This Invention Made Disney MILLIONS, but Then They LOST It!
Summary
TLDR在这个视频中,我们探索了一种由迪士尼在1960年代发明的视觉效果技术——钠蒸汽过程,它在很多方面都优于现在广泛使用的绿幕技术。钠蒸汽过程使用特定波长的黄色光,通过一个特殊的棱镜将光线分割到两卷胶片上,从而实现完美的图像合成,无需担心传统绿幕技术中常见的问题,如模糊、透明物体的拍摄,以及服装颜色与屏幕颜色相同等。尽管这种技术曾一度被遗忘,但视频中的团队成功地重现了这一过程,并进行了首次测试。通过使用现成的组件和现代技术,他们展示了钠蒸汽过程在现代电影制作中的潜力,即使是在极端条件下,如拍摄一个穿着多彩服装的小丑在火星上结婚的场景,也能够实现完美的背景替换和合成效果。
Takeaways
- 🎬 老电影中的视觉特效在某些方面比现代的绿幕技术更优越,这并非仅仅是怀旧情绪作祟。
- 🧪 20世纪60年代,迪士尼发明了一种在很多方面都优于绿幕的技术,但这项技术后来被遗忘了。
- 📹 绿幕技术存在许多问题,比如不能拍摄模糊或透明物体,穿着与屏幕相同颜色的衣服,以及颜色的溢散经常破坏画面。
- 🤹♂️ 通过重新发明的技术,实现了在屏幕上呈现看似不可能的特效,如穿着多彩服装的角色在火星上结婚的场景。
- 🔬 钠蒸汽过程使用特定波长的黄色光,通过光束分离器和特殊的滤镜技术,实现了卓越的合成效果。
- 💡 钠蒸汽过程的关键在于能够仅阻挡或仅允许特定波长的光通过,而不会影响场景中其他颜色。
- 🚫 由于原始的棱镜非常昂贵且难以复制,这种技术没有被继续使用。
- 🌟 通过现代技术,如LED灯和数字摄像头,重新创建了迪士尼的魔法棱镜,使得钠蒸汽过程得以在30多年后再次测试。
- 🎉 测试结果表明,钠蒸汽过程在处理复杂场景,如透明面纱和动态模糊方面,比绿幕技术更出色。
- 📈 尽管LED屏幕和体积捕捉技术的发展,但在后期制作中,能够完美地从场景中移除背景并替换成新背景的技术仍然非常有价值。
- 🤖 机器学习和人工智能正在改善合成工具,而钠蒸汽过程可能为这些工具提供训练数据,推动向完美合成技术的进步。
Q & A
什么是绿幕技术的主要问题?
-绿幕技术的主要问题包括无法拍摄模糊或透明物体,演员不能穿与屏幕相同颜色的衣物,以及颜色的溢出常常会破坏画面。
迪士尼在1960年代发明了哪种技术,它在哪些方面优于绿幕技术?
-迪士尼在1960年代发明了钠蒸汽过程技术,它使用一种特定波长的黄色光,可以只反射或只允许这一特定波长的光通过,从而在不影响场景中其他颜色的情况下,实现更完美的合成效果。
钠蒸汽过程技术为什么后来不再被使用?
-钠蒸汽过程技术不再被使用的原因是其关键组件——棱镜的制造成本高昂,且难以复制。据说迪士尼只生产了一个棱镜,并且至今下落不明。
Paul Debevec是如何重新创造迪士尼的魔法棱镜的?
-Paul Debevec通过深入理解光的科学原理和一些创新方法,使用现成的组件而不是定制的分光棱镜,通过两个滤光片和两台摄像机,重新创造了钠蒸汽过程的物理效果。
在视频中,使用钠蒸汽过程技术拍摄的一个特别困难的场景是什么?
-视频中特别困难的场景是拍摄一个穿着多彩服装的小丑在火星上结婚的画面,这个场景涉及到透明面纱和动态模糊,这些在绿幕技术中很难实现。
视频中提到的Squarespace是一个什么样的平台?
