AND WATCH IT IMMEDIATELY
INSTEAD OF WAITING. >> GRAYSON: YEAH.
YEAH. ABSOLUTELY. SO QUICK NOTE ON AUDIO --
IT IS FUNNY, BECAUSE IF YOU CAN SEE
THIS MICROPHONE I HAVE GOT HERE, MAYBE NOT, BUT WE ARE USING
A SIMILAR SETUP. WE CAN RECORD AUDIO
INTO THE ENGINE, SO WE RECORD IT ONTO
SEPARATE DRIVES, BUT WE ALSO CAN RECORD
IT IN THE ENGINE SO YOU CAN QUICKLY
PUT TOGETHER SCENES OR HAVE ACTORS THAT
ARE PERFORMING, AND THEY ARE RECORDING AUDIO
AS THEY ARE PERFORMING. IT IS A GREAT PLACE TO START. OTHERWISE YOU HAVE TO SOMETIMES
GRAB OUTSIDE SOURCES AND BRING THEM BACK
INTO THE ENGINE. BUT NOW, WITH TAKE RECORDER
AND SEQUENCE RECORDER, YOU CAN RECORD AUDIO
DIRECTLY INTO ENGINE. MOSTLY THE TAKE RECORDER. THIS IS KIND OF FUNNY; ALL OF
OUR AUDIO DEVICES ARE NAMED, I THINK, AFTER JAWS,
DIFFERENT CHARACTERS IN JAWS -- THAT IS ANOTHER STORY. AND THEN WE HAVE OUR PROPS. I WILL POINT THIS OUT
TO YOU PRETTY QUICKLY. THIS IS JUST A WEAPON.
WE CAN MARKER UP A WEAPON. WE COULD MARKER UP
SWORDS OR PICKAXES -- IN FACT, WE HAVE
GOT ONE BACK HERE. THIS IS RIGHT OFF
THE MOCAP STAGE. I GUESS THIS IS A KENDO STICK. WE PUT GUYS -- GERRY AND JIM
OVER AT THE MOCAP STAGE PUT ON SOME MARKERS,
SO THIS CAN BECOME ANYTHING. IT CAN BECOME A PICKAXE, IT COULD
BECOME A PITCHFORK OR SWORD. THEN IN SOME CASES, LIKE I SAID,
WE DO HAVE ONE-TO-ONE PROPS THAT ARE ACTUALLY THE
WEAPON THAT WE SEE, SO THE ACTOR IS PHYSICALLY
ACTING WITH THE THING THAT THEY ARE HOLDING. THAT IS KIND OF COOL. >> VICTOR: YEAH. >> GRAYSON: THEY HAVE
A LOT OF FUN WITH THOSE. IF WE GO BACK TO THE SLIDE
FOR A SECOND HERE, THERE IS ANOTHER -- THIS IS A BLUETOOTH DEVICE,
AND IT IS MARKERED UP. >> AMANDA: OH. >> GRAYSON:
THIS ONE IS PRETTY COOL BECAUSE WE CAN
GET LIVE INPUT. SO YOU CAN HOLD IT
AND PULL THE TRIGGER, AND YOU CAN HAVE
A PROJECTILE FIRE OUT OF THE VIRTUAL WEAPON
THAT YOU ARE HOLDING, OR WHATEVER YOU WANT
TO DO WITH IT; THERE IS ACTUALLY A BUTTON
ON THE SIDE. THIS HAS BEEN PRETTY FUN. I
THINK WE ARE GOING TO PROBABLY DO A BIT MORE OF
THIS DOWN THE ROAD, DOING A BIT MORE WITH
INTERACTIVE PROPS, AND THAT TYPE OF THING. THE LAST THING I WOULD
LIKE TO POINT OUT HERE ARE THE IPHONES. WE ARE
BASICALLY GETTING FACIAL. WE WILL TALK A LITTLE BIT
ABOUT THAT IN A FEW MINUTES ON HOW WE GET
FACIAL INTO ENGINE. IT COMES THROUGH LIVE LINK. WE ARE ABLE TO RECORD
BODY MOTION AND FACIAL, AND THEN, OF COURSE, THESE
PROPS. SO THAT IS KIND OF NEAT. LET US SEE IF THERE IS
ANYTHING ELSE -- OKAY, SO TAKE RECORDER --
AND I WILL GO INTO DEPTH ACTUALLY HOW YOU CAN USE THIS
AT HOME OR WHEREVER YOU ARE -- TAKE RECORDER IS BASICALLY AN
IMPROVEMENT OF SEQUENCE RECORDER. IF YOU DO NOT KNOW
WHAT SEQUENCE RECORDER IS, I WILL
START WITH THAT. SEQUENCE RECORDER WE HAVE USED
ON A FEW OF OUR SPECIAL PROJECTS HERE AT EPIC. WE USED
IT FOR REAL-TIME LIVE, WE USED IT ON ROBO RECALL
AND THE SENUA DEMO. AND WE COULD RECORD
ACTORS AND PERFORMANCES. FOR ROBO RECALL, WE RECORDED ALL THE ROBOTS
WITH SEQUENCE RECORDER. IT IS A GREAT TOOL. IT
IS STILL IN ENGINE. WE FOUND THAT WITH
VIRTUAL PRODUCTION, WE NEEDED SOMETHING
THAT WAS FASTER. ONE OF THE PROBLEMS WE ENCOUNTERED
WITH SEQUENCE RECORDER IS THAT EVEN THOUGH IT IS
A VERY POWERFUL TOOL, THE COMPLEXITY COULD
BE A LITTLE HIGH WHEN WE WERE TRYING TO DO THINGS
QUICKLY IN VIRTUAL PRODUCTION. I THINK IN GENERAL,
VIRTUAL PRODUCTION CAN BE A VERY FAST-PACED ENVIRONMENT
WITH A LOT OF COMPLEXITY. SO ONE OF THE FIRST THINGS
THAT THE STUDIO DID WAS IMPROVE SEQUENCE RECORDER
FOR VIRTUAL PRODUCTION, AND THAT IS THROUGH THE UI.
SO IT WAS IMPROVED UI. IF YOU LOOK AT THESE TWO
BACK-TO-BACK, YOU CAN SEE. IF I HAD TO CHANGE SOMETHING
IN ONE OF THESE PROPERTIES, IT WAS A BIT OF A DIG. WE STILL USE IT AND
IT IS NOT TERRIBLE, BUT I THINK THIS IS MORE OPTIMIZED
TOWARDS VIRTUAL PRODUCTION. SO IMPROVED UI, THEN ALSO THE
AMOUNT OF DATA THAT WE RECORD, SOMETIMES, OUT ON THE STAGE
WHERE YOU HAVE SEVERAL ACTORS, PROPS, CAMERAS, AND ANY
NUMBER OF OTHER ACTORS OUT THERE COULD BE
PRETTY SIGNIFICANT. >> VICTOR: IT IS A LOT OF DATA.
>> GRAYSON: RIGHT. IT IS A LOT OF DATA, AND THEN
YOU ARE RECORDING IT FOR -- WE HAVE TAKES SOMETIMES TWO
TO FIVE MINUTES LONG. THAT ENDS UP BEING A
LOT OF DATA TO MANAGE. SO THIS THING HELPS
US MANAGE THAT. YOU CAN SEE DOWN HERE,
IN THESE TRACKS, THESE ARE ALL PIECES
OF INFORMATION -- WE WILL SHOW YOU THAT
IN A FEW MINUTES, AND WE WILL DIVE INTO
ONE OF THOSE TRACKS. YOU CAN MOVE THOSE TRACKS AROUND JUST LIKE YOU WOULD
AN ANIMATION, OR OTHER TRACKS, AND SEE --
>> VICTOR: MM-HMM. MORE SIMILAR TO TRADITIONAL
VIDEO PRODUCTION TOOLS, RIGHT? >> GRAYSON: RIGHT. SO THIS TAKE RECORDER WORKS
IN CONJUNCTION WITH SEQUENCER. THIS IS IN 4.22, SO
IT IS ALL THIS STUFF. I THINK MOST OF THIS STUFF -- EVERYTHING WE ARE SHOWING YOU
IS AVAILABLE IN 4.22. >> VICTOR: YEAH,
WE ARE RUNNING A BINARY VERSION OF THE ENGINE
HERE FROM THE LAUNCHER. >> GRAYSON: YEAH. I THINK
THAT IS IT WITH THE SLIDES. LET US GO OVER TO TAKE
RECORDER REAL QUICK. CAN WE GO BACK TO
THE ENGINE VIEW? >> AMANDA: YEAH.
>> GRAYSON: DO THIS HERE -- THAT IS ME, SORRY. ALL RIGHT, SO THE
FIRST THING IS, YOU WANT TO LOOK FOR YOUR
TAKE RECORDER PLUGIN. YOU GO INTO PLUGINS -- I AM PRETTY SURE IT
IS ALREADY ENABLED, BECAUSE WE ALREADY SEE IT HERE,
BUT I WILL JUST SHOW YOU. YOU GO TO PLUGINS,
JUST TYPE IN "TAKE" -- AND YOU WILL SEE IT HERE,
TAKE RECORDER. JUST ENABLE THAT, AND THAT
WILL GIVE YOU TAKE RECORDER. RESTART IT. THEN THIS IS TAKE RECORDER HERE. I APOLOGIZE, IT IS
A LITTLE DIFFICULT TO WORK ON A SINGLE
SCREEN HERE; I AM NOT USED TO IT, I USUALLY
HAVE A BUNCH OF MONITORS. BUT I THINK YOU CAN STILL
SET IT UP TO WORK THIS WAY, BUT IT IS GOING TO
BE A LITTLE TIGHTER THAN I LIKE IT RIGHT NOW. >> VICTOR: YEAH,
YOU DID A GOOD JOB PREPARING IT, I THINK.
>> GRAYSON: OKAY. ALL RIGHT, WELL, THANKS.
THANK YOU. ALL RIGHT, SO -- >> VICTOR: JUST TO FILL IN -- THIS IS NOT A SPECIAL
INTERFACE HERE. WE HAVE JUST MOVED THE
DIFFERENT TOOLS AND WINDOWS AROUND IN A MANNER THAT WE CAN
ALL SEE IT ON JUST ONE MONITOR. >> GRAYSON: RIGHT. THIS IS JUST THE VANILLA,
OLD 4.22 EDITOR. WE HAVE ENABLED THE PLUGIN, BROUGHT THE WINDOW UP
HERE FOR TAKE RECORDER. ALSO, YOU CAN DOCK THINGS
IN DIFFERENT WAYS. THE CONFIGURATION I
USUALLY LIKE TO DO IS, I WILL HAVE SEQUENCER UP,
AND I WILL JUST GRAB THIS, AND THEN I WILL DRAG IT
INTO HERE AND IT WILL POP UP. I LIKE TAKE RECORDER ON THE
TOP, AND YOU CAN CONFIGURE IT, WHICHEVER WAY YOU WOULD LIKE. IF YOU WOULD LIKE TO HAVE THEM
ON SEPARATE SCREENS, YOU CAN. IT IS PRETTY EASY TO WORK
WITH, IN THAT REGARD. I HAVE GOT A LIST OVER HERE, AND MAYBE WE CAN PUBLISH
SOME OF THIS LATER. THINGS WE ARE JUST
GOING TO COVER. I WILL GO DOWN THE LIST JUST TO
MAKE SURE WE HIT EVERY BEAT, MAKE SURE WE GET
EVERYTHING IN THERE. FIRST OF ALL, THIS IS
TAKE RECORDER. THIS IS YOUR SOURCES HERE. YOU CAN ADD DIFFERENT
ACTORS FROM -- THERE IS A DROP-DOWN LIST HERE,
OR HOW I USUALLY DO IT IS, I WILL DO IT THROUGH
THE WORLD OUTLINER. LET ME BRING
THE WORLD OUTLINER UP HERE, I AM JUST GOING TO
FLOAT IT OVER HERE. YOU CAN SELECT AN ACTOR
THAT YOU WANT TO RECORD; LET US JUST SAY IT WAS THIS. YOU CAN DRAG IT IN
TO TAKE RECORDER. YOU WILL SEE THAT ACTOR
LIST POPULATE THERE. LET ME MOVE THAT AROUND. I APOLOGIZE
FOR THE WINDOW-JOCKING HERE. BUT THAT IS IT. BASICALLY YOU CAN DRAG
ACTORS IN FROM YOUR SOURCES. THERE ARE OTHER TYPES OF SOURCES
THAT YOU CAN USE AS WELL. WE CAN ADD AUDIO,
MICROPHONE AUDIO, AND THAT IS LIKE A COMPONENT
THAT YOU CAN ADD TO IT. THERE ARE OPTIONS OUT THERE
ON THE STAGE, OUR MOCAP STAGE. WE DO RECORDING WITH
MULTIPLE CHANNELS. WE HAVE LEFT AND
RIGHT CHANNELS, SO YOU CAN RECORD LEFT AND
RIGHT AND GET SOME STEREO. OR HOW WE USE IT,
USUALLY, IS TWO ACTORS, EACH ONE HAS THEIR OWN CHANNEL. SO YOU CAN SPLIT CHANNELS THAT
WAY, WHICH IS KIND OF COOL. ADDITIONALLY, THERE ARE -- YOU CAN DO LIVE LINK
THROUGH HERE AS WELL. I AM TRYING TO SEE
IF IT IS IN THE LIST, I THINK WE HAVE TO HAVE LIVE LINK
UP FOR THAT TO BE AVAILABLE. BUT YOU CAN ADD
LIVE LINK SOURCES. AND THE COOL THING ABOUT OUR
LIVE LINK SOURCES NOW IS, ONCE LIVE LINK IS IN THE
ENGINE AND STREAMING, YOU CAN ACTUALLY
SEE THE SOURCES. SO AT SOME POINT, WE WOULD HAVE
TO TYPE THINGS INTO LIVE LINK. I WILL EXPLAIN A
LITTLE BIT MORE ABOUT WHAT LIVE LINK IS
IN A FEW MINUTES. SUFFICE IT TO SAY THAT
WHEN YOU HAVE LIVE LINK, YOU CAN ADD IT AS A
SOURCE TO RECORD. OVER HERE IS YOUR
RECORDING BUTTON. IF I DO A NEW SLATE NUMBER, I CAN RECORD WITH THIS
BUTTON OVER HERE. LET US SEE, THIS HAS GOT SOME
KIND OF ERROR MESSAGE THERE ... WELL, BECAUSE I HAVE
NOT ADDED A SOURCE. LET ME ADD A SOURCE.
IF YOU SEE THAT, I DO NOT SEE
A RECORDING BUTTON -- YOU HAVE TO ADD A SOURCE
TO IT, TO THINGS, I THINK. JUST A MINUTE HERE. LET ME TRY THAT AGAIN. OKAY, THERE WE GO,
FINALLY, THE RECORDING -- >> VICTOR: YOU HAVE GOT THE FLOOR. >> GRAYSON: WOW, WE HAVE
GOT THE RECORDING BUTTON! YEAH, THAT IS THE
RECORDING BUTTON. AND THAT WILL LET YOU STOP
AND START RECORDING. LET US TRY SOME
OF THE THINGS HERE. YOU CAN SET YOUR TAKE LOCATION. THIS IS SOMETHING
THAT WE ARE NOT GOING TO NECESSARILY DO RIGHT NOW, BUT YOU CAN SET IT UNDER PROJECT
SETTINGS, I BELIEVE. YOU CAN SET UP HERE,
YOU CAN SET YOUR TAKE RECORDER LOCATION
-- "ROOT TAKE SAVE DIR." BY DEFAULT, IT GOES TO
GAMES/CINEMATICS/TAKES, BY DEFAULT IT WILL
PUT IN THE DAY, TODAY'S DATE, IN A FOLDER, AND IT WILL GIVE YOU
ALL OF YOUR TAKES THAT YOU HAVE IN THERE
FOR TODAY'S DATE. THAT IS PRETTY USEFUL, AND THAT
IS GENERALLY HOW WE ROLL FOR THE STUFF THAT WE RECORD. BUT IF YOU WANT TO CHANGE
THAT LOCATION -- AND THERE ARE CASES
WHERE WE HAVE A PROJECT WHERE WE DO WANT TO CHANGE THAT, WHERE WE WANT TO BUILD
A DIFFERENT FOLDER STRUCTURE FOR EACH OF THESE PIECES
OF DATA THAT WE RECORD, SO YOU CAN DO
THAT PRETTY EASILY. I THINK DOWN THE ROAD,
THAT IS LIKELY GOING TO MOVE MORE INTO THE TAKE
RECORDER ITSELF -- MAYBE. BUT AS OF RIGHT NOW, IN 4.22, IT LIVES UNDER THOSE
PROJECT SETTINGS. OKAY, ANOTHER THING WE
SHOULD LOOK AT IS METADATA. AND THIS, I THINK, IS GREAT. AS WE ARE GOING THROUGH
AND RECORDING THINGS, WE CAN HAVE A DESCRIPTION. I JUST TYPED IN
"FLOOR RECORDING". AND WHEN WE RECORD WHATEVER
WE ARE RECORDING HERE, IT WILL ACTUALLY GO IN AND
ADD THAT DATA INTO THE FILE SO YOU CAN LOOK AT IT LATER. SO IF YOU HAVE NOTES
FOR YOUR SEQUENCES THAT YOU ARE RECORDING, OR
THINGS THAT YOU ARE RECORDING, YOU CAN ALWAYS
ADD NOTES TO THOSE. I WILL TRY TO SHOW YOU
ALL THIS IN ACTION IN JUST A FEW MINUTES HERE. THERE IS ANOTHER BUTTON
WE HAVE GOT UP HERE; THIS IS THE REVIEW BUTTON. SO AFTER YOU RECORD SOMETHING --
LET US JUST GO AHEAD, I AM GOING TO GO AHEAD
AND ADD SOMETHING IN HERE, LET US DO SOMETHING
BASIC, LIKE A CUBE. JUST PUT A CUBE IN THERE. >> VICTOR: CLASSIC PROGRAMMER ART >> GRAYSON: YEAH, BEAUTIFUL. THIS IS WHAT WE ALWAYS SAY,
PLEASE DO NOT TEST ANYTHING THIS WAY WITH JUST CUBES, AND HERE I AM DOING A CUBE
AND RECORDING. [LAUGHTER] >> VICTOR: BEST PRACTICES. >> GRAYSON: OKAY. LET
US SEE, LET US DO THE CUBE. I MAY JUMP AHEAD HERE. THIS IS WHERE YOUR
SLATE IS STORED, SO WE USE SLATES FOR, LIKE, IF YOU ARE GOING TO
RECORD A SEQUENCE, SO LET US SAY IT IS THE
OPENING OF THE DURR BURGER, OR SOME OTHER SET, SAY
IT IS THE DESERT. THIS IS WHERE YOU CAN
NAME YOUR SLATE, AND YOU CAN CALL IT
WHATEVER YOU WANT. WE USUALLY KEEP THEM
TO PRETTY BRIEF NAMES SO YOU DO NOT HAVE A
LONG, LONG SLATE NAME, BECAUSE ALL THIS STUFF ADDS UP. ALSO YOU MAY RUN INTO PROBLEMS
IF YOU HAVE A SUPER LONG NAME. IF YOU ARE USING PERFORCE, AND YOU ARE USING A REALLY
LONG WORKSPACE NAME, PLUS THE DIRECTORY STRUCTURE,
PLUS THIS THING -- >> VICTOR: WINDOWS HAS A LIMITATION ON THE AMOUNT OF
CHARACTERS YOU CAN DO. WHEN YOU TRY TO COMPILE
IT, OR SOMETIMES EVEN JUST WORKING WITH IT,
YOU CAN GET ERRORS. >> GRAYSON: WE HAVE HIT
IT BEFORE, AND I THINK I AM ACTUALLY GOING TO WORK
ON THAT, TOO. >> VICTOR: I BELIEVE IT IS MARKED AS EXPERIMENTAL,
OR EARLY ACCESS ... I AM GOING TO SAY EXPERIMENTAL, WHERE WE DO SUPPORT LONGER THAN,
I THINK, A 236 CHARACTER NAMES. >> GRAYSON: THAT IS GREAT. >> VICTOR: I THINK THAT WAS 4.22. >> AMANDA: I BELIEVE SO. THAT SOUNDS FAMILIAR
FROM THE NOTES. >> VICTOR: BUT IT IS
EXPERIMENTAL, BECAUSE I ALSO BELIEVE IT IS AN EXPERIMENTAL WINDOWS
FEATURE THAT WE BUILT UPON. YEAH, I HAVE DEFINITELY
RUN INTO THAT IN THE PAST. >> GRAYSON: I HAVE
BEEN GOTTEN BY IT BEFORE. I KNOW THIS IS GETTING
A LITTLE OUT THERE, BUT IN THE MULTIUSER ENVIRONMENT,
IF YOU ARE IN MULTIUSER, IT CAN BE A LITTLE CHALLENGING
TO KNOW WHAT HAPPENED THERE. IT IS NOT REALLY MULTIUSER,
JUST THE LENGTH OF THE NAME. SO YEAH, ANYWAY, SOMETHING
TO BE MINDFUL OF. SO THIS IS OUR SLATE
INFORMATION HERE, AND OVER HERE IS OUR TAKE. EVERY TIME WE RECORD --
THE FIRST RECORDING IS TAKE ONE, AND THE SECOND
RECORDING IS TAKE TWO. THIRD RECORDING, TAKE THREE. WE WILL ITERATE THROUGH THOSE
TAKES AS WE ARE RECORDING. >> VICTOR: THAT WILL APPEND IT
TO THE FILE NAME, RIGHT? >> GRAYSON: YEAH. EXACTLY. SO LET US DO THAT
REALLY QUICKLY HERE. WE WILL JUST RECORD, AND I AM NOT
GOING TO DO MUCH WITH THIS. YOU ARE GOING TO SEE IT DOWN
HERE, TOO, IN SEQUENCER. AND GENERALLY SPEAKING, I
JUST WANT YOU ALL TO KNOW, IT IS USUALLY MUCH
FASTER TO WORK WITH. BUT BECAUSE I FEEL LIKE
I AM ON, YOU KNOW, WE ARE DOING TWITCH
STREAM RIGHT NOW, IT WILL BE A LITTLE CHALLENGING.
