00:07:02.476 multi-user session server's composition 149 00:07:02.476 --> 00:07:04.576 and how one can access it is 150 00:07:04.576 --> 00:07:06.626 a very important element 151 00:07:06.626 --> 00:07:08.940 Next is perforce server 152 00:07:08.940 --> 00:07:11.526 and I would like to talk about version control system 153 00:07:11.526 --> 00:07:13.176 in general 154 00:07:13.176 --> 00:07:16.226 Version control system is something you might know 155 00:07:16.226 --> 00:07:19.076 if you worked on Github or development tasks 156 00:07:19.076 --> 00:07:21.176 It is a system for managing 157 00:07:21.176 --> 00:07:23.376 source codes 158 00:07:23.376 --> 00:07:25.426 It is a system used to 159 00:07:25.426 --> 00:07:27.126 check all the history 160 00:07:27.126 --> 00:07:29.626 of the development process stacked from 161 00:07:29.626 --> 00:07:31.526 when the development started 162 00:07:31.526 --> 00:07:34.076 and when going back or forth to a certain stage 163 00:07:34.076 --> 00:07:36.926 or editing or recovering something 164 00:07:36.926 --> 00:07:41.427 and only with this system in a game engine 165 00:07:41.427 --> 00:07:44.027 a project can be shared 166 00:07:44.027 --> 00:07:46.877 or update, maintain, 167 00:07:46.877 --> 00:07:48.827 or repair the project 168 00:07:48.827 --> 00:07:52.327 Also, when LED expands in volume 169 00:07:52.327 --> 00:07:54.877 sending data to each rendering machine 170 00:07:54.877 --> 00:07:57.777 or media server also becomes a burden 171 00:07:57.777 --> 00:08:00.577 If a version control system is in place 172 00:08:00.577 --> 00:08:02.927 and each rendering machine or media server is 173 00:08:02.927 --> 00:08:06.040 connected to this version control system 174 00:08:06.327 --> 00:08:08.727 with the switch board you see, 175 00:08:08.727 --> 00:08:10.427 or a similar tool 176 00:08:10.427 --> 00:08:12.577 just a click on a button 177 00:08:12.577 --> 00:08:14.377 can send all data 178 00:08:14.377 --> 00:08:16.427 or apply an update 179 00:08:16.427 --> 00:08:18.527 very conveniently 180 00:08:18.527 --> 00:08:23.077 So if someone asks to choose the most important elements of ICVFX 181 00:08:23.077 --> 00:08:24.277 whether a version control system is 182 00:08:24.277 --> 00:08:26.777 there or not 183 00:08:26.777 --> 00:08:30.477 greatly influences the effeciency 184 00:08:30.477 --> 00:08:33.077 of the preparation stage of projects 185 00:08:33.077 --> 00:08:35.427 and help save resources 186 00:08:35.427 --> 00:08:37.877 Next element is level snapshot 187 00:08:37.877 --> 00:08:39.677 Level snapshot is 188 00:08:39.677 --> 00:08:42.877 an advantage that the former ICVFX 189 00:08:42.877 --> 00:08:44.327 did not have 190 00:08:44.327 --> 00:08:46.777 It is a function that emerged with the new version of 191 00:08:46.777 --> 00:08:48.227 unreal engine, game engine 192 00:08:48.227 --> 00:08:51.177 Level snapshot is a function 193 00:08:51.177 --> 00:08:54.327 that can save all data that is being filmed 194 00:08:54.327 --> 00:08:56.277 at once 195 00:08:56.277 --> 00:08:57.827 What this means is 196 00:08:58.427 --> 00:08:59.727 everything like the movements of objects, 197 00:08:59.727 --> 00:09:02.077 camera movement, lighting effect 198 00:09:02.077 --> 00:09:04.427 in the game engine 199 00:09:04.427 --> 00:09:06.377 can be saved with snapshot 200 00:09:06.377 --> 00:09:09.777 at each moment 201 00:09:09.777 --> 00:09:11.527 and you can also check or go back to it 202 00:09:11.527 --> 00:09:16.027 This way, editing the data after production 203 00:09:16.027 --> 00:09:18.977 or moving to other takes 204 00:09:18.977 --> 00:09:20.277 in the middle of production 205 00:09:20.277 --> 00:09:22.727 is possible 206 00:09:22.727 --> 00:09:26.277 Before, this would have needed extensive note taking 207 00:09:26.277 --> 00:09:28.227 or making a software 208 00:09:28.227 --> 00:09:29.927 to move back and forth 209 00:09:29.927 --> 00:09:32.027 but now, with this snapshot function 210 00:09:32.027 --> 00:09:35.477 just a click an save a certain environment 211 00:09:35.477 --> 00:09:36.927 and going back 212 00:09:36.927 --> 00:09:40.127 is also available with just a click of a button 213 00:09:40.127 --> 00:09:42.127 Next is switch board 214 00:09:42.127 --> 00:09:45.127 Switch board is a software 215 00:09:45.127 --> 00:09:47.177 used to manage various devices 216 00:09:47.177 --> 00:09:49.077 in a network 217 00:09:49.077 --> 00:09:50.827 of a game engine 218 00:09:50.827 --> 00:09:53.177 The reason why you should know about this software is 219 00:09:53.177 --> 00:09:55.677 it not only simply runs the game engine 220 00:09:55.677 --> 00:09:57.477 but also with this software 221 00:09:57.477 --> 00:10:02.027 game engine, motion tracking device, camera tracking device, 222 00:10:02.027 --> 00:10:03.727 all these devices are 223 00:10:03.727 --> 00:10:05.877 available to centralized control 224 00:10:05.877 --> 00:10:08.377 and the multi-user editing mentioned before 225 00:10:08.377 --> 00:10:11.277 or version control system can use this as well 226 00:10:11.277 --> 00:10:14.077 So no matter how many devices there are 227 00:10:14.077 --> 00:10:17.627 Even if the LED volume is huge with 10, 20 rendering machines 228 00:10:17.627 --> 00:10:21.177 or if the media server or camera tracking system 229 00:10:21.177 --> 00:10:23.577 has various sets 230 00:10:23.577 --> 00:10:26.327 If this switch board system, that is, 231 00:10:26.327 --> 00:10:29.527 a system