Linus audience: why are you building a giant studio for RU-vid?? Do you know how big rumble is getting? RU-vid has been caught in thousands of scandals involving US election interference and censoring information that benefits their investors in the pharmaceutical industry… Why would you invest in such a volatile business model? Linus: because, 81 million votes, bro. Where is your mask?
tbh, I was kinda lost when they were explaining the green screen stuff that happens on the black magic box thing. What's going to change (production-wise) for them, now that they have it? Can someone explain it like I'm 5?
It looks so funny though. Almost like a sample NPC with a very basic test animation. How can one look so funny yet not awkward at all while just standing around and moving their head in a smooth, unnatural way like that? 😂
The video chapters are related to another completely different video. Hope Andy wasn't the culprit ... not that it would be something unexpected XD I mean, he could always blame his hair... p.s.: fixed it seems ... or was it a youtube conundrum ? No ! It was Andy !!!!
Yeah, LTT was the last place I expected to see her. They have acknowledged the existence of vtubers a couple of times before by mentioning how some tech could be useful to them, but I did not expect to actually see one in a clip for B roll
@@bok.. You can do the same thing with a GPU on a desktop computer. It's just packaged nicely with video in/out in a box, and low latency. And they may have some proprietary algorithms.
as a vfx worker the detail on that is nuts , the hair definition and the refracted hand sanitizer and glasses is wild .. yea a cleaner green screen makes things easier but thats solid af. that would be so much work lol.. theres also a plugin for blender that does the camera data from your cell phone accelerometer
@@JGnLAU8OAWF6 You would be wrong. A LOT of the cheap android phones lack a gyroscope and magnemeter but have an accelerometer. I had to do a TON of research before I got my current phone (Samsung Galaxy A51) because most of the models below it contained the bare minimum and the A51 was one of the cheapest and best options. Even with all the research I did, it made no mention of having a gyroscope. An A20/A21 both have only an accelerometer and a magnemeter and they're like $100 usd cheaper
Being a VFX guy who works in keying and deals with LED walls all the time, it's amazing to see this high end film tech spilling out into other content production workflows. Keying is never easy, and this is a fantastic middleground - I wasn't aware of the ultimatte kit!
I'm sure if you guys rang up Corridor Crew you could EASILY commission them to build you a workflow surrounding this tech. The LMG staff could quickly pick up on this but Corridor has been using this kind of advancement in video production for their whole channel's life. If anything I just want a collab about everybody geeking out at having a hybrid virtual production setup.
One thing you should definitely consider is that if you have lights in a virtual background, you also need to have set lighting in roughly the same location, as the shadows on the actor would look unrealistic if it's just regular greenscreen lighting with lights in the virtual background.
This is a banger of an episode. It's got that typical Willy Wonka chocolate factory tour energy that I've taken for granted the last 12 years of watching Linus' team productions. At this point traditional media can't possibly hope to compete - how things have changed.
I respect the content LTT puts out, but I always enjoy the Behind the scenes aspect more. Like they could have a blog series about daily logistics issues and I would enjoy it more than tech news or whatever.
I've grown bored over the years honestly. I guess interests fade but I still watch a video occasionally when it pops up. I guess when it lost the Linus and couple buddies feel to it all, I kind of lost interest. I don't blame him though, I'd have cashed in with those millions too. Especially when it's doing something you enjoy.
@@jonny-b4954I also don’t watch as much of LTT as I used to but If you like the whole Linus and his buddies vibe I strongly recommend the WAN show, if you don’t already watch it. It is basically just Linus and Luc chilling and talking about stuff for 3 to 4 hours. I sometimes will go months without watching any normal LTT videos but I always make sure to watch the weekly WAN show stream or at least the recording.
@@patrickvballegooyen Yeah, that's pretty much most of my content nowadays. The videos its just them chillin and the videos have bookmarked topics. I dig that. Best feature YT has done in years.
Love the future proofing of a set built in unreal. I doubt this would happen anytime soon but I wonder what it would be like to have something like this for a VR “WAN show” type thing
Tom Scott did a whole game show based around this idea 2 years ago. It was called disconnected. It also used LED panels so that the actor could be accurately lit by the scene itself so they would blend in even more naturally.