SO HERE WE ARE RECORDING, AND YOU HAVE GOT A
COUNTDOWN IN THIS WINDOW. YOU CAN MOVE THE CUBE
AROUND OVER HERE -- I MAY BE LOCKED IN, ANYWAY, YOU CAN KIND OF SEE
WHERE IT IS GOING. NOW, WE CAN REVIEW
WHATEVER WE RECORDED THERE. IT IS ALL RIGHT, I THINK I WAS
HAVING A PROBLEM CLICKING ON IT. BUT IF WE GO BACK AND
REVIEW THE LAST RECORDING, WE CAN REVIEW WHAT WE RECORDED AND YOU CAN SEE
THAT DATA IN HERE. LET ME PULL THIS
OVER A LITTLE MORE. ALSO, THERE IS THIS
UNLOCK BUTTON, SO ONCE YOU RECORD SOMETHING, AND ESPECIALLY WHEN YOU HAVE
A LOT OF COMPLEX SEQUENCES, EVERYTHING BY DEFAULT IS LOCKED. SO IF YOU WANT TO DIVE
INTO THESE SHOTS OR THE THINGS THAT YOU RECORDED, AND YOU WANT TO INTERACT WITH
THOSE, YOU NEED TO UNLOCK THEM. THE FIRST TIME I
TRIED THIS TOOL OUT, AND I DID NOT REALLY
KNOW ABOUT THAT, AND SO I HAD SOME TROUBLE. I WAS, LIKE, WHY CAN I
NOT CLICK ON THIS STUFF? WELL, WHEN YOU INTERACT WITH IT,
IT HAS TO BE UNLOCKED. THEN YOU CAN DIVE IN THERE.
AND THIS IS WHAT WE RECORDED. I WILL SHOW YOU
THE DATA WE RECORDED. THIS LITTLE TOOL UP HERE,
IN PREVIOUS VERSIONS, IN SEQUENCE RECORDER, IT WAS KIND OF A PROBLEM
BECAUSE IN ORDER TO REVIEW -- SO LET US SAY
YOU ARE ON THE STAGE, OR YOU ARE AT YOUR DESK, AND YOU WANT
TO RECORD SOMETHING. YOU RECORD IT,
IN ORDER TO REVIEW IT, IN THE PAST, IN
SEQUENCE RECORDER, YOU WOULD HAVE TO GO
INTO THE CONTENT BROWSER, LOCATE THE FILE
YOU ARE TRYING TO USE, THEN DRAG IT BACK
IN TO REPLAY IT -- SO THIS ONE LITTLE
BUTTON IS GREAT, BECAUSE WE WILL USE IT
TO REVIEW TAKES THAT WE HAVE GOTTEN
OUT ON THE STAGE, AND QUICKLY ASCERTAIN
WHETHER OR NOT A TAKE IS GOOD. I THINK IT IS ONE OF THE KEY
FEATURES OF TAKE RECORDER, BEING ABLE TO QUICKLY REVIEW
WHAT YOU HAVE RECORDED. YOU CAN SEE HERE WE
WENT THROUGH TAKE TWO. LET ME SEE IF I CAN -- YEAH,
OKAY, NOW WE CAN MOVE. SO I DO NOT KNOW WHAT I
DID THERE, SORRY. OKAY. YOU HAVE GOT TAKE TWO HERE,
YOU HAVE GOT YOUR SLATE. LET US SEE WHAT ELSE
WE CAN LOOK AT. THERE IS THIS BUTTON, I AM NOT
GOING TO NECESSARILY USE IT RIGHT NOW, BUT YOU CAN
CREATE A NEW SLATE. THAT WILL COMPLETELY WIPE OUT
ANYTHING YOU HAD DOWN HERE, ANY SLATE INFORMATION YOU HAD.
THAT WILL BASICALLY JUST CREATE A NEW SLATE. CLEAN
SLATE, LITERALLY. >> VICTOR: USING SLATE. >> GRAYSON: WHAT'S THAT? >> VICTOR: THAT IS WHAT THE
WINDOWS ARE CALLED IN UNREAL. THAT IS ALL BUILT
ON TOP OF THE SLATE. >> GRAYSON: ON TOP
OF SLATE, YEAH. YEAH. OKAY, THIS IS
ANOTHER COOL FEATURE. IN THE PAST, TRYING TO DIG OUT
WHERE YOU RECORDED DATA TO, SOMETIMES YOU COULD GO AND USE
THIS LITTLE TOOL DOWN HERE. THIS IS THE TAKES BROWSER,
AND IT IS A SUPER FAST WAY OF JUST JUMPING
INTO YOUR OLD FILES. ANYTHING THAT YOU
HAVE RECORDED. YOU CAN SEE THE DIRECTORY
STRUCTURE AS WELL. THESE ARE PREVIOUS RECORDING
SESSIONS THAT WE HAVE DONE. WE USED TODAY'S DATE,
WHICH IS, WHAT, THE 18TH? >> AMANDA: MM-HMM. >> GRAYSON: THEN YOU
HAVE GOT THOSE FILES IN THERE. >> AMANDA: THAT IS GREAT. >> GRAYSON: YEAH,
IT IS PRETTY COOL. SO ANOTHER FEATURE
THAT IS KIND OF NEAT IS THAT YOU CAN ASSIGN
COLORS TO THESE TRACKS. THIS IS A FEATURE
A FEW OF US REQUESTED, THAT WHEN YOU RECORD THINGS, YOU CAN SELECT WHAT COLOR
TRACK THEY COME OUT AS. I LIKE TO DO THIS -- SO LET US JUST SAY YOU WANT
TO CHANGE IT TO RED -- WHEN WE RECORD THIS THING -- LET US SEE IF IT
MAKES ME A LIAR. IT MAY MAKE ME A LIAR, BECAUSE
I HAVE NOT USED IT FOR A WHILE. YEAH, OKAY. IT COMES OUT IN
THE COLOR THAT I SELECTED THERE, WHICH IS, WELL, IT IS ACTUALLY
KIND OF A ORANGEY COLOR, THAT IS ALL RIGHT. I GUESS THAT WAS
THE COLOR I USED. BUT THIS TOOL IS PRETTY USEFUL
BECAUSE IF YOU WANT TO -- SAY THERE IS A VERY SPECIFIC
CAMERA YOU WANT TO LOOK AT AFTER RECORDING A
BUNCH OF STUFF, OR YOU WANT TO CLASSIFY
ALL CAMERAS ARE RED, ALL ACTORS ARE BLUE,
ALL PROPS ARE GREEN -- IT IS A GOOD WAY
TO COLOR-CODE THINGS. AND QUICKLY, ESPECIALLY IF
YOU HAVE A STACK OF ASSETS THAT YOU ARE RECORDING, IT IS A PRETTY GOOD WAY
TO QUICKLY ID WHAT A TRACK IS. >> VICTOR : GET AN OVERVIEW. >> GRAYSON: YEAH,
BECAUSE IF YOU DO NOT, IT COMES DOWN TO HAVING TO
READ THE TEXT DOWN HERE. FOR ME, IT IS MUCH FASTER
FOR ME TO WORK ON. >> AMANDA: WHO WANTS TO READ? >> GRAYSON: YEAH, WHO WANTS TO READ!? >> VICTOR: I LIKE BOOKS. >> AMANDA: NICE, HANDY LITTLE TOOLS. >> GRAYSON: THIS BUTTON OVER HERE IS USING A TAKE AS BASE -- WE USE IT FOR
LAYERED RECORDINGS, AND IT IS KIND OF A
PART OF THE TOOL WE ARE WORKING ON A LITTLE BIT. IT IS PRETTY USEFUL,
BECAUSE YOU CAN USE THAT, WHATEVER YOU
HAVE RECORDED HERE, AS THE BASE FOR YOUR
NEXT RECORDING. SO WHEN YOU GO THROUGH
AND RECORD AGAIN, IT WILL GRAB THAT DATA AND ALLOW
YOU TO RECORD, USING THAT. HOW WE USUALLY USE IT IS
IN LAYERED RECORDING. WE WILL RECORD ACTOR ONE, AND THAT WILL BE YOUR TAKE ONE,
AND WE WILL REVIEW THE TAKE -- IF THE PERFORMANCE LOOKS GOOD, WE WILL SAY USE THAT AS THE
BASE FOR THE NEXT RECORDING, THEN IT WILL ADD ANOTHER LAYER.
THEN WE CAN RECORD ACTOR TWO, OR THE SAME ACTOR PLAYING
A DIFFERENT AVATAR, AND THEN THAT LETS US -- FOR EXAMPLE, FOR THE
ROBO RECALL INTRO, ALTHOUGH WE DID
NOT USE THIS TOOL, THE IDEA IS THE SAME, IS THAT YOU HAVE A GROUP OF
ROBOTS PLAYED BY ONE ACTOR. SO YOU WANT TO CREATE A CROWD, YOU WANT TO CREATE A CROWD
OF PEOPLE VERY QUICKLY -- YOU HAVE ONE ACTOR, THEY DO THE FIRST CROWD PERSON, AND THEN THEY MOVE ONTO THE NEXT
CROWD PERSON AND PLAY THEM, AND THEN WE RECORD IT
AND BASICALLY STACK. SO YOU CAN PRETTY QUICKLY CREATE
CROWD BEHAVIORS AND STUFF, WHICH IS KIND OF COOL. >> AMANDA: THAT IS REALLY FUN.
>> GRAYSON: YEAH. ANOTHER COOL FEATURE, LET US
USE THAT NEW SLATE BUTTON. SO, "ARE YOU SURE
YOU WANT TO CREATE..." -- YEP, I WOULD LIKE TO WIPE IT
ALL OUT AND START SOMETHING NEW. ANOTHER FEATURE WE HAVE HERE
ARE THE TRACK SETTINGS. AND THIS IS IF YOU WANT TO
TRACK AN OBJECT, SAY -- THIS IS PRETTY COMMON
IN VIRTUAL PRODUCTION, TOO, I THINK, WHERE YOU HAVE A SET,
AND YOU WANT TO KEEP YOUR -- LIKE A CHAIR IS IN --
LET US JUST SAY IT IS AT THE ORIGIN, AT 0,0,0. AND FOR DIFFERENT SHOTS, YOU WANT TO TRY
MOVING THAT CHAIR, OR SOME BACKGROUND OBJECT,
TO DIFFERENT LOCATIONS. SO THESE TRACK SETTINGS
ALLOW YOU TO DO THAT. SO YOU CAN ADD THIS
ACTOR TO SEQUENCER. >> VICTOR: TAKE
OUR FRIENDLY CUBE. >> GRAYSON: RIGHT,
AND YOU MOVE HIM. THEN FOR THIS SEQUENCE,
IT WILL BE TRACKED. WHATEVER ELSE IS GOING
ON IN THE SCENE, YOU HAVE GOT AN ACTOR
MOVING AROUND, CAMERA IS MOVING AROUND,
LIGHTING MOVING AROUND -- YOU KNOW THAT YOU CAN
FIND THAT ACTOR, AND IT WILL BE MOVED
TO THAT POSITION. OF COURSE, YOU COULD RECORD IT
HERE AS WELL, IF YOU WANTED TO. BUT THAT IS GENERALLY SPEAKING,
THAT IS HOW IT IS USED. THEN WHEN YOU REMOVE IT, IT GOES
BACK TO ITS DEFAULT LOCATION. YEAH, I TALKED A LITTLE
BIT UNLOCKING THINGS IN THE TAKE RECORDER
SO YOU COULD INTERACT WITH THEM. ANOTHER TOOL THAT
WE WILL LOOK AT IS, REDUCTION OF KEY FRAMES. SO IF YOU CREATE A RECORDING
THAT HAS A TON OF KEY FRAMES -- AND THIS IS MOSTLY
FOR THE V-CAM, WHICH WE WILL TALK ABOUT IN
JUST A MINUTE -- BUT THIS IS MOSTLY WHEN
YOU RECORD THIS V-CAM AND YOU GET A LOT
OF TRANSFORM DATA, YOU CAN REDUCE THE
COMPLEXITY OF KEYS. I THINK THE BEST WAY TO DO
THAT IS JUST TO SHOW IT. I WILL SHOW IT HERE, AND
SHOW THE PROCESS OF THAT. LET ME SEE IF THERE IS
ANYTHING ELSE WE WANT TO DO. OH, ALSO, LIKE I WAS SAYING,
YOU CAN RECORD AUDIO. WE WILL ADD A MICROPHONE,
AUDIO SOURCE IN HERE. MAYBE THIS IS NOT THE
BEST PLACE TO DO IT; MAYBE WE WILL DO IT
A LITTLE BIT LATER, BUT AT LEAST YOU CAN KIND OF SEE
THAT WE CAN DO IT THERE. SO LET ME GO AHEAD AND
FIRE UP THE V-CAM. I AM JUST TRYING TO THINK,
THERE MIGHT BE SOMETHING ELSE THAT IS KIND OF COOL TO SHOW. BEFORE WE GO ALL THE
WAY INTO THE V-CAM -- >> VICTOR: YOU CAN GET BACK TO IT. >> GRAYSON: YEAH, I THINK ACTUALLY
THE CINEMATIC VIEWPORT IS SOMETHING THAT
IS PRETTY USEFUL. SO BY DEFAULT, YOU
GET THIS VIEWPORT. THIS SHOWS THE GAME VIEW, AND THEN SOMETIMES
IF YOU GO IN HERE, LET US SAY WE WANT -- I WILL ADD A CAMERA
REALLY QUICKLY HERE -- SO CINEMATIC CAMERA ACTOR. >> VICTOR:
THAT LOOKS A LITTLE DIFFERENT FROM THE
DEFAULT CAMERA ACTOR. >> GRAYSON: YEAH. SO IF
YOU ARE NOT FAMILIAR WITH THIS, THIS IS ACTUALLY REALLY COOL. IT HAS BEEN AROUND
FOR A WHILE NOW. BUT THIS IS PRETTY MUCH
ALL WE ROLL WITH OUT ON THE STAGE FOR
VIRTUAL PRODUCTION. THE THING THAT IS REALLY
EXCITING ABOUT THIS IS THAT THIS CINEMATIC CAMERA
HAS DIFFERENT FILM BACKS; YOU CAN SET THE DIMENSIONS
FOR THE SENSOR. SO IN THEORY, IF YOU WANTED TO
SIMULATE THIS IPAD IN ENGINE, WE COULD EASILY DO IT.
WE JUST GET THE SENSOR, WE LOOK UP THE INFORMATION
FOR THE CAMERA, AND THEN YOU CAN PLUG THAT VALUE
INTO THE CAMERA SETTINGS HERE. YOU CAN ALSO SET, FOR EXAMPLE, LIKE THE BLACKMAGIC CAMERAS
THAT WE SHOWED YOU EARLIER, LIKE THE TYPE OF
LENSES THEY HAD. YOU CAN SET YOUR LENS
TYPE, PLUS THE FILM BACK, AND YOU CAN GET AN
ACCURATE REPRESENTATION. AND WHY THAT IS IMPORTANT IS THAT IF YOU HAVE A
REAL-WORLD CAMERA, AND YOU WANT TO SWITCH BETWEEN
REAL-WORLD VIEWS AND ACTORS, SAY IF YOU HAVE A
FRAME UP ON AN ACTOR, THAT WAY YOU GET
A ONE-TO-ONE RELATIONSHIP BETWEEN THE VIRTUAL WORLD
AND THE REAL WORLD. SO WHAT YOU SEE IS ACTUALLY WHAT YOU WILL BE
GETTING IN THE ENGINE. SO ANYWAY, ALL THAT IS TO SAY,
THAT IS IN THE CINEMATIC CAMERA. I THINK WE TALKED ABOUT THAT
AT PRETTY GREAT DEPTH. >> VICTOR: WE DID A
SHOWCASE ON [INAUDIBLE] AS WELL, WHERE THAT WAS HIGHLIGHTED
IN THE BLOG THAT WE WROTE, IF YOU WANT TO READ ABOUT THAT. >> GRAYSON: BUT YEAH, THEY ARE
PRETTY FUN TO USE. AND IT HAS GOT
TRACKING CAPABILITIES; YOU CAN DO TRACKING IN THERE, YOU CAN DO ALL KINDS
OF COOL THINGS. ANOTHER FEATURE THAT
WE USE VERY OFTEN -- AND I DO NOT KNOW IF YOU
ALL KNOW ABOUT THIS, BUT YOU CAN GO INTO
THE WORLD OUTLINER. SO YOU SELECT THE CAMERA,
RIGHT-CLICK ON IT, AND YOU GO PILOT
CINECAMERA ACTOR -- AND NOW YOU CAN ACTUALLY
SEE, YOU CAN PILOT IT AROUND AND SEE THROUGH THAT VIEW.
NOW WE WILL USE THIS A LOT TO ROUGHLY COMPOSE SHOTS
OUT ON THE STAGE. I WILL SHOW YOU IN A LITTLE MORE
DETAILS IN A FEW MINUTES WHEN WE GO
TO THE MORE ADVANCED STUFF FOR USING CAMERAS
IN TAKE RECORDER. BUT IN ORDER TO SEE EXACTLY
WHAT YOU WOULD SEE THROUGH THIS CINEMATIC CAMERA, YOU WANT TO SET
CINEMATIC VIEWPORT -- AND THIS IS USED OFTEN
WITH SEQUENCER, IT GIVES YOU FRAME
INFORMATION AND PLAY TRACKS, AND THAT WAY YOU KNOW
YOU ARE ACCURATELY VIEWING THROUGH THAT CAMERA --
LET ME PILOT IT AGAIN. THE FIRST TIME WHEN YOU
CLICK CINEMATIC MODE, IT WILL THROW YOU
OUT OF THE CAMERA, AND THEN YOU CLICK BACK IN IT, AND YOU ARE BACK
INTO THE CAMERA. NOW THIS IS -- NO MATTER
WHAT SCREEN SIZE YOU HAVE, THIS VIEW WILL BE ACCURATE
FOR THE CINECAMERA. ALSO, VERY BRIEFLY, THERE ARE
OVERLAYS HERE THAT YOU CAN ADD. I LOVE THESE. THESE ARE GREAT
FOR BALANCING SHOTS, SHOT BALANCING, SO IF YOU HAVE A CHARACTER
IN THE CENTER OF THE SCREEN, YOU CAN USE THIS TO SEE
WHERE THEY FALL IN THE SCREEN. YOU CAN ALSO USE LETTER BOXING, SO IF YOU WANT TO DO
AN ASPECT RATIO, OR LIKE A MASK OR A CLIP,
YOU CAN DO -- THIS IS CLOSE TO 2.35:1,
YOU CAN SET 239, 1.77 -- WHATEVER ASPECT RATIO
YOU WANT THERE. >> VICTOR: CAN YOU CHANGE
ALL OF THEM AT RUN-TIME AS WELL? >> GRAYSON: IN TERMS OF
THE ASPECT RATIO ON THE CAMERA? IF YOU WANT TO ADD A MASK, I WOULD PROBABLY DO IT IN POST. BUT WE CAN -- I MEAN, YOU CAN CHANGE
THE FILM BACK SETTING, SO YOU GET A DIFFERENT -- YOU KNOW, ESSENTIALLY
SIMILAR TO A CROP. >> VICTOR: MM-HMM. >> GRAYSON: I
AM TRYING TO THINK IF THERE IS ANY WAY TO DO IT -- OFF THE TOP OF MY HEAD,
I DO NOT THINK SO. BUT IT IS COOL TO PREVIEW HERE,
IF YOU DO WANT TO DO A CROP. OKAY, SO LET US
EJECT OUT OF THAT. LET ME DISABLE THAT -- SO
YOU JUST DISABLE THAT. OKAY. LET US TALK A LITTLE BIT
ABOUT THE VIRTUAL CAMERA NOW. >> VICTOR: YEAH, I
FIND THIS TO BE PRETTY COOL. >> GRAYSON: YEAH,
I LOVE THIS THING. THE FIRST ITERATION OF THIS WAS
DESIGNED BY THIS GUY, COLIN, AND HE HAD WORKED IN THE FILM
INDUSTRY FOR A WHILE. AND HE MADE THIS THING
OUT OF BLUEPRINTS. HE USED UMG, BLUEPRINTS,
AND HE HAD THIS IDEA KICKING AROUND OF WHAT HE WANTED
TO DO WITH THIS FOR A WHILE. AND HE WENT OFF FOR A COUPLE
OF DAYS, AND BASICALLY -- I DO NOT WANT TO SAY
CODED IT UP, BUT BASICALLY MADE IT
WITH BLUEPRINTS AND UMG, AND CAME BACK, AND HAD A PRETTY DECENT
WORKING VERSION OF THIS. AND WE USED IT LIKE CRAZY
FOR A WHILE. THEN IT WENT THROUGH A REFINEMENT
AND CLEANUP PROCESS. THEN THAT IS WHERE WE ARE
AT NOW, WITH THE IPAD. BUT I THINK IT IS PRETTY COOL, THE FACT THAT YOU CAN
HAVE SOME CRAZY IDEAS. WE ARE SEEING IT WITH
SOME OF OUR OTHER DEVELOPERS ON ONE OF OUR PROJECTS, THAT THEY ARE USING THINGS
LIKE THE IPAD TO CREATE ALL THESE REALLY COOL TOOLS
FOR VIRTUAL PRODUCTION. FOR EXAMPLE, ONE OF THE TOOLS
ALLOWS US TO CONTROL CHARACTERS, AND IN A MULTIUSER ENVIRONMENT, YOU CAN CONTROL
CHARACTERS ON THE STAGE. SO IF YOU ARE A DIRECTOR,
YOU CAN HAVE THIS IPAD, AND YOU CAN CHANGE
CHARACTER SKINS, YOU CAN TAKE OFF
HATS, PUT HATS ON, CHANGE PROPS, VIEW THE
DIFFERENT VIRTUAL CAMERAS THAT YOU GOT ON THE
STAGE, SEE TIMECODE, ALL KINDS OF REALLY COOL STUFF. I THINK MOST OF
THAT HAS BEEN -- IF NOT ALL OF THAT HAS BEEN DONE
WITH UMG AND BLUEPRINTS. AGAIN, WE WILL OFTEN PROTOTYPE
THAT TYPE OF STUFF. SOME OF IT CAN LIVE IN
THE ENGINE PERMANENTLY, OR SOME OF IT WE WILL OFFLOAD
AND HAVE IT PROPERLY CODED UP SO IT IS REAL FAST,
AND PRETTY COOL. ANYWAY, SO YEAH,
THIS IS THE V-CAM IPAD. AND THE ONLY THINK
YOU NEED FOR THIS IS BASICALLY A WI-FI CONNECTION.