that allows centralized control 232 00:10:29.527 --> 00:10:32.377 launching a project 233 00:10:32.377 --> 00:10:34.377 or updating all data 234 00:10:34.377 --> 00:10:38.177 or editing a certain area is possible 235 00:10:38.177 --> 00:10:42.577 So when it comes to building an ICVFX, especially a 3E ICVFX, 236 00:10:42.577 --> 00:10:45.027 knowing this switch board and its function 237 00:10:45.027 --> 00:10:47.377 and using it will be great 238 00:10:47.377 --> 00:10:50.127 Now I'll talk about UE5 239 00:10:50.127 --> 00:10:51.527 When in-camera VFX was 240 00:10:51.527 --> 00:10:55.227 first made through Mandalorian 241 00:10:55.227 --> 00:10:57.927 it was made based on Unreal 4 242 00:10:57.927 --> 00:11:01.577 With Unreal 5 releasing on 2022 243 00:11:01.577 --> 00:11:06.227 ICVFX's structure also changed a lot 244 00:11:06.227 --> 00:11:10.077 and it has developed to the level where it can be used for actual production 245 00:11:10.077 --> 00:11:12.327 Especially the function nanite 246 00:11:12.327 --> 00:11:14.727 and lumen 247 00:11:14.727 --> 00:11:17.877 allowed the original game engine-ish 248 00:11:17.877 --> 00:11:21.227 or sort of an animation-like quality 249 00:11:21.227 --> 00:11:23.827 to be developed to achieve 250 00:11:23.827 --> 00:11:26.327 a more cinematic look 251 00:11:27.127 --> 00:11:30.477 Also, new things being developed and shared on new game engines 252 00:11:30.477 --> 00:11:33.877 are discovering and improving 253 00:11:33.877 --> 00:11:35.327 areas that were impossible 254 00:11:35.327 --> 00:11:37.977 or inconvenient in ICVFX 255 00:11:37.977 --> 00:11:40.027 Having interest in these 256 00:11:40.027 --> 00:11:43.977 and testing, knowing these itself 257 00:11:43.977 --> 00:11:47.877 is an extremely important element 258 00:11:47.877 --> 00:11:50.077 in developing and using in-camera VFX technology 259 00:11:50.077 --> 00:11:53.877 Another important element is scheduling 260 00:11:53.877 --> 00:11:56.127 What you're seeing now is a 261 00:11:56.127 --> 00:12:01.177 scheduling for a Hollywood show 262 00:12:01.177 --> 00:12:03.727 that uses an in-camera VFX 263 00:12:03.727 --> 00:12:07.627 3 to 4 month of preparations is needed 264 00:12:07.627 --> 00:12:11.877 and building the actual set and pixel 265 00:12:11.877 --> 00:12:15.077 takes another 3 months 266 00:12:15.077 --> 00:12:18.977 With the set and 3D environment made like this 267 00:12:18.977 --> 00:12:20.427 it takes another 268 00:12:20.427 --> 00:12:22.477 month to customize them 269 00:12:22.477 --> 00:12:24.627 With this environment 270 00:12:24.627 --> 00:12:27.127 the process called prelight 271 00:12:27.127 --> 00:12:31.677 where all staffs and directors gather 272 00:12:31.677 --> 00:12:34.127 to film and rehearse 273 00:12:34.127 --> 00:12:36.877 takes at least 3 days 274 00:12:36.877 --> 00:12:39.877 If this scheduling isn't kept 275 00:12:39.877 --> 00:12:42.727 a good quality cannot be achieved 276 00:12:42.727 --> 00:12:47.528 In-camera VFX is taking the steps that take place 277 00:12:47.528 --> 00:12:50.728 in the post-production stage forward 278 00:12:50.728 --> 00:12:53.328 so it is obvious that the first stage gets extended in time 279 00:12:53.328 --> 00:12:56.078 But, with this longer time 280 00:12:56.078 --> 00:12:58.228 more shots and more scenes 281 00:12:58.228 --> 00:13:00.228 can be taken quicker 282 00:13:00.228 --> 00:13:02.378 so the cost that happens in the pre-stage 283 00:13:02.378 --> 00:13:06.978 can surely be of the similar level 284 00:13:06.978 --> 00:13:09.378 of what is saved in the post-stage 285 00:13:09.378 --> 00:13:11.778 When doing an ICVFX project 286 00:13:11.778 --> 00:13:13.528 knowing how the scheduling is 287 00:13:13.528 --> 00:13:15.678 and how I can prepare for it 288 00:13:15.678 --> 00:13:17.978 to make the best quality 289 00:13:17.978 --> 00:13:20.428 within the given schedule 290 00:13:20.428 --> 00:13:22.978 is also one thing you must know 291 00:13:22.978 --> 00:13:26.978 Examples of virtual production 292 00:13:26.978 --> 00:13:30.278 I will show you how the elements 293 00:13:30.278 --> 00:13:32.778 we have just talked about in the example of 294 00:13:32.778 --> 00:13:36.328 'Black Knight' project that we did and 295 00:13:36.328 --> 00:13:40.278 how we used them, how we prepared them, 296 00:13:40.278 --> 00:13:43.078 and what could be improved 297 00:13:43.878 --> 00:13:48.378 Black Knight is a Netflix project released in 2023 298 00:13:48.378 --> 00:13:50.228 I don't think it did too well 299 00:13:50.228 --> 00:13:52.328 so I'm not sure if a lot of you would have seen it 300 00:13:52.328 --> 00:13:53.778 but taking a look into the synopsis 301 00:13:53.778 --> 00:13:59.428 it is an action drama taking place in a desertified city in the near future 302 00:13:59.428 --> 00:14:02.278 So the apocalyptic world 303 00:14:02.278 --> 00:14:03.778 had to be generated 304 00:14:03.778 --> 00:14:07.578 and there were a lot of car action scenes 305 00:14:07.578 --> 00:14:12.878 which made us think that ICVFX could be put into use 306 00:14:12.878 --> 00:14:17.928 so we used the in-camera VFX technology in the production 307 00:14:17.928 --> 00:14:21.028 As you can see, Black Knight had 308 00:14:21.028 --> 00:14:24.028 this scheduling 309 00:14:24.028 --> 00:14:27.128 Scenario was analyzed in the pre-production stage 310 00:14:27.128 --> 00:14:30.078 and with that data 311 00:14:30.078 --> 00:14:32.628 we came up with concepts or key images 