How volumetric video brings a new dimension to filmmaking | Diego Prilusky

譯者: Jingying Liao 審譯者: Helen Chang

I love making movies.

我喜歡製作電影。

Motion pictures have been in existence for more than a hundred years.

電影已經存在一百多年了。

Filmmaking hasn't changed for the dimensional mindset.

電影製作並沒有因 不同維度的思想而改變。

Placing the camera in a scene and pressing "record" hasn't changed.

在場景裏擺放好攝影機，按下 「錄製」的方式也沒有改變。

Filmmaking is still a frontal experience,

電影製作仍然是一個正面的體驗，

and creating the film has the possibility

而且創作電影有可能遵循

to follow the same direction of the content creation.

與內容創作的相同方向。

We still stand in front of a flat image,

我們仍是站在平面影像前，

watching the fiction.

看虛構的故事。

There's nothing wrong with it.

這沒有什麽問題。

I love watching movies and going to the theaters.

我喜歡看電影和去電影院。

The experiences can be such emotional experiences.

這可以是十分情緒化的體驗。

The art and craft of emotional experiences within a frame

一個框架内架構出 情感體驗的藝術與工藝

can be so strong to drive a stronger emotion.

可以帶來更强烈的情緒。

The question we're asking is,

我們一直在探究的問題是，

How the experience of motion pictures can exist beyond the flat screen.

電影體驗如何超越銀幕而存在。

How can we start creating content

我們如何著手為下一代的 內容體驗來創建內容呢？

for the next generation of content experiences?

Traditionally, when we imagine a scene,

傳統上，當我們想像場景時，

we look at the frame and the composition.

我們著眼於框架與内容。

We have to think about how we create depth and parallax

我們得思考移動攝影機時

using foreground, background elements as the camera moves.

要如何創建前景元素 及背景元素的深度和視差。

With the technology today and devices of VR glasses,

有了 VR （虛擬現實）眼鏡、

AR glasses, smart devices,

AR （增强現實技術）眼鏡、

智能設備等現代技術

allowing three-dimensional and full navigation in space,

在空間中做三維全方位導航，

we have the possibility to enable audiences

我們能讓觀眾

從多個視角去體驗電影的内容。

to experience content from multiple perspectives.

What we have to think about is how we take this technology,

我們需要思考如何利用這項技術

all the capabilities,

和它所有的功能，

and enable the experience to move farther away inside the scene.

讓觀影的體驗不限於 只在銀幕的觀看上。

Now we're not talking about video games or computer-generated actors,

我們不是在討論極度仿真的

電腦遊戲或者電腦合成的角色，

which look tremendously realistic.

We're talking about real actors and real performance,

而是在討論真正的演員 真正具有意義的演出，

performing onstage.

在舞台上演出。

We have to start thinking how we capture the actors

我們要開始思考如何捕捉演員的動態

and how we capture the real scene

與捕捉真實場景，

in order to immerse inside.

從而造成沉浸其中的效果。

Now, we're familiar with the 360-degree video,

如今我們都對 360 度 拍攝的影片很熟悉了，

where you place a camera inside the scene

通過把攝影機放在場地正中間的方式

and you can create this beautiful panoramic image all around you,

可以創造你周圍的全景影像；

but from the same aspect,

然而電影製作還是從前方拍攝的。

filmmaking is still frontal.

In order to emerge fully inside the scene,

爲了完全表達場景，

we will need to capture the light from all the possible directions.

我們需要捕捉來自四面八方的光線。

We will have to surround the scene with an enormous amount of sensors,

我們需要在場景周圍 佈置大量的傳感器，

with all possible capabilities to capture the light

盡可能來捕捉光線，

and enable us to emerge inside afterwards again.

讓我們可以再次沉浸在場景中。

Now, in this setup,

以現在的技術，

there's no more foreground or background

我們再也不需前景、背景

or a camera placed in space

或者佈置在場景中的攝影機了，

but hundreds of sensors capturing the light

只需幾百個捕捉光線的傳感器，

and capturing the motion from all the possible directions.

從所有可能的方向來捕捉動作。

With the new technological advancements,

隨著科技的進步，

we can start looking at 3D photography,

我們開始著眼於 3D 技術，

capturing the light from multiple perspectives,

從複合角度捕捉光線，

enabling us to reconstruct the object.

使我們能夠重建客體。

This is like photography in 3D space.

這就像 3D 領域中的攝影。

Now, with these technological advancements,

現在隨著這些技術的進步，

we can record video not just as a flat image

我們不止可以將影片錄製成平面影像，

but as a volume.

還可以立體化。

This is what we call "volumetric video,"

我們稱之爲「立體影片」，

and it has the capability to record every action of the scene

它可以將現場的每一個動作

as a full three-dimensional volume.

作爲完整的三維體錄製下來。

Now, what is a voxel?

什麽是體素？

A voxel is like a three-dimensional pixel,

體素就像三維像素，

but instead of being a flat image square, staying light and colored,

但它不是光亮、彩色的平面色塊，

it's like a three-dimensional cube in space,

而像是在空間裡

with x, y, and z positions.

