Why is this one person always referred to with "ASC, ACS" after their name?
> Greig Fraser, ASC, ACS
Real-time, in-camera background compositing in The Mandalorian
71–80 of 126 posts
Re: Real-time, in-camera background compositing in The Mandalorian
#72Earlier quoted context omitted.
I wonder how much this reduces the environmental footprint. The explosion in shows and movies always looking for raw nature or awesome settings has me wondering how much destruction it makes. And how much waste it produces.
Environmental footprint? A local trade show, movie theater or small office building probably uses more electricity. Let's try to keep things in perspective.
I think he meant flying large crews, including actors, caterers etc., to Iceland to film a movie vs a small photogrammetry team.
Re: Real-time, in-camera background compositing in The Mandalorian
#73This is super interesting stuff and I've been following it for some time. I just wrote it up with a bit more context: https://techcrunch.com/2020/02/20/how-the-mandalorian-and-il... It's not just ILM and Disney either, this is going to be everywhere . It's complex to set up and run in some ways but the benefits are enormous for pretty much everyone involved. I doubt there will be a major TV or film production that do…
Is there any way to read your article if I can’t figure out how to navigate through the legalese and dark patterns of Verizon’s privacy extortion wall?
Re: Real-time, in-camera background compositing in The Mandalorian
#74Earlier quoted context omitted.
For the VFX industry, the tracking had already been solved for ages, with those reflective little balls on suits etc. in a mocap system. The Wii sensor bar's thing was that it was really cheap. But yes, damn close to a holodeck. But you can't see depth in this setup, right?
It won't trick anyone with stereo vision, but the perspective correction provides all the depth cues needed to create a convincing 3D visual for pirates and non-stereo cameras.
pirates? What arrrr you talking about?
Re: Real-time, in-camera background compositing in The Mandalorian
#75Here is the Unreal Engine tech they are using: https://www.unrealengine.com/en-US/spotlights/unreal-engine-... . This is a video of it in action: https://www.youtube.com/watch?v=bErPsq5kPzE&feature=emb_logo .
Unreal Engine is also used by the BBC to create virtual studios for football punditry programmes. This uses a simpler green screen technology, but it demonstrates how Epic are moving away from their gaming roots.
Don't think they're moving away as much as they're expanding in growing markets where there's money to be made.
Re: Real-time, in-camera background compositing in The Mandalorian
#76Earlier quoted context omitted.
For the VFX industry, the tracking had already been solved for ages, with those reflective little balls on suits etc. in a mocap system. The Wii sensor bar's thing was that it was really cheap. But yes, damn close to a holodeck. But you can't see depth in this setup, right?
They have polarized 3D screens, and with head tracking, you have it.
Was thinking the same, but that'll also work for just 1 PoV
Re: Real-time, in-camera background compositing in The Mandalorian
#77Earlier quoted context omitted.
For the VFX industry, the tracking had already been solved for ages, with those reflective little balls on suits etc. in a mocap system. The Wii sensor bar's thing was that it was really cheap. But yes, damn close to a holodeck. But you can't see depth in this setup, right?
Mocap systems haven't really been able to produce deliverable results without human intervention very long. I'd argue they're still not there, some filtering and cleanup of the data is usually required. A lot of VFX is still about throwing human labour at problems. Edit: I should note I'm talking about motion capture for characters etc. Capturing the motion of a rigid object like a camera in a controlled environment…
You're right. The mocap data for the actor who played Thanos in Avengers had to be post processed by artist by hand since the motion of a regular man doesn't correspond to the motion of a larger and heavier Titan. I guess in a few years all that could be automated with ML.
Re: Real-time, in-camera background compositing in The Mandalorian
#78Earlier quoted context omitted.
They mention they cannot push enough GPU juice to the screens, so they only render the camera focus area in full resolution. Also there is 12 frame lag which prevents moving camera too fast.
I don’t fully get this. They could just employ different computers to render different parts of their cave. It seems more like a cost savings thing than a technical limitation. And I’m not sure why you’d skimp on a few PC’s if you’re already building a humongous led wall, so maybe there’s something I’m missing.
“They could just...”
Pretty much every time I’ve thought this, it’s turned out I was underestimating the difficulty of doing “just” that.
If it were just that easy, wouldn’t they have done that already?
Re: Real-time, in-camera background compositing in The Mandalorian
#79Earlier quoted context omitted.
The most interesting aspect to me is that the system is pulling double duty by displaying both a dynamic, perspective-correct backdrop for the camera's POV and a static view for environment lighting and reflections outside of the camera's view frustum. I wonder if they had to take care to mitigate artifacts caused by the dynamic view bouncing off of surfaces facing away from the camera.
What artifacts?
I guess he is thinking about situations where you would use a negative fill
Re: Real-time, in-camera background compositing in The Mandalorian
#80Why is this one person always referred to with "ASC, ACS" after their name? > Greig Fraser, ASC, ACS
It means they are a member of the American Society of Cinematographers (ASC) and I believe the Australian Cinematographers Society (ACS).