-Squarespace是一个网站建设平台,它提供易于使用的界面和工具,让用户可以创建独特的在线存在,包括为艺术家、企业家或新项目提供网站和在线商店。
视频中提到的钠蒸汽灯光是如何工作的?
-钠蒸汽灯光通过低气压钠蒸汽灯产生,这种灯发出589纳米波长的单一光谱的光。
在视频中,如何确保钠蒸汽灯光不会照射到演员身上?
-通过使用旗帜和遮光物来阻挡钠蒸汽灯光,确保它不会照射到演员身上,因为这样会使演员变得几乎透明。
视频中提到的“hold out mat”是什么?
-“Hold out mat”是一种在两层胶片叠加时使用的技术,它留下一个孔,以便简单地将另一张图像放在上面,避免双重曝光的问题。
为什么说钠蒸汽过程技术可能是合成和视觉效果中的“黄金标准”?
-钠蒸汽过程技术能够提供完美的透明度,没有颜色溢出,不需要调整白剪辑、黑剪辑,也无需处理边缘羽化或颜色曝光,因此在合成和视觉效果中被认为是“黄金标准”。
视频中提到的机器学习在合成工具中的应用是什么?
-机器学习在合成工具中的应用是通过分析训练数据来提高自动合成的准确性,但需要大量的完美合成技术的案例作为训练数据。
Outlines
🎬 经典电影特效技术回顾与现代复兴
本段落讨论了老电影中视觉效果的优越性,并非仅仅是怀旧情绪所致。1960年代,迪士尼发明了一种在很多方面比绿幕技术更先进的技术,但这种技术后来被遗忘。该技术的核心在于将移动图像叠加在一起,这是所有视觉特效的基础。绿幕技术即使在现代也存在许多问题,比如无法拍摄模糊或透明物体,穿着与屏幕相同颜色的衣物,以及颜色溢出经常破坏画面。然而,1964年的一部电影在没有计算机的情况下打破了所有色度键规则。本段还介绍了钠蒸汽过程的科学原理,这是一种使用特定波长的黄色光的技术,通过光束分离器同时将光分成两条胶片,能够完美地将一个波长的黄色光与其余光谱分离,从而实现无痕迹的合成。尽管这种技术在物理上是优越的,但由于原始的棱镜已经丢失,人们一直无法复制它。但有一天,Paul Debevec成功地重现了这种技术,并进行了30多年来的首次测试。
🚀 利用钠蒸汽过程实现特效拍摄
在这一段落中,视频制作者介绍了如何使用钠蒸汽过程来拍摄一个穿着多彩服装的小丑在火星上结婚的场景。这个过程涉及到使用钠蒸汽灯和LED灯来照亮演员,并使用光谱光度计来确保钠蒸汽光不会照射到演员身上,从而避免透明度问题。视频还展示了如何通过调整灯光和使用旗帜来控制光线,以获得干净的合成效果。此外,制作者还尝试了绿幕技术,并指出了在处理透明面纱和颜色相近的衣物时遇到的挑战。最后,通过将钠蒸汽过程拍摄的影像与绿幕技术进行比较,展示了钠蒸汽过程在处理复杂细节和动态模糊方面的优越性。
🌟 钠蒸汽过程的现代应用与未来展望
在最后一段中,视频制作者和Paul Debevec讨论了钠蒸汽过程的现代应用价值。尽管LED屏幕和体积捕捉技术的发展为拍摄提供了新的选择,但在后期制作中对背景进行替换的需求仍然存在。因此,寻找完美的合成技术仍然是行业发展的一个重要方向。Paul Debevec通过使用现成的组件,而不是定制的光束分离器,成功地重现了钠蒸汽过程的物理效果。视频中还展示了使用钠蒸汽过程拍摄的最终结果,包括动态模糊和颜色校正的细节,证明了这种技术的高效性和优越性。最后,视频制作者询问了团队对这种技术的看法,并得出结论,钠蒸汽过程是实现完美合成的又一重要步骤,是值得追求的“黄金标准”。
Mindmap
Keywords
💡视觉效果
💡绿幕技术
💡迪士尼
💡钠蒸汽过程
💡分光镜
💡透明度
💡运动模糊
💡色度键控
💡机器学习
💡LED屏幕
💡Squarespace
Highlights
在1960年代,迪士尼发明了一种在很多方面都优于绿幕的技术,但这种技术后来被遗忘了。
绿幕技术存在很多问题,比如不能拍摄模糊或透明物体,穿与屏幕同色的衣物等。
迪士尼的这项发明被认为像是电影制作的超能力,就像魔法一样。
1964年的电影《欢乐满人间》没有使用计算机,却打破了所有色度键规则。
钠蒸汽过程使用一种特定波长的黄色光,通过特殊的光束分离器同时曝光两段胶片。
钠蒸汽过程的魔力在于能够只阻挡一个特定波长的黄色光,而不影响场景中的其他颜色。
由于无法复制棱镜,迪士尼的这项技术未能继续使用,据说他们只生产了一个棱镜。
Paul Debevec成功重现了迪士尼的魔法棱镜,这是30多年来首次测试钠蒸汽过程。
钠蒸汽灯仍在生产,为重现这一过程提供了可能。
Paul Debevec使用市售组件,而不是定制的光束分离器,通过两个滤镜和两台摄像机重现了钠蒸汽过程的物理效果。
使用钠蒸汽过程拍摄的图像在合成时显示出卓越的效果,没有绿幕技术中常见的问题。
即使在现代,绿幕工具经过多年的成熟发展,但在处理透明面纱或不同绿色衣物时仍然存在挑战。
钠蒸汽过程在合成时没有边缘线条、运动模糊、颜色溢出等问题,提供了完美的遮罩。
钠蒸汽过程的成功演示被认为是迈向完美合成和视觉效果的重要一步。
尽管现代有LED屏幕和体积捕捉技术,但钠蒸汽过程在某些情况下仍具有其独特的价值和应用潜力。
合成工具正在变得更好,部分原因是它们开始包含机器学习,而钠蒸汽过程可以为这些工具提供训练数据。
Paul Debevec的工作对深入了解经典视觉效果技术具有重要影响,并且与行业专家的讨论非常吸引人。
Transcripts
do you ever feel like visual effects in
old movies were better what if I told
you that wasn't just Nostalgia speaking
back in the 1960s Disney invented a
technology that was in many ways
superior to the green screen but that
Tech has long since been forgotten and
what if I told you that we found a way
to recreate
[Music]
it being able to layer one moving image
over another is the fundamental building
block of visual effects every single
crazy effect shot from every movie you
love relies on this basic core technique
and the primary way we do that is with
green screen or blue screen but there
are lots of problems with green screen
even in this modern era you can't film
blurry or transparent things you can't
wear clothes that are the same color as
the screen and the spill of the color
often times ruins footage if I want to
make a movie about a clown wearing all
the colors of the rainbow getting
married on Mars I can't that bothers me
if I could get my hands on an invention
that didn't have any of these issues it
would be like a filmm superpower it
would be like magic do you really think
so what's special about that app it's
transparent it's arent
transparent I thought the stuff I was
seeing on screen was impossible they're
keying a veil they're keying salt smoke
they're even wearing blue and green
clothes this movie from 1964 broke every
rule of chroma and they did it all
without computers so how do they do it
to explain the science behind the magic
we are joined by Dr Paul debevic the