YOU NEED A REMOTE DESKTOP TOO, AND I WILL SHOW YOU ALL OF
THAT IN A MINUTE, IN HERE. THEN THE APP. SO IT IS PRETTY
STRAIGHT-FORWARD. I THINK THE FIRST THING
WE WILL LOOK AT, WE DO HAVE A LOT OF DOCUMENTATION
ON THIS THING RIGHT HERE, AND I DO HAVE A LINK TO IT. I
DO NOT KNOW THE BEST WAY TO -- >> VICTOR WE CAN SHARE IT. >> GRAYSON: YEAH, OKAY. DO YOU WANT ME TO
DRAG THE SCREEN OVER? I GUESS WE WILL SHARE
IT AFTERWARDS? >> VICTOR: YEAH, WE WILL SHARE IT IN CHAT. >> GRAYSON: OKAY, GREAT. I WOULD, IF YOU REALLY WANT
TO PLAY WITH THIS STUFF, I WOULD HIGHLY RECOMMEND READING
THAT DOCUMENT PRETTY THOROUGHLY. IT IS NOT TOO HARD TO SET UP,
I MEAN, I AM NOT A GENIUS, I DID NOT HAVE TOO MANY
PROBLEMS DOING IT. >> VICTOR: TEN MINUTES,
OR SOMETHING, YOU THINK? >> GRAYSON:
A FEW MINUTES. SO THE APP THAT YOU
WILL NEED TO GET, YOU WILL NEED TO GO TO THE
APP STORE AND DOWNLOAD, IS THE "UNREAL REMOTE 2". AND I BELIEVE THERE
ARE A FEW REMOTES, BUT UNREAL REMOTE 2 IS
THE ONE THAT YOU WANT, THAT IS THE LATEST ONE. THEN YOU WANT TO
ENABLE THESE PLUGINS. LET ME -- >> AMANDA: IT'S THIS GUY. >> GRAYSON: YES, THAT IS IT. SO WE ARE GOING TO -- THESE PLUGINS, I AM PRETTY SURE,
ARE ALREADY ENABLED IN HERE, BUT LET US JUST GO THROUGH THEM, BECAUSE YOU WILL HAVE TO GO
THROUGH THE SAME PROCESS AS WELL. ALL RIGHT. SO WE GO TO THE PLUGINS,
AND LOOK FOR VIRTUAL CAMERA. SO VIRTUAL CAMERA. IF YOU SEE THIS, WHILE YOU ARE
AT IT, JUST ENABLE THIS. THIS IS ANOTHER VIRTUAL PRODUCTION
UTILITY THAT YOU CAN USE. IT ACTUALLY HELPS
YOU WITH THE V-CAM. IT IS NOT REQUIRED
FOR THE V-CAM, BUT I AM GOING
TO SHOW YOU TWO METHODS WE ARE GOING TO SET
THIS THING UP WITH. THE FIRST METHOD IS JUST -- WITHOUT THIS, THE VIRTUAL
PRODUCTION UTILITIES. AND THE SECOND METHOD
IS A LITTLE MORE INVOLVED, BUT IT GIVES YOU
A LITTLE MORE -- IT GIVES YOU A FEW MORE OPTIONS.
SO JUST ENABLE THOSE TWO. REMOTE SESSION, I THINK,
IS ANOTHER ONE WE WANT. I THINK THAT LETS THE APP
COMMUNICATE WITH UNREAL ENGINE. REMOTE SESSION; ENABLE THAT GUY. APPLE ARKIT. THAT IS ENABLED BY DEFAULT. I THINK ONCE YOU ENABLE
REMOTE SESSION, I THINK THIS ENABLES BY DEFAULT.
BUT DOUBLE-CHECK IT. IF IT DOES NOT. TAKE RECORDER; OBVIOUSLY, WE HAVE
ALREADY COVERED THAT. SO YOU KNOW ABOUT TAKE RECORDER. AND THEN VIRTUAL
PRODUCTION UTILITIES WE ALSO JUST TOOK A LOOK AT. AS LONG AS ALL THAT
STUFF IS ENABLED, YOU SHOULD BE GOOD
TO GO, I THINK. >> AMANDA: JUST THOSE FEW THINGS?
>> GRAYSON: YEAH. [LAUGHTER] JUST A COUPLE OF THINGS. EVERYTHING. JUST ENABLE IT ALL! [LAUGHTER] SO I MENTIONED YOU WANT TO ADD
THE UNREAL REMOTE 2 TO YOUR IPAD. THEN I THINK ONE OF THE
LAST STEPS IN HERE IS, IN ORDER FOR THIS TO COMMUNICATE
WITH YOUR COMPUTER, YOU NEED TO MAKE SURE IT CAN
WORK THROUGH WI-FI NETWORK. WHAT YOU WILL DO IS, BRING
UP A COMMAND PROMPT AND TYPE IN "IPCONFIG" THIS WILL BE IN YOUR
INSTRUCTIONS FOR THE V-CAM, BUT BASICALLY GET "IPCONFIG",
AND THEN GET YOUR IP ADDRESS. ONCE YOU LAUNCH THE
APP THAT IS ON HERE, YOU CAN MANUALLY ENTER THAT
IP ADDRESS INTO THE APP, AND THEN THAT WILL ALLOW THIS
TO CONNECT TO YOUR MACHINE. >> VICTOR: THERE
IS NO IMPLEMENTATION THAT YOU HAVE TO
DO IN REAL-LIFE, SO YOU DO NOT HAVE TO TRANSFER
ANYTHING FROM THE IPAD, RIGHT? >> GRAYSON: I DO NOT THINK SO. YOU RUN THE APP ON THE IPAD, YOU RUN UNREAL ENGINE ON THE
PC, TYPE IN THE IP, CONNECT. >> AMANDA: MM-HMM.
>> GRAYSON: IT IS PRETTY COOL. THIS ALL WORKS. I AM JUST
GOING TO READ THROUGH SOME OF THE OTHER THINGS
OVER HERE TO MAKE SURE THAT I AM NOT FORGETTING
ANYTHING THAT YOU GUYS NEED. I THINK WE ARE GOOD. HERE, I AM GOING
TO BRING THIS OVER HERE SO YOU CAN READ IT WITH ME. ALL RIGHT, SO WE ARE
GOING TO GO TO -- WE HAVE GONE THROUGH
"IPCONFIG" HERE. UNDER VIEW OPTIONS,
JUST MAKE SURE ALL CONTENT IS SHOWING,
PLUGINS CONTENT. THIS MAY NOT BE NECESSARY,
BUT I WILL SHOW IT TO YOU. WE ARE GOING TO LOOK AT THE
VIRTUAL CAMERA PLAYER CONTROLLER. THIS IS PART OF
A BLUEPRINT SCRIPT; THIS IS A LITTLE MORE
COMPLICATED, BUT IT MIGHT BE WORTH
TAKING A LOOK. I WILL SHOW YOU WHERE WE
SWITCH OUT BETWEEN ARKIT. AS I SAID EARLIER, WE CAN
PUT MOCAP MARKERS ON THIS AND NOT USE ARKIT, AND TRACK IT IN THE MOCAP
SYSTEM, WHICH IS PRETTY COOL. LET ME SHOW YOU WHERE THAT IS, IF I CAN FIND IT MYSELF HERE
ON THE CONTENT BROWSER. I THINK ONE OF THE
EASIEST WAYS TO DO IT IS GOING TO WORLD SETTINGS -- YOU ARE GOING TO HAVE TO DO THIS
EVENTUALLY ANYWAY, BUT JUST SET TO VIRTUAL
CAMERA GAME MODE, BECAUSE WE ARE GOING TO USE
A SPECIAL TYPE OF GAME MODE TO SEE THE UI FOR THIS DEVICE. >> VICTOR: BECAUSE IT SPAWNS
A SPECIAL PAWN, RIGHT? >> GRAYSON: I BELIEVE SO.
IT IS ITS OWN. SO WE USE THAT. I AM GOING TO USE THAT;
WE COULD SEARCH FOR THIS THING, BUT IT MIGHT BE EASIER
JUST TO LOCATE IT THROUGH. THIS IS HOW I DO STUFF
SOMETIMES, I WILL JUST ADD IT
INTO THE WORLD, OR IN THIS CASE
IF IT IS A GAME MODE. AND IF I WANT TO FIND
A COMPONENT OF IT, I WILL JUST GO THROUGH
AND FIND IT THAT WAY. SO I JUST USE THE FIND TOOL,
OPEN THIS THING UP. THEN HERE, THIS IS
THE EXCITING NAME, THE VIRTUAL CAMERA
PLAYER CONTROLLER. THIS IS WHERE YOU CAN
SELECT YOUR INPUT SOURCE. SO BY DEFAULT, I
THINK IT IS ARKIT. IF NOT, DOUBLE-CHECK IT,
IF YOU WANT TO USE ARKIT. THIS LIVE LINK TARGET
NAME IS NOT NEEDED. THIS WOULD BE USED IN
CONJUNCTION WITH LIVE LINK AND THAT IS WHEN WE
ARE OUT ON THE STAGE AND WE HAVE THESE
THINGS MARKERED UP, KIND OF LIKE THE KENDO
STICK BACK HERE. I JUST WANTED TO
SHOW YOU THIS STUFF, JUST SO YOU KNOW THAT IS
WHERE THOSE THINGS LIVE. I FORGET WHAT THE DEFAULT IS, BUT JUST DOUBLE-CHECK THAT,
AND MAKE SURE THAT IS GOOD. OKAY, SO THAT IS ABOUT IT. I THINK WE CAN START TO THINK
ABOUT FIRING THIS THING UP NOW. >> VICTOR: IT IS READY.
WE ARE ALL WAITING. >> GRAYSON: YEAH, RIGHT. RIGHT, RIGHT. LET US SEE, SORRY, YOU ALL. IT BETTER WORK TOO, RIGHT?
OTHERWISE, ALL THIS BUILD-UP -- >> GRAYSON: ALL RIGHT,
COOL. SO LET US TRY THIS. SO AT THIS POINT,
YOU JUST LAUNCH -- AND YOU HAVE TO LAUNCH IT, THIS THING DOES NOT YET WORK
OUTSIDE OF PIE (PLAY IN EDITOR). OUR HOPE IS THAT IT WILL, IN
THE NOT TOO DISTANT FUTURE. BUT THIS IS KIND OF COOL, BECAUSE THEN YOU CAN ALSO BIND
INPUTS AND THINGS INTO HERE THAT YOU COULD NOT NECESSARILY
DO IN EDITOR MODE. LET US JUST GO LAUNCH THIS -- THEN I AM GOING TO CONNECT
WITH THE APP IN HERE. I THINK THIS LOOKS LIKE OUR IP. >> VICTOR: I BELIEVE, I DO NOT THINK IT HAS CHANGED
SINCE YESTERDAY. >> AMANDA: I GUESS WE WILL FIND OUT! >> GRAYSON: CONNECTING, YOU GET NO SIGNAL. LOOK AT THAT THAT! UH-OH. >> AMANDA: UH-OH. OH, TA-DA! >> GRAYSON: CAN YOU SEE
THIS? NOW WE ARE CONNECTED. THAT IS PRETTY COOL.
ALL RIGHT, IT WILL DO. ALL RIGHT. LET ME MOVE IT AROUND
A LITTLE BIT -- DIDN'T I ADD SOMETHING IN HERE? ANYWAY, YOU CAN KIND OF SEE -- >> AMANDA:
IS IT THE WHITE CUBE AGAINST THE
WHITE BACKGROUND? >> GRAYSON: I DO NOT KNOW
WHERE I PUT IT, BUT -- THIS IS A NOT A GREAT DEMO. IT ACTUALLY GETS
BETTER, I PROMISE. THERE IS OTHER STUFF
WE ARE GOING TO SHOW, THE SOFTWARE,
A LITTLE BIT. >> VICTOR: MAKE A LITTLE MINI-GAME.
FIND THE CUBE. >> GRASYON: AT LEAST
YOU CAN SEE IT WORKS. YOU CAN LOOK AROUND
YOUR ENVIRONMENT. I THINK THERE ARE
SOME VIDEOS, AND I THINK COLIN'S MADE
SOME VIDEOS IN THIS, THAT SHOW THE FUNCTIONALITY. THERE IS A LOT OF STUFF
THIS THING CAN DO. I THINK THAT ALMOST
COULD BE ITS OWN THING. BUT SUFFICE IT TO SAY THAT THIS
DEVICE HAS A LOT OF CAPABILITIES. YOU CAN CHANGE EVERYTHING
-- WE HAVE, LIKE, MOTION STABILIZATION IN THERE,
YOU CAN STABILIZE YOUR MOTION. >> AMANDA: THE MENU YOU
BROUGHT UP IS FROM YOUR IPAD? >> GRAYSON: RIGHT. >> AMANDA: SO WHAT YOU ARE SEEING -- >> VICTOR: YEAH, THE UMG ELEMENT IS CURRENTLY IN THE PIE WINDOW, GRAYSON ALSO HAS ON THE IPAD. >> GRAYSON: YEAH,
YOU PROBABLY COULD -- >> VICTOR: THE WINDOW
THAT WE ARE SEEING ON THE PC IS THE SAME ONE WE
ARE SEEING ON THE IPAD. >> GRAYSON: EXACTLY.
AND IT IS KIND OF COOL, BECAUSE YOU CAN HAVE MULTIPLE
OPERATORS ON THIS POTENTIALLY. YOU CAN HAVE THE PERSON
WHO IS HOLDING IT CAN OPERATE IT THEMSELVES,
WHICH IS USUALLY HOW WE ROLL. BUT YOU CAN ALSO, IF YOU
HAVE AN OPERATOR ON THE PC, OR DEVICE THAT THIS
IS RUNNING OFF OF, THEY CAN ALSO INTERFACE WITH MOUSE
CLICKS ON THOSE SAME BUTTONS. >> AMANDA: OH, COOL. >> GRAYSON: SO SOMETIMES, YOU KNOW, IF YOU ARE
DOING FANCY STUFF, YOU CAN HAVE MULTIPLE PEOPLE
WORKING ON THIS, WHICH IS COOL. FOR EXAMPLE,
ONE OF THE THINGS WE DO -- THIS IS A LITTLE DIFFERENT, BUT SOMETIMES WE MAY HAVE THIS
DEVICE, DRIVING OUR CAMERA AND HAS ALL THE LENS
AND MOTION IN IT. BUT THEN WE MAY HAVE
A SEPARATE OPERATOR USING A GAME CONTROLLER
DEVICE TO PULL FOCUS. SO YOU COULD -- AND SIMILAR TO THE DEMO
THAT WE DID FOR REAL-TIME LIVE. SO YOU CAN OFFLOAD CERTAIN
THINGS TO DIFFERENT OPERATORS, AND MULTIPLE PEOPLE,
IN MULTIUSER. >> AMANDA: REALLY HANDY.
>> GRAYSON: YEAH -- OR EVEN JUST ON ONE BOX, YOU
COULD DO IT, IF JUST AT HOME, YOU HAVE A FRIEND OR
SOMETHING, A CONTROLLER. OKAY, SO LET ME
EXIT OUT OF HERE. AND ACTUALLY, BEFORE I DO, LET ME TAKE A LOOK AT
SOMETHING ELSE HERE ... WE ARE GOING TO LOOK AT THIS. SEE THIS CAMERA HERE? THIS
CAMERA JUST SHOWED UP. AND BY DEFAULT, WHEN
YOU LOAD UP THE V-CAM, TAKE RECORDER WILL
GRAB THE V-CAM. IT WILL BASICALLY CREATE A
CINEMATIC CAMERA COMPONENT, FROM WHAT I UNDERSTAND. IT WILL BE A TRANSIENT ACTOR,
SO IT WILL BE A SPAWNABLE. I DO NOT KNOW IF YOU
KNOW THE DIFFERENCE BETWEEN SPAWNABLES
AND POSSESSABLE ACTORS, BUT BASICALLY IT IS
A TRANSIENT ACTOR, AND YOU CAN ADD IT
TO TAKE RECORDER. IT WILL AUTOMATICALLY ADD
THAT ACTOR IN TAKE RECORDER. SO WHEN YOU RECORD IT,
IT WILL RECORD THAT ACTOR. LET US JUST DO IT
REALLY QUICKLY, HERE. I AM JUST GOING TO KIND OF
WIGGLE THE CAMERA AROUND, SO YOU CAN KIND OF SEE
THE RECORDING. IT IS NOT BEAUTIFUL, BUT
AT LEAST YOU CAN SEE. WE WILL FORGET THE
SLATE NAME FOR NOW. >> VICTOR: I THINK THE CUBE
MIGHT BE MAYBE UP ABOVE? >> AMANDA: YEAH, THEY MENTIONED
IT IS ABOVE YOU. >> GRAYSON OH, IT IS? SOMEBODY KNOWS THIS -- >> VICTOR: THERE IT IS! >> GRAYSON: THANK YOU,
WHOEVER MENTIONED THAT. EVERYBODY THAT WAS MENTIONING,
IT WAS, LIKE -- LET ME WIDEN THE LENS OUT. >> AMANDA: WE ARE ALL
ABOUT CROWDSOURCING. >> GRAYSON: CROWDSOURCING, YEAH, DEFINITELY. THAT IS
WHAT -- YEAH, ANYWAY. SEE, THAT IS KIND OF THE WAY
WE ROLL IN VIRTUAL PRODUCTION. THERE IS USUALLY A BUNCH
OF US OUT ON THE STAGE, SOMETHING LIKE, WHERE IS
THE CUBE? I DO NOT KNOW! ALL RIGHT, SO THIS IS IT.
YEAH, COOL. ACTUALLY, AND YOU CAN SEE TOO,
I JUST MADE THE LENS SUPER-WIDE, SO IT WAS NOT SO OVERLY
ZOOMED IN THERE. BUT, YEAH, COOL. LET US RECORD THIS,
AS AWFUL AS IT LOOKS, BUT WE CAN AT LEAST
KIND OF SEE HOW IT WORKS, HERE. I WILL JUST HIT
THE RECORD BUTTON. ACTUALLY PUT THAT UP. AND THEN I DO NOT KNOW
IF YOU CAN SEE THIS, BUT IT HAS GOT
A COUNTDOWN ON IT. >> VICTOR: I THINK THE PIE WINDOW
GOT MINIMIZED. >> GRAYSON: I THINK SO, HERE. I WILL SHOW YOU THE
THING IN A MINUTE. ALL RIGHT, LET US GO
AHEAD AND STOP THAT. I AM JUST GOING TO GO AHEAD
AND EXIT OUT OF HERE. I THINK I NEED ANOTHER ARM HERE. >> AMANDA: WOULD YOU LIKE ONE OF US TO HOLD
SOMETHING FOR YOU? >> GRAYSON: NO, IT IS
OKAY. I THINK WE HAVE GOT IT. OKAY. >> VICTOR: WE CAN CALL IN
ONE OF OUR SUPER ASSISTANTS. >> GRAYSON: LET US
SEE IF WE GOT THE DATA. YOU KNOW, THERE IS NOTHING
QUITE LIKE DOING THIS LIVE ON A TWITCH STREAM
WHERE YOU ARE LIKE, I DO NOT KNOW, DID
I DO IT RIGHT? ALL RIGHT, HOLD ON A SECOND. >> VICTOR: IT IS THE SAME FOR EVERYONE. >> GRAYSON: YEAH, IT IS
THE SAME FOR EVERYBODY? ALL RIGHT, WE WILL SEE. LOOK
AT THAT BEAUTIFUL CAMERA WORK! SO THIS IS THE REVIEW MODE --
AND I AM JUST JOKING. OBVIOUSLY THIS IS
HORRIBLE CAMERA WORK, BUT AT LEAST YOU CAN
KIND OF SEE HOW -- THIS IS WHAT WE WERE SHOOTING. WE WERE SHOOTING WITH A
REALLY, REALLY WIDE LENS. NOW NOT THAT WE WOULD WANT
TO USE THIS REALLY FOR ANYTHING, BUT IF WE DID, WE
COULD ALWAYS GO IN, AND SAY I WANTED TO FIX
THAT LENS IN HERE. I COULD PROBABLY ADD A
FOCAL LENGTH CHANGE HERE. SO LET US JUST MAKE
IT A LONGER LENS, YOU COULD ZOOM IT IN,
YOU KNOW WHAT I MEAN? >> VICTOR: MM-HMM.
