WEBVTT 1 00:00:02.346 --> 00:00:03.165 Realistic 2 00:00:04.880 --> 00:00:08.880 Realistic Advanced Cinematic Videos for ICVFX 3 00:00:08.881 --> 00:00:11.654 GCC Academy 4 00:00:28.180 --> 00:00:29.500 Hello 5 00:00:29.501 --> 00:00:33.889 I am Kim Saet-byeol, and I am in charge of the realistic media content lecture 6 00:00:34.540 --> 00:00:42.779 This lecture will cover icvfx in-camera visual effects 7 00:00:42.779 --> 00:00:47.713 combining cinematic video production with cutting-edge technology 8 00:00:47.713 --> 00:00:51.595 Cinematic Videos and ICVFX 9 00:00:51.609 --> 00:00:56.779 ICVFX technology allows you to complete the final video 10 00:00:56.779 --> 00:01:02.061 by applying visual effects in real-time on the shooting site 11 00:01:02.061 --> 00:01:06.907 unlike the existing post-production method 12 00:01:06.909 --> 00:01:10.976 This technology is used in various visual media 13 00:01:10.977 --> 00:01:13.667 such as movies, advertisements, and media art 14 00:01:13.672 --> 00:01:17.068 and opens up new possibilities for creators 15 00:01:17.860 --> 00:01:23.339 Cinematic video production techniques, key elements of ICVFX 16 00:01:23.339 --> 00:01:27.138 a solution supporting various screen ratios 17 00:01:27.138 --> 00:01:31.459 Let's introduce cinematic video transmission and rendering 18 00:01:31.459 --> 00:01:38.879 and see how to achieve creative and immersive results 19 00:01:39.300 --> 00:01:42.119 First, cinematic video is 20 00:01:42.119 --> 00:01:45.990 a technique that emphasizes the visual senses, like a movie 21 00:01:45.990 --> 00:01:49.915 and highlights dramatic elements 22 00:01:49.917 --> 00:01:54.562 in scene composition and visual style 23 00:01:54.710 --> 00:01:57.238 Cinematic video 24 00:01:57.239 --> 00:02:01.982 uses various visual techniques to immerse the audience 25 00:02:01.983 --> 00:02:06.034 and induce emotional responses 26 00:02:06.300 --> 00:02:10.660 First, let's look at the elements of cinematic images 27 00:02:10.660 --> 00:02:13.419 The first is lighting 28 00:02:13.419 --> 00:02:17.951 Lighting is a very important element in cinematic images 29 00:02:17.951 --> 00:02:24.660 and it determines emotions and moods through the direction, intensity, and color tones of light 30 00:02:24.660 --> 00:02:29.903 For example, soft light gives a warm and intimate feeling 31 00:02:29.903 --> 00:02:35.922 while sharp and dark lighting adds tension and mystery 32 00:02:36.100 --> 00:02:41.291 In media, LED lights or projections change 33 00:02:41.291 --> 00:02:47.113 specific colors or moods in real-time 34 00:02:47.113 --> 00:02:52.678 In cinematic images, a single color tone or a combination of specific colors 35 00:02:52.678 --> 00:02:57.622 can set the overall mood of the work 36 00:02:58.201 --> 00:03:01.380 The second is frame and composition 37 00:03:01.380 --> 00:03:07.228 The context and emotions of the story can be conveyed 38 00:03:07.228 --> 00:03:11.498 through the position of characters or objects, the angle of the camera, and the composition 39 00:03:11.498 --> 00:03:18.179 For example, there are examples of emphasizing the environment in which the main character is located 40 00:03:18.179 --> 00:03:21.298 by placing it in the center of the screen 41 00:03:21.303 --> 00:03:27.377 and providing a wide background or enhancing the character's sense of authority through a low angle 42 00:03:27.740 --> 00:03:31.768 By adjusting the depth of field 43 00:03:31.769 --> 00:03:38.059 you can create different scenes where the focus is on, and the blurry parts are different 44 00:03:38.059 --> 00:03:42.639 It is used to focus the gaze on a specific object or person 45 00:03:42.639 --> 00:03:47.041 or to differentiate the background and the subject 46 00:03:47.380 --> 00:03:51.139 The third is camera movement and angle 47 00:03:51.139 --> 00:03:53.628 Various camera movement methods 48 00:03:53.629 --> 00:03:59.772 such as pan, tilt, zoom, and tracking 49 00:03:59.772 --> 00:04:02.830 can add liveliness to the scene 50 00:04:03.300 --> 00:04:07.145 In a scene where a character is moving 51 00:04:07.146 --> 00:04:10.802 a tracking shot that moves with the character can increase immersion 52 00:04:11.321 --> 00:04:16.487 and a slow zoom-in shot can convey tension 53 00:04:16.940 --> 00:04:21.760 High Angle, Low Angle, and Overhead Shot 54 00:04:21.760 --> 00:04:26.299 can visually convey the scene's context 55 00:04:26.299 --> 00:04:27.851 Overhead Shot 56 00:04:27.852 --> 00:04:30.817 which means a shot looking down from above 57 00:04:31.179 --> 00:04:34.261 In the case of overhead shots like this 58 00:04:34.793 --> 00:04:38.918 a low-angle shot looking up from below 59 00:04:38.919 --> 00:04:42.949 effectively expresses a sense of authority and grandeur 60 00:04:44.659 --> 00:04:50.420 The fourth sound and music cannot be left out in cinematic images 61 00:04:50.420 --> 00:04:57.380 To add a cinematic feel, music that matches the emotion and atmosphere should