This Invention Made Disney MILLIONS, but Then They LOST It!

Corridor Crew
7 Apr 202412:25

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

00:00

🎬 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。

05:00

🚀 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。

10:01

🌟 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

视觉效果是指通过技术手段在影视作品中创造出现实中不存在或难以直接拍摄的影像效果。在视频中,讨论了老电影中视觉效果的制作技术,以及如何通过现代技术重现和改进这些效果,特别是在讨论迪士尼在1960年代发明的技术时提到了这一点。

💡绿幕技术

绿幕技术是一种常见的电影拍摄技术,通过在绿色背景前拍摄演员,然后利用计算机图形技术将绿色背景替换为任何所需的背景。视频中提到了绿幕技术存在的问题,比如无法拍摄模糊或透明物体,以及服装颜色与屏幕颜色相同会造成的问题。

💡迪士尼

迪士尼是全球知名的娱乐和媒体公司,以其动画电影和技术创新而闻名。视频中提到了迪士尼在1960年代发明的一种视觉效果技术,这种技术在很多方面被认为超越了绿幕技术。

💡钠蒸汽过程

钠蒸汽过程是一种旧时的电影拍摄技术,使用特定波长的黄色光(由低压钠蒸汽灯产生)来分离图像。视频中详细解释了这一过程的科学原理,以及如何使用分光镜和特殊的滤镜来实现高质量的图像合成。

💡分光镜

分光镜是一种可以将通过镜头的光分成两部分的设备。在钠蒸汽过程中,分光镜用于将特定波长的黄色光反射出来,而其他光谱的光则通过,从而实现了高质量的图像分离和合成。

💡透明度

在视觉效果中,透明度是指能够看到背景元素的程度。视频中提到了使用钠蒸汽过程可以实现高透明度的效果,即使是在拍摄穿着蓝色和绿色衣服的演员或使用透明物体时也能够保持高质量的合成效果。

💡运动模糊

运动模糊是指在快速移动的物体或相机拍摄时,由于曝光时间较长而产生的模糊效果。视频中提到了钠蒸汽过程能够完美地处理运动模糊,这是绿幕技术难以实现的。

💡色度键控

色度键控是一种后期视频制作技术,用于将特定颜色(如绿色或蓝色)的背景替换为其他图像或场景。视频中讨论了色度键控在绿幕技术中的挑战,以及钠蒸汽过程如何克服这些挑战。

💡机器学习

机器学习是一种人工智能技术,它使计算机系统能够从数据中学习并改进其操作。视频中提到了现代合成工具中开始使用机器学习,以提高透明度和视觉效果的质量。

💡LED屏幕

LED屏幕是一种使用发光二极管作为光源的显示技术。视频中提到了使用LED屏幕的体积捕捉技术,这是一种现代的拍摄方法,可以创造出逼真的三维背景。

💡Squarespace

Squarespace是一家提供网站创建和在线商务平台服务的公司。视频中提到了Squarespace作为赞助商,强调了其网站设计工具的易用性和功能,如SEO优化和多种支付方式的集成。

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

00:00

do you ever feel like visual effects in

00:01

old movies were better what if I told

00:03

you that wasn't just Nostalgia speaking

00:04

back in the 1960s Disney invented a

00:06

technology that was in many ways

00:08

superior to the green screen but that

00:09

Tech has long since been forgotten and

00:11

what if I told you that we found a way

00:12

to recreate

00:13

[Music]

