WEBVTT 1 00:00:04.240 --> 00:00:08.992 Reality Advanced Media Server Disguise Utilization (2) 2 00:00:08.992 --> 00:00:11.616 GCC Academy 3 00:00:27.940 --> 00:00:30.400 Hello, I am Jiyong Park, and I am 4 00:00:30.400 --> 00:00:33.200 lecturing on the use of Disguise today 5 00:00:33.200 --> 00:00:36.040 This time, we will learn how to use 6 00:00:36.040 --> 00:00:38.619 Disguise through hands-on practice 7 00:00:38.619 --> 00:00:43.980 In particular, we will cover three important topics 8 00:00:43.980 --> 00:00:48.060 3D mapping, 2.5D settings, RenderStream, and ICVFX 9 00:00:48.060 --> 00:00:52.540 XR technology is an innovative technology 10 00:00:52.540 --> 00:00:55.740 that is quickly taking hold in broadcasting, film and various media industries 11 00:00:55.740 --> 00:00:59.259 Through this lecture, you will experience 12 00:00:59.259 --> 00:01:01.980 the main technologies used in the XR environment 13 00:01:01.980 --> 00:01:04.300 and learn how to apply them 14 00:01:04.300 --> 00:01:07.660 in production 15 00:01:07.660 --> 00:01:12.019 Today's lecture focuses on practice rather than theory 16 00:01:12.019 --> 00:01:16.459 So, you will have time to try out the tools yourself, set various settings 17 00:01:16.459 --> 00:01:19.860 and learn the technology firsthand 18 00:01:19.860 --> 00:01:22.459 In the process, I hope you will feel 19 00:01:22.459 --> 00:01:24.459 a new sense of the possibilities of 20 00:01:24.459 --> 00:01:26.616 XR and virtual production technology 21 00:01:27.171 --> 00:01:30.784 2D Mapping Method 22 00:01:31.540 --> 00:01:35.779 Let's find out how to do Mapping 23 00:01:35.779 --> 00:01:38.139 within the project 24 00:01:38.139 --> 00:01:42.419 and how to do Mapping by type 25 00:01:42.419 --> 00:01:46.059 First, let's create an LED screen 26 00:01:53.260 --> 00:01:56.699 After creating it, we'll adjust the size and location 27 00:02:01.339 --> 00:02:06.580 Then, we'll change the Resolution to 1920×1080 28 00:02:11.300 --> 00:02:16.059 Then, we'll create another LED screen to place next to it 29 00:02:27.753 --> 00:02:30.633 We'll adjust the location and size 30 00:02:36.052 --> 00:02:40.279 If you can't see it well, you can rotate the viewport 31 00:02:40.279 --> 00:02:44.444 to adjust it so that the LED screen can be placed well 32 00:03:03.018 --> 00:03:05.868 We'll also change the Resolution of the LED screen 33 00:03:05.868 --> 00:03:09.099 to 1920×1080 34 00:03:14.656 --> 00:03:17.633 Once the LED screen placement is complete 35 00:03:17.633 --> 00:03:21.722 add a video layer and specify the video 36 00:03:26.227 --> 00:03:27.877 When you add a video layer, 37 00:03:27.877 --> 00:03:31.524 Direct Mapping is automatically set 38 00:03:31.524 --> 00:03:33.524 to the last LED screen 39 00:03:36.662 --> 00:03:38.316 Let's modify this 40 00:03:40.593 --> 00:03:43.543 We'll name the Mapping, direct 41 00:03:43.543 --> 00:03:45.464 and select Direct Mapping 42 00:03:47.513 --> 00:03:51.246 We'll add the two LED screens we created for the screen 43 00:03:53.682 --> 00:03:58.078 To repeat the video, we'll shorten the video layer length 44 00:03:58.078 --> 00:03:59.890 and divide the timeline 45 00:04:04.220 --> 00:04:06.970 Direct Mapping is the easiest way 46 00:04:06.970 --> 00:04:08.970 to map directly 47 00:04:08.970 --> 00:04:11.950 to the LED screen 48 00:04:11.950 --> 00:04:15.940 It's a method of Mapping the entire screen to fit the LED screen 49 00:04:22.940 --> 00:04:27.177 Next, let's create a Feed Mapping 50 00:04:27.177 --> 00:04:30.627 Set the mapping name to feed 51 00:04:30.627 --> 00:04:34.969 and select the mapping type as Feed 52 00:04:34.969 --> 00:04:38.940 Then, add two LED screens to the screen 53 00:04:49.940 --> 00:04:51.590 Change the Feed Mapping Resolution 54 00:04:51.590 --> 00:04:55.940 to 1920×1080 55 00:04:55.940 --> 00:04:58.090 To make it easier to understand Feed Mapping 56 00:04:58.090 --> 00:05:00.340 let's freely change the part 57 00:05:00.340 --> 00:05:02.108 mapped to the LED screen 58 00:05:23.842 --> 00:05:26.042 As you can see, if you set it up 59 00:05:26.042 --> 00:05:29.187 it will look the same on the LED screen 60 00:05:40.622 --> 00:05:43.972 Feed can be mapped to any arbitrary rectangle 61 00:05:43.972 --> 00:05:47.970 on the screen 62 00:05:47.970 --> 00:05:49.520 Feed Mapping lets you 63 00:05:49.520 --> 00:05:52.120 easily turn all screens into one canvas 64 00:05:52.120 --> 00:05:57.415 by applying pixel-perfect content 65 00:05:57.415 --> 00:06:00.165 You can individually move, scale, crop, or flip 66 00:06:00.165 --> 00:06:04.653 the sample rectangles 67 00:06:07.801 --> 00:06:11.960 Next, let's create a CameraPlate Mapping 68 00:06:11.960 --> 00:06:15.110 Name the mapping cameraplate 69 00:06:15.110 --> 00:06:20.435 and select the mapping type as CameraPlate 70 00:06:20.435 --> 00:06:24.514 Then, let's add two LED screens to the screen 71 00:06:31.448 --> 00:06:34.848 If you play the video, you can see that 72 00:06:34.848 --> 00:06:38.841 the video is not output to the LED screen 73 00:06:38.841 --> 00:06:41.241 CameraPlate is a method of 74 00:06:41.241 --> 00:06:43.691 Mapping to a camera 75 00:06:43.691 --> 00:06:47.484 not directly to the LED screen 76 00:06:47.484 --> 00:06:50.484 Let's create a camera on the stage 77 00:06:50.484 --> 00:06:51.940 and adjust its position 78 00:06:58.623 --> 00:07:01.123 Let's add the camera we created 79 00:07:01.123 --> 00:07:05.108 in the Mapping settings screen 80 00:07:05.108 --> 00:07:08.663 You can see the video output in the camera view 81 00:07:11.227 --> 00:07:15.078 Let's display the camera view on the monitor in the feed window 82 00:07:18.009 --> 00:07:24.059 This is a 3D camera-based mapping fixed to the CameraPlate 83 00:07:24.059 --> 00:07:28.459 When adjusting the color in the set extension 84 00:07:28.459 --> 00:07:30.791 you should use the CameraPlate Mapping 85 00:07:33.613 --> 00:07:36.781 Next, let's create a Special Mapping 86 00:07:38.257 --> 00:07:41.257 Let's set the mapping name as special 87 00:07:41.257 --> 00:07:45.762 and select the mapping type as Special 88 00:07:45.762 --> 00:07:49.475 Then, let's add 2 LED screens to the screen 89 00:07:51.940 --> 00:07:55.190 If you play the video, you can see that 90 00:07:55.190 --> 00:07:59.316 the video is not output to the LED screen 91 00:07:59.316 --> 00:08:02.116 Special Mapping needs to add 92 00:08:02.116 --> 00:08:04.187 MR Set to the screen 93 00:08:06.999 --> 00:08:10.395 Let's create an MR Set in the Stage menu 94 00:08:37.294 --> 00:08:40.544 Then, in the Mapping settings window 95 00:08:40.544 --> 00:08:43.455 