be used 62 00:04:57.380 --> 00:05:01.215 For example, lyrical music would be effective for emotional scenes 63 00:05:01.670 --> 00:05:05.592 and urgent music would be effective for thriller scenes 64 00:05:07.730 --> 00:05:12.619 Sound effects enhance the realism of cinematic images 65 00:05:12.619 --> 00:05:18.248 For example, environmental noises such as wind and footsteps 66 00:05:18.624 --> 00:05:21.889 commonly referred to as SFX 67 00:05:22.500 --> 00:05:27.579 can draw the audience into the scene 68 00:05:27.579 --> 00:05:31.667 and enhance immersion by allowing them 69 00:05:31.668 --> 00:05:35.067 to experience visuals and sounds together 70 00:05:35.779 --> 00:05:39.420 Fifth is editing and rhythm 71 00:05:39.420 --> 00:05:42.332 Fast cut editing can induce urgency 72 00:05:43.038 --> 00:05:48.176 while slow editing can induce calmness and empathy 73 00:05:48.779 --> 00:05:53.220 Transition effects, fade ins, and fade outs 74 00:05:53.220 --> 00:05:58.976 can help scenes connect naturally to each other, increasing immersion 75 00:06:00.172 --> 00:06:07.339 The tempo should be adjusted to fit the story through the entire image's flow and the scenes' length 76 00:06:07.339 --> 00:06:11.779 Rhythmic editing can maintain focus and tension 77 00:06:11.779 --> 00:06:16.061 while slow development can leave a lingering impression of the work 78 00:06:17.140 --> 00:06:20.059 Next is storytelling 79 00:06:20.059 --> 00:06:23.579 It is the most essential element of a video 80 00:06:23.579 --> 00:06:26.026 Even without dialogue or text 81 00:06:26.027 --> 00:06:29.965 you can convey a message through scene composition 82 00:06:29.966 --> 00:06:36.944 and help the audience understand the story through visual elements 83 00:06:37.380 --> 00:06:47.095 To do this, you can use metaphorical scenes and symbols that intuitively convey themes or emotions 84 00:06:47.100 --> 00:06:52.820 Media art can implement cinematic images by combining 85 00:06:52.820 --> 00:06:55.567 cinematic elements with installations or projections 86 00:06:56.380 --> 00:06:59.700 You can create a video environment where the audience 87 00:06:59.700 --> 00:07:05.739 intentionally participates in the work or reacts in real time 88 00:07:05.739 --> 00:07:10.619 You can combine interactive technology with these cinematic images 89 00:07:10.619 --> 00:07:14.661 to experience new sensations 90 00:07:15.540 --> 00:07:20.100 The aspect ratio is very important in cinematic images 91 00:07:20.100 --> 00:07:25.739 The aspect ratio here refers to the width and height ratio of the image 92 00:07:25.739 --> 00:07:31.179 Each aspect ratio creates a specific emotion and atmosphere 93 00:07:31.179 --> 00:07:38.179 Through this aspect ratio, the viewer has a different visual experience 94 00:07:38.179 --> 00:07:42.829 I would like to introduce the most commonly used aspect ratios 95 00:07:43.700 --> 00:07:46.675 16:9 wide screen 96 00:07:46.676 --> 00:07:52.222 is the basic aspect ratio of TVs and most digital devices 97 00:07:52.222 --> 00:07:56.420 This aspect ratio allows for balanced visual expression 98 00:07:56.420 --> 00:08:00.713 and is widely used in various genres 99 00:08:01.100 --> 00:08:06.059 Next is 21:9 Cinema Scope 100 00:08:06.059 --> 00:08:09.579 It is a screen ratio often used in theater movies 101 00:08:09.579 --> 00:08:15.820 and can add grandeur to the scene because it provides a wide field of view 102 00:08:15.820 --> 00:08:23.459 It is also a ratio that can increase the sense of scale and immersion in cinematic images 103 00:08:23.459 --> 00:08:30.339 Next is 4:3, a screen ratio that can express a classic or retro vibe 104 00:08:30.339 --> 00:08:34.900 It is a screen ratio that is often used in TV broadcasts 105 00:08:34.900 --> 00:08:42.136 It has the effect of increasing emotional concentration and stimulating analog feelings 106 00:08:42.619 --> 00:08:50.539 Next, I would like to introduce ICVFX in-camera visual effects 107 00:08:50.539 --> 00:08:56.059 ICVFX stands for in-camera visual effects 108 00:08:56.059 --> 00:08:59.780 It is a technology that uses real-time effects 109 00:08:59.780 --> 00:09:05.049 during filming to increase visual immersion in movies or media works 110 00:09:05.500 --> 00:09:10.340 It mainly uses LED screens, real-time rendering software 111 00:09:10.340 --> 00:09:13.859 such as Unreal Engine and Unity 112 00:09:13.859 --> 00:09:17.739 and camera tracking systems 113 00:09:17.739 --> 00:09:23.917 to show the desired background or environment during filming directly 114 00:09:24.179 --> 00:09:29.539 Unlike VFX, which adds effects to the filmed screen later 115 00:09:29.539 --> 00:09:38.342 ICVFX is characterized by obtaining a completed scene right during filming 116 00:09:38.820 --> 00:09:43.651 ICVFX uses a stage surrounded by LED panels 117 00:09:43.656 --> 00:09:47.219 called an LED volume 118 00:09:47.419 --> 00:09:53.820 This large LED screen covers the entire wall and ceiling 119 00:09:53.820 --> 00:10:00.252 providing a background that changes in real-time as the actor moves 120 00:10:00.460 --> 00:10:06.380 The LED volume allows for real-time 3D background projection 121 00:10:06.380 --> 00:10:12.739 allowing the actor and background to blend in naturally and be filmed 122 00:10:12.739 --> 00:10:17.260 This reduces the need for background compositing in post-production 123 00:10:17.260 --> 00:10:21.179 saving cost and time 124 00:10:21.179 --> 00:10:26.194 You can often see this in places called XR studios 125 00:10:27.179 --> 00:10:31.179 The core of ICVFX is real-time rendering 126 00:10:31.179 --> 00:10:36.790 Game engines such as Unreal Engine or Unity are mainly used 127 00:10:37.179 --> 00:10:45.819 Complex 3D environments and detailed backgrounds are quickly rendered and projected onto LED screens 128 00:10:46.380 --> 00:10:50.011 The advantage of real-time rendering here is that 129 00:10:50.011 --> 00:10:56.760 the background is adjusted immediately whenever the camera position and angle change 130 00:10:56.760 --> 00:10:59.616 allowing for a natural parallax effect 131 00:10:59.617 --> 00:11:02.873 or parallax 132 00:11:03.300 --> 00:11:12.386 This makes the film's characters and objects appear to exist in space 133 00:11:12.386 --> 00:11:19.031 Camera tracking is also essential in ICVFX 134 00:11:19.031 --> 00:11:24.380 The tracking system monitors the camera's movement in real-time 135 00:11:24.783 --> 00:11:32.185 and adjusts the background to change according to the viewpoint of the moving camera 136 00:11:32.724 --> 00:11:37.654 When the camera moves, the background is synchronized to the viewpoint 137 00:11:37.656 --> 00:11:41.032 making the video look more natural 138 00:11:41.471 --> 00:11:46.490 This allows the background to appear as if it were a real place 139 00:11:46.490 --> 00:11:50.877 when the camera follows the actor or object 140 00:11:52.523 --> 00:11:57.380 Since the LED volume can also act as an actual light source 141 00:11:57.380 --> 00:12:03.713 it creates natural light and shadows on the actor or prop 142 00:12:03.713 --> 00:12:11.900 This lighting effect allows the light to naturally reflect on the character's skin or the object's surface 143 00:12:11.900 --> 00:12:15.050 making for a more realistic production 144 00:12:15.050 --> 00:12:18.131 This real-time lighting effect 145 00:12:18.132 --> 00:12:22.206 reduces color correction or lighting modification in post-production 146 00:12:22.215 --> 00:12:27.285 and more precise and natural scenes are completed 147 00:12:27.889 --> 00:12:30.495 This ICVFX allows 148 00:12:30.495 --> 00:12:38.018 the actor to act in a space that looks like a real environment on a large LED screen 149 00:12:38.019 --> 00:12:40.251 which increases immersion 150 00:12:40.514 --> 00:12:45.367 Another advantage is that the actor and the filming staff 151 00:12:45.368 --> 00:12:48.768 can check the completed feel of the scene in real-time 152 00:12:49.903 --> 00:12:53.804 In addition, this ICVFX 153 00:12:53.805 --> 00:12:58.795 can greatly reduce the time needed to compile the 3D background in post-production 154 00:12:59.198 --> 00:13:05.439 Existing VFX can take a long time to finish the background composition 155 00:13:05.439 --> 00:13:10.975 With ICVFX, you can complete the background at the same time as shooting 156 00:13:10.976 --> 00:13:13.713 saving time and cost 157 00:13:14.797 --> 00:13:19.764 Also, one of the biggest advantages is that 158 00:13:19.764 --> 00:13:25.072 you can set the desired time and weather conditions 159 00:13:25.077 --> 00:13:27.093 anywhere through LED volume to shoot with 160 00:13:27.094 --> 00:13:32.087 consistent lighting and environment regardless of the weather 161 00:13:32.312 --> 00:13:35.026 Since there are no restrictions on location 162 00:13:35.026 --> 00:13:39.816 you don’t have to go to overseas locations 163 00:13:40.764 --> 00:13:46.605 Lastly, you can immediately see the changes on the shooting site 164 00:13:46.605 --> 00:13:51.068 when the background moves or changes through LED volume 165 00:13:51.329 --> 00:13:55.177 This allows you to adjust and provide feedback 166 00:13:55.178 --> 00:13:59.591 in real time according to the intention and atmosphere of the work 167 00:13:59.592 --> 00:14:02.837 making shooting more flexible 168 00:14:03.404 --> 00:14:06.975 In media art, ICVFX can be applied to 169 00:14:06.975 --> 00:14:09.160 realistic installations or 170 00:14:09.161 --> 00:14:13.936 interactive art that encourages audience participation 171 00:14:14.017 --> 00:14:17.455 In an exhibition space using LED volume 172 00:14:17.456 --> 00:14:23.395 you can create an interactive environment where the background changes as the audience moves 173 00:14:23.400 --> 00:14:29.942 or you can make the audience become a part of the media artwork and have an immersive experience 174 00:14:29.944 --> 00:14:35.506 This ICVFX technology provides a realistic sense of reality 175 