312 00:14:32.628 --> 00:14:35.378 to use in the in-camera VFX 313 00:14:35.378 --> 00:14:39.278 And with this key images as the basis 314 00:14:39.278 --> 00:14:44.328 we worked on 3D environment and 3D driving comp data 315 00:14:44.328 --> 00:14:46.678 Then after the rehearsal, 316 00:14:46.678 --> 00:14:49.728 we did the actual filming 317 00:14:49.728 --> 00:14:53.228 It did take the 318 00:14:53.228 --> 00:14:56.878 usual scheduling steps, but 319 00:14:56.878 --> 00:15:00.028 the time span was a bit shorter 320 00:15:00.028 --> 00:15:01.578 than what is recommended 321 00:15:01.578 --> 00:15:07.128 This as also our first project where 322 00:15:07.128 --> 00:15:10.178 we broke the roles into smaller pieces and worked in teams 323 00:15:10.178 --> 00:15:11.878 while doing a virtual production project 324 00:15:11.878 --> 00:15:15.278 As you can see, we divided the roles of 325 00:15:15.278 --> 00:15:18.378 virtual production supervisor and general VFX supervisor 326 00:15:18.378 --> 00:15:21.228 and under the virtual production supervisor 327 00:15:21.228 --> 00:15:23.478 we had a developer that can worker with game engine 328 00:15:23.478 --> 00:15:27.428 and an engineer who can do virtual production 329 00:15:27.428 --> 00:15:30.128 and a team that can research and develop 330 00:15:30.128 --> 00:15:32.728 the technology of virtual production itself 331 00:15:32.728 --> 00:15:36.828 These three teams were in the production 332 00:15:36.828 --> 00:15:40.078 Each teams made environments 333 00:15:40.078 --> 00:15:42.678 or also analyzed what is important 334 00:15:42.678 --> 00:15:46.128 when filming with those environments 335 00:15:46.128 --> 00:15:47.828 and also in the filming 336 00:15:47.828 --> 00:15:50.528 they also looked for methods to 337 00:15:50.528 --> 00:15:53.628 communicate with key staffs 338 00:15:53.628 --> 00:15:55.478 I will tell you about each of the steps 339 00:15:55.478 --> 00:15:57.528 in better detail 340 00:15:57.528 --> 00:16:01.528 The background of Black Knight that we chose 341 00:16:01.528 --> 00:16:04.278 through synopsis analysis was 6 in total 342 00:16:04.278 --> 00:16:08.078 As you can see, floating artificial structures in the nature, 343 00:16:08.078 --> 00:16:11.828 and that structure changing 344 00:16:11.828 --> 00:16:14.078 which shows LED walls 345 00:16:14.078 --> 00:16:15.978 and a huge space called 346 00:16:15.978 --> 00:16:18.128 an air road 347 00:16:18.128 --> 00:16:21.128 and another wall 348 00:16:21.128 --> 00:16:23.328 The black wall 349 00:16:23.328 --> 00:16:26.778 And a lab where experiment subjects lie 350 00:16:26.778 --> 00:16:30.978 We concluded that these 6 backgrounds and 351 00:16:30.978 --> 00:16:33.878 the scenario could make use of LED walls 352 00:16:33.878 --> 00:16:36.978 With these 6 key images 353 00:16:36.978 --> 00:16:38.878 we started working 354 00:16:39.128 --> 00:16:42.278 What we first did was with these key images as the basis 355 00:16:42.278 --> 00:16:45.428 using the storyboard and pre-viz data 356 00:16:45.428 --> 00:16:47.728 we determined which angle 357 00:16:47.728 --> 00:16:49.778 we would film it 358 00:16:49.778 --> 00:16:53.078 As you can see, with the images 359 00:16:53.078 --> 00:16:55.728 given in the storyboard and the pre-viz 360 00:16:55.728 --> 00:16:57.528 we analyzed how to put up the LED walls 361 00:16:57.528 --> 00:16:59.628 and what angle would work out 362 00:16:59.628 --> 00:17:02.028 when we placed the camera how and where 363 00:17:02.028 --> 00:17:04.628 Then we made a temporary plan 364 00:17:04.628 --> 00:17:08.528 for the optimal LED wall 365 00:17:08.528 --> 00:17:12.278 Through this, we planned the 366 00:17:12.278 --> 00:17:16.428 optimal designs of driving comp, 367 00:17:16.428 --> 00:17:19.378 environment shots, and LED walls that need large scale buildings 368 00:17:19.378 --> 00:17:23.228 The final design was one that 369 00:17:23.228 --> 00:17:26.078 goes about 180° in a circle 370 00:17:26.078 --> 00:17:28.228 and a ceiling LED and reflection 371 00:17:28.228 --> 00:17:31.689 or a moving LED wall that could 372 00:17:31.689 --> 00:17:33.328 cover parts that need to be covered up 373 00:17:33.328 --> 00:17:36.528 The most important part about this LED wall is 374 00:17:36.528 --> 00:17:40.028 of course scene analysis 375 00:17:40.028 --> 00:17:42.328 The most important thing is how must the LED wall be built 376 00:17:42.328 --> 00:17:45.078 to be used as much as possible 377 00:17:45.078 --> 00:17:47.128 But another thing one mus not forget 378 00:17:47.128 --> 00:17:49.278 when working on a project is 379 00:17:49.278 --> 00:17:51.078 the cost 380 00:17:51.078 --> 00:17:53.529 As the number of LED wall increases 381 00:17:53.529 --> 00:17:56.029 and the volume enlarges 382 00:17:56.029 --> 00:17:58.829 the cost needed for that 383 00:17:58.829 --> 00:18:00.829 also multiplies 384 00:18:00.829 --> 00:18:04.729 so it took a lot of time to 385 00:18:04.729 --> 00:18:06.879 find the optimal LED wall design 386 00:18:06.879 --> 00:18:09.229 So there were some shots 387 00:18:09.229 --> 00:18:10.979 that we had to give up on 388 00:18:10.979 --> 00:18:13.729 You are seeing the built LED wall 389 00:18:13.729 --> 00:18:15.729 As you can see, as we had planned, 390 00:18:15.729 --> 00:18:17.079 there were not much challenges 391 00:18:17.079 --> 00:18:18.779 until building the LED walls 392 00:18:18.779 --> 00:18:22.179 The LED volume was built following the LED design 