we'll add the MR Set we just created 96 00:08:47.097 --> 00:08:51.187 We'll change the Camera plate to the Back Plate 97 00:08:57.098 --> 00:09:01.248 With 3D camera-based mapping, you can move around the 3D environment 98 00:09:01.248 --> 00:09:03.811 by having a space or location 99 00:09:08.761 --> 00:09:13.088 Next, let's create Cylindrical Mapping 100 00:09:13.088 --> 00:09:15.715 We'll name the mapping cylindrical 101 00:09:18.388 --> 00:09:21.613 and select Cylindrical as the mapping type 102 00:09:25.574 --> 00:09:29.544 Then, we'll add two LED screens to the screen 103 00:09:34.807 --> 00:09:38.307 Cylindrical Mapping is similar to Parallel Mapping 104 00:09:38.307 --> 00:09:43.007 except it outputs content to the LED screen 105 00:09:43.007 --> 00:09:44.709 based on a cylinder 106 00:09:48.428 --> 00:09:52.328 Even if the screen moves or expands 107 00:09:52.328 --> 00:09:54.247 the Cylindrical Mapping feature 108 00:09:54.247 --> 00:09:57.234 remaps the content in real-time 109 00:10:04.554 --> 00:10:08.554 Next, let's create Mesh Mapping 110 00:10:10.257 --> 00:10:13.157 We'll name the mapping mesh 111 00:10:13.157 --> 00:10:18.009 and select Mesh as the mapping type 112 00:10:18.009 --> 00:10:21.940 Then, we'll add two LED screens to the screen 113 00:10:30.286 --> 00:10:32.786 Mesh Mapping technology allows you 114 00:10:32.786 --> 00:10:35.536 to map content based on the UV coordinates 115 00:10:35.536 --> 00:10:39.366 of a specific mesh in a 3D environment 116 00:10:39.366 --> 00:10:42.816 This allows you to fill the entire mesh with content 117 00:10:42.816 --> 00:10:46.966 and efficiently implement movable locations 118 00:10:46.966 --> 00:10:50.415 or spaces within the 3D space 119 00:10:50.415 --> 00:10:53.965 This technology enables precise content mapping 120 00:10:53.965 --> 00:10:57.015 even on complex structures or surfaces 121 00:10:57.015 --> 00:10:59.772 providing immersive 3D experiences 122 00:11:18.758 --> 00:11:23.227 Next, let's create Perspective Mapping 123 00:11:23.227 --> 00:11:27.527 Name the mapping as perspective 124 00:11:27.527 --> 00:11:30.712 and select Perspective as the mapping type 125 00:11:38.425 --> 00:11:43.682 Then, we will add two LED screens to the screen 126 00:11:53.821 --> 00:11:55.321 Perspective Mapping 127 00:11:55.321 --> 00:11:58.271 has the characteristic that it starts from the point 128 00:11:58.271 --> 00:12:02.521 where the content is output and gets bigger as it gets farther away 129 00:12:02.521 --> 00:12:05.121 from the output point, just like an actual project 130 00:12:05.121 --> 00:12:08.316 Except for this point, it is similar to Parallel Mapping 131 00:12:10.475 --> 00:12:13.314 Perspective Mapping lets you precisely 132 00:12:13.314 --> 00:12:17.525 map the desired 3D content at a specific point, 133 00:12:17.525 --> 00:12:20.475 enabling more immersive visual expression 134 00:12:27.620 --> 00:12:30.762 Next, let's create Radial Mapping 135 00:12:32.187 --> 00:12:34.496 Name the mapping as radial 136 00:12:36.337 --> 00:12:40.078 and select Radial as the mapping type 137 00:12:41.692 --> 00:12:45.742 Then, we will add two LED screens to the screen 138 00:12:50.779 --> 00:12:54.229 It is similar to Cylindrical Mapping 139 00:12:54.229 --> 00:12:56.029 except that it extends from the center 140 00:12:56.029 --> 00:12:59.890 of the radial to the end of the cylinder 141 00:12:59.890 --> 00:13:02.590 Therefore, the pixels inside the cylinder are mapped 142 00:13:02.590 --> 00:13:07.860 according to the height and distance from the center axis 143 00:13:12.440 --> 00:13:15.930 Next, let's create Spherical Mapping 144 00:13:17.826 --> 00:13:21.576 Name the mapping as spherical 145 00:13:21.576 --> 00:13:26.051 and select Spherical as the mapping type 146 00:13:26.051 --> 00:13:30.197 Then, we will add two LED screens to the screen 147 00:13:34.305 --> 00:13:35.905 Spherical Mapping 148 00:13:35.905 --> 00:13:38.005 works similarly to cylindrical mapping, 149 00:13:38.005 --> 00:13:41.573 except it takes the form of a sphere 150 00:13:50.000 --> 00:13:54.950 In the latest version, Disguise has a solution 151 00:13:54.950 --> 00:13:58.350 that makes it easy to work in 2.5D 152 00:13:58.350 --> 00:14:01.320 Let's take a look at it 153 00:14:01.320 --> 00:14:04.070 First, run the d3 manager 154 00:14:04.070 --> 00:14:07.366 and open the desired project folder 155 00:14:13.850 --> 00:14:17.650 I will put the 2.5D file I prepared 156 00:14:17.650 --> 00:14:20.920 in the object subfolder 157 00:14:29.909 --> 00:14:33.968 Then, I will run the project 158 00:14:33.968 --> 00:14:38.818 When the project is run, I will create one LED screen 159 00:14:38.818 --> 00:14:41.454 change the settings, and arrange it 160 00:14:52.919 --> 00:14:57.018 I will add a 2.5D layer to the timeline 161 00:14:59.800 --> 00:15:02.550 I will adjust the length 162 00:15:06.035 --> 00:15:09.553 and select the file I put in the 2.5D file folder in the asset 163 00:15:11.008 --> 00:15:15.058 The 2.5D data must be mapped 164 00:15:15.058 --> 00:15:17.919 based on the MR Set, not the general mapping 165 00:15:22.414 --> 00:15:26.305 Therefore, I will create an MR Set in the Stage menu 166 00:16:06.040 --> 00:16:09.990 Then, I will set the mapping to the MR Set I created earlier 167 00:16:15.102 --> 00:16:18.612 and set the Camera plate to the Back Plate 168 00:16:28.919 --> 00:16:31.569 Next, I will adjust the camera position 169 00:16:31.569 --> 00:16:34.691 to check that it is mapped to the LED screen 170 00:16:57.482 --> 00:17:01.223 If you move the camera, each image will appear 171 00:17:01.223 --> 00:17:04.335 to move in response to the camera's movement 172 00:17:08.216 --> 00:17:10.616 To change the arrangement of the background image 173 00:17:10.616 --> 00:17:15.166 right-click the asset, select Plates 174 00:17:15.166 --> 00:17:17.642 and adjust the position as it is now 175 00:17:19.473 --> 00:17:21.779 Place the plate in the desired location 176 00:17:21.779 --> 00:17:23.919 to take more natural shots 177 00:17:25.463 --> 00:17:28.463 Even if you move the camera, you can see it is mapped 178 00:17:28.463 --> 00:17:31.919 to the appropriate size within the camera view 179 00:17:33.705 --> 00:17:37.497 Render Stream and ICVFX 180 00:17:38.252 --> 00:17:40.302 Before proceeding with RenderStream 181 00:17:40.302 --> 00:17:43.790 we will download the plugin to be applied to Unreal Engine 182 00:17:43.790 --> 00:17:46.958 First, visit the Disguise homepage 183 00:17:46.958 --> 00:17:52.404 Click LEARN - Download Hub on the top menu 184 00:17:52.404 --> 00:17:56.137 You