CineMontage

Q3 2022

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movement. For sound in this example, we'll say the performer is wearing an earpiece for playback and singing live into a hand- held mic. That audio (playback/recording) is handled via Pro Tools. In addition, the capture software's internal systems have multitrack capabilities, so audio and visual data are captured simultaneously in sync. Master explained, "We are developing the technology because we simply haven't found any off-the-shelf products that work we l l e n o u g h to d o w h at we n e e d f ro m creative, technical, and even business perspectives. Our relationships with key technology companies such as HTC, Nvidia, Magic Leap, and others help to ensure that our methods will become industry stan- dards for future content creators." The 4D Fün setup can expand to fit more complex productions with multiple per- formers; the number of cameras and types of audio equipment (lav mics, mixing con- soles, etc.) can be added to accommodate the needs of the production. Once the performance is captured, it can be edited with 4D Fün's proprietary software. Unlike editing a 2D video from one perspective, the 4D volumetric capture assets are edited as 3D models. Master said, "You have to think more like an animator sometimes. You have to figure out how to connect separate takes that are slightly different. We use AI tools to help adjust the performance – like, tilting a head a bit more to the right, or holding an arm in position for a beat longer – to blend it together so it looks like it actually happened. We're not reanimating it, per se, just pointing out what we need to move to make a connection blend together." And now to blow your mind. "As we're editing, it's playing in real-time. So as it's playing, I can grab a hand and it just sticks there," stated Master. "It's a little weird, and we're still in the experimental phase with this. It's too early to be a releasable product, but it gives you an idea of where A look at how a performer can be integrated into the 4D Fün platform. 45 S U M M E R Q 3 I S S U E T E C H SEE PAGE 52

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