00:16

it being able to layer one moving image

00:18

over another is the fundamental building

00:20

block of visual effects every single

00:22

crazy effect shot from every movie you

00:24

love relies on this basic core technique

00:27

and the primary way we do that is with

00:29

green screen or blue screen but there

00:31

are lots of problems with green screen

00:32

even in this modern era you can't film

00:34

blurry or transparent things you can't

00:36

wear clothes that are the same color as

00:38

the screen and the spill of the color

00:40

often times ruins footage if I want to

00:42

make a movie about a clown wearing all

00:44

the colors of the rainbow getting

00:45

married on Mars I can't that bothers me

00:48

if I could get my hands on an invention

00:50

that didn't have any of these issues it

00:52

would be like a filmm superpower it

00:54

would be like magic do you really think

00:56

so what's special about that app it's

00:58

transparent it's arent

01:01

transparent I thought the stuff I was

01:02

seeing on screen was impossible they're

01:04

keying a veil they're keying salt smoke

01:07

they're even wearing blue and green

01:09

clothes this movie from 1964 broke every

01:12

rule of chroma and they did it all

01:14

without computers so how do they do it

01:15

to explain the science behind the magic

01:17

we are joined by Dr Paul debevic the

01:19

sodium vapor process instead of a blue

01:23

screen or a green screen they used what

01:25

was sometimes called a yellow screen

01:27

there a very specific spectrum of yellow

01:30

made from a low press sodium vapor light

01:32

that puts out one wavelength of light at

01:35

589 NM because it's just one wavelength

01:39

and because of how drro filters work you

01:41

can actually block just that one

01:44

wavelength or let just that one

01:46

wavelength go through so the magic of

01:48

the sodium vapor process is they used a

01:50

beam splitter prison so that the light

01:52

that comes through the lens gets split

01:55

onto two strips of film at the same time

01:57

the sodium vapor wavelength of 589 NM

02:00

reflects out this way and all the rest

02:02

of the spectrum goes through and can

02:04

expose a color image of the actor and

02:07

that's exactly what you need to get your

02:09

map what's kind of magical about it is

02:11

that you can block that one wavelength

02:14

of yellow without messing up all of the

02:16

other colors in that scene there's no

02:19

mat lines he's motion bluring he's

02:20

dancing around the compositing is

02:23

impeccable yeah it's perfect you

02:24

couldn't have gotten such great blur

02:26

over the alpha Channel with a green

02:28

screen or a blue screen seems too good

02:30

to be true why are we not still using

02:32

this technology today yeah really what

02:34

gives because they were never able to

02:36

replicate prism what I've read that

02:38

Disney was only able to produce one

02:40

prism is that true they had to join two

02:42

pieces of glass and then have layers of

02:45

material with different indices of

02:46

refraction it's a very custom job and it

02:48

would probably cost tens of thousands of

02:50

dollars at a minimum apparently there

02:51

were three of these ever made and

02:54

also we don't know where any of these

02:56

prisms are

02:57

today and that means I'm never going to

03:00

get to answer this Burning question I

03:01

have is sodium vapor better than Green

03:03

Screen the science the physics they all

03:05

tell me it is but because the prisms

03:07

have been lost the time I'm never going

03:08

to get to realize my dream of a clown

03:10

getting married on Mars and then one day

03:13

I got a message from Paul debevic he had

03:15

done what I thought was impossible he

03:17

had recreated Disney's Magic prism and

03:19

he needed somebody to test it out this

03:21

will be the first test of the sodium

03:22

vapor process in over 30 years well I

03:26

guess this is like our hello world of

03:27

sodium vapor matting we've got our color

03:30

image and our sodium vapor image there

03:32

there it is look at that that's the idea

03:34

it's working the first thing you need

03:35

are some sodium vapor lights so

03:37

thankfully they still make the bulbs

03:39

eventually after we've had these on for

03:40

10 minutes they'll start glowing that

03:42

color I think it's working and then

03:43

we've got a couple of LED lights here

03:45

that are going to illuminate the actor

03:47

so favor mats woohoo hey pretty sweet

03:51

how is this working how did Paul debevic

03:53

manage to resurrect Disney's lost prism

03:56

well with a deep understanding of the

03:57

science of light and a little bit of C

04:00

ity I'll do a beam splitter but I'll

04:01

just do a regular beam sweit like this

04:02

beam splitter and then we'll filter the

04:04

light after it comes out of the prism

04:05

Paul recreated the physics of the sodium

04:07

Vaper process but he did it with all

04:09

off-the-shelf components instead of a

04:11

custom beam splitter he used two filters

04:14

and instead of two strips of film he

04:15

just used two cameras yeah if you ever

04:17

think your rigs are janky they're all

04:20

janky for the first time ever my dreams

04:23

are within my grasp want to know what's

04:24

within your grasp a beautifully designed

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click away all right now let's find out