will be taken to the download site related to Disguise 185 00:17:56.137 --> 00:17:59.414 Click Resources in the middle menu 186 00:17:59.414 --> 00:18:03.464 If you select the RenderStream plugins menu on the left menu 187 00:18:03.464 --> 00:18:08.148 a URL menu that allows you to access the GitHub site will open 188 00:18:08.148 --> 00:18:11.898 You can check the d3 manager 189 00:18:11.898 --> 00:18:13.422 and Unreal versions used on GitHub 190 00:18:13.422 --> 00:18:15.880 and download the appropriate plugin 191 00:18:20.316 --> 00:18:23.466 First, we will proceed with the Unreal Engine settings 192 00:18:23.466 --> 00:18:27.821 on the RenderStream device, RX2 193 00:18:27.821 --> 00:18:30.821 Save the Unreal project to be used 194 00:18:30.821 --> 00:18:33.821 in the RenderStream project 195 00:18:33.821 --> 00:18:38.266 and create a Plugins folder in the project folder 196 00:18:41.831 --> 00:18:43.931 Then, use the RenderStream plugin folder 197 00:18:43.931 --> 00:18:46.331 you downloaded 198 00:18:46.331 --> 00:18:48.217 and run the Unreal project 199 00:18:50.722 --> 00:18:53.372 Create a folder in the Outliner 200 00:18:53.372 --> 00:18:56.622 create an actor to be used as the origin 201 00:18:56.622 --> 00:18:58.979 and change the name to Origin 202 00:19:14.061 --> 00:19:17.454 We will create two Cine Camera Actors 203 00:19:20.166 --> 00:19:25.067 The actor and the camera will move to the (0, 0, 0) position 204 00:19:30.624 --> 00:19:33.724 We will also rename the Cine Camera Actor 205 00:19:33.724 --> 00:19:36.248 and make it subordinate to Origin 206 00:19:47.662 --> 00:19:51.464 Then, we will move the camera position to the desired location 207 00:19:53.672 --> 00:19:57.772 To apply the RenderStream plugin to the camera 208 00:19:57.772 --> 00:20:01.385 go to the Edit - Plugins menu 209 00:20:01.385 --> 00:20:03.999 search for Disguise, and enable it 210 00:20:07.880 --> 00:20:12.288 Then, select each camera, add the plugin 211 00:20:16.400 --> 00:20:18.476 and make sure it is checked 212 00:20:30.000 --> 00:20:34.650 Edit - Project Settings - Maps & Modes 213 00:20:34.650 --> 00:20:36.841 select the level to render stream 214 00:20:41.599 --> 00:20:45.205 save it, and exit Unreal Engine 215 00:20:49.480 --> 00:20:52.230 Let's proceed with the disguise settings 216 00:20:52.230 --> 00:20:56.400 in VX4, which acts as the master 217 00:20:56.400 --> 00:20:58.500 Before setting the render stream 218 00:20:58.500 --> 00:21:03.550 we will create one LED screen, one camera 219 00:21:03.550 --> 00:21:06.599 and one MR Set 220 00:21:06.599 --> 00:21:09.299 This is because the render stream 221 00:21:09.299 --> 00:21:11.776 needs to be mapped to the LED screen through the MR Set 222 00:22:22.544 --> 00:22:25.594 Let's add a RenderStream layer to the timeline 223 00:22:31.228 --> 00:22:36.386 Right-click Workload to open the settings window 224 00:22:36.386 --> 00:22:37.753 set the project file for Asset 225 00:22:41.356 --> 00:22:45.606 the Default assigner for the settings for the render stream to be mapped 226 00:22:45.606 --> 00:22:49.119 set Full frame in Splitting strategy 227 00:22:49.119 --> 00:22:53.669 and set the Transport format to YUV 4:2:0 8bit 228 00:22:53.669 --> 00:22:59.600 compressed for light render stream 229 00:22:59.600 --> 00:23:02.900 Create a new ClusterPool 230 00:23:02.900 --> 00:23:04.887 and select the equipment to render 231 00:23:17.302 --> 00:23:19.026 Determine the camera mapping method 232 00:23:19.026 --> 00:23:22.307 through Channel mappings 233 00:23:29.085 --> 00:23:33.304 Assigner is the same as the Default assigner above 234 00:23:57.573 --> 00:24:01.223 Set the Inner and create a new mapping 235 00:24:01.223 --> 00:24:04.726 to set the Outer 236 00:24:04.726 --> 00:24:06.826 The Outer will proceed with Mesh Mapping 237 00:24:06.826 --> 00:24:09.785 in a different way from the Inner 238 00:24:09.785 --> 00:24:12.635 Since the Outer is an image that gives light effects 239 00:24:12.635 --> 00:24:16.112 in the area outside the Inner 240 00:24:16.112 --> 00:24:19.399 it is to output low quality with Mesh Mapping 241 00:24:50.031 --> 00:24:54.531 Then, in Actions, press Start 242 00:24:54.531 --> 00:24:58.448 to output the Render Stream 243 00:24:58.448 --> 00:25:01.648 While looking at the output image 244 00:25:01.648 --> 00:25:03.998 create an origin to change 245 00:25:03.998 --> 00:25:06.298 the origine of the MR color and Mesh Mapping 246 00:25:06.298 --> 00:25:08.721 and apply the same origin to each 247 00:25:34.147 --> 00:25:37.747 Then, move the origine 248 00:25:37.747 --> 00:25:40.471 to match the location set 249 00:25:40.471 --> 00:25:41.963 in Unreal Engine 250 00:25:59.270 --> 00:26:01.741 There is a part where the inner image 251 00:26:01.741 --> 00:26:03.102 is not being transmitted 252 00:26:07.310 --> 00:26:10.448 You can check that the inner image 253 00:26:10.448 --> 00:26:13.098 is transmitted properly by adjusting 254 00:26:13.098 --> 00:26:16.107 the Channel mappings and Load weight values 255 00:26:32.547 --> 00:26:35.947 Next, you can set it by moving the origine 256 00:26:35.947 --> 00:26:40.711 and camera to fit the desired screen 257 00:26:51.795 --> 00:26:57.645 Since the render stream receives data rendered from other equipment 258 00:26:57.645 --> 00:27:02.595 and transmits it, it is also important to 259 00:27:02.595 --> 00:27:05.894 view the information through the details window 260 00:27:05.894 --> 00:27:07.994 You can turn off each setting 261 00:27:07.994 --> 00:27:11.344 to check only the data of the part you want to see 262 00:27:11.344 --> 00:27:14.666 or check it all 263 00:27:14.666 --> 00:27:17.766 If another problem occurs, you can check the log 264 00:27:17.766 --> 00:27:19.399 to identify the cause 265 00:27:21.755 --> 00:27:25.655 Now, let's go to the VX Studio site 266 00:27:25.655 --> 00:27:27.241 and apply what we've learned 267 00:27:27.879 --> 00:27:31.552 VX Studio Site Demonstration 268 00:27:48.488 --> 00:27:50.688 This is the VX Studio inside 269 00:27:50.688 --> 00:27:53.884 the Gwangju Real Content Cube GCC 270 00:27:53.884 --> 00:27:56.634 I will briefly explain each piece of equipment 271 00:27:56.634 --> 00:27:59.934 we learned in the previous theory lecture 272 00:27:59.934 --> 00:28:02.844 while showing you directly 273 00:28:02.844 --> 00:28:05.694 Before applying the various mappings 274 00:28:05.694 --> 00:28:07.644 we learned today 275 00:28:07.644 --> 00:28:10.344 let's briefly look at the basic structure 276 00:28:10.344 --> 00:28:12.771 and setting method 277 00:28:12.771 --> 00:28:14.871 It would