>> GRAYSON: AND THEN -- WHOOPS! LET US GET RID OF THAT, LET
US PULL THAT OVER THERE. >> VICTOR: NOW YOU ARE ESSENTIALLY MANAGING
SOME OF THE KEYS FOR THE FOCAL LENGTH, RIGHT? >> GRAYSON: EXACTLY. I JUST CHANGED THE LENS
FOCAL LENGTH ON THERE. I AM JUST USING IT
AS AN EXAMPLE HERE OF SOME OF THE STUFF
THAT YOU CAN DO. SO ONCE YOU HAVE GOT
YOUR SHOT, YOU CAN GO IN AND YOU CAN START MODIFYING IT. YOU CAN CHANGE YOUR
FOCUS DISTANCES, YOU CAN ADD FOCAL LENGTH. IF YOU WANT TO CHANGE
THE FILM BACK, YOU CAN CHANGE THE FILM BACK. AND HOW WE WILL USE THIS IN AN OPERATIONAL ENVIRONMENT
IS PRETTY SIMPLE. YOU WILL GET YOUR SHOT, AND
THEN IT IS NOT QUITE RIGHT, SO WE WILL COME
BACK AND POLISH IT. OR MAYBE YOU GET THE SHOT
AND IT IS PERFECTLY FINE, AND YOU CAN ROLL THAT WAY, TOO. BUT I LIKE BEING ABLE
TO GO BACK SOMETIMES, AND JUST TOUCH THINGS UP. LET ME SHOW YOU
SOMETHING ELSE HERE THAT I FIND TO BE
PRETTY USEFUL. SO WHEN WE RECORD THIS DATA, YOU CAN SEE THERE IS A HECK
OF A LOT OF TRANSFORM DATA. IF YOU ARE USED TO
KEY FRAMING CAMERAS, THIS WILL PROBABLY LOOK LIKE
A NIGHTMARE TO YOU. BUT YOU CAN OPTIMIZE THAT BY -- SO YOU BRING UP
THE CURVE EDITOR HERE, I WILL GIVE YOU A CASE
OF HOW I USED THIS IN THE NOT TOO DISTANT
PAST FOR A DEMO, AND IT IS A PRETTY GOOD EXAMPLE. WHAT YOU DO IS -- OOPS, LET
ME GET BACK TO THAT -- I AM HAVING A LITTLE
TROUBLE NAVIGATING HERE. >> AMANDA: IT IS A NEW COMPUTER. >> GRAYSON: I WILL BLAME THE COMPUTER. YOU CAN GRAB ALL THAT DATA, SO THERE IS A KEY REDUCTION. I AM HAVING TROUBLE SEEING IT, I AM GOING TO HAVE TO
BRING THIS WAY OVER. ARE YOU KIDDING ME? I MAY HAVE TO TEAR THIS THING
OFF IN A SECOND TO DO IT RIGHT, WELL, I MAY NOT BE
ABLE TO SHOW THIS OFF. I WILL JUST KIND OF TRY
TO DESCRIBE IT TO YOU. BUT I THINK IT IS JUST
BECAUSE OF MY SCREEN, AND I AM A LITTLE HESITANT
TO GO MOVING STUFF AROUND SO WE DO NOT SCREW UP
THE TWITCH STREAM HERE. BUT BASICALLY, YOU CAN
GO IN THERE, THERE IS -- THE VERY END OF
THE CURVE EDITOR, THERE IS A LITTLE DROP-DOWN
ARROW THAT YOU CAN PRESS, AND IT HAS GOT SOMETHING
CALLED "REDUCE KEYS" ON IT. YOU CAN GIVE IT A
VALUE FROM 0 TO 1, AND 1 WILL GET RID OF
PRETTY MUCH EVERYTHING. SO I WILL USUALLY
START OFF WITH 0.2, AND IT WILL REDUCE
ALL OF THOSE KEYS DOWN TO A VERY SIMPLE,
EDITABLE CURVE. HOW WE USE THIS
TYPE OF STUFF IS, WE HAD A DEMO FOR,
I THINK IT WAS NVIDIA REFLECTIONS DEMO,
SOMETHING LIKE THAT. >> AMANDA: MM-HMM >> GRAYSON: AND WE WANTED TO SHOW OFF REFLECTIONS,
RAY TRACING. ONE OF OUR GUYS ASKED ME
IF WE COULD DO, LIKE, A TWO-MINUTE LONG CAMERA MOVE,
CONTINUOUS CAMERA MOVE, THAT SHOWED ALL OF THE STUFF OFF. >> AMANDA: OH, WOW. >> GRAYSON: HAND KEYING
THAT IN THE PAST WOULD BE, LIKE, OH MAN, THAT
WOULD TAKE US A WEEK TO DO AND GET IT ALL RIGHT,
POTENTIALLY. SO INSTEAD OF THAT, THIS WAS IN OUR TOOL BOX. SO WE DECIDED TO TRY THIS. I GAVE HIM THE CAMERA, AND
HE ACTUALLY SHOT THE THING. WE TURNED IT AROUND IN A DAY. AND AFTER WE GOT THE
BASIC CAMERA MOVES -- THERE WAS A LITTLE BIT
OF WIGGLE IN THERE, SO I WAS ABLE TO USE
THIS KEY REDUCTION WITHIN TAKE RECORDER
AND THIS CAMERA TO GET ESSENTIALLY A TWO-MINUTE
LONG, VERY SCRIPTED CAMERA MOVE THAT SHOWED ALL THESE
DIFFERENT PARTS, IT WAS CAPTAIN PHASMA
FROM STAR WARS, THE REFLECTIONS AND
STUFF IN THERE. >> AMANDA: SUCH A BEAUTIFUL DEMO.
>> GRAYSON: YEAH. >> VICTOR: DO YOU MAINLY USE
THAT FEATURE AS A MEANS TO FILTER OUT THAT JITTER? OR CAN IT ALSO BE USED AS A --
BEFORE WHEN YOU TRYING TO HERE, ESSENTIALLY GET RID OF SOME
KEYS SO THAT IT IS EASIER TO WORK WITH? IS IT -- >> GRAYSON: YEAH, YOU CAN USE IT
AS A FILTER. THERE ARE CASES WHERE IT DEFINITELY
WORKS TO SMOOTH THINGS OUT. ALTHOUGH A LOT OF
TIMES WHAT I WILL TRY TO DO IS USE THE
MOTION FILTERING HERE, AND IF THAT STILL
DOES NOT CUT IT, THEN YEAH, WE CAN USE IT
TO FILTER NOISY DATA. I FIND MORE AND MORE THAT I JUST
DO SINGLE AXIS FILTERING. THE GOOD THING ABOUT
USING THIS IS, YOU DO GET A LITTLE BIT
OF A HAND-HELD LOOK TO IT, SO YOU CAN REDUCE THAT, AND THEN YOU CAN GO DOWN
TO EVEN A SINGLE TRACK. SAY YOU HAVE GOT TOO
MUCH TILT, YOU KNOW, OR MAYBE THE CAMERA IS REALLY
NOT TILTING UP THAT MUCH, BUT YOU WANT TO FINE-TUNE THAT. YOU CAN REDUCE JUST
THAT ONE TRACK DOWN TO SOMETHING VERY MINIMAL,
BUT THEN IT IS MANAGEABLE. THEN YOU CAN EVEN REDUCE
IT DOWN TO NOTHING AND THEN RE-KEY FRAME
VERY SUBTLE CHANGES, IF YOU ARE GOING TO FRAME THE TOP
OF SOMEONE'S HEAD, OR WHATEVER. >> VICTOR: SO DOES IT WOULD
WRITE A KEY FOR EVERY FRAME? >> GRAYSON: YEAH, THIS DOES. WHEN WE ARE RECORDING
IT, ABSOLUTELY, YEAH. IT WRITES A KEY FOR EVERY FRAME.
SO YOU HAVE GOT A LOT OF DATA YOU CAN WORK WITH,
WHICH IS PRETTY COOL. LIKE I SAID, THAT CAN
BE CHALLENGING IN POST, IF YOU WANT TO TAKE IT
AND USE THAT AS A BASE. BUT WITH KEY REDUCTION, THAT GIVES YOU THE
OPTION TO DO THAT. I AM GOING TO CLOSE THIS DOWN. MAYBE AT THE END OF THE
SHOW, I WILL TEAR THIS OFF, AND WE CAN LOOK FOR
THAT LITTLE BUTTON, IF YOU WANT TO SEE IT. MAYBE LET ME KNOW
IF YOU WANT TO DO THAT. OKAY. LET US GO BACK. OKAY. I THINK WE
HAVE GOT THE BASICS. I THINK YOU GET THE BASIC IDEA
OF HOW WE USE THIS. I AM GOING TO OPEN
UP ANOTHER LEVEL, AND I AM GOING TO SHOW
YOU THE LEVEL STRUCTURE OF HOW WE ACTUALLY DO
VIRTUAL PRODUCTION; CERTAIN LEVEL STRUCTURE
THAT WE USE. AND THE VP ROOT ACTOR, WE WILL
TALK A LITTLE BIT ABOUT THAT. THIS WILL BE A LITTLE BIT MORE
FORMAL USE OF THIS CAMERA, YOU CAN SEE IT IN ACTION.
BEFORE WE DO THAT, THOUGH, I WOULD LIKE TO TALK A LITTLE
BIT ABOUT TWO COMMANDS THAT WE CAN USE TO IMPROVE
THE PERFORMANCE OF THIS. THEY ARE REMOTE.QUALITY
0 TO 100, AND THEN REMOTE.FRAMERATE, AND THEN YOU WOULD SPECIFY
A FRAME RATE. WHAT THAT DOES IS, IF
YOU DO REMOTE.QUALITY, LET US JUST SAY 25, THE IMAGE THAT IS ON THIS
WILL BE MORE PIXELATED, IT WILL NOT LOOK BEAUTIFUL.
THE FINAL PIXELS ARE FINE, BUT IT IS ALL FOR
PERFORMANCE REASONS, SO YOU CAN REDUCE THE
COMPLEXITY OF IMAGES THAT ARE BEING TRANSFERRED.
BASICALLY, IT MAKES IT FASTER. I FIND THAT THIS IS KIND
OF USEFUL IN CONJUNCTION WITH UNLIT MODE
SOMETIMES ON MACHINES, ESPECIALLY IF YOU ARE
REALLY JUST INTERESTED IN GETTING A BEAUTIFUL CAMERA
MOTION, OR JUST NAILING THAT. I THINK SOMETIMES
WE DO LOOK FOR WAYS TO MAKE THINGS RUN EVEN
FASTER THAN THEY ALREADY ARE, SO THAT IS PRETTY USEFUL. THEN REMOTE.FRAMERATE,
SAME THING. IT WILL ACTUALLY GIVE YOU --
IF YOU REDUCE THE FRAME RATE, I BELIEVE IT JUST GIVES YOU A LITTLE BIT BETTER
PERFORMANCE SOMETIMES. THOSE TWO COMMANDS,
ONCE YOU ARE IN PIE, BRING UP THE CONSOLE,
ENTER THE COMMANDS, THEN YOU CAN ADJUST
THOSE UP OR DOWN. ALSO, I DO NOT KNOW IF
YOU ALL KNOW ABOUT THIS, BUT I THINK THAT YOU
CAN DO REMOTE -- LIKE SO IF YOU DO
A CONSOLE COMMAND LIKE REMOTE.QUALITY-SPACE-QUESTION
MARK, IT WILL ACTUALLY GIVE YOU
THE INFORMATION OF WHAT -- OFTENTIMES IF THERE ARE
COMMENTS IN THE CODE, IT WILL GIVE YOU INFORMATION ABOUT WHAT THE DIFFERENT
VARIABLES DO. A PRETTY USEFUL TOOL. SOME "GOTCHAS" TO
LOOK OUT FOR -- I PROMISE WE ARE GOING TO GET TO
THE NEXT SECTION IN A SECOND -- BUT GOTCHAS TO LOOK OUT FOR
WITH THE V-CAM; TWO THAT I HAVE HIT BEFORE -- MAKE SURE YOU ARE IN PIE
BEFORE YOU LAUNCH THIS, BECAUSE OTHERWISE IT
WILL NOT CONNECT. SO GET INTO PIE BEFORE
YOU LAUNCH THIS. THEN ALSO MAKE SURE YOUR
CAMERA IS -- IT SOUNDS STUPID, BUT MAKE SURE YOUR CAMERA
ON THIS IPHONE IS ENABLED BEFORE YOU TRY TO LAUNCH IT, BECAUSE I HAVE HAD A CASE WHERE
SOMEBODY TURNED THE CAMERA OFF, AND I COULD NOT FIGURE OUT WHY
WE COULD NOT GET A CONNECTION AND THINGS WERE NOT WORKING. SO SILLY THING, BUT
JUST MAKE SURE SOMEBODY HAS NOT TURNED YOUR CAMERA OFF
ON YOUR IPHONE. OR YOUR IPAD. I AM GOING TO BRING THIS
OVER HERE FOR A SECOND. WE ARE GOING TO LOOK
AT THE VP ROOT ACTOR. AND THIS IS AN ACTOR THAT
WAS WRITTEN TO HELP US WITH THE VIRTUAL PRODUCTION, AND ALSO TO HELP
US WITH THE V-CAM. IN THE PAST WHEN WE TRY
TO USE THE V-CAM ONSTAGE, IT WAS A VIRTUALIZED
CAMERA COMPONENT, SO IT WAS NOT AN ACTOR
IN THE WORLD, BASICALLY; IT JUST WAS ALMOST SPAWNED INTO
THE WORLD AS A VIRTUAL ACTOR. IN ORDER TO GRAB THAT AND
INTERACT WITH THAT CAMERA, IT WAS A BIT COMPLEX. WE WOULD HAVE TO DO A LOT OF
SCRIPTING TO GET AROUND THAT, AND I THINK A REAL GOOD
EXAMPLE OF THIS IS, SO WE DID WANT TO HAVE A PERSON WHO WAS GOING TO PULL FOCUS
ON ONE OF THE CAMERAS, FOR A CAMERA THAT
WE WERE DRIVING ON THIS. IT WOULD REQUIRE SOME BLUEPRINT
SCRIPTS TO GET THAT ALL WORKING. SO WE ASKED FOR -- WE WERE,
LIKE, WE WOULD JUST LIKE TO HAVE THE CAMERA BE A
PHYSICAL ACTOR IN THE WORLD, JUST LIKE ANY OTHER CINEMATIC
CAMERA THAT THIS THING DRIVES. THAT IS WHAT WE GOT,
BASICALLY, WITH A VIRTUAL -- A VP ROOT ACTOR. ALSO, THE VP ROOT ACTOR
DOES SOME OTHER THINGS. YOU CAN MOVE YOUR
SCENES AROUND, AND IT JUST OVERALL HELPS
WITH VIRTUAL PRODUCTION, IT GIVES YOU A LITTLE
MORE FLEXIBILITY. LET US TAKE A LOOK AT
HOW THOSE ARE SET UP. I HAVE GOT A LEVEL HERE,
I AM GOING TO OPEN. WE WILL JUST CALL IT "VPP". SO THIS LEVEL HAS A
FEW SUBLEVELS IN IT. I AM GOING TO GO THROUGH THIS,
BECAUSE THIS IS PRETTY IMPORTANT FOR US FOR OUR WORKFLOWS,
FOR VIRTUAL PRODUCTION. IT IS NOT NECESSARY, YOU
DO NOT HAVE TO DO IT, BUT I RECOMMEND YOU DO IT. USUALLY WE HAVE A
PERSISTENT LEVEL THAT HAS, IF YOU WANT TO HAVE SCRIPTS
OR OTHER BASIC THINGS IN IT, WE USUALLY HAVE JUST A PRETTY
SIMPLE CONTAINER LEVEL. THEN WE HAVE VIRTUAL
PRODUCTION ART -- AND THAT IS ANY OF
THE BACKGROUNDS THAT YOU SEE IN THERE,
ANYTHING THAT IS ART-RELATED. THEN WE HAVE VIRTUAL
PRODUCTION CINE. AND CINE LEVELS
FOR VIRTUAL PRODUCTION WILL HAVE ALL THE
CINEMATIC CAMERAS, VIRTUAL PRODUCTION ACTORS,
THAT TYPE OF THING. LET US TAKE A LOOK REAL QUICK
AT -- PUT THIS ASIDE -- TAKE A LOOK AT WHAT
IS IN THE LEVEL. I DO NOT KNOW IF YOU
ALL USE THIS MUCH, BUT I LOVE THIS FEATURE. "ONLY IN CURRENT LEVEL". >> THIS IS ESPECIALLY
USEFUL FOR VIRTUAL PRODUCTION, BECAUSE SOMETIMES WE HAVE A BIG
SET WITH THOUSANDS OF ACTORS, OR THOUSANDS OF PIECES OF
STATIC MESHES, TRIGGERS, EFFECTS SYSTEMS, LIGHTS,
WHATEVER THEY ARE. THIS HELPS US NARROW DOWN JUST
THE THINGS WE WANT TO LOOK AT. I WILL SAY THAT WHEN WE GET HOT
AND HEAVY OUT THERE ON THE STAGE, AND WE ARE TRYING TO
SHOOT A LOT OF CONTENT, BEING ABLE TO EASILY SEE
WHAT YOU WANT TO WORK ON IS VERY IMPORTANT. OTHERWISE IT GETS A LITTLE
BIT ON THE SCARY SIDE, TRYING TO SORT THROUGH TONS
OF ACTORS. SO "ONLY IN CURRENT
LEVEL" IS A COOL FEATURE. IN THIS LEVEL, WE HAVE
ADDED THE VP ROOT ACTOR, AND THIS COMES
FROM THAT PLUGIN -- I THINK IT WAS THE -- THE NAME OF THE PLUGIN WAS,
LET ME LOOK IT UP HERE AGAIN -- VIRTUAL PRODUCTION
UTILITIES, YEAH. THAT IS WHERE
THIS THING COMES FROM. THIS IS AN ACTOR THAT YOU
CAN -- SO IF WE GO UP HERE, VP ROOT ACTOR. THIS IS WHAT YOU WANTED
TO ADD TO YOUR LEVEL. THE WAY THAT THIS WORKS ALSO IS THAT IT MUST LIVE
IN ITS OWN LEVEL. YOU HAVE TO CREATE A
PERSISTENT LEVEL, THEN IT HAS TO LIVE
IN ITS OWN LEVEL UNDER THERE. THIS ESSENTIALLY LETS YOU ADD
IN A CAMERA THAT YOU CAN -- THAT IS GETABLE FOR THE V-CAM. LET ME JUST SHOW YOU,
WE WILL CLICK ON THIS. CLICK ON THE VP ROOT ACTOR, AND UNDER THERE, YOU COULD
GET A CINEMATIC CAMERA. THIS IS WHERE YOU WILL ASSIGN, OUT OF THE CAMERAS
THAT YOU HAVE AVAILABLE, THAT IS WHERE YOU WILL
ASSIGN YOUR V-CAM. I BUILT ONE OF THESE
IN THE LEVEL, SUPER SIMPLE CINEMATIC
CAMERA HERE. >> VICTOR: THOSE ARE REFERENCES TO CAMERAS CURRENTLY IN
THE WORLD, RIGHT? >> GRAYSON: RIGHT. MM-HMM. THIS IS THE PLACEABLE -- LET US
JUST FIND IT HERE IN THE WORLD SO YOU CAN KIND OF SEE IT --
IT IS PROBABLY EASIER TO VISUALIZE. I THINK IT IS ONE OF THESE
CAMERAS DOWN HERE -- YES, THERE IT IS. I JUST
STUCK IT AT THE ORIGIN. THE COOL THING IS, NOW WE
CAN ACTUALLY SEE THIS. THIS IS WHAT THE V-CAM
IS GOING TO DRIVE, AND YOU CAN INTERACT WITH IT. IF YOU HAVE NOT USED THE V-CAM
A LOT, YOU ARE PROBABLY, LIKE, YEAH, BIG DEAL.