有著 X、Y、Z 軸定位的三維小管。

This enables us to create a full capture of the scene

這讓我們可以從任意角度

拍攝出完美捕捉的場景。

from any perspective.

Now this renders a fully light-immersive scene

它通過不同的視角

呈現出完全受光的場景。

from multiple perspectives.

This capability requires an insane amount of information to be processed.

運用這種功能需要處理大量的資訊。

We will have to capture the light from an enormous amount of cameras

我們得透由大量的攝影機捕捉光線，

to create this information.

才能得到這些資訊。

Now, in order to do such a thing,

爲了做到，

we would need a setup that would host a numerous amount of cameras

我們的場地需要安裝

大量可操控的攝影設備，

installed in a stage

and a stage big enough in order to fit a full cinematic experience.

也需要足夠拍攝完整體驗的大場地。

Now that sounds like a crazy idea, but that's exactly what we did.

這聽起來有點瘋狂， 但確是我們正在做的事。

For the last three years,

在過去的三年中，

we have been building a huge volumetric camera chamber.

我們建了個巨大的 自由視角相機攝影棚。

It's 10,000 square feet of a stage,

舞台有一萬平方英尺大，

enabling to capture the action from any location.

可以讓我們在任何位置錄製動作。

We have deployed hundreds of cameras,

我們部署了幾百台相機，

sending a tremendous amount of information

發送大量的資訊

to a huge data center powered by Intel supercomputers.

到由英特爾超級電腦 驅動的大型數據中心。

The ability to have this 10,000 feet

有這個一萬平方英尺的舞台，

enables us to fit any kind of action,

使我們可以做任何的動作、

any kind of performance.

任何類型的演出。

It is the size of an average Broadway stage.

這是一個和百老匯舞台 差不多大的舞台。

We call it Intel Studios,

我們稱之爲英特爾工作室，

and it's the largest volumetric stage in the world,

是世界目前最大的自由視角舞台，

with the objective of enabling and exploring

以供探索下一代沉浸式電影為目標。

the next generation of this immersive media filmmaking.

Now, to test these ideas,

爲了去檢驗這些想法，

we were thinking about what we can do as the first scene to try it out.

在考慮第一個試用的場景時，

So we chose the Western scene.

我們選擇要創造西部的場景。

We brought horses, set designers, dirt,

我們備好馬、泥土，雇了場景設計師，

everything needed to create the full scene of a Western.

和一切建造完美西部場景之所需。

But this time, there was no camera inside.

但這次沒有場景内置的攝影機。

There was nothing really moving besides all the cameras

除了安裝在外面的攝像機外， 沒有其他動的部分。

installed outside.

The challenge of the actors was tremendous.

演員們面臨巨大的挑戰。

They have to perform a flawless action visible from all the directions.

他們必須全方位表演完美的動作。

There's no possibility to hide a punch or not show the action.

這裏沒有假打或隱藏動作的可能。

Everything is captured and everything is seen.

一切都會被錄製，一切都會被呈現。

The output of the capture --

捕捉的技術輸出——

this is our future capture --

我們未來的錄製——

opened our eyes for the immense capabilities.

開闊了我們的眼界。

It was like a full 3D scan of the entire scene.

這就像對一個完整場景 進行了 3D 掃描。

We were able to move around and travel in the space.

我們可以在這個場景中漫遊。

The thing about this,

説到這個，

it's not anymore about perceiving the light emitted from a screen

我們不再感知、處理銀幕的光，

but now traveling inside the light,

而是暢遊在立體光線中，

traveling inside the scene.

暢遊在場景中。

This obviously opens possibilities for an enormous amount

顯然這爲無數講故事 和拍攝方法的可能性展開新頁。

of storytelling and methodologies of creation.

This is the possibilities of your personal narrative,

這也是自我敘述的可能，

the possibility of creating your own story inside,

能夠在其中創造你自己的故事，

or maybe following other stories.

或者聆聽經歷別人的故事。

Let's take a look at one of the last renders and see.

讓我們來看看最終的呈現。

(Music)

（音樂）

What you're seeing here is full volumetric video,

你現在所看到的是全體積影片，

and there's no physical camera in the scene.

在這個場景中並沒有擺放相機。

(Music)

（音樂）

We have the full control

我們完整掌控時間和空間。

(Music, sounds of combat)

of space and time.

(Music, sounds of combat)

（音樂和打鬥聲）

Now, again, no physical camera was here.

再說一次，這裏沒有實體相機。

Everything was captured surrounding.

全由周遭錄製。

Now, this is very nice,

這很好，

but what if we wanted to see the scene, maybe, from the eyes of the horse?

但如果我們想從馬的視角 看這個場景呢？

Well, we can do that as well.

好，我們也做得到。

(Horse galloping)

（馬蹄聲）

So what you're seeing right now is the same action,

你現在看到是同樣的動作，

but this time, we're watching exactly from the eyes of the horse.