be good to think of it as 278 00:28:14.871 --> 00:28:18.427 reviewing everything we learned in the previous class 279 00:28:18.427 --> 00:28:20.530 on the LED stage 280 00:28:20.530 --> 00:28:22.912 I hope you've seen the disguise mapping method 281 00:28:22.912 --> 00:28:27.280 we saw earlier applied to an actual LED wall 282 00:28:27.280 --> 00:28:30.181 and I hope this helps you understand it more easily 283 00:28:31.398 --> 00:28:34.041 If you look, there's a master sync device 284 00:28:34.041 --> 00:28:36.022 called SPG8000A 285 00:28:36.022 --> 00:28:40.172 This device is very small 286 00:28:40.172 --> 00:28:43.722 and responsible for tying all of these systems 287 00:28:43.722 --> 00:28:46.102 into a single signal 288 00:28:46.102 --> 00:28:48.852 Here, it provides the same clock to all of the devices, 289 00:28:48.852 --> 00:28:52.702 such as each media server, Brompton, 290 00:28:52.702 --> 00:28:56.947 and Mode SD, to synchronize them 291 00:28:56.947 --> 00:28:59.225 All of these can be controlled 292 00:28:59.225 --> 00:29:00.647 separately from the computer 293 00:29:00.647 --> 00:29:03.800 so let's go to the computer and take a closer look 294 00:29:03.800 --> 00:29:06.500 Before we go to the computer 295 00:29:06.500 --> 00:29:11.160 let's quickly examine how it's configured 296 00:29:11.160 --> 00:29:15.560 Let's go to the back of our master sync generator equipment 297 00:29:15.560 --> 00:29:18.680 If you look closely, it's really simple 298 00:29:18.680 --> 00:29:22.330 but you can see that these BLC cables send a sync signal 299 00:29:22.330 --> 00:29:25.280 to our main equipment 300 00:29:25.280 --> 00:29:28.280 If you look here, the world clock signal is coming in 301 00:29:28.280 --> 00:29:31.030 and the black signal 302 00:29:31.030 --> 00:29:34.000 sends a signal to each piece of equipment 303 00:29:34.000 --> 00:29:35.300 One of the key points is that 304 00:29:35.300 --> 00:29:37.420 all of these signals are electrical signals 305 00:29:37.420 --> 00:29:40.360 so a stable power supply is essential 306 00:29:40.360 --> 00:29:42.260 That's why there are two power supplies 307 00:29:42.260 --> 00:29:45.919 for each of them 308 00:29:45.919 --> 00:29:48.819 If one has a problem, the other supports it 309 00:29:48.819 --> 00:29:53.320 and maintains a stable signal 310 00:29:53.320 --> 00:29:55.870 Let's take a closer look at the equipment 311 00:29:55.870 --> 00:30:00.170 Looking in front, you can see 312 00:30:00.170 --> 00:30:04.000 1, 2, 3, 4, and 5 Disguise VX series equipment 313 00:30:04.000 --> 00:30:07.800 Next to them, you can see the RX series 314 00:30:07.800 --> 00:30:11.800 This RX series is responsible for 315 00:30:11.800 --> 00:30:15.160 rendering and streaming Unreal Engine projects 316 00:30:15.160 --> 00:30:18.160 If you look here, the rendered images 317 00:30:18.160 --> 00:30:21.720 are streamed and sent to these 318 00:30:21.720 --> 00:30:25.670 These VXs are ultimately responsible for 319 00:30:25.670 --> 00:30:29.440 mapping the LEDs and outputting the images 320 00:30:29.440 --> 00:30:32.340 If you look at it, one is in the directing role 321 00:30:32.340 --> 00:30:35.199 and the rest are in the acting role 322 00:30:35.199 --> 00:30:40.249 So if the director manages each actor together 323 00:30:40.249 --> 00:30:42.799 the actors just render 324 00:30:42.799 --> 00:30:44.123 and output the images 325 00:30:45.796 --> 00:30:49.394 Let's start with the basic project settings 326 00:30:52.398 --> 00:30:56.264 First, let's create a project 327 00:31:05.852 --> 00:31:09.652 The most basic thing is that we need an LED Wall Mesh 328 00:31:09.652 --> 00:31:12.479 Let's put it in 329 00:31:21.406 --> 00:31:25.926 You can put the mesh in the object's Mesh folder 330 00:31:33.624 --> 00:31:36.774 You have to put everything in the same way 331 00:31:36.774 --> 00:31:39.860 in the actor computer 332 00:31:39.860 --> 00:31:42.600 that you will export from the directing computer 333 00:31:42.600 --> 00:31:44.550 In this way, you can directly enter 334 00:31:44.550 --> 00:31:48.038 the folders of each machine in the d3 manager 335 00:31:52.199 --> 00:31:54.449 In this way, we'll put the project 336 00:31:54.449 --> 00:31:57.465 in each machine 337 00:32:04.192 --> 00:32:07.142 Since we've set it up lightly, 338 00:32:07.142 --> 00:32:10.992 we moved it quickly, but if you have a lot of media 339 00:32:10.992 --> 00:32:14.079 you can see that this whole process takes a little longer 340 00:32:17.479 --> 00:32:19.629 When you run the project 341 00:32:19.629 --> 00:32:21.479 you can see that 342 00:32:21.479 --> 00:32:24.531 only the main machine is running 343 00:32:24.531 --> 00:32:28.426 but each actor machine needs to run 344 00:32:28.426 --> 00:32:31.357 so that we can work smoothly 345 00:32:33.679 --> 00:32:37.329 Let's do the basic settings first 346 00:32:37.329 --> 00:32:39.687 We'll delete the projector 347 00:32:43.658 --> 00:32:46.408 and space in the default 348 00:32:46.408 --> 00:32:49.136 and the person in the default 349 00:32:53.718 --> 00:32:55.468 In Project Settings 350 00:32:55.468 --> 00:32:58.418 you have to change the refresh rate by default 351 00:32:58.418 --> 00:33:04.314 The default is 60, but we'll change it to 59.94 352 00:33:04.314 --> 00:33:08.064 As I said before, the director is set up like this 353 00:33:08.064 --> 00:33:10.614 but each actor machine must be connected 354 00:33:10.614 --> 00:33:13.064 to output images to the LED 355 00:33:13.064 --> 00:33:16.195 so let's set that up 356 00:33:16.195 --> 00:33:20.708 We'll designate which machine will be the director 357 00:33:20.708 --> 00:33:23.421 and set up the actor machines 358 00:33:28.996 --> 00:33:31.246 Each machine has a hostname 359 00:33:31.246 --> 00:33:35.045 which is the serial number initially assigned to each machine 360 00:33:40.678 --> 00:33:43.578 With our current configuration, one is the main 361 00:33:43.578 --> 00:33:47.504 another is the ceiling, and another is the floor 362 00:33:47.504 --> 00:33:50.075 and each has a separate role 363 00:33:58.648 --> 00:34:00.773 Now that all the settings are complete 364 00:34:00.773 --> 00:34:04.877 you can check that the connections are all correct 365 00:34:04.877 --> 00:34:09.977 If you run the project on each machine like this 366 00:34:09.977 --> 00:34:12.679 the basic preparations are complete 367 00:34:12.679 --> 00:34:15.877 If you look at the status window, the light is red 368 00:34:19.738 --> 00:34:21.788 If you change it like this 369 00:34:21.788 --> 00:34:24.679 you can see they are connected 370 00:34:27.956 --> 00:34:31.556 