体积视频为电影拍摄带来新维度 Diego Prilusky: How volumetric video brings a new dimension to filmmaking

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演员: Diego Prilusky


台词
I love making movies.
我热爱电影创作。
Motion pictures have been in existence for more than a hundred years.
电影已经有超过 100 年的历史了。
Filmmaking hasn't changed for the dimensional mindset.
但是从维度思维的角度来说, 电影创作的过程几乎毫无变化。
Placing the camera in a scene and pressing "record" hasn't changed.
摄影机往场景内一放, 按下录制键就是了。
Filmmaking is still a frontal experience,
电影创作仍然是一种正面的体验,
and creating the film has the possibility
创作一部电影能让人
to follow the same direction of the content creation.
跟随着内容创作的方向。
We still stand in front of a flat image,
可我们面对的仍然是扁平的图像,
watching the fiction.
看着虚构的故事。
There's nothing wrong with it.
这也没什么不好的。
I love watching movies and going to the theaters.
我喜欢看电影,喜欢去影院。
The experiences can be such emotional experiences.
那是很感性的体验。
The art and craft of emotional experiences within a frame
画面中的这种感性体验 所包含的艺术与心血
can be so strong to drive a stronger emotion.
强烈到足以带出更为浓烈的情感。
The question we're asking is,
人们想要知道的是,
How the experience of motion pictures can exist beyond the flat screen.
脱离了平面幕布之后, 电影能带来怎样的体验。
How can we start creating content
我们该如何开始为
for the next generation of content experiences?
新一代的内容体验进行内容创作?
Traditionally, when we imagine a scene,
当我们想象一个场景的时候, 传统的做法是,
we look at the frame and the composition.
我们看着画面,想着构图。
We have to think about how we create depth and parallax
我们得想想,当镜头 移动的时候,如何借助
using foreground, background elements as the camera moves.
前景和背景的元素来实现景深和视差。
With the technology today and devices of VR glasses,
现在有了虚拟现实眼镜、 增强现实眼镜、
AR glasses, smart devices,
智能设备等这些技术与设备,
allowing three-dimensional and full navigation in space,
我们在空间中能实现 三维和全方位导航,
we have the possibility to enable audiences
我们能让观众
to experience content from multiple perspectives.
从多视角去体验内容创作。
What we have to think about is how we take this technology,
我们现在需要考虑的是, 如何利用这种技术,
all the capabilities,
这些能力,
and enable the experience to move farther away inside the scene.
使得场景中的体验 得到更高层次的提升。
Now we're not talking about video games or computer-generated actors,
我们现在谈论的并不是 看起来栩栩如生的
which look tremendously realistic.
电子游戏或者计算机生成的演员。
We're talking about real actors and real performance,
我们谈的是舞台上真实的演员,
performing onstage.
真实的表演。
We have to start thinking how we capture the actors
为了做到沉浸其中, 我们现在要开始思考
and how we capture the real scene
如何捕捉演员,
in order to immerse inside.
如何捕捉真实的场景。
Now, we're familiar with the 360-degree video,
我们已经对 360 度视频很熟悉了,
where you place a camera inside the scene
也就是在场景里放置一台摄影机,
and you can create this beautiful panoramic image all around you,
便能生成曼妙的全景图。
but from the same aspect,
但是从这个层面来看,
filmmaking is still frontal.
电影拍摄仍然是正面的。
In order to emerge fully inside the scene,
为了展现场景里的各个角落,
we will need to capture the light from all the possible directions.
我们还需要从一切可能的方向 捕捉光影。
We will have to surround the scene with an enormous amount of sensors,
也就是说,我们还得在场景四周 设下无数的传感器,
with all possible capabilities to capture the light
才能尽可能地捕捉光影,
and enable us to emerge inside afterwards again.
随后在场景里把所有细节 再次展示出来。
Now, in this setup,
现在有了这种布置,
there's no more foreground or background
不再需要前景或者背景,
or a camera placed in space
不再需要放置摄影机,
but hundreds of sensors capturing the light
只需要用于捕捉光影的 成百上千的传感器
and capturing the motion from all the possible directions.
从一切可能的角度捕捉动作。
With the new technological advancements,
凭借着新的技术进展,
we can start looking at 3D photography,
我们可以实现三维摄影,
capturing the light from multiple perspectives,
从多视角捕捉光影,
enabling us to reconstruct the object.
能够重塑拍摄对象。
This is like photography in 3D space.
就像是在三维空间进行拍摄。
Now, with these technological advancements,
凭借着新的技术进展,
we can record video not just as a flat image
我们所拍摄的视频 不再是扁平的图像,
but as a volume.
而是一个立体的场景。
This is what we call "volumetric video,"
这就是我们所说的“体积视频”。
and it has the capability to record every action of the scene
它能记录场景中的所有动作,
as a full three-dimensional volume.
并将其存储为 一个全角度的三维场景。
Now, what is a voxel?
我们再来看看什么是体素(voxel)。
A voxel is like a three-dimensional pixel,
体素就像是一个三维的像素,
but instead of being a flat image square, staying light and colored,
与只有亮度和色彩维度的 扁平图块不同的是,
it's like a three-dimensional cube in space,
它是空间中的一个三维立方体,
with x, y, and z positions.
