I'm here today representing a team of artists and technologists and filmmakers that worked together on a remarkable film project for the last four years. And along the way they created a breakthrough in computer visualization.
今天我代表一群藝術家、技術人員、電影製作團隊 過去四年間,我們共同完成了一項非凡的電影工程 過程中也突破了電影繪圖技術
So I want to show you a clip of the film now. Hopefully it won't stutter. And if we did our jobs well, you won't know that we were even involved.
我先讓大家看個電影片段 希望播放時不會卡住 如果我們做好工作的話,你們不會看出我們動了什麼手腳
Voice (Video): I don't know how it's possible ... but you seem to have more hair.
影片: 我不知道這是怎麼回事 但你頭髮好像變多了
Brad Pitt: What if I told you that I wasn't getting older ... but I was getting younger than everybody else?
班傑明巴頓: 如果我告訴你,我沒有越來越老 反而是越來越年輕了呢?
I was born with some form of disease.
我出生就有一種病
Voice: What kind of disease?
什麼樣的病?
BP: I was born old.
我出生就是老人的樣子
Man: I'm sorry.
我很遺憾
BP: No need to be. There's nothing wrong with old age.
不用遺憾,老又沒有錯
Girl: Are you sick?
你生病了嗎?
BP: I heard momma and Tizzy whisper, and they said I was gonna die soon. But ... maybe not.
我聽到媽和Tizzy講悄悄話 說我活不了多久 但... 也許他們說錯了
Girl: You're different than anybody I've ever met.
我沒見過像你這樣的人
BB: There were many changes ... some you could see, some you couldn't. Hair started growing in all sorts of places, along with other things. I felt pretty good, considering.
我身體開始變化 有些看的見,有些則不行 體毛開始到處長 還有一些其他東西 其實這感覺還不賴
Ed Ulbrich: That was a clip from "The Curious Case of Benjamin Button." Many of you, maybe you've seen it or you've heard of the story, but what you might not know is that for nearly the first hour of the film, the main character, Benjamin Button, who's played by Brad Pitt, is completely computer-generated from the neck up. Now, there's no use of prosthetic makeup or photography of Brad superimposed over another actor's body. We've created a completely digital human head.
Ed Ulbrich: 這是電影"班傑明的奇幻旅程"片段 相信很多人已經看過、或聽過這故事 但你也許不知道 電影前將近一小時 由布萊德彼特飾演的主角 班傑明巴頓 頸部以上完全是電腦合成的 沒有靠任何化妝技術 也不是布萊德的臉,蓋過另一個演員的身體 我們全以數位方式製造出人頭
So I'd like to start with a little bit of history on the project. This is based on an F. Scott Fitzgerald short story. It's about a man who's born old and lives his life in reverse. Now, this movie has floated around Hollywood for well over half a century, and we first got involved with the project in the early '90s, with Ron Howard as the director. We took a lot of meetings and we seriously considered it. But at the time we had to throw in the towel. It was deemed impossible. It was beyond the technology of the day to depict a man aging backwards. The human form, in particular the human head, has been considered the Holy Grail of our industry.
我先稍微說一下製作起源 電影改編自史考特.費滋傑羅的短篇故事 關於一個出生時80歲的男人,越活越年輕的故事 這部電影在好萊塢就謠傳了很久 超過50年有吧 我們第一次接觸這計劃是在1990年初 導演是朗霍華 我們討論了很久,認真考慮要接 到後來真的必須放棄的時候 這已經被認為是不可能的任務 當時的科技無法刻畫出返老還童的樣子 整個人,特別是頭的部份 在我們這一行,稱作是聖杯傳奇
The project came back to us about a decade later, and this time with a director named David Fincher. Now, Fincher is an interesting guy. David is fearless of technology, and he is absolutely tenacious. And David won't take "no." And David believed, like we do in the visual effects industry, that anything is possible as long as you have enough time, resources and, of course, money. And so David had an interesting take on the film, and he threw a challenge at us. He wanted the main character of the film to be played from the cradle to the grave by one actor. It happened to be this guy.
約十年後又有人提起這計畫 這次的導演是大衛芬奇 芬奇真的是怪咖一個 一點都不怕技術上困難 就是堅持一定要做 沒有人能拒絕他 大衛、和我們做特效的持同樣看法 沒有什麼是不可能的 只要有足夠的時間、資源,當然還有資金 大衛對這部電影有獨特的想法 丟給我們這項考驗 他要這部電影的主角,從出生到死亡 都要是同一個人來演 也就是這個人
We went through a process of elimination and a process of discovery with David, and we ruled out, of course, swapping actors. That was one idea: that we would have different actors, and we would hand off from actor to actor.