Now, when you are done here, if you go to the Feed settings 371 00:34:31.556 --> 00:34:33.656 as we mentioned earlier 372 00:34:33.656 --> 00:34:38.085 we can see the status windows of each actor 373 00:34:38.085 --> 00:34:40.535 Let's go back to the stage and continue with 374 00:34:40.535 --> 00:34:43.560 the basic settings 375 00:34:43.560 --> 00:34:46.382 We will create the most basic LED screen 376 00:34:46.382 --> 00:34:49.232 Let's install 377 00:34:49.232 --> 00:34:53.269 the LED on the wall 378 00:34:53.269 --> 00:34:55.719 First, we start by inserting the LED mesh 379 00:34:55.719 --> 00:34:58.511 that we inserted earlier 380 00:34:58.511 --> 00:35:02.311 Insert the prepared OBJ file like this 381 00:35:02.311 --> 00:35:05.311 and enter the Resolution 382 00:35:05.311 --> 00:35:07.154 for our LED panel 383 00:35:11.179 --> 00:35:14.778 In addition, we will proceed with the floor 384 00:35:25.243 --> 00:35:27.743 This way 385 00:35:27.743 --> 00:35:32.391 we have completed installing the LEDs on the wall and floor 386 00:35:32.391 --> 00:35:36.025 Additionally, we will add the ceiling part 387 00:35:44.645 --> 00:35:48.045 In the case of the ceiling, we created it 388 00:35:48.045 --> 00:35:53.312 using the mesh provided by Disguise 389 00:35:53.312 --> 00:35:55.592 When we are done here 390 00:35:55.592 --> 00:35:57.142 we can see that the LEDs installed on-site 391 00:35:57.142 --> 00:35:58.892 and in our virtual world 392 00:35:58.892 --> 00:36:03.194 are installed the same way 393 00:36:03.194 --> 00:36:07.794 Now, to check if each LED is outputting properly 394 00:36:07.794 --> 00:36:13.679 we will proceed with a test pattern 395 00:36:13.679 --> 00:36:16.529 This is how we create layers and map them 396 00:36:16.529 --> 00:36:20.580 so that we can put test patterns on the LED 397 00:36:20.580 --> 00:36:23.421 If you go to the next Feed 398 00:36:23.421 --> 00:36:27.771 and look here, you can see that the Refresh Rate reference point 399 00:36:27.771 --> 00:36:30.857 is the Input part 400 00:36:30.857 --> 00:36:33.619 and the bottom part is the Output 401 00:36:33.619 --> 00:36:35.469 You can think of the main, floor, and ceiling 402 00:36:35.469 --> 00:36:40.322 as the expanded form of what we just created 403 00:36:40.322 --> 00:36:44.194 and the actors are the devices we will export 404 00:36:44.194 --> 00:36:47.996 Let's export it 405 00:36:47.996 --> 00:36:51.496 This way, you can export the video to the point you want 406 00:36:51.496 --> 00:36:56.055 by Alt + right-clicking the mouse 407 00:37:00.124 --> 00:37:05.431 For the resolution, I will export it as 3840×1920 408 00:37:11.982 --> 00:37:13.884 So, I will adjust the wall's LED wall 409 00:37:13.884 --> 00:37:19.183 to use 3840×2160 in total 410 00:37:26.782 --> 00:37:30.728 Here, I will move the source position 411 00:37:30.728 --> 00:37:33.128 You can move it by dragging it with the mouse 412 00:37:33.128 --> 00:37:34.555 but to be precise 413 00:37:34.555 --> 00:37:37.471 it is most accurate to move it by entering numbers 414 00:37:39.579 --> 00:37:41.030 I did it this way 415 00:37:41.822 --> 00:37:44.658 and if you look at it, there is a little bit of resolution left at the bottom 416 00:37:44.658 --> 00:37:47.808 I will apply these as separate scrap resolutions 417 00:37:47.808 --> 00:37:51.108 and put them in the final output 418 00:37:51.108 --> 00:37:54.238 little by little 419 00:37:54.238 --> 00:37:56.658 The horizontal size is the same, 3840 420 00:37:56.658 --> 00:38:00.970 I will only use 384 pixels for the vertical size 421 00:38:14.679 --> 00:38:18.042 Likewise, I recommend entering the source position 422 00:38:18.042 --> 00:38:21.115 as the exact location 423 00:38:35.897 --> 00:38:39.047 This basically completes the Output settings 424 00:38:39.047 --> 00:38:41.382 for the main wall 425 00:38:41.382 --> 00:38:43.832 If this is not done exactly 426 00:38:43.832 --> 00:38:48.728 there is a slight possibility that the grid lines of the test pattern will be distorted 427 00:38:48.728 --> 00:38:52.946 You can check it by adjusting it like this 428 00:38:55.352 --> 00:38:58.223 Additionally, I will set the floor 429 00:39:06.769 --> 00:39:11.833 Since the resolution of the floor is a little lower than before 430 00:39:11.833 --> 00:39:16.198 I will only use two outputs like this 431 00:39:16.198 --> 00:39:21.143 and I will only use one for the ceiling like this 432 00:39:24.430 --> 00:39:27.525 Now, after setting the resolution with the Feed setting 433 00:39:27.525 --> 00:39:31.480 you need to set the color setting 434 00:39:31.480 --> 00:39:34.080 If you go into Project Settings 435 00:39:34.080 --> 00:39:36.887 or Basic Color Management 436 00:39:36.887 --> 00:39:39.140 the default value is Gamma Space 437 00:39:39.140 --> 00:39:44.125 But we will click on this and change it to ACES 438 00:39:44.125 --> 00:39:47.725 We chose ACES because 439 00:39:47.725 --> 00:39:52.309 many of the results and contents 440 00:39:52.309 --> 00:39:55.009 that come after working on VFX 441 00:39:55.009 --> 00:39:57.264 are in ACES 442 00:39:57.264 --> 00:40:00.595 Originally, you could set 8-bit or 10-bit 443 00:40:00.595 --> 00:40:03.195 in the feed 444 00:40:03.195 --> 00:40:06.995 If you do ICVFX 445 00:40:06.995 --> 00:40:10.145 or Unreal, you have to do it in 10 bits 446 00:40:10.145 --> 00:40:15.560 but today, we will do it in 8 bits 447 00:40:15.560 --> 00:40:19.710 And before I tell you about the additional settings 448 00:40:19.710 --> 00:40:24.344 let's insert an image 449 00:40:27.532 --> 00:40:31.532 Now, the media is one 450 00:40:31.532 --> 00:40:34.202 Let's simply load 451 00:40:39.880 --> 00:40:44.030 an Egyptian video 452 00:40:44.030 --> 00:40:46.780 When we load the media 453 00:40:46.780 --> 00:40:49.030 we have to set the color space 454 00:40:49.030 --> 00:40:50.437 of this media 455 00:40:56.097 --> 00:40:58.507 Right-click on the input image 456 00:41:04.948 --> 00:41:11.698 and set the color section 457 00:41:11.698 --> 00:41:14.948 If you look, it's set to sRGB by default 458 00:41:14.948 --> 00:41:18.098 If you look at it, we're going to do 8 bits today 459 00:41:18.098 --> 00:41:21.384 so you can just use this setting, but to show you simply 460 00:41:21.384 --> 00:41:25.584 if you do ACES-2065-1 461 00:41:25.584 --> 00:41:28.839 you can do it as pass-through 462 00:41:28.839 --> 00:41:32.389 If not, if you do it in 10 bits 463 00:41:32.389 --> 00:41:36.539 you often go with Rec. 2020 in the color section 464 00:41:36.539 --> 00:41:39.389 and ST2084 (PQ) 465 00:41:39.389 --> 00:41:43.409 in the transfer