sodium vapor process instead of a blue
screen or a green screen they used what
was sometimes called a yellow screen
there a very specific spectrum of yellow
made from a low press sodium vapor light
that puts out one wavelength of light at
589 NM because it's just one wavelength
and because of how drro filters work you
can actually block just that one
wavelength or let just that one
wavelength go through so the magic of
the sodium vapor process is they used a
beam splitter prison so that the light
that comes through the lens gets split
onto two strips of film at the same time
the sodium vapor wavelength of 589 NM
reflects out this way and all the rest
of the spectrum goes through and can
expose a color image of the actor and
that's exactly what you need to get your
map what's kind of magical about it is
that you can block that one wavelength
of yellow without messing up all of the
other colors in that scene there's no
mat lines he's motion bluring he's
dancing around the compositing is
impeccable yeah it's perfect you
couldn't have gotten such great blur
over the alpha Channel with a green
screen or a blue screen seems too good
to be true why are we not still using
this technology today yeah really what
gives because they were never able to
replicate prism what I've read that
Disney was only able to produce one
prism is that true they had to join two
pieces of glass and then have layers of
material with different indices of
refraction it's a very custom job and it
would probably cost tens of thousands of
dollars at a minimum apparently there
were three of these ever made and
also we don't know where any of these
prisms are
today and that means I'm never going to
get to answer this Burning question I
have is sodium vapor better than Green
Screen the science the physics they all
tell me it is but because the prisms
have been lost the time I'm never going
to get to realize my dream of a clown
getting married on Mars and then one day
I got a message from Paul debevic he had
done what I thought was impossible he
had recreated Disney's Magic prism and
he needed somebody to test it out this
will be the first test of the sodium
vapor process in over 30 years well I
guess this is like our hello world of
sodium vapor matting we've got our color
image and our sodium vapor image there
there it is look at that that's the idea
it's working the first thing you need
are some sodium vapor lights so
thankfully they still make the bulbs
eventually after we've had these on for
10 minutes they'll start glowing that
color I think it's working and then
we've got a couple of LED lights here
that are going to illuminate the actor
so favor mats woohoo hey pretty sweet
how is this working how did Paul debevic
manage to resurrect Disney's lost prism
well with a deep understanding of the
science of light and a little bit of C
ity I'll do a beam splitter but I'll
just do a regular beam sweit like this
beam splitter and then we'll filter the
light after it comes out of the prism
Paul recreated the physics of the sodium
Vaper process but he did it with all
off-the-shelf components instead of a
custom beam splitter he used two filters
and instead of two strips of film he
just used two cameras yeah if you ever
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click away all right now let's find out
what I'm going to do with all these hard
Tokey clothes Paul I would like to tell
you about this character every time I
approach a production company with it
they're like no can't do it it's
impossible okay and it's a story about a
clown that's trying to get
married you look so dumb me what look
I've heard big things about this magic
Crystal okay but this is ridiculous
that's impossible to key look at that I
hate to break it you but this video is