BUT TRUST ME, TO BE ABLE TO ACCESS THIS THING
PRETTY EASILY IS A GOOD THING. WE HAVE ALSO, IN
THIS VIRTUAL LEVEL, OR THE VIRTUAL PRODUCTION
LEVEL, I HAVE ADDED JUST ONE CINEMATIC
CAMERA, AND I JUST CALLED IT "UE_VIRTUALCAMERA_01" --
WHEN WE ARE SHOOTING ON STAGE, I LIKE TO HAVE, IF WE CAN, HAVE
A FEW CAMERAS FOR COVERAGE. IT IS VERY EASY JUST TO ADD
A FEW CINEMATIC CAMERAS IN THERE, PILOT THEM,
AND THEN RECORD THEM. LET US JUST SAY WE WANT A
COVERAGE OF SOME KIND OF SHOT; WE WANT A SHOT
KIND OF LIKE THIS. WE JUST WANT TO SEE WHAT HAPPENS
THROUGH THAT ONE CAMERA. SO WE CAN RECORD MULTIPLE
CAMERAS AT THE SAME TIME. IN THEORY, YOU COULD ADD,
LIKE, 10 CINEMATIC CAMERAS ALL AT THE SAME TIME, AND -- >> VICTOR: SWITCH BETWEEN THEM, THEN USE THE SAME V-CAM --
I HAVE HAD -- >> GRAYSON: YEAH, SO YOU CAN DO
MULTIPLE CAMERA COVERAGE. IF YOU EXPAND THAT OUT
EVEN TO A BIGGER MODEL, YOU CAN ATTACH CAMERAS
TO CHARACTERS, SO YOU COULD EASILY DO
OVER-THE-SHOULDER SHOTS WITH POV SHOTS, FRONT-ON SHOTS, A BIT OF PERSPECTIVE
CAMERAS THAT HAVE -- THEN YOU CAN ADD LOGIC TO THOSE.
THEN ALL OF A SUDDEN, YOU HAVE GOT ALL THESE CAMERAS
AFTER THE SINGLE SHOOT, THAT YOU HAVE A LOT OF FOOTAGE
THAT YOU CAN THEN PUT OUT, THEY COULD GO IMMEDIATELY
TO EDITORIAL. THAT IS PRETTY COOL, BECAUSE THEN YOU GET INTO,
LIKE, VERY QUICK EDITING, AND YOU HAVE A LOT
OF OPTIONS THERE. >> VICTOR: CAN YOU USE SEVERAL IPADS CONNECTING TO THE
SAME PC, RECORDING? >> GRAYSON: NOT THE SAME PC. IN MULTIUSER, I THINK WE MAY
HAVE SOME ISSUES WITH THAT. >> VICTOR: OKAY. >> GRAYSON: I HAVE NOT REALLY EXPERIMENTED TOO
DEEPLY WITH THAT. BUT I BELIEVE WE CAN.
I THINK WE CAN. >> VICTOR: OKAY.
>> GRAYSON: YEAH. ALL RIGHT, SO LET US LOOK AND
SEE WHAT ELSE IS IN HERE. SO WE HAVE GOT THE V-CAM
DOWN HERE THAT WE HAVE ADDED, THE VIRTUAL CAMERAS. JUST TO PILOT AROUND, LET US DO
SOME KIND OF A SHOT UP HERE. ACTUALLY, YEAH, THIS IS
BETTER, WE WILL LEAVE THAT. THEN WE HAVE SOME -- THESE ARE JUST SOME EFFECTS
THAT ARE IN HERE. THAT IS NOT REALLY
THAT IMPORTANT. WHAT IS IMPORTANT, THOUGH,
IS THIS GUY, THE "STAGE_ORIGIN". SO THIS IS JUST A BLANK ACTOR
THAT I HAVE BROUGHT IN AN EMPTY ACTOR FROM THE MODES PANEL,
AND I JUST CALLED IT 'STAGE_ORIGIN' AND ATTACHED
EVERYTHING UNDERNEATH THAT. EVERYTHING IS A CHILD
OF THAT ACTOR. SO IF WE MOVE THAT
ACTOR AROUND, EVERYTHING THAT IS
ATTACHED TO IT, OBVIOUSLY, IS GOING TO
MOVE AROUND WITH IT. THE REASON WHY WE DO THAT IS THAT IF WE WANT
TO MOVE A SHOT -- SO WE RECORD ALL THE STUFF, AND LET US SAY THE SUN
IS IN THE BACKGROUND FOR THIS ONE SHOT,
AND WE ARE, LIKE, WE DO NOT WANT THE SUN
IN THE BACKGROUND. WE WANT TO SEE THE CITY THAT IS ACTUALLY 90 DEGREES
OVER THIS WAY. WE CAN TAKE THE WHOLE SHOT,
AND IN ONE OPERATION MOVE IT SO THAT EVERYTHING IS
NOW LINED UP THIS WAY. YOU KNOW WHAT I
MEAN, SO THE CAMERA IS NOW POINTING THIS WAY,
WE DO NOT SEE THE SUN, WE SEE THE CITY IN
THE BACKGROUND. IF YOU DO NOT DO THAT, THEN
YOU RUN INTO THE PROBLEM WHERE SOMEBODY HAS TO GO
THROUGH AND ADJUST THE CAMERA. ALL RIGHT, NOW ADJUST
THE CHARACTER, NOW ADJUST ALL THE EFFECTS,
NOW ADJUST ALL THE BUILDINGS, ALL THE PARTICLE SYSTEMS,
LIGHTING AND EVERYTHING. YOU HAVE TO DO ALL
THESE OPERATIONS. GENERALLY SPEAKING, THAT
IS ONE OF THE REASONS WHY WE USE THE STAGE ORIGIN
SO THAT WE CAN QUICKLY -- AND WE CAN KEY FRAME
THAT IN SEQUENCER. YOU JUST ADD A TRANSFORM KEY
TO IT AND THEN ROTATE IT, OR MOVE IT WHEREVER IN
THE WORLD YOU WANT. THAT GIVES US A LOT
OF FLEXIBILITY. I THINK THAT MOSTLY COVERS IT FOR
WHAT WE WANTED TO SHOW HERE. I AM GOING TO GO AHEAD
AND START ADDING ACTORS, SO LET US JUST CALL THIS ... IF YOU NOTICE THAT IN THIS TAKE,
THIS AUTO UPDATED IT TO 1, BECAUSE THIS DOES
NOT EXIST ANYWHERE. SEQUENCER AND TAKE RECORDER
ARE SMART ABOUT THAT, THEY KNOW THAT IF YOU
HAVE A NEW SLATE HERE, IT WILL UPDATE TO 1. YOU CAN ALWAYS CHANGE THAT
TO WHATEVER YOU WANT. BUT THAT IS KIND
OF A COOL FEATURE. I NEED TO COVER PRESETS
AT SOME POINT, TOO. YOU KNOW WHAT, LET ME
POPULATE THIS SLATE FIRST WITH ACTORS AND STUFF,
AND THEN WE WILL LOOK AT THAT, AND I WILL SHOW YOU
HOW WE USE THAT. LET US GET SOME
CAMERAS IN HERE. WE ARE GOING TO
RECORD THIS V-CAM, SO I AM JUST GOING
TO DROP THAT IN. LET US RECORD THIS
VIRTUAL CAMERA, WE WILL DROP THAT IN THERE, TOO.
PULL THIS DOWN. >> VICTOR: WE HAVE GOT PLENTY
OF QUESTIONS, TOO. >> OKAY, COOL. GREAT. HOW ARE WE DOING ON TIME
OVERALL? WE DOING PRETTY GOOD? >> VICTOR: WE ARE DOING
ALL RIGHT. WE TECHNICALLY ONLY HAVE 15 MINUTES LEFT, BUT I THINK
WE CAN GO A LITTLE LONGER. >> GRAYSON: OKAY.
ALL RIGHT, COOL. WE STILL HAVE STUFF IF WE
WANT, WE CAN ALWAYS DO IT. >> AMANDA: LET US BE HERE ALL AFTERNOON! >> GRAYSON: ALL RIGHT.
WELL -- ALL RIGHT. LET US SEE. WE HAVE GOT A MANNEQUIN HERE, WE ARE GOING TO RECORD
THIS MANNEQUIN AS WELL. I THINK THAT IS ABOUT IT. I THINK THAT IS ALL WE
WANT TO RECORD FOR NOW. WE COULD TRY THE
AUDIO, IF YOU WANT. LET US JUST ADD SOME AUDIO
HERE, MICROPHONE AUDIO. ALL RIGHT, SO WE ARE GOING
TO RECORD THE MANNEQUIN, RECORD THE MICROPHONE AUDIO, VIRTUAL CAMERA AND THE
V-CAM, ALL RIGHT. LET ME FIRE THIS THING UP.
GO JUMP INTO PIE HERE, I ACTUALLY MAY HAVE TO DO
A LITTLE OF THIS. ARE WE GOOD WITH THE
AUDIO RECORDING TOO? IF I JUST GRAB THE [INAUDIBLE]? >> VICTOR:
YEAH, YEAH, WE ARE. >> GRAYSON: LET US TRY IT. >> VICTOR: AM I SUPPOSED TO ACT AS A
[INAUDIBLE]? >> GRAYSON: OH YEAH, IF YOU
WANT TO. THAT WOULD BE GREAT. THAT WOULD BE AWESOME. >> VICTOR: WE
WILL DO THAT MULTI-- >> GRAYSON: ALL RIGHT, SO HERE WE GO. ACTUALLY, THAT IS
SOMETHING -- WE WILL DO IT IN THE
NEXT RUN HERE. WE WILL JUST DO -- I AM JUST GOING TO DO A QUICK
CAMERA RECORDING HERE, WE ARE GOING TO CHANGE
THE LENS, VERY BRIEF. I JUST WANT TO SEE WHAT
THE OUTPUT IS THAT WE GET HERE. I DO NOT KNOW WHY
THAT CHANGED -- >> AMANDA: WINDOW MANAGEMENT. >> GRAYSON: WINDOW MANAGEMENT. RIGHT. >> VICTOR: MANNE MANAGEMENT, TOO. >> GRAYSON: WE ARE GOING TO FOCUS
IN ON HIS FACE. >> VICTOR: YEAH, YOU ARE USING
SOME OF THE UMG ELEMENTS TO SWITCH THAT ON THE IPAD. >> GRAYSON: YEAH, I AM USING
THE SWITCHING ON THERE. I AM GOING TO GO
THROUGH THIS PRETTY QUICKLY, I THINK EVERYBODY GETS THE IDEA
WHAT WE ARE TRYING TO DO HERE, SO I AM NOT GOING TO GET
TOO FANCY WITH IT HERE. JUST DO A QUICK RECORDING.
YOU CAN SEE THE COUNTDOWN, AND WE SHOULD BE RECORDING
AT THIS POINT. LET US DO A --
FROM FEET, LET US PAN UP, TILT UP, HERE WE GO. ALL RIGHT? WE ARE GOING TO CUT THAT RIGHT
THERE, EXIT OUT OF HERE. REVIEW WHAT WE HAVE GOT. ALL RIGHT, SO RIGHT NOW,
WE ARE ACTUALLY VIEWING THIS FIRST SOURCE, THE
CAMERA CUTS IS VIEWING THROUGH THAT VIRTUAL
CAMERA THAT WE ADDED. SO THAT KIND OF SHOWS
YOU HOW THAT STUFF WORKS. IF THIS WAS AN AUTOMATED CAMERA, IT COULD BE TRACKING
THAT CHARACTER, OR YOU COULD SET IT AT ANY
NUMBER OF DIFFERENT LOCATIONS. LET US GO DOWN TO THE V-CAM, WE
NEED TO UNLOCK THE SEQUENCE, PULL IT OVER HERE,
UNLOCK THAT GUY. WE ARE GOING TO GO IN THERE. NOW YOU CAN SEE ALL OF THE
RECORDING DATA THAT WE HAVE GOT. THIS SHOULD LOOK
LIKE WHAT WE SHOT. COOL. >> VICTOR: YOU CLICKED THE
CAMERA ICON THERE ON THE V-CAM TO GET THAT PERSPECTIVE, TO SEE THE ONE BEING
PLAYED BACK, RIGHT? >> GRAYSON: RIGHT. >> VICTOR: BECAUSE YOU CAN ALSO VIEW IT FROM THE OTHER CAMERAS
THAT WAS IN THE SCENE, RIGHT? >> GRAYSON: CORRECT. AND YOU CAN SET, IF
YOU WANTED TO -- USUALLY WHAT WE WILL DO
IS A BASE -- LET ME GO UP HERE, AGAIN,
I AM GOING TO PULL THIS OUT. WHAT WE WILL DO IS SET -- WE CAN ALWAYS SET THAT CAMERA
UP ON THE TOP LEVEL TRACK HERE. LET US GO THERE --
YOU CAN GO AND RIGHT-CLICK THIS AND SAY PROPERTIES, AND THEN SET
WHAT CAMERA YOU ACTUALLY -- WHAT BINDING YOU WANT. IN THIS CASE, LET US
JUST DO THE V-CAM, AND THEN THAT WILL BE
THE V-CAM BINDING. IF YOU COMMIT TO THAT,
IT WILL DO THAT. AND THE OTHER WAY TO
DO IT TOO, THIS IS -- HONESTLY, WHAT I
WILL OFTEN DO IS, I WILL JUST DELETE THIS AND
THEN GO THROUGH THERE. THAT IS NOW THE V-CAM.
YOU COULD DO IT EITHER WAY, BUT YEAH, THAT IS HOW YOU
COULD QUICKLY CHANGE THAT. THIS IS INTERESTING, BECAUSE
IF YOU ARE CREATING A SCENE, YOU CAN BASICALLY QUICKLY CHANGE
WHATEVER CAMERA YOU WANT, SO YOU COULD SHOOT SEVERAL
TAKES ALL AT ONE TIME, A DIFFERENT CAMERA PERSPECTIVE
FOR THIS ONE SHOT, AND THEN DECIDE IN POST,
AFTER YOU ARE ASSEMBLING IT -- ACTUALLY, I WANT TO USE THIS ONE
THAT IS A LITTLE BIT CLOSER, OR A LITTLE BIT FARTHER AWAY, OR WHATEVER IT IS.
IT IS KIND OF COOL. >> VICTOR: YEAH. >> GRAYSON: LET ME SHOW YOU
SOMETHING ELSE HERE. LET US DO -- OKAY. I AM GOING TO TRY TO ADD
SOMETHING THAT IS -- ANOTHER SEQUENCE
THAT IS IN HERE. GIVE ME A SECOND TO SET THIS
UP HERE, IT WILL BE A MINUTE. WE ARE GOING TO TRY TO SET UP
ANOTHER SEQUENCE THAT JUST -- THAT PLAYS, SO WE
CAN SHOOT WITH IT. COPY PASTE, ADDITIVE
ANIMATION, ANIMATION -- I THINK WE WILL USE THIS ONE. >> VICTOR: THAT IS A SEQUENCER ASSET? >> GRAYSON YEAH, SO
WHAT WE ARE GOING TO DO IS, WE ARE GOING TO ADD A SUB-SCENE,
AND THIS SUB-SCENE -- LET ME DO THE SUB-SCENE TRACK. IF I DO THIS RIGHT --
I MAY SCREW IT UP, AND IF I DO, I
APOLOGIZE, EVERYBODY. BUT IF I SET THIS UP PROPERLY, WE SHOULD BE ABLE TO
PLAY THE SUB-SCENE, AND WE WILL SEE AN ACTOR
IN THE BACKGROUND RUNNING AND JUMPING OVER SOMETHING. WE ARE ACTUALLY GOING TO USE
THIS SEQUENCE LATER ON TO TALK ABOUT ADDITIVE
ANIMATION, IF WE HAVE TIME. BUT THIS WILL SHOW HOW YOU
CAN ADD AND RECORD ANIMATION IN FROM OTHER SEQUENCES IN HERE. LET ME JUST ADD THIS IN
THERE, IN THE SCENE. THEN I WILL GO OVER HERE. ALL RIGHT, SO WE HAVE
THIS GUY OVER HERE THAT WE ARE GOING
TO HAVE HIM -- I THINK HE JUMPS OVER A CHAIR, ALL RIGHT, AND THEN HE HITS A WALL.
ALL RIGHT, IT IS KIND OF SILLY. BUT THAT IS THE THING I AM GOING
TO TRY TO SHOOT WITH THE V-CAM. NOW THIS IS A LITTLE
SHOOTING FROM THE HIP HERE, BUT LET US SEE IF WE
CAN GET IT TO WORK. I NEED TO SET HIS --
I THINK BY DEFAULT, HE IS HIDDEN, SO I
WILL UNHIDE HIM. WE DO THIS QUITE A BIT
IN VIRTUAL PRODUCTION WHERE WE SHOW AND HIDE
STUFF ALL THE TIME, AND IT GETS A LITTLE MADDENING. SOMETIMES WE JUST
MAKE HOTKEYS FOR THIS, ESPECIALLY IF WE ARE
RUNNING IN PIE, WE CAN JUST HIT A KEY,
TOGGLE VISIBILITY STATES ON THE CHARACTERS SO
WE DO NOT HAVE TO GO THROUGH AND DO ALL THESE
LITTLE OPERATIONS. ALL RIGHT. SO WE ARE GOING
TO PLAY THAT SEQUENCE, AND THEN WE ARE GOING
TO RECORD THE V-CAM. I AM GOING TO TRY
TO SHOOT THAT SEQUENCE, IF I CAN GET THIS DOWN HERE. >> VICTOR: LET US SEE WHAT YOUR
VIRTUAL CAMERA SKILLS ARE. >> GRAYSON: YEAH, WE WILL
SEE. I AM A LITTLE CONCERNED. IN THIS ONE, WE CAN ACTUALLY
TRY TO RECORD THE AUDIO FOR IT, TOO, WITH THE V-CAM. DRAG THAT IN THERE, AND I
THINK THAT IS ALL WE NEED. SO WE SHOULD HAVE -- ACTUALLY,
WE NEED THIS ACTOR, TOO. >> VICTOR: NOW YOU ARE MARKING
THEM TO BE RECORDED, RIGHT? >> GRAYSON: RIGHT. SO
THAT IS THE SOURCE, IN HERE. AGAIN, IF WE HAD LIVE LINK,
WHICH WE WILL TELL YOU, IF WE HAVE TIME
WE CAN TALK ABOUT THAT. BUT THAT WOULD BE -- YOU CAN ADD
THESE DIFFERENT SOURCES IN, IT WILL SHOW YOU
DIFFERENT SOURCES THERE. OKAY. SO LET US FIRE THIS UP. >> VICTOR: ARE YOU GOING TO DO AUDIO? >> GRAYSON: WE CAN TRY AUDIO.
WE SHOULD TRY IT, YEAH. WE WILL SEE IF EVERYTHING,
I THINK, IS LIVE THERE. OKAY, WE MAY GET
THIS GUY IN FRAME, BUT MAYBE NOT A BIG DEAL. OKAY. ALL RIGHT, I AM GOING
TO DO THE CAMERA HERE. >> AMANDA: HE LOOKS
SO PUMPED AND READY. >> GRAYSON: HE IS, LIKE, "YEAH, I AM READY" -- I DO NOT KNOW
IF THIS IS PRETTY CLEAR, BUT I REALLY HAVE NOT
REHEARSED THIS MUCH. THIS IS PRETTY MUCH RIGHT HERE,
RIGHT NOW. OKAY. MAYBE I COULD
GIVE IT TO YOU TO -- >> AMANDA: DO YOU WANT ME
TO HOLD SOMETHING? >> GRAYSON: YOU WANT TO? THAT WOULD BE GREAT. >> AMANDA: SURE. >> GRAYSON: TRY TO
FOCUS ON THE RUNNING GUY OVER THERE ON THE LEFT? AT LEAST FOR A SECOND.
WHAT I AM GOING TO DO IS, I AM GOING TO KEY OFF
THIS SEQUENCE, HERE. THEN BASICALLY AS
HE GOES, JUST TRY TO TRACK HIM ACROSS THE SCREEN. >> AMANDA: ALL RIGHT. HERE WE GO. >> IF I DO NOT SCREW
SOMETHING UP. SO WE ARE RECORDING IN THREE,
TWO, ONE. THERE YOU GO. TRACK HIM, TRACK HIM, TRACK,
CATCH UP WITH HIM. THEN, OH! >> AMANDA: OH! >> GRAYSON: OH, ALL RIGHT, WELL, I FORGOT TO
UNHIDE SOMETHING. >> AMANDA: NO WALL. [LAUGHS] >> GRAYSON: ACTUALLY, YOU
CAN DO THIS. LET US DO ANOTHER -- >> AMANDA: IT IS JUST
A FORCE FIELD, THAT IS ALL. >> GRAYSON: YOU KNOW WHAT?
LET US DO ANOTHER TAKE, REALLY QUICKLY,
AND LET US CHANGE THIS. THIS IS WHAT THE TAKE
SYSTEM IS FOR, TOO. HIDDEN -- SO WE ARE GOING
TO UNHIDE THAT CHAIR SO WE CAN ACTUALLY SEE THE CHAIR
HE IS JUMPING OVER, AND UNHIDE THIS THING OVER HERE. YOU READY TO GO
IN A SECOND, TOO? LET ME DO THAT. WE
WILL GIVE IT A SECOND, IT ONLY TAKES A
SECOND TO CONNECT. OKAY, GREAT.
GOOD, YOU READY? >> AMANDA: THERE HE IS. >> GRAYSON: OKAY,
HERE WE GO. TAKE TWO. I DO NOT KNOW WHY IT
SAYS "TAKE NINE," I APOLOGIZE, IT IS MY FAULT. I THINK I DID SOMETHING
SILLY THERE. ALL RIGHT, TAKE TWO.