function 466 00:41:43.409 --> 00:41:47.120 Today, we will go with sRGB 467 00:41:47.120 --> 00:41:49.670 This means that you have set 468 00:41:49.670 --> 00:41:51.470 the color space for the input image 469 00:41:51.470 --> 00:41:55.080 We also need to set the output's Colour Space 470 00:41:55.080 --> 00:41:57.330 You can do this 471 00:41:57.330 --> 00:42:00.780 by right-clicking on the mesh 472 00:42:00.780 --> 00:42:03.199 If you look, you can set the Output Transform 473 00:42:03.199 --> 00:42:05.899 Colour here 474 00:42:05.899 --> 00:42:08.249 Now, before we finish 475 00:42:08.249 --> 00:42:10.249 let's go back to the beginning 476 00:42:10.249 --> 00:42:13.399 and change it to Gamma Space 477 00:42:13.399 --> 00:42:15.849 If you change ACES to Gamma 478 00:42:15.849 --> 00:42:18.699 in Project Settings 479 00:42:18.699 --> 00:42:22.720 right-click here again and look at Colour Space 480 00:42:22.720 --> 00:42:26.070 There aren't many values ​​you can set like before 481 00:42:26.070 --> 00:42:30.747 It is confusing if you see it sometimes and you can't set it 482 00:42:30.747 --> 00:42:34.497 You can set it like this by changing 483 00:42:34.497 --> 00:42:40.652 Gamma Space to ACES in Project Settings 484 00:42:40.652 --> 00:42:45.702 After setting Output Colour Transform in Disguise 485 00:42:45.702 --> 00:42:47.352 you need to input it in the same way 486 00:42:47.352 --> 00:42:50.279 in Brompton and Image Processor 487 00:42:50.279 --> 00:42:53.029 Normally, you can set 488 00:42:53.029 --> 00:42:55.229 the input like this 489 00:42:55.229 --> 00:42:59.440 and since we will use 709 today, set it to SDR 490 00:42:59.440 --> 00:43:03.790 and press Rec.709 to proceed with the setting 491 00:43:03.790 --> 00:43:05.840 If you have done everything up to this point 492 00:43:05.840 --> 00:43:09.768 you can see that the color for the source, the color for the export 493 00:43:09.768 --> 00:43:12.068 and the color of the Image Processor 494 00:43:12.068 --> 00:43:13.918 that is exported at the end 495 00:43:13.918 --> 00:43:18.813 are all set the same 496 00:43:18.813 --> 00:43:22.113 Now that the color setting is complete 497 00:43:22.113 --> 00:43:25.463 let's create the mappings we learned earlier one by one 498 00:43:25.463 --> 00:43:27.263 and check how they are applied 499 00:43:27.263 --> 00:43:29.080 to the LED. Among the various mappings 500 00:43:29.080 --> 00:43:31.931 Let's start with the simplest 501 00:43:31.931 --> 00:43:35.800 2D method 502 00:43:35.800 --> 00:43:38.300 There are many different ones in 2D 503 00:43:38.300 --> 00:43:42.279 but let's start with the simple Direct Mapping 504 00:43:42.279 --> 00:43:46.279 As soon as you input an image, the mapping is applied right away 505 00:43:46.279 --> 00:43:50.440 The default is Direct Mapping 506 00:43:50.440 --> 00:43:54.840 In the case of Direct Mapping, you can see that the image I have 507 00:43:54.840 --> 00:44:00.559 is directly applied to the LED mesh 508 00:44:00.559 --> 00:44:05.259 Now, if you right-click on the mapping 509 00:44:05.259 --> 00:44:09.360 you can see which screen this direct is connected to 510 00:44:09.360 --> 00:44:13.110 and how the resolution is applied 511 00:44:13.110 --> 00:44:18.040 It's really simple 512 00:44:18.040 --> 00:44:23.136 For example, let's add a floor here 513 00:44:23.136 --> 00:44:26.186 The advantage is that we can apply it 514 00:44:26.186 --> 00:44:30.331 to the mesh we want right away 515 00:44:30.331 --> 00:44:34.784 Next, let's take a look at Perspective Mapping 516 00:44:43.320 --> 00:44:45.920 If you look at it like this 517 00:44:45.920 --> 00:44:49.959 you can see that the image is only in the center of the LED 518 00:44:49.959 --> 00:44:55.897 n the case of Perspective Mapping 519 00:44:55.897 --> 00:44:59.797 the mapping is a bit different from Direct 520 00:44:59.797 --> 00:45:01.720 because you can see that the image changes position when the camera moves 521 00:45:01.720 --> 00:45:04.970 You can think of the area 522 00:45:04.970 --> 00:45:09.399 the camera looks at as the LED image 523 00:45:09.399 --> 00:45:15.279 If you right-click on the camera, you can see it like this 524 00:45:15.279 --> 00:45:18.629 I'll rotate the camera 525 00:45:18.629 --> 00:45:21.357 so that it's on this side 526 00:45:28.372 --> 00:45:30.872 If you look at it, the LED has a curve 527 00:45:30.872 --> 00:45:36.799 but the image from the camera looks flat 528 00:45:36.799 --> 00:45:40.099 These parts are one of the biggest advantages 529 00:45:40.099 --> 00:45:43.399 of Perspective Mapping 530 00:45:43.399 --> 00:45:45.772 This is used in many cases 531 00:45:45.772 --> 00:45:48.572 but the most common use in Korea is 532 00:45:48.572 --> 00:45:52.720 when filming driving scenes 533 00:45:52.720 --> 00:45:54.870 Let's take a look at how it's used 534 00:45:54.870 --> 00:45:57.070 We have a layer that we prepared 535 00:45:57.070 --> 00:46:00.312 Let's take a look at that layer to make sure 536 00:46:04.320 --> 00:46:08.270 If you look at the image on the right 537 00:46:08.270 --> 00:46:10.959 you can see it's roughly connected 538 00:46:10.959 --> 00:46:12.839 and the image on the left is slightly off 539 00:46:12.839 --> 00:46:16.389 Although it is not perfect 540 00:46:16.389 --> 00:46:19.878 you can stitch multiple videos 541 00:46:19.878 --> 00:46:23.880 into one video within Disguise 542 00:46:23.880 --> 00:46:25.344 Let's play it 543 00:46:29.679 --> 00:46:33.175 This is how we utilize Perspective Mapping 544 00:46:35.977 --> 00:46:42.177 If necessary, you can see that 545 00:46:42.177 --> 00:46:43.959 the left and right cameras move separately 546 00:46:43.959 --> 00:46:46.159 Of course, we can stitch the footage 547 00:46:46.159 --> 00:46:49.009 taken on-site in our post-processing 548 00:46:49.009 --> 00:46:52.409 but there are also many cases where Disguise 549 00:46:52.409 --> 00:46:54.640 simply stitches and uses it 550 00:46:54.640 --> 00:46:57.076 And one last tip 551 00:47:02.254 --> 00:47:06.412 If you move each camera at once, it is a bit cumbersome 552 00:47:20.481 --> 00:47:23.731 so if you create a specific mesh and group all the cameras under it 553 00:47:23.731 --> 00:47:27.135 you can control three simultaneously 554 00:47:27.135 --> 00:47:30.985 If you control it this way, you can quickly place 555 00:47:30.985 --> 00:47:34.402 the image in the desired location on site 556 00:47:41.283 --> 00:47:44.283 Next, let's look at another mapping 557 00:47:44.283 --> 00:47:47.244 Sphere Mapping 558 00:47:47.244 --> 00:47:49.794 First, let's control 559 00:47:49.794 --> 00:47:54.175 the