00:14:35.507 --> 00:14:42.590 immersing the audience as if they were in a real space 176 00:14:42.590 --> 00:14:46.247 Solutions for Adapting to Various Aspect Ratios 177 00:14:46.269 --> 00:14:51.645 Unlike the traditional post-production method 178 00:14:51.646 --> 00:14:56.941 ICVFX is a technology that allows you to apply visual effects in real time on set 179 00:14:56.942 --> 00:15:00.112 to complete the final video 180 00:15:00.380 --> 00:15:04.111 In the case of Unreal, it has a very strong feature of 181 00:15:04.112 --> 00:15:09.482 real-time rendering scalability for ICVFX 182 00:15:09.984 --> 00:15:13.380 It is also widely used in movies and media 183 00:15:13.956 --> 00:15:21.699 Because the environment for preparing assets for multiple aspect ratios is optimized 184 00:15:21.700 --> 00:15:23.649 it is very convenient 185 00:15:24.431 --> 00:15:29.139 You can adjust the composition of major visual elements 186 00:15:29.140 --> 00:15:35.357 to fit the aspect ratio of all objects through frame-safe or flexible framing technology 187 00:15:35.896 --> 00:15:39.040 Also, using virtual cameras 188 00:15:39.041 --> 00:15:43.815 you can also simulate output for various display formats 189 00:15:44.671 --> 00:15:49.736 It can be produced so that it can adapt to dynamic content 190 00:15:50.345 --> 00:15:57.765 You can also automate scaling or framing logic using Blueprints 191 00:15:58.380 --> 00:16:04.130 In particular, you can see cinematic scenes with dynamic camera movements 192 00:16:04.130 --> 00:16:08.373 or scenes adjusted to 16:9, 9:16 193 00:16:08.374 --> 00:16:13.493 or ultra-wide formats 194 00:16:15.693 --> 00:16:19.837 When preparing media art or content 195 00:16:19.838 --> 00:16:25.599 there are many cases where you have to respond to displays with very unique ratios 196 00:16:26.342 --> 00:16:30.816 Therefore, you can apply film principles to multi-aspect ratio displays 197 00:16:30.817 --> 00:16:34.182 to express them cinematically 198 00:16:34.392 --> 00:16:40.320 First, since the nDisplay plugin is required, open the Unreal Editor 199 00:16:46.021 --> 00:16:50.345 Up to version 5.5 has been released 200 00:16:50.346 --> 00:16:53.772 and I am using version 5.4 201 00:16:57.402 --> 00:17:04.876 I want to bring in an empty project from the tab called Film and TV Live Events 202 00:17:04.876 --> 00:17:10.830 Set the name as In-Camera Project and click the Create button 203 00:17:10.830 --> 00:17:15.914 You can proceed with various names of your own 204 00:17:23.805 --> 00:17:29.201 First, when the project opens, the main level is open 205 00:17:29.202 --> 00:17:32.012 and there is currently nothing 206 00:17:36.481 --> 00:17:48.407 Go to the plugin window and check if nDisplay is installed 207 00:17:50.326 --> 00:17:54.360 If it is not installed, please restart the program 208 00:17:54.362 --> 00:17:57.980 to install nDisplay 209 00:18:01.270 --> 00:18:11.038 Looking at the window, you will see an in-camera VFX in the level editor tab called Virtual Production 210 00:18:11.040 --> 00:18:16.399 If you open it, it is not activated because there is no nDisplay actor yet 211 00:18:16.401 --> 00:18:17.449 This 212 00:18:17.450 --> 00:18:20.300 after creating the nDisplay actor 213 00:18:20.301 --> 00:18:24.187 I will return to the in-camera VFX window and check this part 214 00:18:28.137 --> 00:18:30.806 First, create the folder you want 215 00:18:31.079 --> 00:18:34.456 and then I will create a basic folder 216 00:18:34.457 --> 00:18:41.116 and organize the assets related to nDisplay 217 00:18:41.944 --> 00:18:45.181 Enter the folder, right-click 218 00:18:45.185 --> 00:18:49.909 select nDisplay Preferences 219 00:18:50.966 --> 00:18:55.061 and proceed with the new environment settings 220 00:18:55.457 --> 00:18:57.214 The nDisplay name 221 00:18:59.759 --> 00:19:05.204 is set to Incamera_1 222 00:19:05.205 --> 00:19:08.875 If you double-click and enter the nDisplay screen 223 00:19:08.876 --> 00:19:10.972 you can see the following 224 00:19:11.456 --> 00:19:15.598 Basically, one nDisplay screen is set 225 00:19:15.599 --> 00:19:16.879 and the viewpoint 226 00:19:17.549 --> 00:19:21.724 cluster, and output mapping parts are not yet shown 227 00:19:21.725 --> 00:19:25.537 so I will set those parts as well 228 00:19:27.380 --> 00:19:34.018 You can copy the nDisplay screen with Ctrl+C and V 229 00:19:34.361 --> 00:19:43.030 or adjust the corresponding view in the screen size section 230 00:19:43.380 --> 00:19:49.322 If you change the value 231 00:19:49.323 --> 00:19:56.536 you can create the screen size of the space I map 232 00:19:56.536 --> 00:19:59.564 This screen is locked 233 00:20:00.155 --> 00:20:02.380 so please open it 234 00:20:03.380 --> 00:20:05.765 It may be a very long screen 235 00:20:05.766 --> 00:20:10.139 with a unique horizontal shape, such as vertical or horizontal 236 00:20:12.955 --> 00:20:18.415 Let's create a screen like this 237 00:20:18.416 --> 00:20:21.806 and add