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you guys are not going to believe we just got the RTX 5090 and I'm about to

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risk it up to unbox this product that looks really

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interesting and I wait a second where am I oh oh I know

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this is the new set for GameLinked this looks amazing we're doing a gaming News

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Channel guys we've got all these lights and we got the big G and

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this is huge we afford all of this a lot more easily

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than you would think in fact this entire setup is so cheap that I'm starting to

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wonder if I even need a big Studio like this that I'm not even standing in front

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of now these days anyone can key out a background with pretty good results but

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the key night among you might have noticed something that is more than just

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pretty good how on Earth did we manage

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to move the camera around inside of our

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new set follow me and I'll show you the

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tech is just on the other side of this tunnel let's go

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oh look at all the pretty Segways

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to our sponsor hetzner Hester is now

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deploy yours now by clicking the link down below we're finally launching our

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new gaming News Channel GameLinked but we have two big problems to solve the

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first is space to give the channel a clear identity we wanted it to have its

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own set but look around we don't have

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space for another large set like we built for TechLink I mean we could just

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use the green screen that we already have but that leads to our second issue

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time we want to solve a long-standing

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problem minus Line stop it's tackling time for TechLinked

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what is this doing here where we can't shoot anything there while they're

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shooting there and we can't shoot anything here while they're shooting there it's infuriating all right just

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cut brake protect linked this is the kind of thing that wastes a ton of

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production time around here and the issues compounded by the fact

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that adding green screens creates a lot of extra work for our editors our Tech

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news show techlinked is produced entirely in a single day and the current

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workflow often requires the team to work into the evening to get it out on time

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the solution moving our green screen over here or well more accurately adding

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a second green screen now TechLinked

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and GameLinked never have to wait for our other videos or vice versa and we

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get to maintain Clear Channel identities without acquiring more expensive

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Vancouver real estate nice except for one small problem quality

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green screen work is still more complex than simply taking out the green and

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putting in the other stuff you can end up with all sorts of wonky artifacts

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that will make your composite look like crap for example any green in your

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clothing can end up being keyed out like this news Anchor's dress or you can have

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color spilled from the reflected green light on the set that makes your subject

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look anemic blocky cutouts can eliminate fine details like FlyAway hairs and you

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can end up with weird unnatural blur as the key struggles to compensate for the

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motion blur on a moving subject and of course if there are any Shadows on the

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set then the color filter might not be able to select the key and that's just

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the basic problems all of these need to be fixed after the fact by a video

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editor meaning that any time we gained from shooting simultaneously gets thrown

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out the window later on in the production pipeline is what I used to

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say see here's the thing big TV stations

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and production houses have had tools like this one for whoa God that's on

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Wheels cool as I was saying big TV

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stations and production houses have had tools like this for decades but it's

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only recently that boxes like this one have gotten affordable meet the

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Blackmagic ultimat 4K this little Wonder

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costs less than an apple Vision Pro headset and allows us to live composite

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our video footage which takes all of the extra post-production work out of the

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process how well let me tell you actually let me show you because I think

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that's going to be an easier way of understanding as we explore the software

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and give you some examples hi Ed

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cool one moment please this looks so

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mind-blowingly good look at these little hairs there's no green around them if I

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wasn't looking at this right now I would have no idea that okay how does this

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work okay how is it doing this no for real

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though screen it takes out the grain yes I know

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it takes out the green but the the the reflections internally on that thing

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whatever Hardware accelerated trickery they're using the base concept is like

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any other green screen so we look at the

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raw input coming out of the camera we select a color value that we want to

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remove or key out and then using the

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power of compositing we put our lovely host into a virtual set that's kind of

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the easy part these days I mean even your smartphone can make fake

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backgrounds for tick tock filters the cool part is remember all those issues I

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mentioned before like color spill and sloppy cutouts we can resolve them right

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on device before it ever gets recorded

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can you show me raw because this looks pretty good right now all right so let's

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start from the beginning we will capture

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Andy hold on don't move there's a lot of

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green or like uh like noise why is that

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because those parts so the green screen are not perfectly lit and don't quite

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match our Green Valley it's either hotter than the rest of the green screen

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or darker okay that's bad yeah I mean

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that's bad it's uh you're gonna run into that without uh spending a ton of time

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and money with more lights every time

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I'm always on about the budget now we've got this noise but using a setting

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called Veil we can just tell it see

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y'all later buddy yeah and this is essentially in a normal green screen

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process you were saying it's like black clipping or white clipping yeah it's

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essentially crushing the lights or blacks so that there's no in between the

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fuzz that you were seeing were gray so we don't want this gray we want a clean

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all black on Andy all white on the green screen yeah so if I turn off the veil

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settings here you can see that you got in and out of uh gray there the tricky

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part about chroma keying and this has existed forever is that it's a balance

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of taking things away but also keeping the things that you want in there right

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and when you adjust something like Veil it's flipping the lights are blacks when

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something is in the gray here naturally like hair that can get lost yeah okay

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but we can fix that yes good I mean like

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right now it's looking pretty good we have some Buzz because we've taken a bit

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too much your hair is the worst to

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handle for this so what I'm looking for is

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different angles to see if there aren't any issues uh cropping up especially on

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the edges of his head where the hair you

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know likes to be wispy and stick out they're very likely to get cut out and

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look just blocky that's actually really good yeah I'm convinced what else do we

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need to adjust realistically with what this is looking like right now we don't

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have to change anything yeah play around with some stuff to change though we want to show off the software one thing we