只不過這次是從馬的視角看的。

The possibilities are, well, unlimited.

這有無限的可能。

(Applause)

（掌聲）

Thank you.

謝謝。

(Applause)

（掌聲）

So this is all great for creators and storytellers.

因此這對所有的創造者、 説故事的人都很棒。

It really opens a huge canvas

為不同的講述故事、製作電影的方式

for a different type of storytelling and moviemaking.

開啟了嶄新的一頁。

But what about the audience?

但觀眾呢？

How can the audience experience this differently?

觀眾有怎樣不同的體驗呢？

In order to [create] our explorations,

爲了去「創造」我們的探索途徑，

we partnered with Paramount Pictures

我們與派拉蒙電影公司合作

in order to explore immersive media in a Hollywood movie production.

在好萊塢製作、探索沉浸式電影。

Together with the director Randal Kleiser,

與導演蘭德爾·克萊澤 （Randal Kleiser）一起，

we reimagined the iconic movie of 1978,

我們重拍 1978 年的指標電影

"Grease."

《火爆浪子》（Grease)。

Some of you know it, some of you don't.

有些人知道，有些人不知道。

A 40-year-old movie, amazing experience.

四十年前的電影，令人驚喜的體驗。

And our goal was really to look at how we can take this iconic action and dance

我們的目標是看 能否將這些指標性的舞蹈動作

and bring it deeper into the experience,

放進沉浸式體驗中，

bring it deeper into the audience.

讓它更深入觀眾的内心。

Imagine that you can not just watch the movie

想像你並不只是看著電影，

but get inside it and dance with the actors

而是和電影中的演員一同起舞，

and dance with the performance.

在電影中的場景起舞。

Now we're breaking, really, the traditional 2D mindset of thinking,

現在我們真正地打破了 傳統的 2D 思維，

and bringing a much richer possibility of moviemaking

為内容創造及電影製作

帶出更豐富的可能性。

and content creation.

But why watch it on the screen?

但是爲什麽要在銀幕上看呢？

Let's try to bring these actors here on the stage.

讓我們嘗試將這些演員帶上舞台。

So they're not going to really come --

他們不會真的來——

I'm going to use an iPad.

我會用 iPad 來演示。

(Laughter)

（笑聲）

Sorry.

不好意思。

I'm going to use an iPad in order to bring in augmented reality.

我將 iPad 來引入增强現實感。

Now, obviously, these devices have their own limitations

顯而易見

這些設備有計算數據的局限，

in terms of the data-computing process,

so we have to reduce the amount of resolution.

所以我們必須降低畫質。

So what I'm doing now, I'm placing here a marker,

我現在在這裏放了一個標記，

so I'll be able to position exactly where I want everyone to appear.

這樣就可以照我想的 指定每個人出現的位置。

OK.

好。

I think we have them here.

我想他們來了。

(Applause)

（掌聲）

John Travolta, or --

約翰·屈伏塔（John Travolta)

(Laughter)

（笑聲）

a version of him.

他的一個版本。

Let's take a look.

讓我們來看看。

(Video) Female: Hey.

（影片）女性：嗨

Male: And that is how it's done.

男性：就這樣做

Female: Your turn.

女性：到你了。

Male: Hey, guys! Check this out.

男性：嗨，兄弟們！看看這個。

(Song: "You're the one that I want")

（歌曲：《你是我想要的那個人》）

Danny: Sandy!

丹尼：珊迪！

Sandy: Tell me about it, stud.

珊迪：帥哥，讓我知道。

(Singing) I got chills. They're multiplying

（歌唱）内心的激動無法遏制

And I'm losing control

我快要失控

'Cause the power you're supplying

你給予的力量

It's electrifying!

讓我難以平靜！

(Video ends)

（影片結束）

(Applause and cheers)

（掌聲與歡呼聲）

Diego Prilusky: Thank you.

迪亞哥·佩魯斯奇：謝謝。

(Applause and cheers)

（掌聲與歡呼）

So as you can see,

如你所見，

we can watch and experience content in the traditional way

我們可以通過傳統方式

或者沉浸式方式來體驗。

or in an immersive way.

Really, the possibilities are open.

真的，有無限的可能性。

We're not trying to change or replace movies.

我們並不是要取代電影，

We're enhancing them.

而是要為它們增色。

The technologies enable new possibilities to start thinking beyond the flat screen.

這些技術使人們思考 平面銀幕以外的可能性。

We're in immersive and really exciting times in filmmaking.

我們正處在沉浸式電影 令人興奮的時代。

We're at the threshold of a new era.

我們正處於新時代的開端。

We're opening the gates for new possibilities

我們為更多沉浸式故事敘述可能性

of immersive storytelling,

敞開大門，

and exploration and defining what immersive media filmmaking means.

探索並定義沉浸式電影存在的意義。

We're really just at the beginning,

我們只是前哨，

and we invite you all to join us.

我們誠摯邀請你們來加入。

Thank you.

謝謝。

(Applause)

（掌聲）