a cluster 238 00:20:22.213 --> 00:20:27.980 Add a cluster node and set it to FHD 239 00:20:27.981 --> 00:20:29.167 but we will work on this part 240 00:20:30.202 --> 00:20:34.401 by increasing it to 4K and Ultra HD 241 00:20:35.102 --> 00:20:41.543 When you add it, a viewpoint is created in the output mapping section in the middle 242 00:20:41.987 --> 00:20:45.488 and this viewpoint is currently not connected 243 00:20:45.979 --> 00:20:57.689 so let's look at mapping this viewpoint to the aspect ratio section we created 244 00:20:59.202 --> 00:21:02.585 To connect the created screen and the viewpoint 245 00:21:02.586 --> 00:21:05.509 click viewpoint 0 first 246 00:21:05.511 --> 00:21:12.094 You can open the projection policy section as a drop-down 247 00:21:12.094 --> 00:21:14.122 The type is simple 248 00:21:14.122 --> 00:21:17.784 If you change this part to mesh 249 00:21:17.784 --> 00:21:23.766 and apply the name of this mesh, nDisplay screen 250 00:21:23.780 --> 00:21:28.645 the corresponding viewpoint will be depicted 251 00:21:30.964 --> 00:21:36.380 You can add a viewpoint to add a second screen 252 00:21:37.380 --> 00:21:39.156 It's called a viewport 253 00:21:39.157 --> 00:21:45.211 Add another viewport, and it'll look like this 254 00:21:45.553 --> 00:21:53.866 If you connect this viewport to the mesh next to it, it'll look like this 255 00:21:54.380 --> 00:21:59.448 It looks like you're looking at the same space, but it seems like a completely different screen 256 00:22:08.689 --> 00:22:19.723 If you put it in, two viewports will be set according to the viewpoint 257 00:22:20.314 --> 00:22:22.999 If you click compile and come out 258 00:22:25.548 --> 00:22:29.234 the corresponding nDisplay will be created here 259 00:22:29.851 --> 00:22:38.380 If you drag and drop it here, you can see how it looks 260 00:22:38.745 --> 00:22:44.901 Let's set the screen to be visible through Quixel Bridge 261 00:22:51.700 --> 00:22:57.289 Let's go into Quixel Bridge 262 00:22:57.289 --> 00:23:03.035 add some simple assets, and place them on the screen 263 00:23:06.872 --> 00:23:15.718 I'll do it at medium quality 264 00:23:17.469 --> 00:23:23.430 I downloaded some assets from Quixel Bridge 265 00:23:24.819 --> 00:23:27.862 and added them to the corresponding content 266 00:23:28.757 --> 00:23:34.451 Since no map's visible here, I'll put it in a little 267 00:23:38.018 --> 00:23:39.863 and set it up 268 00:23:56.011 --> 00:23:59.235 You can see it to some extent 269 00:24:01.380 --> 00:24:08.708 If you look, what's located on the screen will be visible on the display 270 00:24:27.630 --> 00:24:31.063 If you put it like this, you can see it 271 00:24:35.715 --> 00:24:40.434 So, as you can see, the shape displayed on the nDisplay screen 272 00:24:40.435 --> 00:24:48.619 and the shape placed in reality is slightly different and distorted 273 00:24:48.619 --> 00:24:56.351 If you put the screen that is installed like this back into the in-camera vpx of virtual production 274 00:24:56.352 --> 00:25:00.689 and place an actor on the nDisplay screen 275 00:25:01.220 --> 00:25:03.559 it will look like this 276 00:25:04.024 --> 00:25:07.584 So, the same scene can be linked and shown 277 00:25:08.137 --> 00:25:19.813 For example, I will put it like this and place a corresponding flower 278 00:25:21.157 --> 00:25:26.083 Can you see that the added flower appears on the display screen? 279 00:25:26.440 --> 00:25:28.645 So, even if it moves 280 00:25:29.290 --> 00:25:31.656 to the opposite side 281 00:25:32.912 --> 00:25:41.924 you can see this environment linked on the screen in the in-camera VFX 282 00:25:42.289 --> 00:25:50.789 Also, if you move this nDisplay screen 283 00:25:51.622 --> 00:26:00.084 the ratio on the screen changes depending on the camera's movement 284 00:26:00.473 --> 00:26:03.424 These various aspect ratios 285 00:26:03.425 --> 00:26:10.176 and various types of environments can be linked as a whole 286 00:26:10.380 --> 00:26:17.468 This can be used through the nDisplay screen and in-camera VFX tool 287 00:26:18.041 --> 00:26:22.201 and the corresponding flower can be seen like this 288 00:26:25.448 --> 00:26:30.178 Let's move from a simple environment to a more complex environment 289 00:26:30.179 --> 00:26:34.683 and create a screen with a new aspect ratio 290 00:26:38.907 --> 00:26:45.491 When using a map, since you will be bringing in various units 291 00:26:45.491 --> 00:26:52.353 each of those units has different units from Blender, C4D, Maya, etc. 292 00:26:52.354 --> 00:26:55.443 so when you finally bring it in from one editor 293 00:26:55.461 --> 00:26:58.616 we recommend that you import and bring in 294 00:26:58.617 --> 00:27:07.540 all of the size, ratio, visible direction, and material texture 295 00:27:12.095 --> 00:27:17.907 I brought a traditional Korean map 296 00:27:20.151 --> 00:27:26.380 I will create a new nDisplay and put it in 297 00:27:26.380 --> 00:27:28.988 This time, I will