393 00:18:22.179 --> 00:18:25.829 that we had made through storyboard and scenario analysis 394 00:18:25.829 --> 00:18:29.679 From that point, we tested the LED volume and 395 00:18:29.679 --> 00:18:32.629 prepared for the asset, that is, rehearsal 396 00:18:33.329 --> 00:18:34.929 Another thing we thought about 397 00:18:34.929 --> 00:18:37.879 before building the LED volume was 398 00:18:37.879 --> 00:18:41.229 the connection with the set 399 00:18:41.529 --> 00:18:44.379 The LED volume isn't built outside 400 00:18:44.379 --> 00:18:47.029 but within the set 401 00:18:47.029 --> 00:18:48.879 and therefore, depending on 402 00:18:48.879 --> 00:18:51.779 how we build it in the set 403 00:18:51.779 --> 00:18:55.229 the movement of the staffs, actors 404 00:18:55.229 --> 00:18:57.979 and cars would differ 405 00:18:57.979 --> 00:18:59.779 so taking these into consideration 406 00:18:59.779 --> 00:19:01.429 we simulated whether to put it 407 00:19:01.429 --> 00:19:03.729 diagonally or facing the front 408 00:19:03.729 --> 00:19:06.279 In the end, we built an 409 00:19:06.279 --> 00:19:08.029 LED wall facing the front 410 00:19:08.429 --> 00:19:10.679 The second thing we decided on 411 00:19:10.679 --> 00:19:12.679 was the image processor 412 00:19:12.679 --> 00:19:15.229 to be used in the LED wall 413 00:19:15.229 --> 00:19:18.179 Image processor is a device 414 00:19:18.179 --> 00:19:23.429 used to play videos or 3D data 415 00:19:23.429 --> 00:19:25.379 on LED walls 416 00:19:25.379 --> 00:19:29.329 LED wall simply is a lighting device 417 00:19:29.329 --> 00:19:32.879 so what color of light each device must shine 418 00:19:32.879 --> 00:19:34.329 is ordered 419 00:19:34.329 --> 00:19:36.679 by an image processor 420 00:19:36.679 --> 00:19:39.079 An image processor takes HDMI or 421 00:19:39.079 --> 00:19:43.229 SDI video signal as inputs 422 00:19:43.229 --> 00:19:46.329 and analyses this video signal and 423 00:19:46.329 --> 00:19:49.929 sends it off to each LED wall through a network 424 00:19:49.929 --> 00:19:51.929 to tell what color to show 425 00:19:51.929 --> 00:19:53.429 Depending on the LED processor, 426 00:19:53.429 --> 00:19:55.779 the provided functions differ 427 00:19:55.779 --> 00:19:57.229 Certain LED processor 428 00:19:57.229 --> 00:19:59.979 only screens videos 429 00:20:00.529 --> 00:20:03.979 What we wanted was that it should screen videos 430 00:20:03.979 --> 00:20:06.529 but also needed the function of sync 431 00:20:06.529 --> 00:20:09.029 and the colors expressed 432 00:20:09.029 --> 00:20:11.179 must be equivalent to 433 00:20:11.179 --> 00:20:13.879 that of an HDR filming 434 00:20:13.879 --> 00:20:16.879 With all this into consideration, we chose our device, 435 00:20:16.879 --> 00:20:19.579 and started preparing the devices 436 00:20:19.579 --> 00:20:21.229 What was next was 437 00:20:21.229 --> 00:20:22.829 camera tracking 438 00:20:22.829 --> 00:20:25.229 It was also a very important matter 439 00:20:25.229 --> 00:20:27.229 to plan how to do camera tracking 440 00:20:27.229 --> 00:20:29.679 when it came to doing ICVFX 441 00:20:29.679 --> 00:20:31.379 in front of 3D walls 442 00:20:31.379 --> 00:20:32.679 What we would film 443 00:20:32.679 --> 00:20:34.179 could be environments 444 00:20:34.179 --> 00:20:36.779 and could also be driving shots 445 00:20:36.779 --> 00:20:39.129 We might have needed fixed environments 446 00:20:39.129 --> 00:20:41.679 or a wider shot 447 00:20:41.679 --> 00:20:43.329 All this into consideration 448 00:20:43.329 --> 00:20:47.729 and also the placement of the LED wall 449 00:20:47.729 --> 00:20:51.779 optical camera tracking seemed 450 00:20:52.229 --> 00:20:54.229 better for our circumstances 451 00:20:54.229 --> 00:20:56.869 compared to gyro or tracking a marker 452 00:20:56.869 --> 00:20:59.829 so we built optical camera tracking devices 453 00:20:59.829 --> 00:21:02.729 and software system 454 00:21:03.079 --> 00:21:04.879 We did also put up an 455 00:21:04.879 --> 00:21:08.029 optical camera 456 00:21:08.029 --> 00:21:10.279 for the LED wall as well 457 00:21:10.279 --> 00:21:13.299 and we did several tests on various systems 458 00:21:13.299 --> 00:21:16.059 to use lens data 459 00:21:16.779 --> 00:21:18.129 We tried using lens data of 460 00:21:18.129 --> 00:21:19.629 Ncam which was 461 00:21:19.629 --> 00:21:22.129 one of the simulation cameras 462 00:21:22.129 --> 00:21:27.929 and we also tested using Arri's track data 463 00:21:27.929 --> 00:21:30.829 to simulate lens data 464 00:21:30.829 --> 00:21:32.879 Then we also looked for ways to 465 00:21:32.879 --> 00:21:35.879 establish sync which I stressed 466 00:21:35.879 --> 00:21:37.679 that it is important earlier 467 00:21:37.679 --> 00:21:43.079 Sync means that all devices must 468 00:21:43.079 --> 00:21:45.779 draw the same frame at the same time 469 00:21:45.779 --> 00:21:48.479 Not only the software that does the rendering 470 00:21:48.479 --> 00:21:53.029 but also the camera that films must film the same frame 471 00:21:53.029 --> 00:21:54.779 for there to be no scanning line on screen 472 00:21:54.779 --> 00:21:57.329 or to not have empty areas on the screen 473 00:21:57.329 --> 00:21:59.479 and have a perfect plate 474 00:21:59.479 --> 00:22:03.329 But the problem is that the device that forms sync 475 00:22:03.329 --> 00:22:06.429 is usually not wireless 476 00:22:07.329 --> 00:22:09.979 There are a lot of movements in the camera system 477 00:22:09.979 --> 