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Removing a green screen is actually still pretty hard.
移除绿屏实际上是很困难的。
For one, it doesn't work with green characters.
首先，它不适用于绿色的角色。
"Yoda's green."
“尤达是绿色的。”
Removing one solid color - or "keying" can look good, but you still need detail work.
删除一个纯色或“键控”可以令它看起来很棒，但你仍然需要对细节进行调整。
See how these fine branches just disappear.
看看这些细枝是怎么消失的。
The perspective of the background also doesn't naturally change - that has to be designed into the final composite.
背景的透视图也不会自然改变——这必须设计成最终的合成图。
Ditching the greenscreen and projecting or playing the image behind the actors...gets you closer, but not quite there.
抛开绿屏，投射或播放演员背后的画面会让你变得更近，但不是真的在那里。
No!
不！
You can get detail and an illusion of depth and better light.
你可以获得细节、一个很逼真的错觉和更好的光线。
Instead of green screen spilling on the actor, you get blue sky, and red desert actually lighting them.
不是绿屏覆盖在演员身上，照亮他们的是蓝色的天空和红色的沙漠。
That basic technique has worked in everything from 2001 to Oblivion,
从《2001太空漫游》到《遗落战境》，这项基础技术在各个地方都发挥了作用，
but you miss the proper perspective shift, or parallax, in the background, since it's just a video playing on a screen.
但是你遗漏了背景中正确的视角转换，或者视差，因为它只是在屏幕上播放的视频。
The volume tackles some of those problems.
Volume解决了其中一些问题。
You can also adjust light and objects on the fly.
你也可以动态调整灯光和对象。
And the reflections actually work,
而反射实际上起作用了，
because they are reflecting the other screens instead of green screen - which was especially important for Mando - the show's main character.
因为他们反映的是其他屏幕，而不是绿屏——这一点对主角曼达洛人尤其重要。
"His whole armor was reflective from head to toe, whether it be his pauldron or his helmet, it was just like, you can't avoid seeing things being reflected.
“他的整个盔甲、从头到脚都是反光的，无论是他的护肩甲还是他的头盔，就像是你没法避免看到东西被反射。
So creating this volume where we literally could close up the whole thing into one giant circle and have an environment all across these screens.
所以打造Volume之后，我们就可以把整体封闭成一个巨大的圆圈，在不同的屏幕之间创造一个环境。
We were getting exactly what we wanted to out of his helmet."
通过他的头盔，我们得到了想要的东西。”
The brain bar could focus on details that made the final product as seamless as possible - which was still a lot of work.
智囊团专注于使最终作品尽可能无缝衔接的细节——工作量依然很大。
"I would go in and whether it be a rock or a barrel or something, I would try to color correct it to match what was on the set.
“我会进去，不管是一块石头还是一个桶什么的，我都会试着对其颜色进行修正，使其和片场上的颜色相匹配。
But where color correction was more important was when we're dealing with the bigger parts of the set.
但对于颜色校正而言，我们在处理较大的部分时会更加重要。
So whether that be the dirt on the ground versus dirt in our digital scene.
它可能是地面上的脏东西，也可能是我们数字场景中的脏东西。
And the lighting from the scene affected the dirt on the ground.
现场的灯光会对地面上的脏东西造成影响。
And we would have to like, because we had a blue sky and suddenly now there's all this blue on this rock.
事情可能会这样，我们有一个蓝色天空的场景，突然之间，岩石上会出现蓝色的画面。
We would have to color correct the ground and the rock to also have just as much blue as the blue that we just introduced.
我们必须对地面和岩石进行颜色校正，使其与刚刚的蓝色一样多。
Before they started shooting, I would have. Five to 10 minutes to have that all lined up and ready to go."
在他们开始拍摄之前，我可以用5到10分钟就可以把这些都排好，一切就绪。”
I can imagine that, that there are some creative breakthroughs that this makes possible for, for your job.
我可以想象到，会有一些创造性的突破，能做好你的工作。
I'm wondering what would those be with this technology?
我想知道这项技术会是什么？
"I'll be honest. I would not be mad if I never have to do a green screen keying or extraction ever again.
“老实说，如果我再也不用做绿屏键控或提取的话，我是不会生气的。
Now I get to be a person who's doing the shot and I can help basically finalize a shot in camera.
现在我可以成为一个搞拍摄的人，我可以帮助在镜头前完成拍摄，
It just makes it a more cohesive filmmaking process, and this puts us right in there next to everyone else who's creating these shows or films."
这使得每个人都能参与到这个节目或电影的制作过程中来。”