05:19

what I'm going to do with all these hard

05:20

Tokey clothes Paul I would like to tell

05:22

you about this character every time I

05:24

approach a production company with it

05:25

they're like no can't do it it's

05:26

impossible okay and it's a story about a

05:28

clown that's trying to get

05:31

married you look so dumb me what look

05:35

I've heard big things about this magic

05:36

Crystal okay but this is ridiculous

05:39

that's impossible to key look at that I

05:42

hate to break it you but this video is

05:43

going to be a disappointment JC H feel

05:44

free to come on out it's my wedding day

05:47

oh my

05:48

God that would be difficult to key

05:50

wouldn't it it would I forgot to mention

05:51

that uh the Clown's getting married on

05:53

Mars hence the need to replace the

05:54

background oh of course yeah I think

05:56

this is going to be fantastic now I

05:57

suppose we should uh clean up the

05:58

lighting yeah kill all of the Full

06:01

Spectrum Lighting we need that one

06:02

covered yeah I need to cover one of the

06:04

skylights so that we don't have all this

06:05

like daylight spill coming in it's and

06:08

my dress is like marily been rowing

06:10

right now keep this side down it's the

06:13

best the clown can do so as you can see

06:15

right now we're spending a lot of time

06:16

getting these flags up because what we

06:18

don't want to have happen is we don't

06:20

want the sodium vapor light to be

06:21

hitting JC at all cuz then it's going to

06:23

be basically turning her transparent so

06:25

this is a spectral light meter it tells

06:27

you the spectrum of the light for

06:29

example this light here that shows its

06:31

LED light that's made out of red green

06:33

and blue LEDs to make the color white

06:35

and I can also take it and put in front

06:37

of the sodium vapor lights there is our

06:39

sodium vapor Spike at 589 nanm so let's

06:43

see if there's any sodium vapor light

06:45

hitting our subject mostly good but if I

06:47

look closely here I can see a tiny

06:48

little blip see that tiny little blip of

06:50

sodium vapor yeah science we're very

06:53

close but we're getting a little bit of

06:54

side spill on her and we're just

06:56

cleaning that up here if we're the first

06:57

ones to do this in like 30 years I want

06:59

to do it right you

07:01

know it went down nice that should be

07:04

better looks like we almost have a

07:05

perfect mat I guess the only thing left

07:07

to do is to shoot it maybe we should

07:08

shoot cool go ahead and roll the cameras

07:10

here we are in Mars the clown is looking

07:12

for the groom uh-oh there's aliens

07:14

behind you maybe turn around wave at the

07:18

aliens I want get one shot of myself as

07:20

well wearing my green hoodie which I

07:22

refused to take off and hopefully the

07:24

sodium vapor process lets us do

07:26

something Nico I want to see you do some

07:28

headbanging I want you to throw that

07:29

head

07:35

around I think we got it that would be

07:38

the hardest green screen shot that would

07:39

be so hard to do on a green screen and

07:41

cut dude this is going to be as

07:43

successful as Mary Poppins oh my god

07:45

[Music]