I think the lighting it what is causing it to be off for me. It looks good, don't get me wrong, but he still looks like he's on a green screen. Not that it matters for this, but I would not say it's as good as a real set. I think the lighting could solve that though.
Cool to see LTT finally start getting into virtual production. Using unreal or unity with some trackers or Rokoko mocap suits have become a super “affordable” low barrier entry for content creators in the short film space (like what corridor crew shows off to everyone) and especially Vtubers. Side note: absolutely hilarious that Filian is the example used XD
We did virtual production years ago in Unreal for cheap with a htc vive tracker (1gen). It‘s actually really easy and allows you to realtime comp it together^^ We did this at a convention with cosplayers. Maybe 50ms latency at max. Still got the project lying around somewhere in case anyone at LTT is interested^^
This is cool. Nerdforge also released a video recently that shows how they updated their set to incorporate Unreal 5 and camera tracking, but with a more hybrid approach where they still have a set but render a 3D scene on a tv behind a window frame to make it seem like there is an outdoor area behind the set.
@@EoRdE6 Knowing he doesn't have to keep it up forever might ease some stress, but I don't notice him being any different than before the announcement.
@@EoRdE6that and calling Terren Tong a CEO is a bit dishonest. His role is properly described as CAO with potentially some COO work added in. At the end of the day, Linus is the one with ultimate decision making authority. Terren can’t override him if Linus says “no, we’re not doing that” or “we’re doing this, make it happen.”
@@jjann54321 They don't "want" more, they NEED more. 90% of their content is heavily reliant on releasing it as soon as possible. Product reviews, news, and their podcast content. Also, why throw a jab like that? Far as anyone's concerned LMG properly compensates for people's hard work whenever they need to crunch. And something like this quite literally avoids those extra hours in the first place, so I don't understand what you're getting at in the first place.
Having a dedicated gaming show is amazing bc I don’t watch the full wan shows bc mostly looking for gaming news and having a full show dedicated to it from you guys is amazing.
@@marcogenovesi8570 funny you say that, the company I work for makes the hardware that drives these LED walls. While it may have flaws, it can save time in post production. The whole low light situation depends on what camera settings they use. The panels can be driven over 4000 nits but can the camera handle it and still capture the actor and background? For example, they want to use prime lenses, lower f-stop to get DOF effects.
@@marcogenovesi8570 To each their own. I think it looks much better than all green screen in movies. I watched 1899, fully done with led pannels and I loved the look.
That plastic soap bottle demo was amazing! This thing seems to composite better than most keying filters I've played around with. Can you run old, pre-recorded footage though this thing for the same effect?
The big question is one of compression. If you used hi compression on that raw footage, you will have difficulty using any method to remove the green screen. But if you have raw footage with very little compression, it could work well. High compression with cause a lot of artifacting around the edges.
@@GrapplerBakii-hm6ywnuances in the reflections, changing of the shade of green as the bottle isn’t 100% transparent (look at the liquid and the thicker portions of plastic), and no obvious artifacts are incredibly convincing. It’s not just “removing green” as they say in the video.
@@istoleyourcoffee Its actually not that hard unless you are having a object that actually changes the chroma of the backround, like dark sunglasses for example. For reflections its just a despill. There are techniques to get a fairly good key (about as good as this or better, depending on lighting scenarios). You can simply despill the green, then you remove the original bg from the despill one (BG-DESPILL) that leaves you with only the despill. Desaturate the despill and multiply this over your BG. And at the last step screen you despilled plate over the BG. What would be very mindblowing is if the hardware you deal with multiple colours of greenscreens and seams as in AAA movie production. Would love that.
9:50 omg I've always wanted a solid answer on how NBA and sport streams have sponsors that arnt actually painted on the court while still having players run around and it composites it perfectly.