set it to a square 298 00:27:29.333 --> 00:27:41.171 4-sided display 299 00:27:43.561 --> 00:27:46.558 When you come in, it is processed like this 300 00:27:46.558 --> 00:27:49.392 The screen is the same 301 00:27:50.053 --> 00:27:53.359 You can add a screen here 302 00:27:53.360 --> 00:27:55.917 and bring it in with a static mesh 303 00:27:55.925 --> 00:28:03.094 but today, I will try adding a screen and putting it in 304 00:28:04.167 --> 00:28:12.533 but today, I will try adding a screen and putting it in 305 00:28:16.735 --> 00:28:19.350 Adjust the position so that the nDisplay screen and the corners touch by giving a rotation value 306 00:28:19.355 --> 00:28:23.835 Let's make 4 sides by entering a number 307 00:28:38.271 --> 00:28:43.254 Copy the nDisplay screen, set the rotation value to 0,0,180, and adjust the position to face each other 308 00:28:43.264 --> 00:28:51.380 As you can see, you can see where the corresponding side is invested on one side 309 00:28:51.380 --> 00:28:59.696 You need to design this part exactly to see it well 310 00:29:00.637 --> 00:29:04.537 Copy nDisplay screen 1 and adjust the position to face each other 311 00:29:04.553 --> 00:29:10.439 I placed it like this until the last screen 312 00:29:11.535 --> 00:29:14.577 and moved all the screens slightly 313 00:29:14.580 --> 00:29:23.380 so that they could be viewed from the center based on the viewpoint 314 00:29:23.988 --> 00:29:26.632 I added a cluster in the same way 315 00:29:28.380 --> 00:29:33.304 and placed it like this 316 00:29:33.305 --> 00:29:35.908 Here is the viewpoint 317 00:29:35.908 --> 00:29:42.754 You can set the screen for this viewpoint 318 00:29:42.754 --> 00:29:50.110 You can also reduce this viewpoint to adjust the ratio 319 00:29:53.199 --> 00:29:58.354 Right now, the size is set like this 320 00:29:58.711 --> 00:30:02.643 so I'll proceed with the ratio of dividing it into 4 321 00:30:06.427 --> 00:30:11.380 I'll adjust one viewpoint to a 2:1 ratio 322 00:30:23.452 --> 00:30:27.810 and here to the same 2:1 ratio 323 00:30:34.094 --> 00:30:37.380 Then, if you add a viewpoint like this 324 00:30:43.798 --> 00:30:45.670 you'll see two 325 00:30:48.530 --> 00:30:53.644 You can see it like this on the second screen 326 00:30:54.166 --> 00:30:58.012 But I will change 327 00:30:58.025 --> 00:31:02.090 the size of this host, the node itself 328 00:31:10.818 --> 00:31:15.831 I'll change it to the ratio we're making 329 00:31:16.378 --> 00:31:23.143 If you enter a number like this, you can respond to various aspect ratios 330 00:31:28.569 --> 00:31:30.319 I have to continue 331 00:31:30.320 --> 00:31:37.678 so I'll put this guy on this screen 332 00:31:42.345 --> 00:31:51.049 and agree to 2000 to 1000 333 00:31:52.336 --> 00:31:53.866 Yes, it's connected 334 00:31:54.380 --> 00:32:07.380 It's set to 8000 to 1080, so I adjusted the viewpoint to fit it up to 1000 335 00:32:10.722 --> 00:32:13.797 Then, if you save this file 336 00:32:14.436 --> 00:32:20.388 and bring this with you 337 00:32:21.056 --> 00:32:30.164 you can see the 360-degree scene shown within the corresponding viewpoint 338 00:32:31.170 --> 00:32:39.603 and check it in the same window as Virtual Production in Camera VFX 339 00:32:40.204 --> 00:32:43.980 So, the possibilities for what kind of scenes can be created 340 00:32:44.429 --> 00:32:51.039 with this nDisplay screen I created are endless and free 341 00:32:51.045 --> 00:32:56.192 And because you can check it before mapping 342 00:32:56.193 --> 00:32:59.679 when it is finally broadcast through this in-camera VFX 343 00:32:59.680 --> 00:33:03.897 you can finish the design like this 344 00:33:04.166 --> 00:33:08.413 Cinematic Video Output and Rendering 345 00:33:08.705 --> 00:33:14.347 Next, I will lecture on rendering and broadcasting 346 00:33:17.694 --> 00:33:23.631 Broadcasting the cinematic video you created is also a process 347 00:33:23.637 --> 00:33:27.878 In Unreal, you can work very flexibly 348 00:33:27.883 --> 00:33:30.418 using Cinematic Studio 349 00:33:30.880 --> 00:33:33.622 Since it is a real-time 3D production tool 350 00:33:33.625 --> 00:33:36.198 you can render movie-quality graphics 351 00:33:36.199 --> 00:33:37.928 and see them immediately 352 00:33:37.928 --> 00:33:40.576 greatly reducing the rendering time 353 00:33:41.220 --> 00:33:48.232 So, since real-time illumination, room and ultra-high-resolution meshes are possible 354 00:33:49.584 --> 00:33:55.151 the cinematic video looks like a movie slate 355 00:33:55.151 --> 00:33:59.960 at the top called Level Sequence 356 00:33:59.975 --> 00:34:03.169 If you add this friend 357 00:34:03.170 --> 00:34:05.903 you can create a level sequence 358 00:34:10.974 --> 00:34:16.325 and open the sequence by adding an appropriate name 359 00:34:17.211 --> 00:34:19.200 You can add shots 360 00:34:19.200 --> 00:34:25.196 , and since we will output it to nDisplay 361 00:34:25.677 --> 00:34:27.146 we will leave it like this 362 