我們經過了一連串淘汰、一連串新發現 由於大衛堅持,我們排除使用不同演員的方法 本來是想利用不同演員 分別演出不同階段的人生
We even ruled out the idea of using makeup. We realized that prosthetic makeup just wouldn't hold up, particularly in close-up. And makeup is an additive process. You have to build the face up. And David wanted to carve deeply into Brad's face to bring the aging to this character. He needed to be a very sympathetic character. So we decided to cast a series of little people that would play the different bodies of Benjamin at the different increments of his life and that we would in fact create a computer-generated version of Brad's head, aged to appear as Benjamin, and attach that to the body of the real actor. Sounded great.
我們也排除利用化妝 因為用石膏來弄根本做不出來 尤其是近拍的時候 況且也要先做出一張臉才能化 大衛想要在布萊德彼特的臉上刻畫出皺紋 來表現出這角色的年老樣貌 他必須是個能讓人感同身受的角色 所以我們決定選出一批小人物 來演出班傑明在不同人生階段 的各種身體樣貌 然後我們利用電腦合成出布萊德的頭 弄出不同年紀的班傑明 在接上其他演員的身體 聽起來很可行
Of course, this was the Holy Grail of our industry, and the fact that this guy is a global icon didn't help either, because I'm sure if any of you ever stand in line at the grocery store, you know -- we see his face constantly. So there really was no tolerable margin of error. There were two studios involved: Warner Brothers and Paramount. And they both believed this would make an amazing film, of course, but it was a very high-risk proposition. There was lots of money and reputations at stake. But we believed that we had a very solid methodology that might work ...
當然,這可是我們這行的聖杯傳奇 加上這傢伙沒有人不認識 只要去過雜貨店一定看過他的臉 這可不是什麼好處 正因如此我們不能出錯 過程中由兩個製片公司一起合作: 華納兄弟和派拉蒙 當然,他們都深信這會是一部很讚的電影 無庸置疑也是很冒險的計劃 攸關大把金錢與名聲 我們認為我們有很可靠的方法 有可能成功的
But despite our verbal assurances, they wanted some proof. And so, in 2004, they commissioned us to do a screen test of Benjamin. And we did it in about five weeks. But we used lots of cheats and shortcuts. We basically put something together to get through the meeting. I'll roll that for you now. This was the first test for Benjamin Button. And in here, you can see, that's a computer-generated head -- pretty good -- attached to the body of an actor. And it worked. And it gave the studio great relief. After many years of starts and stops on this project, and making that tough decision, they finally decided to greenlight the movie. And I can remember, actually, when I got the phone call to congratulate us, to say the movie was a go, I actually threw up. (Laughter) You know, this is some tough stuff.
但我們的口頭保證不夠 他們要看到證據 所以在2004年,他們要求看到班傑明的試鏡畫面 我們做了約五週 用了些旁門左道 基本上我們東加西減地混過會談 現在放給各位看。這是第一個班傑明巴頓 在這裡可以看出是電腦合成出來的頭 其實不錯,可以接到演員的身體 也算成功,製片那邊終於放下大石 經過多年走走停停 作出一些困難的決定 他們終於同意了 我還記得,當我接到電話 恭喜我們電影終於可以開拍 我還吐了 (笑聲) 這是艱難的工作
So we started to have early team meetings, and we got everybody together, and it was really more like therapy in the beginning, convincing each other and reassuring each other that we could actually undertake this. We had to hold up an hour of a movie with a character. And it's not a special effects film; it has to be a man. We really felt like we were in a -- kind of a 12-step program. And of course, the first step is: admit you've got a problem. (Laughter) So we had a big problem: we didn't know how we were going to do this. But we did know one thing. Being from the visual effects industry, we, with David, believed that we now had enough time, enough resources, and, God, we hoped we had enough money. And we had enough passion to will the processes and technology into existence.