Cool tech! I'm interested to see where the technology goes in the future. I also find it hilarious how at the end of the video, it says "Thursday 06/28/2023" when today is Thursday the 29th. Somebody in editing must not have been paying attention to the calendar too closely. 😆
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No no, it’s the 6th day of the 28th month. I mean no one would put the month before the day, would they? 🙃
So it’s quite similar to what I did in LIV on my Oculus Quest…no green screen, just a spacious enough clean area, a phone stand with a studio light and my goofy ahh bouncing around in front of my iPhone 12 Mini wearing a stupid white visor. Messed around some to get it working standalone (without the VR grip tracking) and it worked out really well. Would take a lot more choreography to do something on the scale you folks are, but a whole new world of creative possibilities still lay out there for us small time
This type of thing is also done in robotics. My FIRST Robotics Competition team has been working on using a camera to locate markers called AprilTags to find where the robot is located on a field, and using that in the 15 second autonomous period where drivers can't control the robot during matches. (Though we haven't gotten it working yet, still working on the code :P)
Here's a fun trick: if you want to get the intrinsic parameters for your camera/lens combo and they aren't available online, 3D scan some object with the camera (take photos from various angles) and reconstruct it in colmap (set camera model to FULL_OPENCV and make all images use the same camera). Be sure to refine the principle point once the reconstruction is done. You now have extremely precise camera distortion parameters you can apply to any vfx stuff you render to get a perfect match
The rendered green screen backgrounds still look a bit off, but pretty darn good for non-blockbuster movie quality green screening. There's motion blur that doesn't look quite right when moving and lighting issues. But I bet as the editors work with it more it'll get even better!
@10:09 we had photo stations in 2002 here in Switzerland at the Expo.02 that already did that - some of these even didn't have a static background, just the view out. You'd have to move left-to-right and a bit up/down to "wipe" the entire area for it to detect what the background is, but once you did that, the result was awesome. No idea what happened to that tech, but apparently it was not that expensive even back then. Otherwise they couldn't have afforded about two dozen such photo stations to take photos and email them.
It is nice to see some more in-depth chroma-key coverage. Blackmagic Design has been and is constantly pushing production on almost every front forward.
Blackmagic is great kit. I only have a couple of issues with them (Blackmagic) (these are personal peeves and purely opinion): 1) Their website is a pain to use. The support site layout is not intuitive and finding what you are looking for is a guess factor within a given product line (want the documentation applicable to the Pocket Cinema Camera 4K? Scroll down and maybe you will find a doc dedicated to the line or maybe not. What a document applies to often isn’t clear.) 2) This leads me to my second peeve. Their documentation isn’t great. All the docs look the same and cover the same stuff. Anything remotely complicated or advanced isn’t covered and you are left to hang and dig yourself. Want to find out what a DVE is and how to use it? Look no further than the DVE section in the doc where it might tell you what DVE stands for and that you use it for that purpose. And stop. That’s it. No more details, no examples, nada.). 3) Some of their gear makes a lot of noise. We had an ATEM Television Studio HD that sounded like a small jet while running. I looked it up and there is an iFixit article that covers replacing the small fans with matching Noctua fans that cost a small amount of money and effectively making it silent. Recently we needed to upgrade to an ATEM Constellation 2/ME, a much more recent model. And what do I find? Another small jet plane when it is running. Come on Blackmagic. Please spend more than $5 on the fans in these units. A good fan is quieter, more efficient, and more effective for not much more money. Having said all that, we are still going to be using their gear because the competition in that space and at those price ranges is practically non-existent.
13:35 Small note for Android phone tracking. It's best to have a built-in gyroscope (in a lot of flagship phones such as the Galaxy S but not in all android phones), accelerometer (it's in most), and a magnometer (again, in a lot of flagship phones but not all androids) for real world tracking to work properly. If you have an accelerometer it can work ok (drifts off track FAST), accel and mag and it works decently (drifts quickly but not as fast as just an accelerometer), and all 3 works great (still drifts but it is more gradual and takes a while due to how gyroscopes work)
TFO, the French public tv in Ontario has created a Virtual set a while back and actually rents it out. That could be a cool topic to show the technology. They're located in Toronto!!
Even tho, thanks to Captain Disillusion, I already knew (almost) everything about this subject, it's so cool to watch this thing working its magic live while you guys explain it, good luck with your new channel!
I think I've seen your "qr" code looking things earlier this year... If I'm not mistaken, they are called April Tags, developed specifically for fast image recognition/ processing. The competitive robotics program I run a team for just switched to them this year instead of retro reflective tape.
I think the movement definitely has to be worked on to look more convincing. It looked incredible for two seconds but as soon as the camera started doing more complex movements, it looks like the background was really struggling to keep up. Definitely really cool though.
