Virtual Production with Nerdforge & William Faucher

we are picking up a miniature castle that the YouTube channel nerdforce made with 30 000 bricks then William is going to scan the castle and Stitch it to become a 3D Castle in Unreal Engine and then we are using Witcher production to place Martina from nerdforce into her own castle oh my God and it doesn't stop there Aaron will build the real size bricks from the castle and place it in our studio to make the shots more credible this is gonna be crazy so stay tuned [Music] [Applause] thank you okay we are heading towards nerdforce and their new studio I'm gonna pick up the castle looking forward to see their Studio the first time I've been there you have this old barn their Studio that's cool [Music] yeah this is our new studio new it's been a year now but or yeah yeah nice so yeah that's the stage it feels nice to have this as the background just like the the proper fantasy setting yeah okay guys by the way about three years ago I made this castle using about two and a half thousand bricks and you know it sounds like a lot right but what about 25 000 or 30 000 or 50 000 bricks we'd collaborated on a Sci-Fi no not sci-fi fantasy movie called distance and that's when they made the chests yeah oh it's where we kind of stay because it's warm and nice but we also have like a warehouse Park where we have our projects basically because we can take a lot of like different kinds of shops here within a little dark and isolate so we try to keep it like uncluttered so we can use most of the space and then wow how much time do you use to make this I haven't seen the whole video but oh sitting I I haven't done a lot of brickwork after that one that's like trauma yeah it's like when you do 35 000 you get it together because William Patcher and yeah I'm gonna like scan it in high resolution like all the details and we can film for example you yeah with the armor and placing you somewhere we just move uh in Unreal Engine move the whole castle because it's been scanned and we can move it so it's actually looks like in the background that you are standing there and then we have set designer called Aaron who can make for example these things in real size in the studio so you can lean over something nice all that before this is just an ambitious problem that's basically how we start all our projects yeah we don't know how but it should work probably it's gonna be fine [Music] [Applause] [Music] oh this is huge they're really nice they're super detailed they're incredible but I feel super fragile I'm afraid I'm just just lifting them feels unsafe do you have it yes yes [Music] I think it's too big no it's just it's two centimeters too wide okay okay we got it good good okay with them we have the castle here yes the ideas like to scan this how do you do this so we'll be using what I call well what is called a cross polarization rig I'm using a ring flash to make sure that the lighting is always even very consistent uh always the same until we get a perfect color from the texture in a 3D model foreign filters one on the flash and one on the lens itself so what this does is it completely cuts out any Reflections which means you get the actual Pure Color information that I've painted on the castle because then you can always add Reflections and Light Shadows the ability to re-light everything in unreal later is it easy to add some torches or something absolutely yeah okay so when you scan this put it in unreal yeah you can like modify things add things yeah and the lights from the Torches will affect the light on the scam yeah so uh yeah lighting greedy can you do this with your phone I have seen that there's some apps or something you can do it on your phone depending on the lighting around it you're going to get Shadows that are kind of baked into the textures um the detail is not going to be quite as high resolution because it all depends on the resolution of your adventure and you're using a Nikon a Nikon D800 with my trusty Workhorse at 36 megapixels so it's not the highest but it's for a 10 year old camera it's hold its own foreign [Music] [Music] thank you so in the last virtual production video we did we could kind of see that it was low contrast like the black point was moved up on the projector so we're trying to paint the sakurama to a gray color so that will get a lower Black Point and that's maybe hopefully blend together better with with the character in front so this is going to be the second time we try with your production in our studio the last time we made a video with William as well where we used Witcher production to make it look like we were looking out into the forest from a living room if you haven't seen that video here's a quick explanation on why richer production is so cool so by your signature production you can make a dynamic background which means when you move the camera the background knows where the camera is so the perspective gets right normally if you have a flat background the perspective in the image won't change depending on where the camera is by using virtual production your computer understands where the camera is so it actually changed the perspective in the background and make it look like you are actually a part of the background [Music] so now we have painted a little bit gray so as you can see the white Point becomes quite a lot lower but if I pull on some black you can see that the the black point is a lot darker so this is what it would be on white and this is on Gray and this is the white point on White and the white point on Gray so everything goes down but I think for our use case it's better to have a good black point rather than a perfect whiteboard so we can pull that up in post So today we're gonna prepare for tomorrow and uh Johannes yeah you're