00:22:14.429 and to have another wired device to be added in there 478 00:22:14.429 --> 00:22:17.779 there are a lot of constraints for the filming staffs 479 00:22:17.779 --> 00:22:20.879 and that in turns reduces the efficiency 480 00:22:20.879 --> 00:22:24.129 so we prepared filming by 481 00:22:24.129 --> 00:22:26.279 trying our best to 482 00:22:26.279 --> 00:22:28.179 make the sync system wireless 483 00:22:28.179 --> 00:22:29.829 and putting focus on 484 00:22:29.829 --> 00:22:32.329 still connecting it to cameras 485 00:22:32.739 --> 00:22:36.539 Ultimately, the rendering machine, 486 00:22:36.539 --> 00:22:38.789 media wall, and camera tracking devices were 487 00:22:38.789 --> 00:22:40.139 connected with wires 488 00:22:40.139 --> 00:22:43.679 but the camera doing the actual filming 489 00:22:43.679 --> 00:22:46.579 was made wireless and the sync system was built 490 00:22:46.579 --> 00:22:48.129 Lastly, with all these 491 00:22:48.129 --> 00:22:50.279 devices ready, the y have 492 00:22:50.279 --> 00:22:52.529 to be connected to 493 00:22:52.529 --> 00:22:55.079 software and devices 494 00:22:55.079 --> 00:22:57.079 in the game engine 495 00:22:57.079 --> 00:23:00.618 What you're seeing now is a screen called Ndisplay config 496 00:23:00.618 --> 00:23:03.580 and what this shows is an environment 497 00:23:03.580 --> 00:23:06.730 that can determined and set 498 00:23:06.730 --> 00:23:09.780 how the LED wall media server 499 00:23:09.780 --> 00:23:11.980 and image processor are used 500 00:23:11.980 --> 00:23:15.230 to show what layout, 501 00:23:15.230 --> 00:23:18.480 and what rendering machine to use 502 00:23:18.480 --> 00:23:21.930 We also found the optimal setting 503 00:23:21.930 --> 00:23:23.630 by testing various settings on the 504 00:23:23.630 --> 00:23:26.480 LED wall, image processor, 505 00:23:26.480 --> 00:23:29.529 and each rendering machine that we had built 506 00:23:30.230 --> 00:23:33.730 If you have used a camera in front of an LED wall 507 00:23:33.730 --> 00:23:35.580 you might know about the 508 00:23:35.580 --> 00:23:37.130 characteristics of LED walls 509 00:23:37.130 --> 00:23:40.780 LED wall often shows completely different colors 510 00:23:40.780 --> 00:23:43.480 when seen by human eyes 511 00:23:43.480 --> 00:23:46.330 and camera image sensors 512 00:23:46.330 --> 00:23:49.980 The reason is that human eyes 513 00:23:49.980 --> 00:23:51.380 and camera image sensors 514 00:23:51.380 --> 00:23:53.680 have different ways of taking light in 515 00:23:53.680 --> 00:23:55.780 so it happens inevitably 516 00:23:55.780 --> 00:23:57.280 To solve this 517 00:23:57.280 --> 00:24:01.080 the color must be edited based on how it shows 518 00:24:01.080 --> 00:24:04.080 on the camera image sensor 519 00:24:04.080 --> 00:24:07.280 What you see now is making a new color data 520 00:24:07.280 --> 00:24:10.380 based on the image that shows 521 00:24:10.380 --> 00:24:15.130 on the camera image sensor 522 00:24:15.130 --> 00:24:18.380 and this shows how that color data is 523 00:24:18.380 --> 00:24:20.280 set and applied on game engines 524 00:24:20.280 --> 00:24:22.430 So the picture on the right 525 00:24:22.430 --> 00:24:25.880 shows how the LED wall shows different colors on each sides 526 00:24:25.880 --> 00:24:28.280 One side has the color data applied 527 00:24:28.280 --> 00:24:31.780 and the other does not 528 00:24:31.780 --> 00:24:34.380 So when preparing ICVFX 529 00:24:34.380 --> 00:24:36.730 a lot of people fail to consider 530 00:24:36.730 --> 00:24:39.080 this part about colors 531 00:24:39.080 --> 00:24:42.030 but this part comes of different 532 00:24:42.030 --> 00:24:46.330 for the type of camera or lens 533 00:24:46.330 --> 00:24:49.130 so I recommend that you do 534 00:24:49.130 --> 00:24:52.080 a lot of preparation and testing beforehand 535 00:24:52.080 --> 00:24:54.630 to have a setting that can be applied 536 00:24:54.630 --> 00:24:57.030 Next is matching 537 00:24:57.030 --> 00:25:00.530 the virtual 3D space 538 00:25:00.530 --> 00:25:02.430 and the real 3D space 539 00:25:02.430 --> 00:25:04.080 What this means is 540 00:25:04.080 --> 00:25:08.380 what becomes the standard of the virtual world is 541 00:25:08.380 --> 00:25:11.680 the place and size of the LED wall 542 00:25:11.680 --> 00:25:14.280 And the location from the LED wall 543 00:25:14.280 --> 00:25:16.630 again becomes the standard to 544 00:25:16.630 --> 00:25:18.530 setting the camera 545 00:25:18.530 --> 00:25:21.830 Since it is impossible to 546 00:25:21.830 --> 00:25:23.430 scan the whole set with a lidar 547 00:25:23.430 --> 00:25:25.030 and put it in as 3D data to make the environment 548 00:25:25.030 --> 00:25:30.330 we take the LED wall as the standard point 549 00:25:30.330 --> 00:25:33.680 and from that LED wall, a 3D space 550 00:25:33.680 --> 00:25:35.030 is calculated 551 00:25:35.030 --> 00:25:37.030 You are seeing a 552 00:25:37.030 --> 00:25:40.130 method of using Aruco Makrer and camera system 553 00:25:40.130 --> 00:25:43.298 to transfer the camera location and LED wall 554 00:25:43.298 --> 00:25:46.580 into a 3D space 555 00:25:46.580 --> 00:25:49.630 Without a calibration process like this 556 00:25:49.630 --> 00:25:51.880 the location of the real camera 557 00:25:51.880 --> 00:25:54.680 and the real camera lens data might 558 00:25:54.680 --> 00:25:57.280 look completely different in the virtual space 559 00:25:57.280 --> 00:26:00.830 so there will be a lot of difficulties