Maybe with the increasing number of videos and projects. They have more than 100 employees and they have recognised it is hard to meet the number of videos per week (25 I think)
@@ParadoxalDream I could see them selling services such as video editing, scripting, labs testing, as they expand to a multi-hundred employee company there will be more employees dedicated to the quality of each production, but once that gets to the point there's enough staff to comfortably handle all current and upcoming LMG channels, they'll have capacity to offer those services, and because of the reputation for great quality they've got it'll be easy to charge a heavy premium. That's almost full contract production house type work, especially if these greenscreen sets get implemented into a workflow efficient enough. Imagine a customer brings a script and some hosts, hops onto a greenscreen, shoots their video, it gets a set background added to it, the full script and storyboard gets sent to an editor as the shoot is being recorded for a near real-time workflow, and an hour after shooting a finished extremely high quality video is produced. Say this gets optimised down to only 4 manhours, say each staff member gets $100 an hour as an exaggeration. A normal production house would probably charge high 4 to 5 figure bill due to the manhours, but LTT get to charge a similar rate but at a much higher profitability. It's got the ability to scale to run in parallel if they're being contracted by other companies Extreme hyper speculation, but a cool future to imagine.
Super cool to see this virtual production setup. One thing, though. The example of the "TikTok" filter using body segmentation to turn the person into a colorful illustration is actually an Instagram filter... that I helped make :P
I can see a future where the LMG studio is just a series of sound and light controlled green screen booths. I watched this video after seeing the first GameLinked episode and was impressed that they splurged on all of the (what I assumed to be Titan Tube) background lights. If the future of LMG is genuinely going to be a larger collection of smaller channels, this approach could make a lot of sense.
Virtual products are so cool! I've been fascinated with it since corridor did it. It's really interesting how it's become so accessible to smaller creatives
I was just working with these devices In a commercial broadcast setting I appreciate the explanation of how It works and now fully understand the dirty and clean terminology they were using.
I wrote software to do this sort of thing decades ago. They had taken movies of a knight in shiny armor in front of a green screen to be sprites in a video game. Obviously I not only had to have it key out the screen, but it also had to get rid of the color in the reflections. Ok, it was a lot simpler than this, and you might have had to have adjustments change per frame, but it did the job.
11:35 I have a friend who works in a multi million dollar studio with giant video wall almost like that. His cousin owns the studio and people rent rooms in it and network. They have worked closely with the Unreal Engine teams to fix issues they've encountered when setting up the motion tracking and all with UE5, the video wall, and cameras. It was insane when he showed me it all. It doesn't fully wrap around the room but it's like half way around the room.
I wasn't completely sold at first because knowing it's a green screen, it isn't too hard to see small details that make that obvious, but the hand sanitizer bottle thing is insane.
Virtual sets are amazing now next to what was available to us when I was in school a decade ago, and that was already really neat. I was crew on a student TV show that used a virtual set by the time I was finished, but it was all set up so that none of us really had to worry about it beyond keeping the on screen talent from getting close enough to the backdrop to cast shadows. Also one advanced production class I had I was offered a script the instructor thought would be a good use of the virtual set and he'd match my team with an architect, but we decided that learning VS stuff on top of the zero gravity stuff in the script would be too much for our shorthanded team.
As a big TV production geek I find this fascinating. It’s amazing how far we’ve come. I remember doing Chromakey as a teenager on Video Toaster in the 90s and this stuff is just wow.
I'm in the broadcasting / tv production industry for almost two decades now and it's really amazing to see what you can achieve on a budget these days. camera equipment 7 figures, posptro equipment 6 figures, recording equipment 5 figures - all gone. Doesn't only makes me happy because now also cinematic enthusiasts also get to make content with a high production value - I'm a line procer so it also makes my job much easier.
The BBC used more-or-less exactly the same system for the set design for the studio during their coverage of the Tokyo 2020 Olympics. There's a video on the BBC Sport RU-vid channel (not sure if it's available internationally - I'd link it here but I'm also not sure if links are permitted, though it's easily found in a search). In their explanation they say it's "the same engine which produces Fortnite", which is obviously Unreal Engine. Instead of using Vive trackers / ARKit, they used infra-red cameras which pointed up at locators on the ceiling. The end result looked really good on live TV. They still use it for the studios during other sports events, so they can easily change the set to match the event. Their video is not as technical as this, but it's still worth a watch if you're interested in this stuff.