going to be a disappointment JC H feel
free to come on out it's my wedding day
oh my
God that would be difficult to key
wouldn't it it would I forgot to mention
that uh the Clown's getting married on
Mars hence the need to replace the
background oh of course yeah I think
this is going to be fantastic now I
suppose we should uh clean up the
lighting yeah kill all of the Full
Spectrum Lighting we need that one
covered yeah I need to cover one of the
skylights so that we don't have all this
like daylight spill coming in it's and
my dress is like marily been rowing
right now keep this side down it's the
best the clown can do so as you can see
right now we're spending a lot of time
getting these flags up because what we
don't want to have happen is we don't
want the sodium vapor light to be
hitting JC at all cuz then it's going to
be basically turning her transparent so
this is a spectral light meter it tells
you the spectrum of the light for
example this light here that shows its
LED light that's made out of red green
and blue LEDs to make the color white
and I can also take it and put in front
of the sodium vapor lights there is our
sodium vapor Spike at 589 nanm so let's
see if there's any sodium vapor light
hitting our subject mostly good but if I
look closely here I can see a tiny
little blip see that tiny little blip of
sodium vapor yeah science we're very
close but we're getting a little bit of
side spill on her and we're just
cleaning that up here if we're the first
ones to do this in like 30 years I want
to do it right you
know it went down nice that should be
better looks like we almost have a
perfect mat I guess the only thing left
to do is to shoot it maybe we should
shoot cool go ahead and roll the cameras
here we are in Mars the clown is looking
for the groom uh-oh there's aliens
behind you maybe turn around wave at the
aliens I want get one shot of myself as
well wearing my green hoodie which I
refused to take off and hopefully the
sodium vapor process lets us do
something Nico I want to see you do some
headbanging I want you to throw that
head
around I think we got it that would be
the hardest green screen shot that would
be so hard to do on a green screen and
cut dude this is going to be as
successful as Mary Poppins oh my god
[Music]
wow Paul's research has been super
influential on me to get to work with
him on an experiment is super super cool
I hope this works all right let's take a
look at what we got here's what our
color footage looks like and if I look
at the sodium vapor shot wow it looks
pretty good let's see what happens if I
take that and turn it into a black and
white transparency mask wow this should
work really well but before I try
pulling a transparency key here I need
to also try this with green screen to do
a true comparison to know if this is
better I'm using all the tricks for
perfect green screen that I've acquired
over the years lights with a hint of
green on them lights on Jordan with a
hint of magenta to cancel out the green
spill from the green screen I'm going to
do my best to light this green screen
and shoot it as good as I can all right
hi you're on Mars wave to us the
audience so we all know that sodium
Vapor should give scientifically better
results but green screen tools have had
years and years and years to mature I
can start pulling in the thickness of
that mat but while the dress starts to
come back the veil now has these ugly
lines I can try to you know close the
holes in the dress using a different
tool here but it patches up the holes in
the veil there's just no way to handle
the range of greens here and for green
screen tools to know what we want to
keep and what we don't want to
keep oh no yuck
destroyed actually not bad bad be honest