in the filming process 560 00:26:00.830 --> 00:26:04.730 Next thing we tested is lens focusing, that is, 561 00:26:04.730 --> 00:26:06.380 lens data 562 00:26:06.380 --> 00:26:10.130 If the lens' focus, iris diaphragm, shutter speed 563 00:26:10.130 --> 00:26:13.380 and such aren't simulated 564 00:26:13.380 --> 00:26:15.480 the image rendered in the virtual space 565 00:26:15.480 --> 00:26:17.380 will end up looking 566 00:26:17.380 --> 00:26:19.480 awkward and disassociated 567 00:26:19.480 --> 00:26:22.780 So simulation data must be made 568 00:26:22.780 --> 00:26:25.180 of all lenses used in production 569 00:26:25.180 --> 00:26:29.730 and each data must also have 570 00:26:29.730 --> 00:26:33.330 a way to generate that in the 3D space 571 00:26:33.330 --> 00:26:35.330 We tested varioius ways 572 00:26:35.330 --> 00:26:38.080 and found the optimal one 573 00:26:38.080 --> 00:26:41.430 and aimed to find a setting 574 00:26:41.430 --> 00:26:43.730 that had the least burden on the camera, 575 00:26:43.730 --> 00:26:45.049 especially for the camera director 576 00:26:45.780 --> 00:26:47.580 Once the preparation is almost done, 577 00:26:47.580 --> 00:26:51.030 a test is done with some key staffs 578 00:26:51.030 --> 00:26:53.930 This isn't a prelight 579 00:26:53.930 --> 00:26:56.830 but a test to see 580 00:26:56.830 --> 00:26:59.730 what functions work and 581 00:26:59.730 --> 00:27:01.780 to what extent it works 582 00:27:01.780 --> 00:27:04.080 It is a rehearsal for the rehearsal 583 00:27:04.080 --> 00:27:05.480 in a way 584 00:27:05.480 --> 00:27:07.930 Once the asset achieves a decent quality 585 00:27:07.930 --> 00:27:11.180 and the environment is ready 586 00:27:11.180 --> 00:27:14.380 and the forementioned sync, camera tracking and such are ready 587 00:27:14.380 --> 00:27:15.880 we gather with the key staffs 588 00:27:15.880 --> 00:27:18.780 and check to what extent it can be filmed 589 00:27:18.780 --> 00:27:21.130 and once again decided on 590 00:27:21.130 --> 00:27:23.980 the quality of assets or filming direction 591 00:27:24.330 --> 00:27:27.480 Once these functional tests are done 592 00:27:27.480 --> 00:27:29.080 now we get into 593 00:27:29.080 --> 00:27:32.330 the actual 3D environment developing 594 00:27:32.330 --> 00:27:35.780 Artists keep updating the environment 595 00:27:35.780 --> 00:27:39.230 and the updated data are 596 00:27:39.230 --> 00:27:41.480 received at site through a 597 00:27:41.480 --> 00:27:42.980 live version control system 598 00:27:42.980 --> 00:27:45.180 and continuously played 599 00:27:45.180 --> 00:27:48.230 in front of a camera and edited 600 00:27:48.230 --> 00:27:51.280 to achieve the final quality 601 00:27:51.280 --> 00:27:55.130 During that process, the data filmed 602 00:27:55.130 --> 00:27:56.830 in front of the LED wall 603 00:27:56.830 --> 00:28:01.368 are also worked on together with the filming team 604 00:28:02.130 --> 00:28:03.930 and since we are creating a large scale environment 605 00:28:03.930 --> 00:28:05.830 it is not done only within 606 00:28:05.830 --> 00:28:08.481 but also single asset or environment 607 00:28:08.481 --> 00:28:10.431 might be done with a co-working company 608 00:28:10.431 --> 00:28:13.781 In these instances as well, version management 609 00:28:13.781 --> 00:28:17.181 control system is used to send data back and forth and check them 610 00:28:17.181 --> 00:28:20.481 The environment made is previewed 611 00:28:20.481 --> 00:28:24.531 and continuously viewed in 3D environments 612 00:28:24.531 --> 00:28:27.031 and checked 613 00:28:27.031 --> 00:28:30.081 Then finally, through a process of prelight 614 00:28:30.081 --> 00:28:32.731 we do a rehearsal 615 00:28:32.731 --> 00:28:36.181 Prelight is a process of setting all the lightings 616 00:28:36.181 --> 00:28:38.531 that will be used in the actual filming 617 00:28:38.531 --> 00:28:42.631 and just using doubles for the actors 618 00:28:42.631 --> 00:28:45.131 As you can see, for Black Knight, 619 00:28:45.131 --> 00:28:47.331 for the first driving comp shot 620 00:28:47.331 --> 00:28:49.281 we put all lights on the ceiling 621 00:28:49.281 --> 00:28:53.631 and with all other lighting and camera team 622 00:28:53.631 --> 00:28:56.131 we did a test shoot 623 00:28:56.381 --> 00:28:59.431 In this rehearsal stage, we do a test shoot 624 00:28:59.431 --> 00:29:01.731 for everything in the storyboard 625 00:29:01.731 --> 00:29:03.881 We have extras instead of the actors 626 00:29:03.881 --> 00:29:07.981 and make a list of what shot is possible 627 00:29:07.981 --> 00:29:12.431 and what is not, and also what shot needs 628 00:29:12.431 --> 00:29:14.431 what modification 629 00:29:14.881 --> 00:29:16.681 And we take out the impossible shots 630 00:29:16.681 --> 00:29:18.581 or adjust the shot's angle 631 00:29:18.581 --> 00:29:20.881 or the lighting 632 00:29:20.881 --> 00:29:22.981 and if time allows, 633 00:29:22.981 --> 00:29:25.281 adjust asset 634 00:29:25.281 --> 00:29:27.381 during the rehearsal 635 00:29:27.381 --> 00:29:30.131 The video you're seeing is a video of the actual rehearsal 636 00:29:30.131 --> 00:29:32.081 and what was important here was 637 00:29:32.081 --> 00:29:33.331 as you can see on the right 638 00:29:33.331 --> 00:29:36.181 you can see the reflection on the window 639 00:29:36.181 --> 00:29:38.131 but because of the size of the LED wall 640 00:29:38.131 --> 00:29:40.031 the reflection stops at the top 641 00:29:40.031 --> 00:29:41.231 