you guys are not going to believe we just got the RTX 5090 and I'm about to
risk it up to unbox this product that looks really
interesting and I wait a second where am I oh oh I know
this is the new set for GameLinked this looks amazing we're doing a gaming News
Channel guys we've got all these lights and we got the big G and
this is huge we afford all of this a lot more easily
than you would think in fact this entire setup is so cheap that I'm starting to
wonder if I even need a big Studio like this that I'm not even standing in front
of now these days anyone can key out a background with pretty good results but
the key night among you might have noticed something that is more than just
pretty good how on Earth did we manage
to move the camera around inside of our
new set follow me and I'll show you the
tech is just on the other side of this tunnel let's go
oh look at all the pretty Segways
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deploy yours now by clicking the link down below we're finally launching our
new gaming News Channel GameLinked but we have two big problems to solve the
first is space to give the channel a clear identity we wanted it to have its
own set but look around we don't have
space for another large set like we built for TechLink I mean we could just
use the green screen that we already have but that leads to our second issue
time we want to solve a long-standing
problem minus Line stop it's tackling time for TechLinked
what is this doing here where we can't shoot anything there while they're
shooting there and we can't shoot anything here while they're shooting there it's infuriating all right just
cut brake protect linked this is the kind of thing that wastes a ton of
production time around here and the issues compounded by the fact
that adding green screens creates a lot of extra work for our editors our Tech
news show techlinked is produced entirely in a single day and the current
workflow often requires the team to work into the evening to get it out on time
the solution moving our green screen over here or well more accurately adding
a second green screen now TechLinked
and GameLinked never have to wait for our other videos or vice versa and we
get to maintain Clear Channel identities without acquiring more expensive
Vancouver real estate nice except for one small problem quality
green screen work is still more complex than simply taking out the green and
putting in the other stuff you can end up with all sorts of wonky artifacts
that will make your composite look like crap for example any green in your
clothing can end up being keyed out like this news Anchor's dress or you can have
color spilled from the reflected green light on the set that makes your subject
look anemic blocky cutouts can eliminate fine details like FlyAway hairs and you
can end up with weird unnatural blur as the key struggles to compensate for the
motion blur on a moving subject and of course if there are any Shadows on the
set then the color filter might not be able to select the key and that's just
the basic problems all of these need to be fixed after the fact by a video
editor meaning that any time we gained from shooting simultaneously gets thrown
out the window later on in the production pipeline is what I used to
say see here's the thing big TV stations
and production houses have had tools like this one for whoa God that's on
Wheels cool as I was saying big TV
stations and production houses have had tools like this for decades but it's
only recently that boxes like this one have gotten affordable meet the
Blackmagic ultimat 4K this little Wonder
costs less than an apple Vision Pro headset and allows us to live composite
our video footage which takes all of the extra post-production work out of the
process how well let me tell you actually let me show you because I think
that's going to be an easier way of understanding as we explore the software
and give you some examples hi Ed
cool one moment please this looks so
mind-blowingly good look at these little hairs there's no green around them if I
wasn't looking at this right now I would have no idea that okay how does this
work okay how is it doing this no for real
though screen it takes out the grain yes I know
it takes out the green but the the the reflections internally on that thing
whatever Hardware accelerated trickery they're using the base concept is like
any other green screen so we look at the
raw input coming out of the camera we select a color value that we want to
remove or key out and then using the
power of compositing we put our lovely host into a virtual set that's kind of
the easy part these days I mean even your smartphone can make fake
backgrounds for tick tock filters the cool part is remember all those issues I
mentioned before like color spill and sloppy cutouts we can resolve them right
on device before it ever gets recorded
can you show me raw because this looks pretty good right now all right so let's
start from the beginning we will capture
Andy hold on don't move there's a lot of
green or like uh like noise why is that
because those parts so the green screen are not perfectly lit and don't quite
match our Green Valley it's either hotter than the rest of the green screen
or darker okay that's bad yeah I mean
that's bad it's uh you're gonna run into that without uh spending a ton of time
and money with more lights every time
I'm always on about the budget now we've got this noise but using a setting
called Veil we can just tell it see
y'all later buddy yeah and this is essentially in a normal green screen
process you were saying it's like black clipping or white clipping yeah it's
essentially crushing the lights or blacks so that there's no in between the
fuzz that you were seeing were gray so we don't want this gray we want a clean
all black on Andy all white on the green screen yeah so if I turn off the veil
settings here you can see that you got in and out of uh gray there the tricky
part about chroma keying and this has existed forever is that it's a balance
of taking things away but also keeping the things that you want in there right
and when you adjust something like Veil it's flipping the lights are blacks when
something is in the gray here naturally like hair that can get lost yeah okay
but we can fix that yes good I mean like
right now it's looking pretty good we have some Buzz because we've taken a bit
too much your hair is the worst to
handle for this so what I'm looking for is
different angles to see if there aren't any issues uh cropping up especially on
the edges of his head where the hair you
know likes to be wispy and stick out they're very likely to get cut out and