ACTION. THERE YOU GO. >> VICTOR: CHE, CHE, CHE, CHE, ERRRR! >> AMANDA: I SHOULD
NOT BE A CINEMATOGRAPHER. [LAUGHTER] >> GRAYSON: ALL RIGHT, SO
LET US SEE WHAT WE HAVE GOT. THIS IS THE REVIEW FOOTAGE,
AND DRUM ROLL, PLEASE. >> VICTOR: [DRUM ROLL] >> GRAYSON: I AM GOING
TO REMOVE THIS, SEE IF I CAN DELETE
THAT TRACK -- OR NOT. ACTUALLY, I HAVE TO
UNLOCK IT FIRST. MY FAVORITE PART IS
UNLOCKING THINGS, YOU KNOW? REMOVE THAT. AND THEN OUR AUDIO, YOU CAN
SEE THE WAVE FORMS HERE. I DO NOT KNOW, CAN WE PLAY
THAT BACK FOR THE AUDIENCE? LET US PLAY IT BACK IN CONTEXT,
SO YOU CAN -- >> VICTOR: MY ONOMATOPOEIA SKILLS ARE COMING
TO FRUITION, HERE. >> GRAYSON: YOU KNOW
WHAT, THIS IS THE V-CAM HERE. GO IN THERE, ALL RIGHT,
HERE WE GO. CAN YOU -- YOU SAID YOU CAN HEAR
IT PLAY BACK AND STUFF, TOO? >> VICTOR: YEAH. >> GRAYSON: HOLD ON A SECOND. WELL, I HAVE ROYALLY SCREWED
IT UP HERE, I APOLOGIZE. I HAVE DONE SOMETHING HORRIBLE. LET ME GO BACK TO THE
-- OH BOY, THERE IT IS. HOLD ON A SECOND.
REMEMBER THIS THING? I WONDER IF I CAN JUST HIT UNDO.
DO YOU THINK UNDO WOULD WORK? >> VICTOR: I AM NOT
SURE WHAT YOU DID. TRY IT. >> GRAYSON: JUST DO IT LIVE HERE? >> AMANDA: DO WE
JUST NEED ANOTHER TAKE? >> GRAYSON: DO IT. >> VICTOR: [RECORDED] CHE CHE CHE CHA-HOO, CHE
CHE CHE CHE, ERRR! >> AMANDA: OH, THERE IS
A COUPLE OF THEM. >> VICTOR: THAT WAS THE
SHOT, BUT WE DO NOT SEE MANNE. >> YEAH, WE DO NOT SEE THE ACTOR.
I DO NOT KNOW WHAT -- >> AMANDA: I SAW TWO
OF THEM RUNNING HERE. >> GRAYSON: WELL,
SO MUCH FOR THAT. >> AMANDA: [LAUGHTER] >> GRAYSON: CUT, CUT!
THAT DID NOT WORK. I AM SORRY, THAT IS MY FAULT. >> AMANDA: IT IS ALL GOOD. >> GRAYSON: WOULD ONE OF YOU MIND HELPING ME
BRING THAT BACK UP? BECAUSE I THINK I HAVE
LOST MY PLACE IN THAT. >> VICTOR: YEAH. SO, YEP,
AND THEN GO DOWN, SCROLL DOWN. >> GRAYSON: MM-HMM? >> VICTOR: THEN IT SHOULD BE -- >> GRAYSON: THAT ONE? OKAY, COOL. WELL, THAT IS A BEAUTIFUL DEMO.
WELCOME TO VIRTUAL PRODUCTION. >> AMANDA: THAT IS REPRESENTATIVE. >> GRAYSON: IT IS PROBABLY ME. >> AMANDA: IT OCCASIONALLY HAPPENS. >> GRAYSON: I THINK I
HIT THE WRONG BUTTON. ANYWAY, SO WHAT WE SHOULD SEE, WHEN I
AM DOING THAT PROPERLY, IS, WE SHOULD SEE THE MANNEQUIN --
LET US SKIP THAT -- WE WILL SEE THE MANNEQUIN
GOING ACROSS THE SCREEN WITH THE CAMERA, YOU SAW
THE CAMERA WORKING. SO GET A PRETTY GOOD IDEA
OF HOW THAT WORKS. I THINK AT THIS POINT WE COULD
EITHER TRY TO RESHOOT THAT, OR IF YOU WANT, I
THINK EVERYBODY GETS THE IDEA OF HOW
THIS STUFF WORKS. >> VICTOR: YEAH. >> GRAYSON: I THINK WE
NEED TO ROLL INTO PROBABLY THE OTHER 4.22 FEATURES,
IF YOU ALL ARE GOOD WITH THAT. >> AMANDA: SURE.
>> VICTOR: YEAH, THAT SOUNDS GOOD. >> GRAYSON:
ALL RIGHT, COOL. LET ME OPEN THAT LEVEL BACK UP. OKAY, ALL RIGHT. LET US LOOK
AT THE CONTENT BROWSER HERE. I THINK THE NEXT
THING ON THE LIST IS TALKING A LITTLE
BIT ABOUT LIVE LINK AND HOW WE USE
LIVE LINK ON THE STAGE, AND SOME OF THE VARIOUS
FORMS OF LIVE LINK. SO THE DEFINITION, LET ME GIVE YOU A QUICK
DEFINITION OF LIVE LINK, HERE. THE PURPOSE OF LIVE LINK
IS TO PROVIDE A COMMON INTERFACE FOR STREAMING AND
CONSUMING ANIMATION DATA FROM EXTERNAL SOURCES,
FOR EXAMPLE, DDC TOOLS OR MOCAP SERVERS INTO
UNREAL ENGINE 4. IN BASIC TERMS, IT IS HOW WE GET
STREAMING DATA INTO THE ENGINE. SO WE COULD BE DOING MOCAP,
AND WE WILL GET THE -- LIKE, FOR EXAMPLE, IF WE ARE STREAMING
THIS PROP BACK HERE, WE CAN STREAM IT THROUGH VICON
INTO MOBU, AND THEN IT COMES IN THROUGH
LIVE LINK IN THE ENGINE, AND LETS US RECORD THE
TRANSFORM DATA ON THIS PROP. WE CAN ALSO RECORD
THINGS LIKE FACIAL DATA, SO THAT IS HOW WE RECORDED
A LOT OF THE FACES ON THE IPHONES RIGHT NOW, SO WHEN PEOPLE ARE EMOTING, WE
CAPTURE THE FACIAL ANIMATION, AND THAT ALL COMES IN AS TONS
AND TONS OF LITTLE KEY FRAMES. IT IS ACTUALLY EDITABLE; I HAVE EDITED SOME OF OUR
FACIAL IN LIVE LINK. I THINK GETTING THAT OUT
OF ENGINE BACK INTO MAYA, IF YOU WANT TO, IS COMING DOWN
THE ROAD AS WELL, I THINK. I THINK. DO NOT HOLD ME TO THAT,
BUT I THINK THAT IS THE CASE. BUT ANYWAY, THAT IS
HOW WE USE LIVE LINK. IT IS A PRETTY COOL LITTLE TOOL. I AM TRYING TO THINK
IF THERE IS ANYTHING ELSE THAT WOULD BE USEFUL FOR THAT. IT IS AVAILABLE IN 4.22, AND THEN I WANT TO SAY
THANKS TO WES AND ANDREW FOR THE LINKS AND THE VIDEOS.
I THINK WES DID A LONG -- I THINK HE DID QUITE A STREAM
ON HOW TO USE LIVE LINK RIGHT? >> VICTOR: I AM
NOT SURE ABOUT THAT. I SAW THE ONE WITH THE
CINEMATIC CAMERA ON. >> AMANDA: YEAH,
WE DID ONE ON LIVE LINK. >> VICTOR: OKAY. >> GRAYSON: CAN
WE FIRE THAT VIDEO UP, AND TAKE A LOOK AT
THAT REAL QUICK, JUST TO KIND OF SHOW YOU. PULL THIS OUT OF THE WAY. SO OVER HERE, THIS
IS ANDREW IN MAYA. HE HAS GOT AN OBJECT
HE IS GOING TO MOVE. HE IS GOING TO GIVE
THAT OBJECT A NAME, AND ULTIMATELY THAT WILL BE
THE SOURCE NAME. THAT WILL BE THE NAME THAT WE
SEE IN ENGINE FOR LIVE LINK. I WILL SHOW YOU ALL
IN A MINUTE WHERE LIVE LINK LIVES IN THE ENGINE. SO ALL THIS IS, HE IS
MOVING SOME CUBES. YOU CAN SEE IT RIGHT
HERE, ACTUALLY. HE IS GOING TO ADD THE SOURCE,
IF YOU GO INTO THE WINDOWS, THERE IS A WINDOWS DROP-DOWN, THERE IS SOMETHING CALLED LIVE
LINK, YOU CAN BRING THAT UP. YOU CAN ADD A SOURCE FROM MAYA.
HOW WE USUALLY USE IT, AGAIN, IS WE HAVE MOCAP THAT IS
COMING IN THROUGH LIVE LINK, SO WE WILL ACTUALLY
DRIVE BODIES THAT WAY. THAT IS HOW WE GET IN
OUR BODIES ANIMATING. HERE HE IS JUST SHOWING THAT YOU
BASICALLY ADD A SKELETAL MESH, SO IT IS THE SAME THING
AS WHAT YOU SEE IN MAYA. THEN THERE IS A LIVE LINK POSE THAT YOU CAN ADD IN AN
ANIMATION BLUEPRINT, AND THAT IS HOW YOU GET THAT
LIVE LINK DATA INTO ENGINE. SEE IF THERE IS ANYTHING ELSE. ALSO, RIGHT NOW THIS
IS RUNNING IN PIE, TO SEE THE UPDATES, YOU
HAVE TO RUN IT IN PIE. BUT ALSO, YOU DO NOT
HAVE TO BE IN PIE, YOU CAN BE JUST IN EDITOR.
IN THAT CASE, YOU HAVE TO -- IF YOU ARE IN YOUR
ANIMATION BLUEPRINT, YOU NEED TO HAVE
A LIVE LINK COMPONENT IN THE ANIMATION BLUEPRINT. THAT WILL LET YOU DRIVE
THINGS LIVE IN EDITOR. THAT IS HOW WE DO THINGS OUT ON THE VIRTUAL
PRODUCTION STAGE HERE. WE ACTUALLY DRIVE THINGS, MOSTLY, IN EDITOR, EXCEPT FOR THE V-CAM,
WHICH WE DO IN PIE. BUT IN MULTIUSER ENVIRONMENT, EVERYBODY CAN BE IN EDITOR --
MOST PEOPLE CAN BE IN EDITOR, AND WE HAVE SOMEBODY IN PIE
DOING THINGS LIKE THE V-CAM. >> VICTOR AND YOU CAN SEE THE MOCAP ACTORS MOVING IN
REAL-TIME, AND RECORD? >> GRAYSON: YEAH. I MEAN, I THINK OVERALL,
I LIKE TO BE IN EDITOR, BECAUSE THEN YOU HAVE FULL
FUNCTIONALITY OF EVERYTHING. THAT IS BASICALLY WHAT
THAT LITTLE VIDEO SHOWS THERE. IT JUST GIVES YOU SOME CONTEXT
FOR HOW LIVE LINK WORKS. AND THERE IS SOME DOCUMENTATION
THAT I HAVE ADDED, AND THIS IS IN MY
DOCUMENT HERE, AND WE CAN PROBABLY
SHARE IT OUT. >> VICTOR: I WILL MAKE SURE TO SHARE THEM ON THE ANNOUNCEMENT FORUM POST. >> GRAYSON: OKAY. SO LET US LOOK AT SOME OF
THE IMPROVEMENTS IN 4.22 FOR SEQUENCER, AND SOME OF THESE
REALLY COOL FEATURES. THESE ARE THINGS THAT I THINK
I END UP USING PRETTY MUCH ON A WEEKLY OR DAILY BASIS. LET US LOOK AT ANIMATION
BLENDING FIRST. I AM GOING TO GET RID OF
TAKE RECORDER, I THINK. YEAH, LET US JUST GET
RID OF THAT FOR NOW. ANIMATION BLENDING
LETS US EASILY BLEND BETWEEN TWO ANIMATIONS. IN THE PAST, WE WERE NOT ABLE
TO VERY EASILY BLEND ANIMATION. THIS NEW TOOL IS GREAT FOR QUICKLY
BLENDING IN GAME ANIMATION. SO TAKE A LOOK AT THIS. THIS
IS UNBLENDED ANIMATION. YOU CAN SEE
THERE IS A BIG POP HERE. IF WE FRAME THROUGH THESE FRAMES, THERE IS ABOUT 10 FRAMES. >> VICTOR: USING
THE ARROW KEYS THERE? >> GRAYSON:
YEAH, IT IS THE ARROW KEYS. BUT YOU CAN
SEE THE HAND POP? >> AMANDA: YEAH. >> GRAYSON: POP POSITION,
THE STOMACH AREA, UP HERE. SO WHAT WE ARE GOING TO DO,
YOU WILL NOT BELIEVE THIS, BUT WE HAVE ACTUALLY USED THIS
FOR FINAL RELEASE DEMOS. I THINK WE DID IT FOR
THE STAR WARS DEMO THAT WE HAD, A HEAD TURN -- I PROBABLY SHOULD SHOW YOU
THE FEATURE FIRST, BUT I WILL JUST TALK
ABOUT IT -- THE FIRST -- WE WANTED TO HAVE ONE
OF THE CHARACTERS TURN THEIR HEAD TO THE SIDE, AND WE HAD THE ANIMATION
OF THE HEAD BEING -- YOU KNOW, ONE POSITION WAS THIS LONG,
SO WE CHOPPED THAT AND WE BROUGHT IT BACK
INTO THE ANIMATION, AND THEN WE BLENDED -- IT BLENDED REALLY
SMOOTHLY RIGHT INTO WHERE WE WANTED IT TO BLEND TO.
SO LET ME DRAG THIS OVER HERE. THEN YOU BASICALLY JUST
-- YOU CAN SHOVE IT, YOU CAN JUST PUSH THAT ANIMATION RIGHT THROUGH THE
OTHER ANIMATION, AND YOU SHOULD GET
A RELATIVELY SMOOTH BLEND. NOW IF YOU FRAME THROUGH
THIS, THERE IS NO POP! >> AMANDA: THAT IS GREAT. >> GRAYSON: YEAH, IT IS AWESOME. I MEAN, IT REALLY IS
ONE OF THOSE THINGS -- >> AMANDA: YOU DID NOTHING BUT
OVERLAP THOSE TRACKS, RIGHT? >> GRAYSON: YEAH. >> VICTOR: YOU DID NOT SELECT
A CROSSFADE OR ANY SORT -- >> GRAYSON: YEAH. AND YOU CAN, IF YOU WANT TO MICRO-TUNE IT -- LET US JUST DRAG IT OUT HERE -- YOU CAN ADJUST THE
CURVE ON THESE SO YOU CAN CHANGE THAT
VALUE, IF YOU WANT TO. AND YOU CAN DO IT PRETTY
MUCH ANYWHERE YOU WANT, SO YOU JUST DO IT
RIGHT FROM THERE. I THINK IN TERMS
OF CINEMATICS AND EVEN GAME
ANIMATION TYPE STUFF, I THINK THIS IS ONE OF THE
MORE POWERFUL ANIMATION TOOLS WE HAVE SEEN IN A WHILE FOR
JUST EVERYDAY USE STUFF. WE USE IT ALL THE
TIME, AND IT MAKES LIFE A LOT EASIER.
OKAY, SO THAT IS ONE. LET US SEE, THE NEXT ONE WOULD BE
COPY AND PASTING OF ANIMATIONS. THIS IS ANOTHER ONE
THAT DRIVES ME NUTS. IF YOU DO MUCH LAYOUT, OR
DO MUCH CINEMATIC WORK, IF YOU JUST TRY TO COPY AN
ANIMATION FROM ONE TRACK DOWN TO THE REST OF THE TRACK, IN THE PAST YOU HAVE NOT
BEEN ABLE TO DO THAT. BUT NOW, IT IS PRETTY COOL,
YOU CAN DO IT PRETTY EASILY. YOU SHOULD BE ABLE TO COPY,
CONTROL-C, THEN YOU PULL YOUR SCRUB BAR
DOWN HERE, YOU CAN COPY AND PASTE IT. I
KNOW THAT LOOKS REALLY SIMPLE, BUT THAT DID NOT
WORK FOR A WHILE. THE OTHER COOL THING THAT
YOU CAN DO IS COPY THIS, AND THEN PASTE IT INTO MULTIPLE
TRACKS AT THE SAME TIME. HOLD ON FOR A SECOND,
LET ME DO THIS. SORRY. YOU CAN COPY AND PASTE
-- USUALLY I WILL DELETE THE OTHER EXISTING ANIMATION
THAT WAS IN THERE. BUT THIS ALLOWS YOU TO DO
COPY AND PASTE ANIMATIONS TO A LARGE GROUP OF ACTORS --
GO BACK OVER HERE -- IT DOES NOT SOUND
THAT EXCITING, BUT IT IS REALLY
USEFUL FOR CROWDS, BECAUSE WHAT YOU CAN DO,
SAY YOU HAVE ONE ACTOR -- OR SAY YOU HAVE THREE ACTORS. YOU HAVE ONE LONG
PIECE OF ANIMATION, AND INSTEAD OF MANUALLY
GOING THROUGH AND ADDING EACH
OF THESE ANIMATION TRACKS TO EACH OF THE ACTORS, YOU CAN JUST COPY
AND PASTE IT ALL, AND THEN SLIDE YOUR
TIMINGS DOWN LIKE THIS. LET US DO THIS REAL QUICK. I AM BASICALLY JUST
GOING TO PULL THESE OUT -- THESE ARE LOOPING ANIMATIONS. I WILL JUST PULL THESE
ANIMATIONS OUT, AND I WILL VERY MINIMALLY
ADJUST THE TIMINGS, SO NOW THEY ARE ALL A LITTLE
BIT DIFFERENT TIMINGS HERE. NOW THAT HELPS RANDOMIZE IT.
OTHERWISE, THEY WOULD ALL BE PLAYING THE SAME ANIMATION
AT THE SAME POINT. SO IT IS BASICALLY COPYING
AND PASTING ANIMATIONS. PRETTY SIMPLE. >> VICTOR: YOU HAVE GOT
YOUR CROWD OF MANNES. >> GRAYSON: YEAH. ALL RIGHT. >> VICTOR: THAT WAS GREAT.
>> GRAYSON: OKAY. >> VICTOR:
YOU CAN EVEN USE THAT IF YOU HAVE,
FOR SOME REASON, YOU NEED TO DO A LAST
SORT ANIMATION EDIT, EVEN FOR SOMETHING
THEY USE IN A GAME, RIGHT? >> GRAYSON: YEAH.
YEAH, IT IS PRETTY NEAT. ALL RIGHT. SO,
ADDITIVE ANIMATION: LET US SEE WHAT
WE HAVE GOT HERE. SO THIS IS THE CHARACTER
THAT WE WERE SEEING EARLIER THAT WAS JUMPING
ACROSS THE CHAIR. WE COULD ROLL IT TWO
DIFFERENT WAYS HERE; ONE, I COULD KIND OF SHOW YOU
AND TALK YOU THROUGH IT, OR I COULD REBUILD THIS WHOLE
THING FROM SCRATCH IF YOU WANT. IT DEPENDS ON TIME, IT
DEPENDS ON WHAT YOU THINK. BUT THE IDEA HERE IS THAT
WE HAVE GOT KEY FRAMES -- SO THESE ARE A BUNCH OF ANIMATIONS
THAT WE STRING TOGETHER. THEY DO FLOW TOGETHER CORRECTLY, BUT WHAT WE WANTED TO
DO WAS ADD SOME -- WE HAD A BASIC TRANSFORM
OF THIS CHARACTER, SO DURING THIS
ANIMATION POSITION, HE IS -- WITHOUT
THESE TRANSFORMS, HE IS JUST GOING
TO STAY IN PLACE. LET ME DISABLE THAT
FOR A SECOND TO SHOW YOU. SO WITHOUT TRANSFORMS,
THIS IS THE ANIMATION -- BASICALLY OUR ANIMATION
WITH THE TRANSFORMS. THIS IS WHERE I AM ACTUALLY
MOVING HIM THROUGH THE SPACE. SO THIS IS MOVING HIM
400 UNITS, BY THE TIME HE HITS THIS TRANSFORM,
IT IS 400 UNITS. THEN THIS IS, LIKE, ANOTHER 150 UNITS,
I THINK, OVER, AND THEN ANOTHER 400 UNITS,
AND THEN HE HITS IT. WHAT I HAVE DONE IS, ADDED THIS
NEW TRACK THAT YOU CAN ADD. YOU CAN DO ADDITIVE,
ABSOLUTE, RELATIVE. THE THING I WOULD LIKE TO REALLY
MOSTLY FOCUS ON RIGHT NOW, BECAUSE THESE ARE LONGER
DISCUSSIONS, IS ADDITIVE. JUST TO SHOW YOU
HOW THIS WORKS. THIS IS AN ADDITIVE
TRACK THAT WE ARE BASICALLY PULLING THE
CHARACTER UP WITH. THE COOL THING
ABOUT THIS, IS IT ADDED AN ADDITIVE
TRANSFORM TRACK. SO INSTEAD OF GOING IN AND
DESTROYING OR MODIFYING THE EXISTING TRANSFORM TRACK, YOU CAN ADD THIS LAYER OF
TRANSFORM ONTO THIS ACTOR. OF COURSE IN THE PAST,
WE MIGHT HAVE GONE TO THE Z-AXIS AND
MODIFIED THAT VALUE. BUT I LIKE THE FACT
THAT IF I DO NOT LIKE IT, I DO NOT LIKE WHAT I HAVE DONE, I CAN JUST REMOVE
IT AND START OVER WITHOUT HAVING TO RESET
A BUNCH OF VALUES. AGAIN, YOU CAN SLIDE
THOSE AROUND. YOU CAN ALSO RETIME THEM. YOU CAN DO ALL KINDS OF
COOL STUFF WITH THAT. THAT IS A NEW FEATURE. I THINK IT IS AN
IMPROVED FEATURE THAT IS GOING
TO CONTINUE TO BE -- FROM WHAT I UNDERSTAND, IS GOING TO CONTINUE
TO BE REFINED OVER TIME. BUT THAT IS IN 4.22.