gonna do make sure everything the technical stuff is working the nerdy stuff the nerd stuff yeah William has scanned the castle I'm really curious to see how that went and then Aaron you're gonna build the set yeah yeah yeah down the basement building big bricks to hopefully nice add to your fake virtual yeah a lot more messy yeah it's a good team I'm I have faith in you you are experts yeah I don't know anything about this at least a little bit but the filmmaking part we made it work before some of you commented in the previous video that since it was only a window we showed you guys is it worth like getting all this system running just for a window so we heard you guys we're gonna make something bigger now but we don't know maybe maybe it will fail we'll see stay tuned and let's start working uh we have a lot to do all right so today we're using the wood to build some more solid blocks I'm gonna cover them in this XPS foam which is the same stuff the castle is made of and this XPS phone can then be carved and painted to look like the castle but on a much bigger scale [Music] [Applause] [Music] to be or not to be that's the question so the last time we did this we didn't have a lot of time so we were actually not able to set up this correctly which is like in and display we were just rendering the whole thing from the viewport and so what it's going to do now to make everything run a little bit smoother is to freeze the thrust room on new discovery so that you don't render everything you only render what you are seeing in the camera not everything else because we don't have the fastest GPU here it's a 390 which is a quite nice GPU but for this it's it's okay but do you see the difference yeah so that's a fun thing with predictors the signal goes directly so if you're working with like let this place you need to have some process but now when we're using predatory design signal just you know goes directly so it's and that's really important when working with delays and tracking you are one of the experts the few experts on Virtual production in Scandinavia right they're not that many players in the market but what are you doing where we offer a full service supplier for virtual production everything from script breakdowns to you know doing photogrammetry and be on the final day you're shooting setting up technical tracking and everything you are usually working in a much bigger Studio than this like tell me a bit about it yeah yeah it's called Studio fares and it's in trollhattan Sweden also called the trolleywood because we're doing a lot of movies there but it's yeah it's huge it is 24 times 8 meter big so you use several projectors stitched together now we can actually do films that wasn't possible before we can't we can't afford move to go to Washington to do that scene okay we bring Washington here and and use it as a dynamic backdrop so as we're doing here we are using photogrammetry so we go out and shoot relocations and then bring it to the studio and doing a digital copy of it you don't need to fly a bunch of people everywhere around the world when your clients come to you to do virtual production what are what are they shooting so often you can imagine it's kind of like you know alien science fiction like crazy shots but the best thing is okay we have this landscape we can just be flexible and change the day of time and you know I'm talking to producers and then they can quickly like okay we don't want to have that sign there or we want to change that color of the house otherwise it looks perfect okay great we fixed that and bring it so it's cool that you can be so flexible we get so many requests now right now it's also a lot of talking to the Productions then you can go through it and you know okay this is good for VP this is isn't good for it so for for our audience which is most of them are not into virtual production yet how do you start learning virtual production you can just use your TV that's a good beginning as a backdrop and just starting to play I mean that's the that's what I love with unreal being free blender being free all this software is there and all this knowledge is also at YouTube available for free and we are actually also creating at the moment a course that we're giving away also for free so you can go into VP slash nordic.se and you can sign up to be a part of that course I've seen you use like Cinema or much bigger projectors that put out like four times as much lighter it's this but how do you think this is gonna work out I mean we need to use less light overall when we also lighting the actor and everything around so we just take down the light and use using a camera that can handle that the low lights that's a good way to come around it so maybe we should try to stick with like evening shots and evening shots not the brightest shots but I think we should try daytime okay we try we try just to see yes let's go the biggest challenge for this shoot is light we need to light up the person in front of the projector without spilling too much of the project you because they will get low uh contrasts yeah as you can see now we're pointing it towards the projector it gets so washed out when we hit the screen so we need to angle this in the right way in the storyboard it's daytime so we need really really soft lights I'm going to use a grid so the light is more directional So Soft big but still a little bit directional so this is the 600x so we can do tungsten light or daylight and we also have the Nova 600s these in the background having a little bit of back back lights is good as well to blend her into the environment I have faith in you this is gonna be great a home Cinema breaker is kind of like two three thousand Lumen this is and you've been working with 40 000. these are called Flex so we're gonna