look just blocky that's actually really good yeah I'm convinced what else do we
need to adjust realistically with what this is looking like right now we don't
have to change anything yeah play around with some stuff to change though we want to show off the software one thing we
can adjust here because our screen is actually not perfect it's wrinkly and
it's not perfectly lit in the corners you can see that here showing up yeah
and we would use Shadow threshold to get
rid of that what that's doing is oh up
Shadow compensation it's very similar to Veil it's just setting a point where
anything that's Brighter Than This the white but if we were to overdo that
could we end up with um you know a reflection off of of
Andy's skin turning background color too much and it turns like that yeah that's
really yucky yeah let's bring back 30s Andy there's a vast number of other
parameters that we can adjust here depending on the complexity of our
production you can see Ed's doing a little bit of skin tone correction a little bit of color correction it can do
that in Hardware it can also handle spill correction so if Andy was standing
on a green floor as well he'd obviously have a lot more green light reflecting
on him we can compensate for that it can even add his shadow back in so it can
find where his shadow would be from the studio Lighting on the green floor key
out the green floor but leave that shadow in place on the final composite
now once the settings are dialed in what's great about this is we can just
shoot and send the composite off to the editor who edits it as if it wasn't shot
on a green screen in the first place that is super cool and could save us a
ton of time like even with with lighting changes it should work pretty well
because it has a feature where it captures just the background so that
anything that isn't the background you
know gets left in you might think hey and what's the point I'm chroma keying
I'm not sure because they don't really explain that
okay so what's happening now so what's happening is it took that capture right
yeah and is saying okay this is the green
screen so anything not this is supposed
to be keyed out you basically get a plate of your green screen and tell it
hey that's what it's supposed to look like yeah that is amazing using the
green screen capture and then using a
difference mode right yeah and go on okay so this is the difference don't wow
don't cute so if you're on a static background actually your background
could be just about anything
I mean can we try it can you just turn that camera a few degrees to me does it
need to be locked off okay yeah so just turn it over here oh my goodness okay so
then yeah I'll move and then do the thing and then I go back in
okay that does not work very well the other like it works better than I
thought it would but that doesn't explain how we moved
around inside of our virtual set earlier
this is super cool instead of building a
set and then shooting a plate or a static 2D shot to put our host in front
of the game link set was designed in Unreal Engine meaning that like in a
video game you can render it from any angle simply by moving your virtual
camera the big trick then is to match the movement of the virtual camera to
the real one now in the past this required meticulous planning and
choreography between the film Crews and the post-production teams but recent
advancements allow us to track our camera motion and then export that 3D
movement data directly into Unreal Engine the baller way to do this is with
a giant high resolution video wall like on the Mandalorian but ain't nobody got
money for that fortunately virtual production has blown up into a massive
market and the leftover Chum from the sharks at the top starting to trickle
down to us little deep sea Guppies instead of requiring a massive high
resolution screen we can use their Unreal Engine tricks to make a high-tech
set that can pack away into an LTT backpack
but how do we get the camera movement from
The Real World translated into our virtual world
did you spot these QR code looking things earlier they're alignment markers
to make a convincing composite it's imperative that you match the camera's
movement with the backdrop perfectly and to do that you have to establish an
exact starting position then from there there are a number of different ways to
track the physical camera's movement from that starting position the ideal
solution would be to make use of five Mars trackers these are essentially the
third generation Vive body trackers that folks have been using for full body
tracking and applications like VR chat what makes these ones special is that
they hook up to a special transmitter that sends data to a monitor and allows
you to sync time code with your camera so that your motion data and your shots
are temporally and physically aligned the downside is the kit costs five
thousand dollars fortunately there are cheaper Solutions in fact you might even
be holding one in your hand right now Apple's AR kit allows us to use the
Myriad sensors on the iPhone to lamb or
simultaneous localization and mapping in a nutshell by attaching this to our
camera rig we can collect accurate motion data for our camera if you're an
Android User you may also be able to take advantage of AR core but we can't
speak to how well that works we ended up using an iPhone now that we have our
tracking data we can export that and import it into Unreal Engine as movement
for our virtual camera to really sell the illusion you also need to match all
of your camera settings so your focal length your lens size
Etc you line up the movement with your set and then you end up with what we
showed off in our intro not gonna lie while this 3D camera position matching
can be done in real time we set out to build a workflow for a bi-weekly YouTube
news show so everything you're seeing now was done in post but we just wanted
to show off what could be done on a budget of a sheet of green cloth an
iPhone and a computer but even though we'll be sticking with a static camera
for game length at least for now I'm sure we're going to find some opportunity opportunities to use these
new capabilities and who knows maybe you will too like how cool would it be if we
wanted to film at Sunrise whenever we wanted to oh speaking of widgets day
that it is which means game length will be posted soon quick go subscribe to the
new channel everyone's going to be there like James and Riley and rush and me and
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enjoyed this video go check out GameLinked or if you're more into the tech
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