mapping that we have already installed 560 00:48:03.979 --> 00:48:09.303 The source we have now is a 360-degree source 561 00:48:09.303 --> 00:48:15.531 There are two ways to move the position left and right like this 562 00:48:15.531 --> 00:48:22.781 or if you go into the mapping itself 563 00:48:22.781 --> 00:48:27.066 you can rotate it with Rotation 564 00:48:29.878 --> 00:48:31.780 If you look at this 565 00:48:31.780 --> 00:48:36.728 you can see a specific circular shape in the middle 566 00:48:36.728 --> 00:48:40.907 and that it is connected radially 567 00:48:40.907 --> 00:48:45.707 This is Sphere Mapping, which is additionally 568 00:48:45.707 --> 00:48:47.640 used in 2D mapping 569 00:48:47.640 --> 00:48:50.640 Up to this point, you can think of it as a mapping 570 00:48:50.640 --> 00:48:52.828 that anyone can easily use with 2D mapping 571 00:48:52.828 --> 00:48:55.728 The next mapping we will look at 572 00:48:55.728 --> 00:48:59.551 is the 2.5D mapping method 573 00:48:59.551 --> 00:49:01.745 Now, the 2D mapping that we've seen so far 574 00:49:01.745 --> 00:49:05.521 is a single 2D image played on LED 575 00:49:05.521 --> 00:49:08.821 so there's no perspective change 576 00:49:08.821 --> 00:49:11.729 and no parallax effect that we commonly call it 577 00:49:11.729 --> 00:49:16.579 To get more advantages from these 578 00:49:16.579 --> 00:49:18.076 we use 2.5D 579 00:49:18.076 --> 00:49:21.175 Let's take a quick look at 2.5D 580 00:49:23.462 --> 00:49:28.512 Now, if you look, there's an LED in front 581 00:49:28.512 --> 00:49:31.749 and we've stacked up many layers behind it 582 00:49:31.749 --> 00:49:37.199 If you stack layers like this, including 583 00:49:37.199 --> 00:49:40.650 the sky layer, the building, and the foreground 584 00:49:40.650 --> 00:49:45.044 and then all of these are combined and combined into one LED, 585 00:49:45.044 --> 00:49:48.541 you can see that this is 2.5D 586 00:49:48.541 --> 00:49:50.640 Let's take a look at the camera 587 00:50:03.759 --> 00:50:06.759 If the camera moves like this 588 00:50:06.759 --> 00:50:09.967 the sky will move slightly because it's far away 589 00:50:09.967 --> 00:50:13.105 and the foreground will move more because it's close 590 00:50:13.105 --> 00:50:16.005 We can say that we can implement 591 00:50:16.005 --> 00:50:22.046 the 2.5D effect because of these differences 592 00:50:22.046 --> 00:50:25.511 Let's set these up 593 00:50:39.249 --> 00:50:43.099 Everything we've done so far was made on an LED screen 594 00:50:43.099 --> 00:50:45.699 but to do 2.5D 595 00:50:45.699 --> 00:50:48.640 we need to add Projection Surfaces 596 00:50:54.214 --> 00:50:57.214 Let's make one as an example first 597 00:50:57.214 --> 00:51:00.432 For the rest, we'll use the ones we've already made 598 00:51:00.432 --> 00:51:02.732 If you make an example like this 599 00:51:02.732 --> 00:51:05.989 the size has to be significantly larger than the LED 600 00:51:05.989 --> 00:51:07.313 so there's no space 601 00:51:07.313 --> 00:51:09.213 The LED we're using now 602 00:51:09.213 --> 00:51:11.413 is 30m wide 603 00:51:11.413 --> 00:51:14.363 so we'll make it 40m, which is larger 604 00:51:14.363 --> 00:51:18.313 and we'll place it behind the LED 605 00:51:18.313 --> 00:51:21.763 In this way, we'll divide the Surfaces 606 00:51:21.763 --> 00:51:25.759 we'll use into background, foreground, and midground 607 00:51:25.759 --> 00:51:27.530 This time, we'll place all the ones 608 00:51:27.530 --> 00:51:28.640 we've already made 609 00:51:35.845 --> 00:51:38.353 If we place it now, it won't be visible on the screen 610 00:51:38.353 --> 00:51:41.703 We can see this if we change 611 00:51:41.703 --> 00:51:44.036 all the Render Stages to Onstage 612 00:51:50.907 --> 00:51:52.907 I'll erase the back 613 00:52:20.770 --> 00:52:22.620 In this way, we can see the layers 614 00:52:22.620 --> 00:52:24.650 we've stacked exactly 615 00:52:24.650 --> 00:52:28.062 As you can see, we've prepared a separate image 616 00:52:28.062 --> 00:52:31.194 with alpha for the image 617 00:52:31.194 --> 00:52:33.244 We've created two more layers 618 00:52:33.244 --> 00:52:36.344 that can be divided into two stages 619 00:52:36.344 --> 00:52:38.343 The foreground and the midground 620 00:52:38.343 --> 00:52:40.093 And we've created a sky 621 00:52:40.093 --> 00:52:42.640 that can be used as the background 622 00:52:42.640 --> 00:52:45.890 All mappings for this are done in 623 00:52:45.890 --> 00:52:51.006 a Direct Mapping manner for each Surface 624 00:52:51.006 --> 00:52:52.942 and when all of this is ready 625 00:52:52.942 --> 00:52:54.392 to combine all of this 626 00:52:54.392 --> 00:52:57.382 a layer called StageRender is created 627 00:52:57.382 --> 00:52:59.382 However, after creating StageRender 628 00:52:59.382 --> 00:53:00.743 mapping is needed here 629 00:53:00.743 --> 00:53:04.373 and this mapping creates an MR Set 630 00:53:09.313 --> 00:53:11.294 Click to take a look 631 00:53:23.778 --> 00:53:26.568 As you can see, we need to select 632 00:53:26.568 --> 00:53:32.135 the On-stage for compositing that is, the LED to be connected 633 00:53:32.135 --> 00:53:34.335 We have set it up now, but let's remove it 634 00:53:34.335 --> 00:53:35.640 and put it back in 635 00:53:38.343 --> 00:53:46.848 When we take it out, nothing is drawn on the LED 636 00:53:46.848 --> 00:53:52.531 We will proceed in this way, and additionally 637 00:53:52.531 --> 00:53:53.881 we will create an MR Set like this 638 00:53:53.881 --> 00:53:55.531 and then add the MR Set 639 00:53:55.531 --> 00:53:58.313 to the StageRender mapping to finish 640 00:54:02.640 --> 00:54:04.840 If we have reached this point 641 00:54:04.840 --> 00:54:07.600 we are ready to use basic 2.5D 642 00:54:07.600 --> 00:54:12.100 The advantage of this 2.5D is that images created in Unreal Engine 643 00:54:12.100 --> 00:54:15.115 are a game engine, so they are a little awkward 644 00:54:15.115 --> 00:54:17.965 However, since they are based on real images 645 00:54:17.965 --> 00:54:20.728 the quality is high, but the perspective effect 646 00:54:20.728 --> 00:54:24.897 can be maintained as it is 647 00:54:24.897 --> 00:54:27.283 Now, to do this, we need to do 648 00:54:27.283 --> 00:54:29.105 additional camera tracking 649 00:55:51.287 --> 00:55:57.000 The basic 2D and 2.5D preparations are complete 650 00:55:57.000 --> 00:55:59.200 Now, to utilize this 651 00:55:59.200 --> 00:56:01.000 we need an Inner Camera 652 00:56:01.000 --> 00:56:03.693 Let's try setting up the Inner Camera 653 00:56:07.683 --> 00:56:09.535 We'll try camera tracking 654 00:56:09.535 --> 00:56:12.535 For tracking, we'll use 655 00:56:12.535 --> 00:56:15.000 what we've created before 656 00:56:23.653 --> 00:56:26.742 You can track the camera like this 657 00:56:26.742 --> 00:56:29.492 You can see that the Inner 658 00:56:29.492 --> 00:56:33.287 changes every time you move the camera 659 00:56:33.287 --> 00:56:36.069 To greatly improve the effect of this method 660 00:56:36.069 --> 00:56:39.505 it's essential to receive camera tracking data in real-time 661 00:56:39.505 --> 00:56:42.663 and apply it to the virtual camera 662 00:56:42.663 --> 00:56:45.013 As you can see, the incoming data 663 00:56:45.013 --> 00:56:46.594 is in real-time 664 00:56:46.594 --> 00:56:49.505 Let's move the camera 665 00:56:49.505 --> 00:56:51.614 and see how it is applied 666 00:56:54.099 --> 00:57:01.683 Moving the camera to the right and left 667 00:57:01.683 --> 00:57:04.778 and applying it this way 668 00:57:04.778 --> 00:57:07.396 is a big advantage of 2.5D 669 00:57:09.109 --> 00:57:12.287 We have briefly shown you 670 00:57:12.287 --> 00:57:16.237 how to apply the parts we have learned 671 00:57:16.237 --> 00:57:18.396 in theory to LED in practice 672 00:57:18.396 --> 00:57:22.000 The biggest difference between pre-visualization on your computer 673 00:57:22.000 --> 00:57:24.505 and in the field is 674 00:57:24.505 --> 00:57:29.138 the connection settings of various existing equipment 675 00:57:29.138 --> 00:57:32.742 Everything above is very accurate and the same as 676 00:57:32.742 --> 00:57:34.792 what you see on the main computer 677 00:57:34.792 --> 00:57:37.455 and what appears on the LED wall 678 00:57:37.455 --> 00:57:39.805 Therefore, even if you don't necessarily 679 00:57:39.805 --> 00:57:41.416 test it on the LED stage 680 00:57:41.416 --> 00:57:44.277 you can do a lot of pre-vis and tech-vis in the office 681 00:57:44.277 --> 00:57:47.594 sitting at your computer 682 00:57:47.594 --> 00:57:49.794 You can see that the biggest advantage of Disguise is that 683 00:57:49.794 --> 00:57:52.653 you can prepare everything in the office 684 00:57:52.653 --> 00:57:55.802 and just run it in the studio 685 00:57:55.802 --> 00:57:59.871 with confidence in this area 686 00:57:59.871 --> 00:58:03.158 This is the second lecture on utilizing Disguise 687 00:58:03.158 --> 00:58:06.257 and the last lecture on media servers 688 00:58:06.257 --> 00:58:09.807 Since it is not easy to directly access 689 00:58:09.807 --> 00:58:12.465 the actual VX studio or media server 690 00:58:12.465 --> 00:58:16.161 I hope this lecture has allowed you to indirectly experience it 691 00:58:16.161 --> 00:58:20.703 and increase your basic understanding 692 00:58:20.703 --> 00:58:24.356 hen, I will finish by summarizing what you learned today 693 00:58:24.356 --> 00:58:25.346 Thank you 694 00:58:26.135 --> 00:58:26.835 2D Mapping Method Creating Mapping by Mapping Type Direct Mapping: A method of directly mapping the entire screen to fit the LED screen 695 00:58:26.835 --> 00:58:27.535 Feed Mapping: A method of mapping to the desired location on the screen by specifying an arbitrary rectangle CameraPlate Mapping: A method of mapping to a camera rather than an LED screen 696 00:58:27.535 --> 00:58:28.235 Special Mapping: A 3D camera-based mapping that has a space or location so that it can move around the 3D environment 697 00:58:28.235 --> 00:58:28.935 Cylindrical Mapping: A method of remapping content in real time even if the screen moves or expands 698 00:58:28.935 --> 00:58:29.585 Mesh Mapping 3D: A method of mapping content according to the UV coordinates of a specific mesh in the environment 699 00:58:29.585 --> 00:58:30.285 Perspective Mapping: A method of mapping that starts from the point where the content is output and gets larger as it gets farther away from the output point 700 00:58:30.285 --> 00:58:30.956 Radial Mapping: A method of mapping from the radial center to the end of the cylinder Spherical Mapping: A method of mapping in the shape of a sphere 701 00:58:30.956 --> 00:58:33.456 2.5D Setting Import 2.5D project Move prepared 2.5D file to objects folder Add 2.5D layer to timeline 702 00:58:33.456 --> 00:58:35.912 Set 2.5D Set Mapping to MR set and Camera plate to Back Plate Each separate image moves according to the movement of the camera 703 00:58:35.912 --> 00:58:37.162 Render Stream and ICVFX Setting up Unreal Engine Create a Plugins folder in the project folder Create a folder in the Outliner and create an actor to use as the origin 704 00:58:37.162 --> 00:58:38.362 Select a level to Render Stream in Edit - Project Setting - Maps & Modes 705 00:58:38.362 --> 00:58:39.612 Setting up Disguise Create one LED screen and camera, then set one MR set Right-click on Workload and set according to the task 706 00:58:39.612 --> 00:58:40.862 Decide the camera mapping method in Channel mappings Set Outer to Mesh Mapping 707 00:58:40.862 --> 00:58:43.362 VX Studio on-site demonstration SPG8000A that connects all systems with a single signal Each BLC cable sends a sync signal to the main device 708 00:58:43.362 --> 00:58:45.855 RX Series that renders and streams Unreal Engine projects One Disguise device directs, the rest act 709 00:58:45.861 --> 00:58:47.111 Setting up the project The data to be exported from the directing computer must be entered in the actor computer in the same way Change the global refresh rate to 59.940Hz 710 00:58:47.111 --> 00:58:48.411 Run the project for each machine Run the Test Pattern to check the output of each LED If the output is not accurate, the grid lines of the Test Pattern will be distorted 711 00:58:48.411 --> 00:58:49.661 Change the value of Color management to ACES Set the Project Bit Depth to 8 Bit 712 00:58:49.661 --> 00:58:50.940 After setting the Color Transform, the same input must be entered in the Image Processor 713 00:58:50.940 --> 00:58:51.840 2D Mapping Direct Mapping where the image you have is directly applied to the LED Mash 714 00:58:51.840 --> 00:58:52.790 Perspective Mapping where you can adjust the position of the image by moving the camera Spherical Mapping where the image appears radially through a circle in the center 715 00:58:52.790 --> 00:58:53.751 2.5D Mapping Stack numerous layers behind the LED You need to add a Surface to set up 2.5D Mapping 716 00:58:53.751 --> 00:58:54.711 You need to set the Surface value larger than the LED to avoid creating empty space Create a Stage Render to merge all layers 717 00:58:54.711 --> 00:58:55.715 You need to select On-stage for layer compositing Insert the MR set into the Stage Render Additionally, camera tracking is required