有着 x、y、z 三种方位。
This enables us to create a full capture of the scene
这能让我们从任何角度
from any perspective.
对场景进行全面捕捉,
Now this renders a fully light-immersive scene
进而能够从多视角实现
from multiple perspectives.
全面的光影沉浸式场景。
This capability requires an insane amount of information to be processed.
这种技术能力 需要处理数量惊人的信息。
We will have to capture the light from an enormous amount of cameras
我们需要利用大量的相机 来捕捉光影,
to create this information.
从而创造这样的信息。
Now, in order to do such a thing,
为了做到这点,
we would need a setup that would host a numerous amount of cameras
我们需要在舞台上安装
installed in a stage
大量的摄影机,
and a stage big enough in order to fit a full cinematic experience.
以及一个能匹配完整影院体验的 足够大的舞台。
Now that sounds like a crazy idea, but that's exactly what we did.
这听起来像是很疯狂的想法, 但我们的确这么做了。
For the last three years,
在过去三年里,
we have been building a huge volumetric camera chamber.
我们一直在打造一个 巨大的体积摄影机室。
It's 10,000 square feet of a stage,
这是一个将近 1000 平米的拍摄场地,
enabling to capture the action from any location.
能捕捉任何位置的动作。
We have deployed hundreds of cameras,
我们安装了数百台摄影机,
sending a tremendous amount of information
将庞大的信息量
to a huge data center powered by Intel supercomputers.
发送到由英特尔超级电脑支持的 巨大的数据中心。
The ability to have this 10,000 feet
这个将近 1000 平米的空间
enables us to fit any kind of action,
大概相当于百老汇舞台的平均尺寸,
any kind of performance.
能让我们排演任何动作,
It is the size of an average Broadway stage.
进行任何表演。
We call it Intel Studios,
我们称之为“英特尔工作室”,
and it's the largest volumetric stage in the world,
这是目前世界上最大的体积舞台,
with the objective of enabling and exploring
其目标是打造和探索
the next generation of this immersive media filmmaking.
新一代的沉浸式媒体电影创作。
Now, to test these ideas,
为了试验这些想法,
we were thinking about what we can do as the first scene to try it out.
我们思考了应该 先尝试什么样的场景,
So we chose the Western scene.
后来选择了西部片的场景。
We brought horses, set designers, dirt,
我们把马、场景设计师、泥土等
everything needed to create the full scene of a Western.
西部片所需要的一切 都带到了工作室。
But this time, there was no camera inside.
但是这一次, 场地中并没有摄影机。
There was nothing really moving besides all the cameras
除了在外面安装好的摄影机以外,
installed outside.
场内没有任何移动的设备。
The challenge of the actors was tremendous.
演员面临的挑战十分艰巨。
They have to perform a flawless action visible from all the directions.
他们需要做到从所有角度来看 都是无暇的表演。
There's no possibility to hide a punch or not show the action.
每一记拳头根本不可能藏匿 或者避开摄影机。
Everything is captured and everything is seen.
一切皆被记录, 一切皆可见。
The output of the capture --
摄影的输出——
this is our future capture --
这是我们的第一次摄影输出——
opened our eyes for the immense capabilities.
让我们看到了沉浸式的潜能。
It was like a full 3D scan of the entire scene.
它就像是整整一个场景的 全面三维扫描。
We were able to move around and travel in the space.
我们能够在空间中 随意移动,游弋。
The thing about this,
这一切的重点,
it's not anymore about perceiving the light emitted from a screen
不再是接受场景所投射出来的光影,
but now traveling inside the light,
而是在光影中游弋,
traveling inside the scene.
在场景中游弋。
This obviously opens possibilities for an enormous amount
毫无疑问,这将赋予
of storytelling and methodologies of creation.
叙事和创造方法论无限可能。
This is the possibilities of your personal narrative,
这关乎你个人叙事的可能性,
the possibility of creating your own story inside,
创造专属于你个人故事
or maybe following other stories.
或者是追随其他故事的可能性。
Let's take a look at one of the last renders and see.
我们一起来看看 最新的一次创作。
(Music)
(音乐)
What you're seeing here is full volumetric video,
大家现在看到的是 一个完整的体积视频,
and there's no physical camera in the scene.
场景里并没有实体的摄影机。
(Music)
(音乐)
We have the full control
我们全面掌握着
(Music, sounds of combat)
(音乐,搏斗的声音)
of space and time.
空间和时间。
(Music, sounds of combat)
(音乐,搏斗的声音)
Now, again, no physical camera was here.
同样,这里也没有实体的摄影机。
Everything was captured surrounding.
四周的一切都被记录了下来。
Now, this is very nice,
目前为止,体验很棒,
but what if we wanted to see the scene, maybe, from the eyes of the horse?
但是如果我们想要 从马的视角来看这个场景呢?
Well, we can do that as well.
我们同样能办到。
(Horse galloping)
(马在飞奔)
So what you're seeing right now is the same action,
大家现在看到的是同一个动作,
but this time, we're watching exactly from the eyes of the horse.