07:46

wow Paul's research has been super

07:48

influential on me to get to work with

07:50

him on an experiment is super super cool

07:53

I hope this works all right let's take a

07:54

look at what we got here's what our

07:56

color footage looks like and if I look

07:57

at the sodium vapor shot wow it looks

07:59

pretty good let's see what happens if I

08:01

take that and turn it into a black and

08:02

white transparency mask wow this should

08:05

work really well but before I try

08:07

pulling a transparency key here I need

08:09

to also try this with green screen to do

08:11

a true comparison to know if this is

08:12

better I'm using all the tricks for

08:14

perfect green screen that I've acquired

08:15

over the years lights with a hint of

08:16

green on them lights on Jordan with a

08:18

hint of magenta to cancel out the green

08:20

spill from the green screen I'm going to

08:22

do my best to light this green screen

08:23

and shoot it as good as I can all right

08:25

hi you're on Mars wave to us the

08:27

audience so we all know that sodium

08:29

Vapor should give scientifically better

08:31

results but green screen tools have had

08:33

years and years and years to mature I

08:35

can start pulling in the thickness of

08:36

that mat but while the dress starts to

08:38

come back the veil now has these ugly

08:40

lines I can try to you know close the

08:41

holes in the dress using a different

08:43

tool here but it patches up the holes in

08:44

the veil there's just no way to handle

08:46

the range of greens here and for green

08:48

screen tools to know what we want to

08:50

keep and what we don't want to

08:52

keep oh no yuck

08:56

destroyed actually not bad bad be honest

08:59

did you do your best with the key I did

09:01

the issue is is I can't get the

09:02

transparency of the veil and like the

09:04

slightly off green dress in fact the

09:06

only way you could do a shot like this

09:07

is to go in and cut out all these

09:09

different sections by hand and have a

09:10

bunch of Patchwork different solutions

09:12

in the image if the sodium vapor process

09:13

is superior it won't have any of these

09:16

issues all right so it's time to try the

09:17

sodium vapor process to do the composite

09:19

and see if it works here we have JC and

09:21

here we have our background right and

09:23

the way we're going to do this actually

09:24

mirrors the way they did it on film back

09:26

in the day the thing is if you just take

09:27

two pieces of film and you layer them

09:29

over each other you end up with a double

09:30

exposure you need something called a

09:32

hold out mat that leaves a hole for you

09:33

to Simply add your other image on top so

09:36

we're going to take our background and

09:37

we're going to subtract the mat we're

09:38

going to take our foreground and we're

09:39

going to subtract everything that isn't

09:41

the mat now I take our background and

09:43

our foreground and we simply add them

09:45

together honestly I'm really excited to

09:47

see this because it felt like we were

09:49

doing one of the coolest and most

09:51

high-tech things we've ever done and I

09:54

would love for this to pay off here are

09:56

the results and I'll let you guys be the

09:58

judge

10:01

[Music]

10:03

waa wow that's wild dude it's Mary

10:08

Poppins this is amazing it's

10:11

incredible oh no you dog water he's

10:15

drinking water on

10:17

M this is my favorite one the water is

10:20

just such a flex check out the motion

10:22

blur oh the hands oh wow the motion blur

10:26

drops the color exposure correctly on

10:28

the background right there turns it red

10:30

oh corrected ma oh my God it's so good

10:34

dude those little tiny hairs on top oh

10:36

my God and I didn't have to do any work

10:38

you didn't have to tweak your like white

10:39

clip black clip no I hate that D spill

10:42

bias no there's no spill what about your

10:44

Edge feather edge feather no D spill no

10:47

messing with gamma of your mat no

10:48

thresholds no restoring Fringe no

10:50

cleaning the blacks no cleaning the

10:51

whites nothing he's turn it on yes turn

10:54

it on wow good job good job that is

10:58

amazing

10:59

po y so I just got the opinion of

11:02

everybody at Corridor but I need to get

11:03

the opinion that actually really

11:10

matters oh wow you're zooming in on it

11:13

you are not afraid of your mat lines

11:15

that was clearly exactly what needed to

11:18

be filmed to show off this technique

11:19

exactly what about a volume could you

11:21

use a volume in today's age when you can

11:22

just go and shoot on a volume with an

11:24

LED screen is sodium vapor worth

11:26

pursuing in practice a lot of those in

11:28

camera back grounds will get replaced so

11:31

it seems like we're still in a world

11:32

where we need to be able to cut out

11:33

backgrounds and put people on new things

11:34

yeah flexibility in post- production is

11:36

incredibly valuable one thing that

11:38

you're noticing is like composing tools

11:40

are getting better CU they're starting

11:41

to have a bit of machine learning inside

11:43

of them machine learning needs training

11:45

data the question is where do you get

11:46

all that training data there is no

11:48

perfect easy compositing technique and I

11:50

thought this would be a good way to do

11:51

it so sodium vapor is another one of

11:53

those essential steps in this progress

11:55

towards having perfect transparency for

11:58

compositing and visual effects then

11:59

absolutely it is the gold standard the

12:02

yellow

12:03

standard well Paul thank you once again

12:05

for joining us here on the corridor

12:07

Channel if you like these deep dives

12:09

into classic visual effects technology

12:12

along with industry experts talking

12:13

about it you'll definitely love our

12:14

Abyss video so go check that out and uh

12:18

yeah thank you I really appreciate it

12:19

great to see you glad you come mind this

12:21

was fun this is a great time

12:23

totally