我們開始初期的團隊會議 集合大家 剛開始有點像在諮商治療 告訴彼此,我們一定做得到的 要能撐過電影一個小時 而這不是特效片,必須用真人 這真的感覺像是戒酒那種12步計畫 當然第一步就是: 承認問題的存在 我們問題可大了 不曉得到底怎麼開始 但我們知道 作視覺特效這行 我們和大衛相信的,只有足夠時間 足夠資源,天啊,希望我們有足夠資金 我們也有足夠的熱誠,成功的決心
So, when you're faced with something like that, of course you've got to break it down. You take the big problem and you break it down into smaller pieces and you start to attack that. So we had three main areas that we had to focus on. We needed to make Brad look a lot older -- needed to age him 45 years or so. And we also needed to make sure that we could take Brad's idiosyncrasies, his little tics, the little subtleties that make him who he is and have that translate through our process so that it appears in Benjamin on the screen.
當你面對這樣的情況 當然得先開始分析問題 你面前有個大問題,把它拆成小問題 個個攻破 主要集中在三個點 我們要布萊德看起來很老 我們要幫他加個45歲左右 我們得確定它有布萊德的臉部特徵 臉部肌肉的抽動,各種他特有的細微變化 經過我們的製作過程 讓班傑明能夠呈現於大螢幕
And we also needed to create a character that could hold up under, really, all conditions. He needed to be able to walk in broad daylight, at nighttime, under candlelight, he had to hold an extreme close-up, he had to deliver dialogue, he had to be able to run, he had to be able to sweat, he had to be able to take a bath, to cry, he even had to throw up. Not all at the same time -- but he had to, you know, do all of those things.
我們也需要創造一個 能夠做出每件事的角色 他要能走在陽光下、 夜晚、燭光下 近拍不能露餡 要能唸台詞 要能跑、能流汗 能洗澡、能哭 甚至要能嘔吐 當然不是同時 但他要能做到每件事
And the work had to hold up for almost the first hour of the movie. We did about 325 shots. So we needed a system that would allow Benjamin to do everything a human being can do. And we realized that there was a giant chasm between the state of the art of technology in 2004 and where we needed it to be.
而且要能撐住電影前一小時 我們拍了325個景 我們需要一個系統 讓班傑明做出人類能做的所有事 我們知道2004年當時最先進的技術 和我們所想要的技術 仍有很大一段距離
So we focused on motion capture. I'm sure many of you have seen motion capture. The state of the art at the time was something called marker-based motion capture. I'll give you an example here. It's basically the idea of, you wear a leotard, and they put some reflective markers on your body, and instead of using cameras, there're infrared sensors around a volume, and those infrared sensors track the three-dimensional position of those markers in real time. And then animators can take the data of the motion of those markers and apply them to a computer-generated character. You can see the computer characters on the right are having the same complex motion as the dancers.
所以我們專注於動態捕捉技術 我相信大部分的人都看過動態捕捉 當時最先進的技術是 利用標記點的動態捕捉 給大家看個例子 主要就是,穿著緊身衣 在身上標出一些反光標記點 物體四周放置紅外線感應 而不是攝影機 這些紅外線感應,會追蹤標記點 當時的3D位置 接著動畫師把標記點的數據 輸入到電腦做出來的角色上 可以看到右邊的動畫角色 也能做出和舞者一樣的複雜動作
But we also looked at numbers of other films at the time that were using facial marker tracking, and that's the idea of putting markers on the human face and doing the same process. And as you can see, it gives you a pretty crappy performance. That's not terribly compelling. And what we realized was that what we needed was the information that was going on between the markers. We needed the subtleties of the skin. We needed to see skin moving over muscle moving over bone. We needed creases and dimples and wrinkles and all of those things.
我們也看了一些 使用臉部標記點的電影 就是把點標記在臉上 過程相同 可以看到,感覺蠻假的 這樣可沒法說服別人 我們了解到 我們所需要的 是點與點之間的數據 我們要皮膚的微妙變化 要能看到骨頭到肌肉到皮膚的變化 需要皺紋、酒窩、細紋等等
Our first revelation was to completely abort and walk away from the technology of the day, the status quo, the state of the art. So we aborted using motion capture. And we were now well out of our comfort zone, and in uncharted territory. So we were left with this idea that we ended up calling "technology stew." We started to look out in other fields. The idea was that we were going to find nuggets or gems of technology that come from other industries like medical imaging, the video game space, and re-appropriate them. And we had to create kind of a sauce. And the sauce was code in software that we'd written to allow these disparate pieces of technology to come together and work as one.