但是这次我们 是从马的视角来观看的。
The possibilities are, well, unlimited.
潜能无限。
(Applause)
(掌声)
Thank you.
谢谢大家。
(Applause)
(掌声)
So this is all great for creators and storytellers.
这对于创作者和叙事者而言 是非常有利的,
It really opens a huge canvas
也为不同类型的叙事和电影创作
for a different type of storytelling and moviemaking.
展开了一张无比广阔的画布。
But what about the audience?
但是对于观众而言呢?
How can the audience experience this differently?
观众从中能得到怎样不同的体验?
In order to [create] our explorations,
为了能实现我们的探索,
we partnered with Paramount Pictures
我们与派拉蒙影业合作,
in order to explore immersive media in a Hollywood movie production.
尝试在好莱坞电影制作中 探索沉浸式媒体的运用。
Together with the director Randal Kleiser,
我们和导演兰德尔·克莱泽 (Randal Kleiser)一起,
we reimagined the iconic movie of 1978,
重现了 1978 年的经典电影
"Grease."
《油脂》。
Some of you know it, some of you don't.
有些人知道这部电影, 有些人可能没听说过。
A 40-year-old movie, amazing experience.
这是一部 40 年前的电影, 能带给人非凡的体验。
And our goal was really to look at how we can take this iconic action and dance
我们的目标是想看看 能否将里面的经典动作与舞蹈
and bring it deeper into the experience,
在体验上做出进一步提升,
bring it deeper into the audience.
为观众打造更深层次的体验。
Imagine that you can not just watch the movie
想象你不仅能观看这部电影,
but get inside it and dance with the actors
还能走进电影与里面的演员共舞,
and dance with the performance.
随着表演舞动起来。
Now we're breaking, really, the traditional 2D mindset of thinking,
我们实际上是在打破 传统的二维思维。
and bringing a much richer possibility of moviemaking
为电影创作和内容创作带来
and content creation.
更为多样的可能性。
But why watch it on the screen?
但是为什么要在荧幕上观看呢?
Let's try to bring these actors here on the stage.
我们把演员都带到台上来吧。
So they're not going to really come --
当然他们不会真的到台上来——
I'm going to use an iPad.
我得用一下 iPad。
(Laughter)
(笑声)
Sorry.
抱歉。
I'm going to use an iPad in order to bring in augmented reality.
我会用 iPad 来演示增强现实。
Now, obviously, these devices have their own limitations
很明显,就数据计算处理而言,
in terms of the data-computing process,
这些设备都有它们自身的限制,
so we have to reduce the amount of resolution.
我们得降低分辨率。
So what I'm doing now, I'm placing here a marker,
我现在要在这里放一个标记,
so I'll be able to position exactly where I want everyone to appear.
来定位我希望演员出现的地方。
OK.
好了。
I think we have them here.
我想他们都在这里了。
(Applause)
(掌声)
John Travolta, or --
约翰·特拉沃尔塔,或者说——
(Laughter)
(笑声)
a version of him.
他的替身。
Let's take a look.
我们来看看吧。
(Video) Female: Hey.
(视频)女子:嘿。
Male: And that is how it's done.
男子:这才是正确的做法。
Female: Your turn.
女子:该你了。
Male: Hey, guys! Check this out.
男子:嘿大伙,看我的。
(Song: "You're the one that I want")
(歌曲:《只想拥有你》)
Danny: Sandy!
丹尼:桑迪!
Sandy: Tell me about it, stud.
桑迪:可不是嘛,浪子。
(Singing) I got chills. They're multiplying
(演唱)内心激动,愈加强烈
And I'm losing control
我快要失去控制
'Cause the power you're supplying
只因你所传递的能量
It's electrifying!
强如闪电!
(Video ends)
(视频停止)
(Applause and cheers)
(掌声与欢呼)
Diego Prilusky: Thank you.
迭戈·普里卢斯基: 谢谢大家。
(Applause and cheers)
(掌声与欢呼)
So as you can see,
正如大家所见,
we can watch and experience content in the traditional way
我们可以用一种传统的方式 来观看和体验内容,
or in an immersive way.
或者沉浸其中。
Really, the possibilities are open.
潜能无限的大门已开。
We're not trying to change or replace movies.
我们并不想改变或者取代电影。
We're enhancing them.
我们想让电影变得更美好。
The technologies enable new possibilities to start thinking beyond the flat screen.
这些技术能够实现新的可能性, 跳脱平面荧幕的思维。
We're in immersive and really exciting times in filmmaking.
我们正处于一个沉浸式的、 令人兴奋的电影创作时代。
We're at the threshold of a new era.
我们正处于新时代的起点。
We're opening the gates for new possibilities
我们敞开大门,迎接沉浸式叙事的
of immersive storytelling,
新的可能性,
and exploration and defining what immersive media filmmaking means.
并探索与定义沉浸式媒体电影创作。
We're really just at the beginning,
我们才刚刚开始,
and we invite you all to join us.
在此,我们邀请你们一同加入。
Thank you.
谢谢大家。
(Applause)
(掌声)