00:34:27.833 --> 00:34:32.160 give animation to this nDisplay itself 363 00:34:32.161 --> 00:34:34.965 and do a simple rendering 364 00:34:36.684 --> 00:34:42.596 Add the transform as a component in nDisplay 365 00:34:42.596 --> 00:34:45.037 and output about 150 frames 366 00:34:47.044 --> 00:34:52.496 so that the transform moves 367 00:34:52.893 --> 00:34:54.391 So 368 00:35:00.353 --> 00:35:02.201 if you move like this 369 00:35:05.337 --> 00:35:08.382 a movement mechanism is created 370 00:35:08.723 --> 00:35:11.405 It moves in an animated state 371 00:35:11.875 --> 00:35:13.280 So 372 00:35:13.289 --> 00:35:21.171 let's finish it by giving it a rotation like this 373 00:35:23.193 --> 00:35:27.943 Let's mark a point like this and render it 374 00:35:31.379 --> 00:35:35.379 There are Movie Scene Capture and Movie Render Queue for rendering 375 00:35:35.379 --> 00:35:39.379 but we mainly use the more powerful Movie Render Queue 376 00:35:39.379 --> 00:35:43.871 and it is important to set the path and settings in it 377 00:35:44.488 --> 00:35:48.062 We will not proceed with Deferred rendering 378 00:35:48.696 --> 00:35:52.961 but will output it as a JPG sequence 379 00:35:52.961 --> 00:35:56.800 hrough nDisplay and nDisplay rendering 380 00:36:01.320 --> 00:36:07.753 You must not forget to include the nDisplay root actor 381 00:36:07.753 --> 00:36:11.379 It would be good to output other parts as they are 382 00:36:11.379 --> 00:36:17.613 and it is important to put the directory in a known place 383 00:36:17.613 --> 00:36:22.149 Accept and press Local 384 00:36:22.149 --> 00:36:23.861 to proceed with rendering 385 00:36:24.379 --> 00:36:27.790 There are a lot of features within the sequencer 386 00:36:27.790 --> 00:36:32.379 Since we can see various features commonly used in movie editing programs 387 00:36:32.730 --> 00:36:41.475 such as keyframes, resolution, frame rates, etc. 388 00:36:41.475 --> 00:36:44.193 they are all introduced 389 00:36:44.193 --> 00:36:48.890 in various ways in the Unreal Engine documentation provided by Unreal 390 00:36:48.890 --> 00:36:57.562 Some functions include taking keyframes, adjusting or customizing the FPS sequence display speed 391 00:36:57.565 --> 00:37:04.849 and creating natural movements through curves within the sequencer 392 00:37:04.849 --> 00:37:11.928 Today, we showed you how to set up using the movie render queue 393 00:37:11.930 --> 00:37:15.135 The images output this way 394 00:37:15.135 --> 00:37:20.591 are then moved back to Premiere or After Effects 395 00:37:20.594 --> 00:37:22.979 to be sent out as final videos 396 00:37:23.564 --> 00:37:30.064 You can import the sequences to be edited 397 00:37:30.065 --> 00:37:33.082 adjust the video's color, add effects, etc., 398 00:37:33.104 --> 00:37:37.680 through Premiere and the encoder 399 00:37:37.680 --> 00:37:43.596 Open the output image sequence with it selected 400 00:37:43.596 --> 00:37:47.810 and if you look at the corresponding file 401 00:37:50.010 --> 00:37:56.478 you will see a video of about 5 seconds with the nDisplay rising 402 00:37:59.154 --> 00:38:04.063 Export this back to the media encoder, finish editing 403 00:38:04.063 --> 00:38:06.191 and then export it to the Media Encoder 404 00:38:06.191 --> 00:38:11.664 The final display and transmission methods are very different 405 00:38:11.667 --> 00:38:14.684 Please check the audio 406 00:38:14.685 --> 00:38:17.786 and codec sections on-site 407 00:38:17.794 --> 00:38:23.436 before completing the final extraction with the encoder 408 00:38:24.635 --> 00:38:30.787 If you bring it to the encoder, there are various options in the preset 409 00:38:30.787 --> 00:38:39.241 and you should check the requirements on-site 410 00:38:39.537 --> 00:38:47.743 and output it according to your expression method, such as maximum rendering 411 00:38:55.471 --> 00:39:01.925 You can proceed with mapping the completed video 412 00:39:01.926 --> 00:39:05.982 on-site where it is set 413 00:39:08.145 --> 00:39:12.959 We mapped a total of 4 sides 414 00:39:12.960 --> 00:39:18.250 so all 4 directions are currently output 415 00:39:18.251 --> 00:39:22.463 and each viewport is output 416 00:39:22.463 --> 00:39:26.053 You can take this to a mapping program 417 00:39:26.053 --> 00:39:31.486 and simulate it in a virtual environment 418 00:39:31.486 --> 00:39:36.143 and you can also output it by connecting it to the actual field 419 00:39:36.143 --> 00:39:39.340 but you can also output it as a separate file 420 00:39:42.511 --> 00:39:47.577 You can match the total length like this and see it all at once 421 00:39:47.577 --> 00:39:51.849 and you can proceed while checking the distortion part 422 00:39:51.850 --> 00:39:54.523 when it is mapped 423 00:39:54.866 --> 00:39:59.416 The cinematic video and ICVFX introduced today 424 00:39:59.417 --> 00:40:04.014 are the most notable and leading areas in realistic media 425 00:40:04.187 --> 00:40:09.219 I hope you can effectively