THAT IS PRETTY USEFUL. >> VICTOR: YEAH. >> GRAYSON: LET US SEE,
OBJECT BINDING TRACK. OKAY. THIS IS A PRETTY SIMPLE
EXAMPLE OF BEING ABLE TO -- I HAVE JUST TO COMPILE
SOME SHADERS THERE -- BASICALLY WHAT WE ARE
GOING TO DO IS, WE ADD -- YOU CAN CHANGE A MATERIAL,
YOU CAN CHANGE A MESH, YOU CAN CHANGE WHATEVER YOU WANT
THROUGH THESE KEY TRACKS. IT IS PRETTY COOL BECAUSE YOU
CAN VERY QUICKLY UPDATE. IN THIS CASE, WE
JUST UPDATED A LOGO. LET ME SHOW YOU A LITTLE BIT
ABOUT HOW THAT IS DONE. I HOPE THAT MAKES SENSE. >> VICTOR: YEAH, YOU ARE USING -- >> GRAYSON: YOU CAN
MODIFY, YEAH, TEXTURES, OR WHATEVER YOU WANT. I
BELIEVE IN THE PAST -- AND I WILL BE HONEST, I HAVE
NOT DONE A LOT OF THIS, BUT I BELIEVE IN THE PAST WE
WOULD USUALLY USE EVENT TRACKS, AND A VARIETY -- SOMETIMES YOU COULD USE
MATERIAL SWITCHERS IN THE TRACK SYSTEM HERE, BUT
THIS MAKES IT PRETTY CLEAN. LET ME DELETE THIS AND SEE IF I
CAN DO IT OUT OF SCRATCH HERE. >> VICTOR: SO ADDING A NEW TRACK? >> GRAYSON: BASICALLY A MATERIAL SWITCHER, RIGHT? SO
MATERIAL SWITCH, AND THEN YOU CAN GO DOWN HERE,
AND LET US JUST DO LOGO. SO BASICALLY WE ARE CHANGING A
LOGO ON THE CHARACTER'S CHEST. RIGHT THERE. THE YOU WOULD ADD --
YOU SAW THAT EARLIER, I WOULD BASICALLY GO IN HERE AND THEN ADD IT, CHANGE
THE DIFFERENT ASSETS, WHATEVER MATERIAL
I WANT IN THERE. SEE IF THE LOGO IS IN THERE. LET US JUST US "SHOW
ENGINE CONTENT" AS WELL. I WOULD ASSUME EVERYBODY KNOWS
ABOUT THIS, BUT IF NOT, IF YOU DO NOT SEE PLUGINS,
IF YOU DO NOT SEE STUFF, MAKE SURE YOU HAVE
THESE ENABLED. BECAUSE I USUALLY LIKE TO SEE
ALL THE CONTENT AND THINGS. LET US ADD THAT AGAIN,
TYPE IN "LOGO", "M_ENGINELOGO" HERE. THAT SHOULD CHANGE
IT ONCE IT HITS IT. SO YOU GET THE IDEA. THEN WE COULD GO BACK IF YOU
WANT TO ADD ANOTHER KEY. COOL. SO THAT IS THAT FEATURE. LET US LOOK AT ONE MORE HERE. LET US LOOK AT MULTIPLE
OBJECT BINDING. THIS ONE IS PRETTY SIMPLE. I BELIEVE THIS
WORKED IN MATINEE, BUT IT HAS NOT WORKED IN
SEQUENCER FOR A LONG TIME. THIS IS GREAT FOR
EFFECTS ARTISTS, SO IF YOU ARE A
AN EFFECTS ARTIST AND YOU WANT TO TRIGGER
A SERIES OF -- LIKE IN THIS CASE, THERE IS A SERIES OF
PARTICLES THAT FIRE OFF, I THINK THEY ARE EXPLOSIONS. IN THE PAST YOU WOULD
HAVE TO ADD A TRACK FOR EACH ONE OF THESE,
WHICH IS REALLY TEDIOUS. I COULD GO THROUGH HERE,
BUT IT IS PROBABLY BEST NOT TO. WHAT I WILL DO INSTEAD IS,
I WILL ADD ONE OF THESE TO SEQUENCER, ADD
ACTOR TO SEQUENCER, THEN I WILL SELECT ALL THE OTHER
PARTICLE SYSTEMS IN HERE, AND ASSIGN -- ADD
ALL THOSE SELECTED. NOW WE HAVE FIVE OF THESE
EMITTERS ON THIS ONE TRACK. THE GREAT THING
ABOUT THIS IS THAT, YOU DO NOT HAVE TO GO
THROUGH EACH TRACK. YOU CAN TRIGGER ALL
THIS THROUGH A SINGLE TRACK, AND
IT WILL FIRE OFF. SO IT IS MULTIPLE OBJECT
BINDING, BASICALLY, WHICH IS A PRETTY SIMPLE THING. BUT IT IS EXTREMELY USEFUL FOR
BIG, COMPLICATED SEQUENCES >> VICTOR: YES, IF YOU HAVE AN INTENSE SHOOTING SCENE, OR A CAR CRASH WITH MAYBE EVEN
HUNDREDS OF PARTICLES GOING OFF, SOME OF THEM ARE FIRING
AT THE SAME TIME. >> GRAYSON: YES.
>> VICTOR: YOU HAVE ONE TRACK. >> GRAYSON: ONE TRACK TO
CONTROL IT ALL, WHICH IS COOL. >> THERE IS A FUN QUOTE
THERE THAT I CAN -- >> GRAYSON: YEAH, YEAH. YEAH, THAT IS MOSTLY IT. >> VICTOR: YEAH, THAT IS GREAT. WE HAVE RECEIVED
A TON OF QUESTIONS, SO I THINK WE SHOULD TRY
TO GO THROUGH THEM. WE WILL TRY TO BE
QUICK, BUT I KNOW THAT SOME OF THESE
ARE IMPORTANT, AND WE MIGHT JUST TALK
ABOUT THEM A LITTLE BIT. >> GRAYSON: OKAY. >> VICTOR: LET US SEE, SO FIRST OF ALL, THEY ARE ASKING GENERAL
QUESTIONS ABOUT TAKE RECORDER, AND WHEN YOU ARE DOING THAT KIND
OF PLANNING A MOCAP AND V-CAM, AND VIRTUAL PRODUCTION. THEY ARE ASKING WHAT
PERCENTAGE OF GAMEPLAY AND CINEMATIC ANIMATION
IS HAND-ANIMATED, OR VIRTUALLY CAPTURED
AND TOUCHED UP? >> GRAYSON: OKAY, SO
RIGHT NOW A LOT OF THE DATA -- I WILL BE VERY HONEST ABOUT --
THIS IS ONE OF THE PIPELINES. WE HAVE A VARIETY OF
DIFFERENT WAYS OF DOING THINGS. FOR ONE OF THE PROJECTS I
AM WORKING ON RIGHT NOW, WE DO A LOT OF
CAPTURE IN ENGINE, WHERE WE WILL CAPTURE
THE MOTION ONSTAGE, WE WILL RECORD IT
WITH TAKE RECORDER. WE WILL USE TAKE RECORDER
TO PLAY THAT BACK VERY QUICKLY TO SEE WHAT WE GOT
IN THE ENVIRONMENT WITH ALL OF THE STUFF
THAT IS IN UNREAL ENGINE. I THINK THAT IS THE
GREAT POWER OF THAT. SIMULTANEOUSLY, WE ARE
CAPTURING MOCAP DATA. WHAT WE CAN OFTEN DO IS,
WE WILL TAKE THAT DATA THAT WE CAPTURED IN UNREAL
ENGINE AND BEGIN TO DO LAYOUT, EVEN SOMETIMES THERE
ON THE STAGE, WHICH IS REALLY COOL, BECAUSE THEN YOU CAN
VERY QUICKLY ITERATE. SIMULTANEOUSLY, THE DATA THAT
WE CAPTURED ON THE MOCAP STAGE IS BEING PROCESSED AND
CLEANED UP, A ROUGH CLEANUP. THEN AT SOME POINT
WE DO CIRCLE TAKES, WHERE THINGS WILL BE
THAT WE REALLY LIKE, AND WE WILL HAVE THAT DATA
THEN PROCESSED COMPLETELY, AND THEN WE WILL BRING THAT BACK
INTO ENGINE FOR FINAL ANIMATION. WE ARE NOT NECESSARILY
GETTING FINAL ANIMATION OUT. THAT SAID, IT DEPENDS
ON YOUR QUALITY BAR, AND IF YOU ARE LOOKING FOR
SUPER HIGH-QUALITY ANIMATION. RIGHT NOW WE ARE NOT THERE YET. >> VICTOR: YEAH. >> GRAYSON: ALTHOUGH IT
STILL LOOKS, FOR MOST PEOPLE, AS FAR AS I AM CONCERNED,
IT LOOKS GREAT. I THINK FOR MOST THINGS, WE CAN GET SOME PRETTY
GOOD DATA OUT OF IT. THAT IS WHERE WE ARE AT.
I THINK ONE OF THE -- OUR STUDIO SUPERVISOR,
CG SUPERVISOR, ANDREW HARRIS, AND I DID
A TALK ABOUT A WEEK AGO, WHERE WE TALKED A LITTLE BIT
ABOUT THIS STUFF. BUT I THINK THROUGH MACHINE
LEARNING DOWN THE ROAD, WE WILL BE ABLE TO TAKE
SOME OF THESE ANIMATIONS THAT COME OFF THE STAGE AND CLEAN THEM UP
RIGHT THERE AND THEN, OR TRAIN MACHINES TO BETTER
ANIMATE THEM BASED ON EXAMPLES THAT WE GIVE THE PROGRAMS,
WHICH IS PRETTY COOL. >> VICTOR: SO USING
MACHINE LEARNING, ESSENTIALLY, TO DO WHAT USED TO BE MANUAL? >> GRAYSON: YES. IT COULD BE GREAT. BECAUSE THAT WAY, YOU LITERALLY
LEAVE THE STAGE WITH -- POTENTIALLY, IN THE
PERFECT WORLD, YOU LEAVE WITH FINAL ANIMATION,
OR DAMNED NEAR FINAL ANIMATION. >> VICTOR: THEY ARE WONDERING,
HOW ACCESSIBLE WOULD YOU SAY A HOME VIRTUAL PRODUCTION
SETUP WOULD BE? SOME OF THE FOLLOW-UP QUESTIONS
THAT WERE SIMILAR, WHERE IS THE ENTRY POINT TO
GET INTO VIRTUAL PRODUCTION? THEN THEY ARE
ASKING A LITTLE BIT ABOUT THE MINIMUM EQUIPMENT
THAT THEY WOULD NEED. >> GRAYSON: YEAH. I WILL BE PRETTY FRANK WITH
YOU, I DO NOT KNOW WHAT TRULY THE MINIMUM IS,
BECAUSE WE HAVE HAD A LOT OF -- WE ARE VERY FORTUNATE
IN THAT REGARD. WE HAVE GOT A LOT OF ACCESS
TO PRETTY MUCH EVERYTHING WE NEED. BUT I WILL SAY THAT -- IT IS FUNNY, BECAUSE SOME OF THESE
SMALL PROJECTS, OR THINGS THAT I DO AT MY
DESK, IS REALLY NOTHING. I MEAN IT IS NOT
THAT COMPLICATED. I FEEL LIKE YOU CAN DO A HECK
OF A LOT WITH VERY LITTLE, ESPECIALLY WITH THIS ENGINE. I THINK THAT IS
THE REAL POWER OF IT. SO YOU CAN HAVE A BIG TEAM
WITH PEOPLE IN MULTIUSER, AND A LOT OF EXPERTS,
BASICALLY, DOING STUFF. OR YOU CAN HAVE ONE
OR TWO PEOPLE WHO KIND OF KNOW WHAT THEY ARE DOING,
EVEN ONE PERSON. LIKE, AT SIGGRAPH
THERE WAS THIS ONE GUY -- AND I ALWAYS LOVE THIS -- HE WAS ONE OF THE COMPETITORS
AT SIGGRAPH. HE HAD AN XSENS SUIT, USING THE SAME TECHNOLOGY
AR KIT IPHONE, AND HE PLAYED THESE BABIES, THESE CRAZY-LOOKING BABIES
ON STAGE, AND HE WON SIGGRAPH. WE WERE ONE OF THE COMPETITORS
AT SIGGRAPH, HE WON IT, AND HE DID A GREAT JOB. THAT IS, LIKE, THE ONE
MAN BAND EXAMPLE. I THINK IT SHOWS THE
POWER OF THE ENGINE. BUT TO ANSWER YOUR
QUESTION DIRECTLY, I THINK THAT YOU CAN
PROBABLY BUY ONE OF THESE, EITHER NEW OR USED. IT DOES GIVE YOU THE ABILITY --
SO YOU CAN USE ARKIT IN HERE, OR IF YOU WANT, YOU CAN
USE A VIVE SYSTEM, YOU CAN PUT A TRACKER
ON THE BACK OF THIS THING. AND TRACK IT WITH
A VIVE SYSTEM. FOR MOCAP, OBVIOUSLY IF YOU WANT
TO RUN A MOCAP SYSTEM, THAT CAN BE PRETTY --
OBVIOUSLY, THAT GETS EXPENSIVE. BUT YOU CAN USE -- I THINK
THERE ARE SOME OPTIONS OUT THERE FOR TRACKING
USING VIVE PUCKS. >> VICTOR: YEAH, WE USE SIX OF THEM. >> GRAYSON: YEAH. SIX
OF THEM. THEN THAT WILL -- I MEAN, YOU CAN START DOING SOME
PRETTY PASSABLE STUFF WITH THAT. THEN YOU HAVE AN IPHONE THAT HAS
POTENTIALLY ARKIT CAPABILITY WHERE YOU GET A HELMET
AND YOU CAN MOUNT THAT. OR, IF YOU DO NOT
EVEN WANT TO DO THAT, YOU CAN STILL
CAPTURE BODY MOTION AND ESSENTIALLY ADR
FACIAL ANIMATION LATER, WHICH MEANS YOU CAN CAPTURE
YOUR BODY MOTION AND THEN DO YOUR FACIAL -- YOU SET A MOUNT UP ON
YOUR DESK, POTENTIALLY, AND THEN RECORD FACIAL IN POST
FOR USING TAKE RECORDING. SO I WOULD GUESS THAT A FEW -- IF WE ARE GOING
TO PUT A NUMBER TO IT, MAYBE FOUR OR FIVE
THOUSAND DOLLARS, ESSENTIALLY,
SOMETHING LIKE THAT? >> VICTOR: YEAH,
THAT SOUNDS ABOUT RIGHT. >> GRAYSON MAYBE LESS THAN THAT, DEPENDING IF YOU ARE USING
NEW OR USED EQUIPMENT. SO, THAT IS A PRETTY
MINIMAL SETUP. BUT I HAVE SEEN PRO-COMPANIES,
LIKE FILM INDUSTRY COMPANIES, USING VIVE STUFF
TO CAPTURE BODIES. SO I KNOW THAT AT
LEAST FOR PRE-VIS AND HIGHER-END STUFF,
THAT IS POSSIBLE. >> VICTOR: WE HAVE IK SOLVERS IN THE ENGINE THAT YOU CAN RIG
UP IN THE ANIMATION BLUEPRINT TO DO SOME OF THAT, WHICH
OTHERWISE YOU WOULD DO IN POST, AT RUN-TIME, WHILE IT
IS BEING RECORDED. >> GRAYSON: IF I HAD TO GUESS, THE NEXT 10 YEARS, THE NEXT 5 YEARS,
I MEAN, I WOULD THINK THAT WE WOULD HAVE
MORE MACHINE VISION TYPE STUFF THAT MIGHT FREE PEOPLE UP TO GET MORE INTO VIRTUAL ENVIRONMENTS, TOO. THAT IS A LOT OF PIE IN THE SKY STUFF. BUT, I MEAN, THE REALITY IS, I THINK THESE TECHNOLOGIES
ARE INTERESTING TO EVERYBODY, AND I THINK THAT WE ARE
INTERACTING WITH VIRTUAL WORLDS MORE AND MORE EVERY DAY. >> VICTOR: THAT IS NOT TOO FAR OFF, BECAUSE MAINLY IN THE VR SPACE, WE ARE LOOKING FOR WAYS TO BE ABLE TO TRACK YOUR
OWN BODY IN REAL-TIME. >> GRAYSON: YEAH. >> VICTOR: SO THERE IS A CONSUMER FACING -- WELL, NOT NEED, BUT THERE IS A WANT FOR THAT KIND OF PERIPHERAL --
>> GRAYSON: YEAH. >> VICTOR: -- WHICH
IS THE SAME, WHERE THE VIVE PUCKS COME FROM, RIGHT? AND WE WILL BE ABLE TO USE
THEM FOR THIS TECHNOLOGY. >> GRAYSON: YEAH. IT
IS REALLY COOL. IT IS PRETTY EX-- I HAVE HAVE BEEN IN THIS
INDUSTRY, WHAT, 15, 16 YEARS NOW? I FEEL LIKE THIS VIRTUAL PRODUCTION
STUFF IS REALLY EXCITING, BECAUSE IT IS LIKE THIS
MIX OF REAL-WORLD STUFF AND THE VIRTUAL STUFF.
AND I THINK IT IS PRETTY COOL. >> VICTOR: LET US SEE. THEY ARE
ASKING, HOW CAN I SIMULATE HAND-HELD CAMERA MOVEMENTS
RIGHT INSIDE OF UNREAL ENGINE? >> GRAYSON: OKAY, SO THERE
IS A COUPLE OF WAYS TO DO THIS. I WILL GIVE YOU AS MUCH
INFORMATION AS I CAN. SO NUMBER ONE, IF YOU WANT TO
FORGET ALL HARDWARE DEVICES, OBVIOUSLY YOU CAN START
WITH KEY FRAMING AND YOU CAN USE
CAMERA ANIM TRACKS. WHAT A CAMERA
ANIMATION TRACK IS, IS IT WILL GIVE YOU A MATINEE
THAT YOU CAN EITHER IMPORT MAYA, SO YOU CAN EITHER
CAPTURE INFORMATION OR YOU CAN HAND-KEY IT IN THERE, AND YOU CAN HAND-KEY NOISE,
RIGHT? THEN YOU CAN PLAY
THAT NOISE TRACK, ONCE YOU GET A LONG SECTION
OF NOISE THAT YOU LIKE, OR YOU FEEL IS PRETTY GOOD, YOU CAN THEN PLAY THAT
ON ANY CAMERA IN SEQUENCER AS A GENERAL NOISE TRACK
AND CONTROLLED PROPERTIES. THERE IS ALSO AUTOMATED
BLUEPRINT TYPE CAMERA NOISE THAT WILL GIVE YOU
RANDOM FLUCTUATIONS IN YOUR TRANSFORM DATA,
THAT IS PRETTY COOL. SOMETHING THAT I HAVE USED
BEFORE IS, JUST GRAB AN OLD -- IF YOU HAVE A VR SYSTEM,
OR EVEN A CHEAP VR SYSTEM, WHATEVER IT IS, YOU CAN
GRAB THE CONTROLLER AND YOU CAN ACTUALLY
RECORD THAT CONTROLLER WITH TAKE RECORDER, AND -- >> VICTOR: I ACTUALLY SHOWED A LITTLE BIT OF THAT IN A
PREVIOUS STREAM WE DID, WHERE I SET UP A
SPECTATOR CAMERA, AND YOU CAN GRAB THE CAMERA IN
GAME AND THEN RECORD WITH IT. THAT IS A VERY GOOD WAY,
BECAUSE IT IS ACTUALLY -- >> GRAYSON: IT
IS HAND-HELD. YEAH, TOTALLY, OR CONTROLLER,
OR WHATEVER. YEAH, THOSE ARE A FEW WAYS. THEN OF COURSE YOU
HAVE GOT THIS SYSTEM. >> XBOX CONTROLLER, LIKE ANYTHING THAT IS
SORT OF HUMAN DEVICE INPUT WILL HELP YOU
GET THAT HAND-HELD -- >> GRAYSON: HAND-HELD LOOK, YEAH. I MEAN, I DO FIND THE
VIVE IS A REALLY -- ANYWAY, ANY VR
CONTROLLER, SUPER, SUPER EASY WAY OF GETTING,
VERY QUICKLY, ANIMATIONS. YOU CAN EVEN -- THIS
IS KIND OF CRAZY, BUT YOU CAN EVEN USE THE HEADSET
IF YOU WANT AS YOUR CAMERA, AND YOU CAN KIND OF
SEE THINGS THAT WAY, BECAUSE YOU CAN SEE IT
ON THE SCREEN. I HAVE USED THE
HEADSET AS A CAMERA, LITERALLY, AS A CAMERA.