place it so it doesn't hit the projected screen but still hit a person in front of the screen we need to add Malton and black fabric to make sure that the light is not reflecting in the White surface and into the projected screen it's interesting because one thing people think about lighting they think about adding lights we should also think about removing lights because everything is light you won't get the contrasts so we're removing some light we will see the light in the darkest time you see the light is that right yeah yeah [Applause] come on come on come on you got this oh okay so it's loading slowly last already now it looks so that's the inside at the inside yeah that's the inside scan good work thanks really good really good oh yeah there we go so get up closer get quite a bit of the brick detail yeah nordforts they made this Castle you know they see it in 3D yeah that they can move around like look at it it's gonna they're gonna be so I said oh my God do you know what focal length you guys were thinking of using uh roughly um like 50 on the crop to 75 mil yeah okay cool that's perfect so 75. same here I mean that's great this is going to be physical right it's gonna be physical yeah but we will probably not do it out of focus in not unreal we'll do it just in the camera yeah yeah yeah so I loaded the virtual production template so so we need we have the plugins needed yeah yeah everything should be there uh just enable whatever you need Okay so let's start uh setting up and display them okay on the snow we have got the nice scene from William now this time we're gonna properly set up virtual production yeah not like last time really when I did it when we were sort of winning it yeah okay so right now we are creating a new and display config and that is basically the screen we are projecting on like the size of the TV you have or the yeah so the most important thing is that you you start measuring what dimensions do you have on your screen so our screen is approximately four meters by two and a half meters you can copy this one on the occasion because it's in in the middle the pivot point so if you take that one and then split it by two then it will be on the base yeah and then we can just have Plus how many from the groundworks and we measured 22 centimeters up so now we know the dimensions of the screen but we also need to know how far away is it from the zero point so what we are doing now is we are defining also where is the zero point in the stereo that's the the really most important thing so the camera knows where it is in the bottle space done so that takes one second to do which is great so we need to know the output now so the projector we have is at 25 60 by 1600. see this one you can see the outer and the inner frustum you call it so this is uh what the camera sees yeah and this outside is just for you know reflection and everything around so you can also change this one default Viewpoint and you should have it as the same angle as the actor so you get the correct perspective okay so now we want to to link the live link from the Mars so we have the data to the camera yeah so we just add a live link components on the camera so if you move the camera right now we should see it moving in the editor okay let's see how it goes yeah oh hello oh well I can repair all the stuff that I've broken finally got a little storage let's call it storage yeah storage workspace yeah yeah for all of the mess that I make [Music] it's the old light that are aperture light storm panel here it's very dark without it and the light actually flickers sometimes yeah so yeah now we can work in high CRI values so the struggle right now is we have a lot of lamps in a in a small Studio sorry I'll just yeah because we have all these big soft boxes and moving the camera a lot yeah yeah so I think we can add just one add here you just use a super cap okay and that will be perfect yeah how does it feel unless if it's good I see now that it's uh it would be nice if we can get like a little bit more The Parallax effect in a way change lens to 35. yeah let's try that because then you see there's some more change as well I can yeah go there yeah yeah cool sure let's do that [Music] oh this is going to be great it's fine tuning as we go yeah we're getting somewhere yeah there we go okay cool what do you think we're being fine-tuning everything now lights in different locations adjusting the height of the camera we've been doing something with analyzing and glow and now it's 4K not 2K all that stuff who it's a lot of details maybe we should have a break and go down to Aaron to see what's happening because he's been down there for seven hours I have no idea what's going how's it going with him should we do that oh that's a good idea okay what time is it going it's going pretty good we've got three painted up fourth one I've got a carbon face and then we can start doing the dry brush coat on that one over there because that's actually dry good job guys soon yeah see you have fun 10 more hours hey nice to meet you all hi William nice to meet you so guys we want to show you this the scan that William did yes [Laughter] that looks amazing [ __ ] I love the integration with the landscape and the bridge as well yeah oh my God did you do anything with the textures or like is everything it's all nothing done everything at what you did all your work what this is insane that's unbelievable it's easy to show how if you go from tonight because today we're shooting uh some shots like daytime or in like Sunset like this and also we're gonna do some uh evening whoa that quickly it's crazy oh my god I've been wanting to do this like forever so yeah so we're gonna have the armor yeah um we're gonna find adjust the lights and make everything ready and then we can start