produce more immersive 426 00:40:09.220 --> 00:40:13.060 and diverse expressions through this technique 427 00:40:13.064 --> 00:40:15.379 That concludes this lecture 428 00:40:15.711 --> 00:40:17.104 Cinematic Imagery and ICVFX Cinematic Imagery A technique that emphasizes the visual sense of a film and brings out the dramatic elements of scene composition and visual style 429 00:40:17.104 --> 00:40:17.840 Major elements of cinematic imagery: lighting, framing and composition, camera movement and angles, sound and music, editing and rhythm, storytelling 430 00:40:17.840 --> 00:40:19.036 Aspect ratio The ratio of the width and height of the image Types and characteristics of representative aspect ratios 16:9 The basic aspect ratio of widescreen TVs and digital devices, allowing for balanced visual expression and used in various genres 431 00:40:19.036 --> 00:40:19.790 21:9 Cinema Scope: Aspect ratio often used in theater movies, a ratio that can increase scale and immersion in cinematic images 432 00:40:19.790 --> 00:40:20.551 4:3 Classic retro sensibility: Has the effect of stimulating analog sensibility, which was often used in TV broadcasts in the past 433 00:40:20.551 --> 00:40:22.659 ICVFX A technology that increases visual immersion in movies and media works by implementing effects in real time during shooting 434 00:40:22.660 --> 00:40:23.660 Key elements of ICVFX: LED volume, real-time 3D rendering software, camera tracking system, lighting & reflection 435 00:40:23.660 --> 00:40:24.110 Advantages of ICVFX: Increased sense of presence and immersion, time and cost savings, shooting without location and weather restrictions, providing on-site interactive experience 436 00:40:24.110 --> 00:40:25.078 ICVFX in Media Art Realistic installations and interactive art that encourage audience participation Interactive environments where the background changes as you move in the LED volume exhibition space 437 00:40:25.087 --> 00:40:25.600 Immersive experience environments where the audience becomes part of the media art work 438 00:40:25.606 --> 00:40:27.187 Solutions that can support various screen ratios Unreal Engine & Unity Very powerful real-time rendering scalability for ICVFX Optimized environment for multiple aspect ratios 439 00:40:27.187 --> 00:40:28.664 Flexible framing technology allows major visual elements to be configured to fit the aspect ratio of all objects Various display output simulations using virtual cameras are possible 440 00:40:28.665 --> 00:40:29.665 It can be produced to adapt to dynamic content You can automate scaling and framing logic using Blueprints You can create cinematic scenes with dynamic camera movements 441 00:40:29.666 --> 00:40:30.666 You can adjust the screen to 16:9, 9:16, ultra-wide, etc. You can create cinematic expressions that apply film principles to multiple aspect ratio displays 442 00:40:30.667 --> 00:40:31.667 ICVFX settings linked to nDisplay environment In Unreal, select an empty project in the Movie & TV Live Event tab, set a name, and click the Create button In Edit-Plugin, check the installation of nDisplay 443 00:40:31.668 --> 00:40:32.455 Create a new folder in the Content folder and open the nDisplay screen Copy the nDisplay screen and set the nDisplay screen to be long vertically and nDisplay screen 1 to be long horizontally 444 00:40:32.455 --> 00:40:33.319 Select Add New Cluster Node and set the preset to Ultra HD Change the type of the VP_0 Detail Window Projection Policy to Mesh and apply the nDisplay screen 445 00:40:33.319 --> 00:40:34.204 Select Add New Viewport and set the preset to Ultra HD Change the type of the VP_1 Detail Window Projection Policy to Mesh and apply nDisplay screen 1 446 00:40:34.209 --> 00:40:34.698 Compile and save, then drag and drop InCamera_1 nDisplay to the world Select Window-Quixel Bridge and set it to Medium Quality, then download the necessary assets and place them in the world 447 00:40:34.700 --> 00:40:35.634 Select Window-Virtual Production-InCamera VFX and apply InCamera_1 to the AndDisplay environment 448 00:40:35.634 --> 00:40:36.905 Cinematic video transmission and rendering Click the slate icon, select Add Level Sequence, set the name and save 449 00:40:36.906 --> 00:40:37.906 Drag and add nDisplay_4 to the sequencer, then click the + button on the right to Add Transform Track 450 00:40:37.906 --> 00:40:38.906 Add a transform keyframe to the start point, then move the marker to frame 150 Select the camera position, then add a keyframe to the position track, and rotate the camera, then add a keyframe to the rotation track 451 00:40:38.907 --> 00:40:39.907 Select the movie render queue in the shape of a slate icon in the sequencer window, then add nDisplay and nDisplay Rendering Apply nDisplay_4 to the DC root actor of nDisplay and click the Render button 452 00:40:39.908 --> 00:40:40.648 Open the output sequence with the image sequence selected and check Select File-Export-Send to Adobe Media Encoder