looking just black 642 00:29:41.231 --> 00:29:43.281 Fixing this part 643 00:29:43.281 --> 00:29:46.631 or removing this part 644 00:29:46.631 --> 00:29:48.431 by changing the camera angle 645 00:29:48.431 --> 00:29:50.631 These things are what's 646 00:29:50.631 --> 00:29:52.431 determined during the rehearsal 647 00:29:52.931 --> 00:29:54.831 Also in the rehearsal 648 00:29:54.831 --> 00:29:56.481 various angles are tested 649 00:29:56.481 --> 00:29:59.481 so side angles, frontal angles, 650 00:29:59.481 --> 00:30:01.858 and what problems frontal angle has 651 00:30:01.858 --> 00:30:05.081 and such were also tested 652 00:30:05.081 --> 00:30:08.181 Then lastly, we filmed 653 00:30:08.181 --> 00:30:13.031 The problem while filming Black Knight 654 00:30:13.031 --> 00:30:16.231 was as you can see the filming using LED walls 655 00:30:16.231 --> 00:30:17.931 was not done in a short period of time 656 00:30:17.931 --> 00:30:21.431 but with long breaks 657 00:30:21.431 --> 00:30:22.831 The reason why this becomes a problem is 658 00:30:22.831 --> 00:30:25.581 LED walls have the advantage of cutting costs 659 00:30:25.581 --> 00:30:27.731 and efficiency 660 00:30:27.731 --> 00:30:31.031 but since the environment was ready but the scenes had to be 661 00:30:31.031 --> 00:30:33.381 taken separately due to the schedule 662 00:30:33.381 --> 00:30:35.881 prelight period was prolonged 663 00:30:35.881 --> 00:30:38.931 and rehearsal periods also had to be broken up 664 00:30:38.931 --> 00:30:40.881 which became a problem 665 00:30:40.881 --> 00:30:43.481 It was also an advantage 666 00:30:43.481 --> 00:30:44.931 that we could focus on each environments 667 00:30:44.931 --> 00:30:47.931 individually which let us highten the quality 668 00:30:47.931 --> 00:30:52.481 but it nevertheless was a deterrence to 669 00:30:52.481 --> 00:30:55.081 ICVFX's efficiency 670 00:30:55.081 --> 00:30:59.181 The video you're watching is a function of virtual production 671 00:30:59.181 --> 00:31:02.181 It is a video where we tested how this space would look 672 00:31:02.181 --> 00:31:03.981 using a simulcam 673 00:31:03.981 --> 00:31:05.731 before the ICVFX 674 00:31:05.731 --> 00:31:07.931 the reason why I'm showing you this 675 00:31:07.931 --> 00:31:10.681 is because that space 676 00:31:10.681 --> 00:31:15.331 also used the same game engine as the one used when making 677 00:31:15.331 --> 00:31:17.681 the test video before prelight 678 00:31:17.681 --> 00:31:20.681 so the simulcam could be used 679 00:31:20.681 --> 00:31:23.931 in the site as well 680 00:31:23.931 --> 00:31:26.481 Then the actual filming took place 681 00:31:26.481 --> 00:31:29.081 As you can see, during the production 682 00:31:29.081 --> 00:31:31.031 the score we give 683 00:31:31.031 --> 00:31:32.831 are how many cuts were took 684 00:31:32.831 --> 00:31:34.631 and how many cuts were 685 00:31:34.631 --> 00:31:37.131 actually used in the final 686 00:31:37.681 --> 00:31:41.581 The ones on the backgrounds, 687 00:31:41.581 --> 00:31:43.181 the majority were shot 688 00:31:43.181 --> 00:31:45.931 but indoors objects or lighting 689 00:31:45.931 --> 00:31:48.381 needed a lot of post-editing 690 00:31:48.381 --> 00:31:50.481 which makes the scores seem low 691 00:31:50.481 --> 00:31:52.381 but we were able to do a 692 00:31:52.381 --> 00:31:53.881 quite successful shoot 693 00:31:53.881 --> 00:31:55.431 There were problems as well 694 00:31:55.431 --> 00:32:00.781 The LED wall that we made for reflections 695 00:32:00.781 --> 00:32:05.081 being not big enough 696 00:32:05.081 --> 00:32:07.681 was checked only after the car was in the set 697 00:32:07.681 --> 00:32:10.181 Even during the rehearsal, the big truck 698 00:32:10.181 --> 00:32:12.681 couldn't be in the set 699 00:32:12.681 --> 00:32:15.581 so it came in only the day right before the actual shooting 700 00:32:15.581 --> 00:32:18.731 We couldn't calculate 701 00:32:18.731 --> 00:32:20.481 the difference between the 702 00:32:20.481 --> 00:32:22.181 truck's side wall size 703 00:32:22.181 --> 00:32:25.631 and a normal car's side wall size 704 00:32:25.631 --> 00:32:27.031 so the side wall did 705 00:32:27.031 --> 00:32:29.631 have a problem of the reflection not being enough 706 00:32:29.631 --> 00:32:32.631 And another thing was that the side wall, 707 00:32:32.631 --> 00:32:37.081 which we thought would be easy to move around actually wasn't, 708 00:32:37.081 --> 00:32:40.581 but it also broke 709 00:32:40.581 --> 00:32:46.031 The second shoot 710 00:32:46.031 --> 00:32:48.381 was a natural environment shoot 711 00:32:48.381 --> 00:32:50.581 This one as well, some problems were 712 00:32:50.581 --> 00:32:53.931 most of them were wide angle or tight shots 713 00:32:53.931 --> 00:32:56.331 and we focused more on 714 00:32:56.331 --> 00:32:57.881 wide angles rather than on tight shots 715 00:32:57.881 --> 00:32:59.481 but the LED wall size 716 00:32:59.481 --> 00:33:04.531 was squeezed into our schedule and budget 717 00:33:04.531 --> 00:33:06.031 which made the LED wall not big enough 718 00:33:06.031 --> 00:33:08.031 So we had to 719 00:33:08.031 --> 00:33:10.681 edit it to look longer 720 00:33:10.681 --> 00:33:12.281 after shooting 721 00:33:12.281 --> 00:33:16.482 As you can see, comparing the prepared LED wall 722 00:33:16.482 --> 00:33:20.032 and the actual filmed image's 3D scan, 723 00:33:20.032 --> 00:33:22.032 the LED wall is smaller 724 00:33:22.032 --> 00:33:24.932 so that is something