AND YOU CAN ALSO -- LIKE IF YOU WANT TO TIME IT
TO IMPACT OR SOMETHING, YOU CAN GIVE IT A LITTLE SHAKE. YOU CAN USE THAT IN CONJUNCTION
WITH TAKE RECORDER, THEN YOU CREATE KEYS THAT YOU
CAN THEN PUT INTO CAMERA ANIM, SO YOU CAN ACTUALLY STORE THOSE AS A VARIETY OF
DIFFERENT CAMERA ANIMATIONS. KIND OF THE RABBIT HOLE
OF WAYS TO CAPTURE STUFF. >> AMANDA:
OH, MY GOODNESS. >> GRAYSON: HOW WE USUALLY DO IT,
VERY BRIEFLY, IS WE WILL CAPTURE IT ON STAGE. IF WE WANT TO CREATE IT
AS A CAMERA ANIM, WE WILL JUST CAPTURE A VARIETY OF DIFFERENT CAMERA ANIMATIONS
AND STUFF ON STAGE. >> VICTOR: THEY ARE WONDERING IF THEY CAN GET CAMERA TRACKING BY FIXING AN IPAD TO A DSLR
AND NO ADDITIONAL HARDWARE FOR SIMPLE GREEN
SCREEN COMPOSITIONS. >> GRAYSON: I WOULD LOVE
TO ANSWER THAT IN DETAIL, BUT I REALLY AM NOT EXTREMELY
FAMILIAR WITH THE COMPOSITING, AND ALL THE
PERMUTATIONS OF THAT. I FEEL MUCH MORE COMFORTABLE
TALKING ABOUT PROBABLY -- >> VICTOR: I WOULD SAY THAT
DUE TO THE FACT THAT THE IPAD IS NOT ONE-TO-ONE
WITH THE VIRTUAL CAMERA, FOR GREEN SCREEN, THAT IS PROBABLY NOT
THE BEST WAY TO DO IT. >> GRAYSON: PROBLEMATIC. YEAH. >> VICTOR: BECAUSE THEN YOU WILL -- THAT IS
HARD TO LINE IT UP. IN THAT REGARD, IT IS MUCH
BETTER TO ATTACH A VIVE PUCK TO THE ACTUAL CAMERA
THAT YOU ARE USING, BECAUSE THEN YOU ACTUALLY GET --
>> GRAYSON: ONE-TO-ONE. >> VICTOR: YEAH, SUBMILLIMETER ACCURACY, WHERE THAT
IS TRACKED IN SPACE, AND THE VIRTUAL SPACE. >> GRAYSON: THEN YOU ACCOUNT FOR WHAT THE FILM BACK AS WELL, THE FILM PLANE, WHERE
IT IS IN SPACE, SENSOR -- THE FILM --
THE CAMERA SENSOR. >> VICTOR: SPECIFICALLY
FOR DOING VR GREEN SCREEN, THERE ARE A FEW PLUGINS
THAT CAN DO THAT, ACTUALLY. I THINK WE CAN DO IT
STRAIGHT IN THE ENGINE. >> GRAYSON: YEAH, SOME
OF THE NEW COMPOSITING TOOLS, FROM WHAT I UNDERSTAND,
ARE REALLY COOL. I HONESTLY DO NOT PLAY
WITH THEM THAT MUCH, BUT I THINK THERE IS A LOT OF
REALLY GOOD STUFF WE CAN DO THERE. THAT IS ALMOST A WHOLE
OTHER PART OF -- A VERY LARGE PART OF VIRTUAL
PRODUCTION THAT WE ARE -- WE ARE NOT REALLY -- WE ARE JUST KIND OF NOT EVEN
TALKING ABOUT THAT HERE, BUT... >> VICTOR: YEAH.
>> GRAYSON: IT IS EXCITING STUFF. >> VICTOR: THEY ARE
WONDERING IF UNREAL REMOTE 2, IT IS CURRENTLY ON THE APP STORE,
BUT IT IS ONLY FOR 4.21. WILL IT BE UPDATED? >> GRAYSON: I DO NOT KNOW
DEFINITIVELY. I WOULD ASSUME YES. >> VICTOR:
YEAH, I WOULD THINK SO. WE CAN TRY TO
FOLLOW UP ON THAT. SEE IF IT THERE IS A TIMELINE. >> YEAH, I KNOW THE
PERSON WORKING ON IT DIRECTLY, I WILL TALK TO HIM, RIGHT
AFTER THE TWITCH STREAM. I WILL GO ASK HIM,
BECAUSE NOW I AM CURIOUS. >> AMANDA: YOU ARE STILL
ABLE TO USE IT, YOU HAD IT ON THE IPAD. SO EVEN THOUGH
WE ARE RUNNING 4.22 HERE -- >> GRAYSON: RIGHT.
IT IS STILL COMPATIBLE. >> AMANDA: YEAH. >> VICTOR: IT IS
THE SAME APP, RIGHT? YOU DO NOT HAVE A DIFFERENT VERSION
THAT IS -- YEAH. IT WORKS. LET US SEE. YEAH,
THEY ARE WONDERING IF YOU CAN EXPORT THE
RECORDED CAMERA DATA TO A DCC TOOL LIKE MAYA. >> GRAYSON: I BELIEVE SO, YEAH. I THINK THAT IS THE USD -- PART OF THE USD PIPELINE
STUFF THAT WE HAVE. SO I COULD BE WRONG,
BUT FROM WHAT I UNDERSTAND, LIKE, ONE OF THE THINGS WE ARE REALLY WORKING ON
HARD HERE AT THE STUDIO IS, COMPANIES THAT HAVE THEIR OWN
PRODUCTION PIPELINES IN MAYA, WE WANT TO BE ABLE TO GET STUFF
IN AND OUT OF ENGINE EASILY; OVER TO MAYA, BACK FROM MAYA, WHETHER THAT IS STATIC MESH
ASSETS, OR CAMERA ANIMATIONS -- WHATEVER IT MAY BE, BECAUSE I THINK
ACROSS THE BOARD, EVERYBODY WANTS TO BE ABLE
TO HAVE CROSS-COMMUNICATION BETWEEN THESE DIFFERENT -- WHATEVER TOOL THEY ARE
COMFORTABLE USING. I WORK PRIMARILY IN THE ENGINE, AND I HAVE WORKED
WITH COMPANIES, PARTNERS OF OURS, THAT
USE PRIMARILY MAYA, AND WE HAVE BEEN ABLE
TO GET STUFF BACK AND FORTH PRETTY WELL. I WOULD ASSUME YES.
THAT SHOULD NOT BE AN ISSUE. >> VICTOR: LET US SEE.
YEAH, AND THAT MIGHT INCLUDE DIGITAL FUSION, NUKE, AND
AFTER EFFECTS AND SUCH? >> GRAYSON: TO WHAT EXTENT WE WE ARE ABLE TO GET
IN AND OUT OF THAT, I AM NOT THE EXPERT ON THAT,
BUT I WOULD THINK WE HAVE SOME -- DEFINITELY
SOME TOOLS TO DO IT. >> VICTOR: I THINK IT IS NOTED
IN THE DOCUMENTATION. >> GRAYSON: I THINK THAT GETS INTO USD TERRITORY,
MAYBE POTENTIALLY. >> VICTOR: OKAY.
LET US SEE. IS THERE A WAY
TO STABILIZE AND SMOOTH OUT THE RECORDED
VIRTUAL CAMERA IN POST? >> GRAYSON: IS THERE
A WAY TO SMOOTH OUT -- >> VICTOR: SMOOTH OUT THE RECORDED
VIRTUAL CAMERA? >> GRAYSON: YES. ABSOLUTELY. YOU COULD EITHER EXPORT
THE DATA TO MAYA, IF YOU WANT TO USE MAYA
TO DO IT, YOU COULD DO THAT. I THINK I MENTIONED
A LITTLE BIT IN THE STREAM IS THAT WE CAN DO IT
IN ENGINE AS WELL. USUALLY WHAT I WILL DO IS,
USE KEY REDUCTION, USUALLY ON SPECIFIC AXES.
IT IS, LIKE, IF IT IS Z-AXIS, OR WHATEVER, REDUCE
KEYS ON THAT. THEN IF I HAVE TO, I WILL
MOVE THE CURVES DOWN AND KIND OF SMOOTH
THINGS OUT A LITTLE BIT, OR JUST DELETE EXTRA CURVES,
ANYTHING THAT LOOKS TOO NOISY. I THINK THERE ARE
A LOT OF DIFFERENT WAYS YOU CAN SMOOTH MOTION OUT. I WILL SAY THAT ALTHOUGH THE
IPAD DOES HAVE NOISE REDUCTION, YOU CAN REDUCE SHAKING NOISE
AND ROTATIONAL NOISE. WE HAD A PROJECT WHERE
WE CREATED A BLUEPRINT THAT HAD SOME SCRIPT
THAT EXECUTED, THAT BASICALLY TOOK EVEN ALL
THAT DATA AND STILL REDUCED -- GAVE US SOME THRESHOLD, SO IT COULD NOT SHAKE PAST
A CERTAIN POINT. SO IF YOU LIKE PROGRAMMING TYPE
STUFF, YOU CAN CREATE BLUEPRINTS THAT REDUCE NOISE AND SMOOTH
THINGS OUT QUITE A BIT. AND YOU CAN HAVE MULTIPLE LAYERS
OF THAT, IF YOU WANT TO, SO YES. >> VICTOR: LET US SEE. >> GRAYSON: OF COURSE, THAT IS REAL-TIME. IT WOULD BE A RUN-TIME. BUT YOU COULD ALWAYS
TAKE THAT DATA, RE-RECORD IT AND PROCESS
IT IN THAT WAY, TOO. I WOULD RECOMMEND THAT YOU
EITHER GO THROUGH MAYA AND CLEAN IT UP THERE, OR GO THROUGH THE
ENGINE AND REDUCE KEYS. >> VICTOR: CAN WE EXPORT .MOV FILES? IF NOT, WHAT ARE
THE OTHER FORMATS? >> GRAYSON: I THINK WE CAN. >> VICTOR: YEAH? >> GRAYSON: I WILL BE VERY HONEST, I DO NOT DO A LOT OF EXPORTING. I WILL DO RENDERS OUT, AND
I WILL GET OUR RENDERS OVER TO EDITORIAL,
THAT TYPE OF THING. BUT I DO NOT DO A LOT
OF MOVING OF FILES OVER. THAT MIGHT BE SOMETHING WE GET
ONE OF OUR TECH GUYS TO ANSWER. >> VICTOR: I WILL MAKE SURE I PUT A NOTE AND I CAN FOLLOW-UP ON THAT. >> GRAYSON: I AM TRYING TO THINK, I THINK IT IS QUICKTIME
SUPPORT IN 4.22, EXPORTING THAT OUT, I THINK.
I THINK THAT IS ONE OF THE KEY THINGS OF 4.22,
FOR THAT TYPE OF THING. >> VICTOR: IS THERE ANY WAY TO RENDER
OUT OBJECT ID MASKS, THESE MULTIPLE COLOR MAP? >> GRAYSON: AGAIN, THAT
SOUNDS LIKE A COMPOSITING QUESTION. >> VICTOR: YEAH. >> GRAYSON: I WILL TRY TO ANSWER IT. AS FAR AS I KNOW, I BELIEVE
YOU CAN LAYER OUT, OR YOU CAN RENDER OUT A
VARIETY OF LAYERS WITH IDS, AND THEN ACTUALLY --
FORGET THIS IS -- THIS IS GETTING OBVIOUSLY
BEYOND MY KNOWLEDGE RANGE HERE. BUT I DO THINK IN 4.22, AND
POTENTIALLY MOVING TOWARDS 4.23, THERE ARE SOME THINGS THAT ALLOW
US TO EXPORT COMPOSITING LAYERS AND SEE IT AS A SINGLE FILE,
AND CLICK THROUGH THAT FILE AND SEE EACH LAYER
IN ITS OWN WAY. I DO NOT KNOW IF THAT HELPS, BUT
THAT IS ALL I KNOW ABOUT THAT. >> VICTOR: THAT IS GOOD. I THINK IT IS TIME
FOR THE LAST QUESTION, BECAUSE IT IS ALMOST 4:00 NOW. CAN YOU REPORT DIRECT INPUT LIKE
BUSKING OR RIDING THE LEVELS, IF YOU KNOW WHAT I MEAN? >> GRAYSON: I DO NOT.
>> VICTOR: OKAY, MOVE AN OB-- HE DID GIVE US SOME DETAILS. MOVE AN OBJECT WHILE RECORDING, AND THE SEQUENCER REMEMBERS
ALL MOUSE MOVEMENTS. >> GRAYSON: NOT NECESSARILY
THE MOUSE -- YES AND NO. LIKE, IN TERMS OF IT RECORDING
YOUR MOUSE INPUTS DIRECTLY? NO. IN TERMS OF THE RECORDING
THE TRANSFORM DATA, THE OBJECT THAT YOU ARE MOVING?
YES, YOU CAN. SO YOU COULD -- LET US JUST SAY
HYPOTHETICALLY -- HERE IS A HYPOTHETICAL. THIS MAY BE OVERLY COMPLICATED --
LET US TAKE YOUR MOUSE CURSOR AND LET US PUT A RED
SPHERE, YOU KNOW, YOU HAVE GOT SCRIPT THAT IS
CONSTANTLY UPDATING ON TICK, AND IT IS MOVING THAT SPHERE
ANYWHERE YOUR MOUSE MOVES IN THE 3D VIEWPORT.
YOU COULD EASILY RECORD THAT. YOU COULD RECORD THAT SPHERE WITH
TAKE RECORDER AND PLAY IT BACK. >> VICTOR: ESSENTIALLY, WE CAN RECORD ANY
ACTOR IN THE SCENE THAT IS BEING MOVED, NO
MATTER HOW IT IS BEING MOVED. >> GRAYSON: YEAH, AND ALSO THERE
ARE PARAMETERS, I BELIEVE, IN TAKE RECORDER
WHERE YOU CAN EXPOSE, IF YOU WANT TO RECORD
CERTAIN COMPONENTS, DIFFERENT PARTS OF THINGS. YOU CAN ADD THOSE. BY DEFAULT, IT HAS ONLY LIMITED THAT LIST
OF ASSETS THAT YOU CAN RECORD, ALTHOUGH YOU CAN RECORD
ALL KINDS OF STUFF. BUT IF YOU GET DOWN
INTO BLUEPRINTS, LIKE DIFFERENT
COMPONENTS AND STUFF, I BELIEVE YOU CAN ADD THOSE
INTO TAKE RECORDER TO RECORD, SO IT MAY BE POSSIBLE. >> VICTOR: THAT IS AWESOME.
WE APPRECIATE IT SO MUCH, GRAYSON, COMING OUT, YEAH,
TALKING ABOUT EVERYTHING. >> GRAYSON: THAT IS A LOT OF FUN. IT IS ALWAYS FUN TO DO IT
LIVE, TOO, DOING -- IT IS, LIKE, OH, WE ARE JUST
GOING TO TRY THIS THING. >> VICTOR: THIS IS THE LONGEST STREAM
I HAVE EVER DONE HERE. IT WAS GREAT. IT IS ALSO REALLY
USEFUL INFORMATION. WE APPRECIATE IT. >> GRAYSON: WELL, THANK YOU
FOR HAVING ME ON, TOO. I LOVE THIS STUFF.
IT IS A LOT OF FUN. >> AMANDA: WE ARE HAPPY
TO HAVE YOU. THERE ARE LOTS OF
QUESTIONS FROM CHAT, A LOT OF PEOPLE ARE REALLY
INTERESTED IN THIS, ESPECIALLY SINCE THIS IS
A NEWER FORM OF TECHNOLOGY. SO ANY INFORMATION THAT
WE CAN -- ANY KNOWLEDGE THAT YOU CAN BESTOW UPON
US AND OUR COMMUNITY IS VERY, VERY MUCH APPRECIATED. >> GRAYSON: IT IS FUN
LEARNING ALL THIS STUFF, TOO. IT IS NEW TO ALL OF
US IN SOME WAYS. SOME WAYS IT IS.
SO IT IS PRETTY COOL. >> VICTOR: YEAH.
>> AMANDA: AWESOME, THANK YOU. >> AND AS ALWAYS CHAT, IF YOU HAVE FEEDBACK FOR US --
TOPIC REQUESTS, YOU KNOW, TELL US WHAT YOU WANT
TO SEE HERE, AND MAKE SURE YOU FILL
OUT THE LOVELY SURVEY -- SHOULD PRONOUNCE THAT RIGHT. AND FOR EACH PARTICIPANT,
WE DO A T-SHIRT RAFFLE. IF YOU FILL OUT THE SURVEY,
WE WILL PICK ONE -- >> AMANDA: IF YOU INCLUDE
YOUR EMAIL ADDRESS. >> VICTOR: IF YOU
INCLUDE YOUR EMAIL ADDRESS, YES, THEN WE WILL BE ABLE TO ASK
WHAT SIZE YOU WOULD LIKE. AS ALWAYS, MAKE SURE YOU CHECK FOR YOUR LOCAL UNREAL
ENGINE MEETUPS, AND MAKE SURE YOU HIT
US UP ON THE FORUMS, AT UNREALENGINE.COM,
UNREAL SLACKERS ON DISCORD. YOU CAN ALSO REACH
OUT TO US THROUGH COMMUNITY@UNREALENGINE.COM. IF YOU WOULD LIKE TO HAVE
A 30-MINUTE DEVELOPMENT VIDEO CROPPED DOWN TO FIVE MINUTES AT THE BEGINNING OF
OUR LIVESTREAMS, THAT IS ALSO THE EMAIL THAT YOU
SHOULD GO AHEAD AND SEND IT TO, OR JUST POST IT ON THE FORUMS,
EITHER WAY WORKS FOR US. AND IF YOU ARE STREAMING
UNREAL ENGINE ON TWITCH, MAKE SURE YOU PUT IN THE
CATEGORY "UNREAL ENGINE", THAT WAY WE CAN FIND YOU,
AND MAYBE DROP IN AND SAY "HI," AND HAVE A GOOD TIME. AS ALWAYS, A SPECIAL THANKS
TO ALL OF OUR SPONSORS, EVERYONE IN OUR COMMUNITY,
ALL OF OUR DEVELOPERS, EVERYONE AROUND THE WORLD WHO IS
WORKING WITH UNREAL ENGINE. AND I HOPE THAT WE WILL GET
TO SEE YOU NEXT WEEK. >> AMANDA: WHAT DO YOU HAVE ON? >> VICTOR: NEXT WEEK WE HAVE -- AS ALWAYS -- EVERY
TIME, YOU ASK ME THIS. I SHOULD PUT IT
IN MY NOTES HERE. >> GRAYSON: NOW YOU ARE IN THE HOT SEAT! >> VICTOR: NOW I HAVE TO THINK
ABOUT NEXT WEEK, AND NOT JUST THE NEXT
TWO MINUTES UNTIL THE CAMERA SHUTS OFF. LET US SEE, NEXT WEEK WE HAVE
GOT DAN REYNOLDS COMING OVER. ACTUALLY, HE WILL BE
STREAMING IN FROM SEATTLE, AND HE IS GOING TO SHOW US
HOW TO MAKE INTERACTIVE MUSIC BLUEPRINTS USING THE NEW TIME
SYNTH THAT WE HAVE IN 4.22. >> GRAYSON: THAT IS COOL. >> VICTOR: YEAH, AND SO HE IS GOING TO SHOW US A
MORE ADVANCED, LIKE, HOW THIS WOULD BE USED
IN GAME PRODUCTION, MORE OF A DEMO THAT TAKES
TOO LONG TO BUILD ON THE STREAM. BUT THEN ONCE HE HAS DONE THAT, HE IS GOING TO SHOW US
THE FIRST COUPLE OF STEPS THAT YOU CAN TAKE IN ENGINE
TO ACTUALLY GET THAT GOING. >> AMANDA: THAT SHOULD BE A LOT OF FUN. >> VICTOR: I HAVE
ACTUALLY GONE AHEAD AND POSTED OUR SCHEDULE
IN THE TWITCH DESCRIPTION, SO YOU CAN ACTUALLY GO
ON OUR TWITCH PAGE, AND IF YOU SCROLL DOWN THERE,
YOU WILL SEE A SCHEDULE OF WHAT WE HAVE GOT PLANNED
FOR THE NEXT COUPLE OF WEEKS. IT MIGHT CHANGE A LITTLE BIT, DEPENDING ON DEVELOPERS'
AVAILABILITY, AND OTHER VARIOUS ISSUES. BUT IT SHOULD STAY PRETTY SOLID
FOR THE NEXT COUPLE OF WEEKS. SO YOU CAN CHECK
THAT OUT AS WELL. ALL RIGHT. WITHOUT FURTHER ADO,
WE WILL SAY GOODBYE TO ALL. >> GRAYSON: SEE YA!
>> AMANDA: BYE, EVERYONE! >> VICTOR: THANKS FOR JOINING US!