did you do your best with the key I did
the issue is is I can't get the
transparency of the veil and like the
slightly off green dress in fact the
only way you could do a shot like this
is to go in and cut out all these
different sections by hand and have a
bunch of Patchwork different solutions
in the image if the sodium vapor process
is superior it won't have any of these
issues all right so it's time to try the
sodium vapor process to do the composite
and see if it works here we have JC and
here we have our background right and
the way we're going to do this actually
mirrors the way they did it on film back
in the day the thing is if you just take
two pieces of film and you layer them
over each other you end up with a double
exposure you need something called a
hold out mat that leaves a hole for you
to Simply add your other image on top so
we're going to take our background and
we're going to subtract the mat we're
going to take our foreground and we're
going to subtract everything that isn't
the mat now I take our background and
our foreground and we simply add them
together honestly I'm really excited to
see this because it felt like we were
doing one of the coolest and most
high-tech things we've ever done and I
would love for this to pay off here are
the results and I'll let you guys be the
judge
[Music]
waa wow that's wild dude it's Mary
Poppins this is amazing it's
incredible oh no you dog water he's
drinking water on
M this is my favorite one the water is
just such a flex check out the motion
blur oh the hands oh wow the motion blur
drops the color exposure correctly on
the background right there turns it red
oh corrected ma oh my God it's so good
dude those little tiny hairs on top oh
my God and I didn't have to do any work
you didn't have to tweak your like white
clip black clip no I hate that D spill
bias no there's no spill what about your
Edge feather edge feather no D spill no
messing with gamma of your mat no
thresholds no restoring Fringe no
cleaning the blacks no cleaning the
whites nothing he's turn it on yes turn
it on wow good job good job that is
amazing
po y so I just got the opinion of
everybody at Corridor but I need to get
the opinion that actually really
matters oh wow you're zooming in on it
you are not afraid of your mat lines
that was clearly exactly what needed to
be filmed to show off this technique
exactly what about a volume could you
use a volume in today's age when you can
just go and shoot on a volume with an
LED screen is sodium vapor worth
pursuing in practice a lot of those in
camera back grounds will get replaced so
it seems like we're still in a world
where we need to be able to cut out
backgrounds and put people on new things
yeah flexibility in post- production is
incredibly valuable one thing that
you're noticing is like composing tools
are getting better CU they're starting
to have a bit of machine learning inside
of them machine learning needs training
data the question is where do you get
all that training data there is no
perfect easy compositing technique and I
thought this would be a good way to do
it so sodium vapor is another one of
those essential steps in this progress
towards having perfect transparency for
compositing and visual effects then
absolutely it is the gold standard the
yellow
standard well Paul thank you once again
for joining us here on the corridor
Channel if you like these deep dives
into classic visual effects technology
along with industry experts talking
about it you'll definitely love our
Abyss video so go check that out and uh
yeah thank you I really appreciate it
great to see you glad you come mind this
was fun this is a great time
totally
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