that we could have improved 725 00:33:25.482 --> 00:33:27.732 What was shot last 726 00:33:27.732 --> 00:33:29.632 was air road 727 00:33:29.632 --> 00:33:31.232 The biggest problem of air road was 728 00:33:31.232 --> 00:33:34.032 driving comp 729 00:33:34.032 --> 00:33:38.032 that took place in the company 730 00:33:38.032 --> 00:33:39.582 or the CEO room 731 00:33:39.582 --> 00:33:41.682 did not need floor extension 732 00:33:41.682 --> 00:33:44.932 But air road needed a scene 733 00:33:44.932 --> 00:33:47.332 where a person walked out of that huge place 734 00:33:47.332 --> 00:33:50.382 and we needed extended floor art settings 735 00:33:50.382 --> 00:33:54.282 But choosing the texture of the floor 736 00:33:54.282 --> 00:33:57.282 itself was done pretty late to the schedule 737 00:33:57.282 --> 00:33:59.932 and what we wanted was 738 00:33:59.932 --> 00:34:01.532 at least a week or two 739 00:34:01.532 --> 00:34:04.282 before the shooting 740 00:34:04.282 --> 00:34:06.482 so that we can have that texture 741 00:34:06.482 --> 00:34:08.632 on the 3D space 742 00:34:08.632 --> 00:34:10.532 but that couldn't happen 743 00:34:10.532 --> 00:34:13.932 So the actual LED space and connected floor 744 00:34:13.932 --> 00:34:17.832 did not look the most natural 745 00:34:17.832 --> 00:34:19.732 So it was a shoot which had some difficulties 746 00:34:19.732 --> 00:34:23.532 in making a natural looking environment 747 00:34:23.532 --> 00:34:25.682 To give you one tip 748 00:34:25.682 --> 00:34:27.932 how we did the shoot in a rush 749 00:34:27.932 --> 00:34:31.032 was that we used lidar scan to scan the floor 750 00:34:31.032 --> 00:34:35.682 and brought the scanned texture as much as possible to unreal engine 751 00:34:35.682 --> 00:34:37.782 and used the method of blending it 752 00:34:37.782 --> 00:34:39.682 to connect it 753 00:34:40.699 --> 00:34:42.782 Later on, doing ICVFX projects 754 00:34:42.782 --> 00:34:44.832 if you do floor connecting 755 00:34:44.832 --> 00:34:47.482 the biggest problem is having a source to 756 00:34:47.482 --> 00:34:50.282 blend with the floor like that is possible 757 00:34:50.282 --> 00:34:52.032 That isn't too hard 758 00:34:52.032 --> 00:34:56.432 But the thing is, if you film with a camera, there will be a problem 759 00:34:56.432 --> 00:34:58.032 What that is is 760 00:34:58.032 --> 00:35:00.732 if we only film with camera A 761 00:35:00.732 --> 00:35:03.582 using just one 25mm lens 762 00:35:03.582 --> 00:35:07.082 you can just blend it from 763 00:35:07.082 --> 00:35:08.532 that placement and that background 764 00:35:08.532 --> 00:35:10.432 but if you use many different lenses 765 00:35:10.432 --> 00:35:14.332 you have to change the blending for each lens 766 00:35:14.332 --> 00:35:17.282 But that will take a long time 767 00:35:17.282 --> 00:35:18.182 and doing that itself 768 00:35:18.182 --> 00:35:20.932 needs all the light 769 00:35:20.932 --> 00:35:23.232 so it can only be done during the prelight stage 770 00:35:23.232 --> 00:35:26.182 So for floor connecting project 771 00:35:26.182 --> 00:35:29.438 I recommend that you have a longer prelight stage 772 00:35:30.738 --> 00:35:34.838 Lastly, these are the percentage information 773 00:35:34.838 --> 00:35:38.482 on the total shot numbers of Black Knight 774 00:35:38.482 --> 00:35:40.782 and the successful ones 775 00:35:40.782 --> 00:35:43.182 Generally, it did shoot more shots 776 00:35:43.182 --> 00:35:45.282 compared to The Silent Sea 777 00:35:45.282 --> 00:35:48.182 but the schedule was stretch a few times in the middle 778 00:35:48.182 --> 00:35:50.982 so I wouldn't say that this is an example of a 100% success 779 00:35:50.982 --> 00:35:54.082 But what we felt was that in-camera VFX 780 00:35:54.082 --> 00:35:55.982 is a technology that can 781 00:35:55.982 --> 00:35:59.232 make a better quality content 782 00:35:59.232 --> 00:36:01.232 if there is enough time given for preparation 783 00:36:01.232 --> 00:36:05.182 and more communication 784 00:36:07.182 --> 00:36:11.432 I told you about ICVFX 785 00:36:11.432 --> 00:36:13.682 and through an example 786 00:36:13.682 --> 00:36:16.732 I told you how it goes 787 00:36:16.732 --> 00:36:18.182 Through this lecture 788 00:36:18.182 --> 00:36:21.582 I hope you can get an idea of 789 00:36:21.582 --> 00:36:24.932 how realistic content data is 790 00:36:24.932 --> 00:36:27.482 used in actual movie production sites 791 00:36:27.482 --> 00:36:28.659 Thank you 792 00:36:30.432 --> 00:36:31.632 Virtual production project example 793 00:36:31.632 --> 00:36:33.582 Production process Scene analysis, connection with the set, camera tracking 794 00:36:33.582 --> 00:36:35.482 Building sync, connection with software and devices Color editing, matching virtual 3D space and real 3D space 795 00:36:35.482 --> 00:36:37.432 Lens focusing, 3D environment production, rehearsal and shooting 796 00:36:37.432 --> 00:36:38.582 Expressing Particles on colliding locations 797 00:36:38.582 --> 00:36:40.032 A method of giving a Particle effect when Actor collides Search Destroy Actor after dragging Other Actor with mouse 798 00:36:40.032 --> 00:36:41.532 Particle refers to the effect which happens when collision happens Content Browser, Content, Starter Content, Particles 799 00:36:41.532 --> 00:36:42.982 Select Spawn Emitter at Location node and choose where to show Location effect 800 00:36:42.982 --> 00:36:44.432 Be sure to separate what to proceed first when producing node