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can adjust here because our screen is actually not perfect it's wrinkly and

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it's not perfectly lit in the corners you can see that here showing up yeah

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and we would use Shadow threshold to get

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rid of that what that's doing is oh up

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Shadow compensation it's very similar to Veil it's just setting a point where

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anything that's Brighter Than This the white but if we were to overdo that

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could we end up with um you know a reflection off of of

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Andy's skin turning background color too much and it turns like that yeah that's

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really yucky yeah let's bring back 30s Andy there's a vast number of other

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parameters that we can adjust here depending on the complexity of our

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production you can see Ed's doing a little bit of skin tone correction a little bit of color correction it can do

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that in Hardware it can also handle spill correction so if Andy was standing

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on a green floor as well he'd obviously have a lot more green light reflecting

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on him we can compensate for that it can even add his shadow back in so it can

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find where his shadow would be from the studio Lighting on the green floor key

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out the green floor but leave that shadow in place on the final composite

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now once the settings are dialed in what's great about this is we can just

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shoot and send the composite off to the editor who edits it as if it wasn't shot

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on a green screen in the first place that is super cool and could save us a

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ton of time like even with with lighting changes it should work pretty well

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because it has a feature where it captures just the background so that

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anything that isn't the background you

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know gets left in you might think hey and what's the point I'm chroma keying

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I'm not sure because they don't really explain that

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okay so what's happening now so what's happening is it took that capture right

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yeah and is saying okay this is the green

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screen so anything not this is supposed

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to be keyed out you basically get a plate of your green screen and tell it

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hey that's what it's supposed to look like yeah that is amazing using the

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green screen capture and then using a

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difference mode right yeah and go on okay so this is the difference don't wow

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don't cute so if you're on a static background actually your background

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could be just about anything

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I mean can we try it can you just turn that camera a few degrees to me does it

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need to be locked off okay yeah so just turn it over here oh my goodness okay so

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then yeah I'll move and then do the thing and then I go back in

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okay that does not work very well the other like it works better than I

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thought it would but that doesn't explain how we moved

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around inside of our virtual set earlier

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this is super cool instead of building a

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set and then shooting a plate or a static 2D shot to put our host in front

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of the game link set was designed in Unreal Engine meaning that like in a

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video game you can render it from any angle simply by moving your virtual

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camera the big trick then is to match the movement of the virtual camera to

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the real one now in the past this required meticulous planning and

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choreography between the film Crews and the post-production teams but recent

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advancements allow us to track our camera motion and then export that 3D

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movement data directly into Unreal Engine the baller way to do this is with

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a giant high resolution video wall like on the Mandalorian but ain't nobody got

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money for that fortunately virtual production has blown up into a massive

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market and the leftover Chum from the sharks at the top starting to trickle

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down to us little deep sea Guppies instead of requiring a massive high

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resolution screen we can use their Unreal Engine tricks to make a high-tech

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set that can pack away into an LTT backpack

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but how do we get the camera movement from

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The Real World translated into our virtual world

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did you spot these QR code looking things earlier they're alignment markers

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to make a convincing composite it's imperative that you match the camera's

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movement with the backdrop perfectly and to do that you have to establish an

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exact starting position then from there there are a number of different ways to

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track the physical camera's movement from that starting position the ideal

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solution would be to make use of five Mars trackers these are essentially the

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third generation Vive body trackers that folks have been using for full body

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tracking and applications like VR chat what makes these ones special is that

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they hook up to a special transmitter that sends data to a monitor and allows

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you to sync time code with your camera so that your motion data and your shots

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are temporally and physically aligned the downside is the kit costs five

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thousand dollars fortunately there are cheaper Solutions in fact you might even

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be holding one in your hand right now Apple's AR kit allows us to use the

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Myriad sensors on the iPhone to lamb or

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simultaneous localization and mapping in a nutshell by attaching this to our

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camera rig we can collect accurate motion data for our camera if you're an

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Android User you may also be able to take advantage of AR core but we can't

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speak to how well that works we ended up using an iPhone now that we have our

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tracking data we can export that and import it into Unreal Engine as movement

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for our virtual camera to really sell the illusion you also need to match all

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of your camera settings so your focal length your lens size

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Etc you line up the movement with your set and then you end up with what we

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showed off in our intro not gonna lie while this 3D camera position matching

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can be done in real time we set out to build a workflow for a bi-weekly YouTube

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news show so everything you're seeing now was done in post but we just wanted

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to show off what could be done on a budget of a sheet of green cloth an

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iPhone and a computer but even though we'll be sticking with a static camera

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for game length at least for now I'm sure we're going to find some opportunity opportunities to use these

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new capabilities and who knows maybe you will too like how cool would it be if we

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wanted to film at Sunrise whenever we wanted to oh speaking of widgets day

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that it is which means game length will be posted soon quick go subscribe to the

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new channel everyone's going to be there like James and Riley and rush and me and

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our sponsor ground news as an LTT viewer you probably know about the effect that

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algorithms have on what you see online outrage gets clicks and it can crowd out

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the information that actually matters like where's the coverage of Linus's

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social post about which smart home company is screwing them over currently this is bull spit enter ground news

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their app and website gather thousands of sources from across the political

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blackout to protest API changes the story was covered by just 12 sources and

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most of them lean left with absolutely no coverage on the right it's

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interesting to see how different Outlets frame the same issue by simply comparing

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enjoyed this video go check out GameLinked or if you're more into the tech

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side of things check out the time we shot a 500 megapixel photo