shooting awesome all right [Music] oh my God [Music] if you go a little bit back Martina as far back as you can without getting the project yeah yeah and then like take three steps towards the camera okay I see you get into the blue light uh yeah we need to adjust this okay I want to have you walking towards the camera because that's epic and we're gonna move the camera towards you and then you're gonna stay a line nice you have to figure out what you're gonna say yeah let me think about it problem we have now is that you walk into the lights because this is supposed to be moonlight so it's very interesting I want to just see if we could like someone could uh move the lamp while she walks so it follows her so she gets like a constant blue Moonlight on her yeah um action thank you so the shot was good the only thing is that to really get the benefit out of with your production we should add more like perspective so we see things in the foreground that moves uh and stuff like that we're adding uh trees closer to the camera to see if that can help with the effects and The Parallax effect looking good so how did it go the whole thing I learned a lot for sure painting is not my specialty so we'll see how this comes up on camera [Music] damn they are big those are perfect thanks Sanders I actually slept really bad because I was so worried how it was going to turn out but seen on camera I think it's come out right yeah just to lean forward like this just a little bit here you look at the landscape and then like enjoyed landscape it's like it's a happy beginning right but then you realize this might be in danger of the whole landscape because there's evil forces or something like that okay so we shall the first evening shots now we're gonna go to the daytime we have all the aperture lamps in the studio and we decide this link we can just change everything to daylight so that's what we're going to do now actually now it looks even better when we have 600 c lamp we have in the ceiling not using uh like uh tungsten or deadlights but we used colors so I'm actually adding a little bit of pink color to match the stones because you can see as you can see the stones in the in the background and the foreground if I just do not daylight like this the stones in the foreground are a little bit greener in the back so I'm actually going into colors and I try to match adding a little bit of pink foreign [Music] so let's shoot [Music] okay so we are doing the last shot now it's over the shoulder towards the landscape so uh so far looks good will I miss fine adjusting the lights so it matches the previous shot because it's the other angle so the light has to come from the same place important thing is that the landscape looks good and that is credible for the lighting I'm just thinking about the mountains the shadows in the mountains over here in the background yeah I mean it's Haze right yeah that's such a big distance so okay we're finally adjusting the the amount of frog clouds the lights everything so it matches the studio here it's the Final Touch before we shoot okay we'll see all right ready okay [Music] and action [Music] I think we have it I think [Applause] good job everyone I think we have what we need so this is gonna be exciting together you know what let's just show him show them the film should we do that yes okay here comes uh what do you call it 500 result or what should we call the film story about this girl and uh yeah that's good okay roll the film [Music] thank you [Music] from these ancient battlements I see this sign that signaled the beginning I must prepare for the battle that awaits and embrace my destiny the fate of the realm lies in my hands my legacy gives me strength and purpose the weapons of old will not only guide me on my path but be my namesakes in the cars [Music] the time has come to restore the light to our kingdom I am the lightbringer and I will not fail Ure that was a fun project and if you're wondering about the inside shots that was actually from a video we made with nerdforce two years ago for Adobe Max so that was not virtual production just so you know uh but yeah this was fun and there's so many ways to go with this and so many ways to improve uh so we're going to experiment more and we also tested shooting handheld and as you can see that makes things even more credible because there are more uncontrolled movements so we can easily get the benefit out of The Trackers and the moving Dynamic backgrounds [Music] thanks to everyone involved that is it's so fun to see that when you collaborate as a team with different expertise you'll learn so much so I recommend you guys to just contact people try to collaborate and make something ambitious because you only live once you know so just try and do stuff I think it's so fun well thanks to our YouTube members for supporting us then we can actually make videos that are not sponsored and if you want to become a member as well there's a join button below and then you get access to exclusive videos and of course check out William foucher's Channel about Unreal Engine he's the expert you can learn a lot on his channel and also he just upload a video about how he scanned the castle how he put it into unreal how he made the environments and all that stuff check that out there's probably a link somewhere in the video or in the description and also to go to nerdforce's channel of course to check them out and last but not least um don't forget to follow us on Instagram reviews or ndx YouTube or both yeah that was a lot I'll see you again next week actually that's when a new video comes out so hold the bra so long so long have the best of them foreign [Music]

Channel: Andyax

Views: 451,881

Keywords:

Id: MwyUjTM3T94

Length: 31min 49sec (1909 seconds)

Published: Thu May 04 2023