我們了解現在需要完全放棄 當時最先進的技術 我們放棄使用動態捕捉 丟下了自己所熟悉的技術 到了陌生的領域 我們有了一種想法 後來我們稱為科技大雜燴 我們開始往別的領域找 目的是要尋找出 其他科技領域像是醫學影像 或電玩空間技術 之中的稀世珍品 拿來重新研究 雜燴也需要點醬料 就是軟體程式碼 讓這些不同的領域的技術 能整合在一起
Initially, we came across some remarkable research done by a gentleman named Dr. Paul Ekman in the early '70s. He believed that he could, in fact, catalog the human face. And he came up with this idea of Facial Action Coding System, or FACS. He believed that there were 70 basic poses or shapes of the human face, and that those basic poses or shapes of the face can be combined to create infinite possibilities of everything the human face is capable of doing. And of course, these transcend age, race, culture, gender. So this became the foundation of our research as we went forward.
起先,我們找到一項傑出的研究 是70年代初期,Paul Ekman博士提出的 他相信他有辦法 將人臉目錄化 他想到使用臉部表情辨識系統(FACS) 他相信人的臉型 有70種基本表情動作 只要把基本動作或臉型 結合起來就能創造出 人臉做的出的無限表情 不論年齡、種族、文化、性別,這70種動作都是一樣的 這變成我們往後的基礎點
And then we came across some remarkable technology called Contour. And here you can see a subject having phosphorus makeup stippled on her face. And now what we're looking at is really creating a surface capture as opposed to a marker capture. The subject stands in front of a computer array of cameras, and those cameras can, frame-by-frame, reconstruct the geometry of exactly what the subject's doing at the moment. So, effectively, you get 3D data in real time of the subject. And if you look in a comparison, on the left, we see what volumetric data gives us and on the right you see what markers give us. So, clearly, we were in a substantially better place for this. But these were the early days of this technology, and it wasn't really proven yet. We measure complexity and fidelity of data in terms of polygonal count. And so, on the left, we were seeing 100,000 polygons. We could go up into the millions of polygons. It seemed to be infinite.
之後我們發現了項非凡的技術 叫做輪廓提取(Contour) 現在看到的,是在人臉上 輕輕塗上磷 接下來是表面捕捉 正好與點的捕捉相反 接著站在一排電腦攝影機前面 攝影機就會一景一景的 重製出人當時的動作 立刻就能得到3D數據 各位可以看看比較 左邊是體積數據的結果 右邊是標記點的 可以清楚看出,我們有很大的進步 但這還是初期的結果 還沒完全成功 但我們依據多邊形數量來計算 數據的複雜性和準確性 左邊可以看到有十萬的多邊形 還可以做到幾十萬個 甚至無限多
This was when we had our "Aha!" This was the breakthrough. This is when we're like, "OK, we're going to be OK, This is actually going to work." And the "Aha!" was, what if we could take Brad Pitt, and we could put Brad in this device, and use this Contour process, and we could stipple on this phosphorescent makeup and put him under the black lights, and we could, in fact, scan him in real time performing Ekman's FACS poses. Right? So, effectively, we ended up with a 3D database of everything Brad Pitt's face is capable of doing. (Laughter)
這就是我們"啊哈"的時候 這是個大突破 這時我們才告訴自己 一切都會沒事 "啊哈"就是,我們或許可以請布萊德彼特 使用這個裝置 再搭配輪廓提取 塗上發磷光的顏料 用螢光燈照射 拍攝Ekman的FACS臉部動作時 就能即時掃描出來 對吧,所以最後 我們有了所有布萊德彼特的臉 能做的所有表情 (笑聲)
From there, we actually carved up those faces into smaller pieces and components of his face. So we ended up with literally thousands and thousands and thousands of shapes, a complete database of all possibilities that his face is capable of doing.
之後,將他的這些臉 劃分成小塊小塊的 最後有了成千上萬的形狀 就是這張臉可以做的 所有表情
Now, that's great, except we had him at age 44. We need to put another 40 years on him at this point. We brought in Rick Baker, and Rick is one of the great makeup and special effects gurus of our industry. And we also brought in a gentleman named Kazu Tsuji, and Kazu Tsuji is one of the great photorealist sculptors of our time. And we commissioned them to make a maquette, or a bust, of Benjamin. So, in the spirit of "The Great Unveiling" -- I had to do this -- I had to unveil something. So this is Ben 80. We created three of these: there's Ben 80, there's Ben 70, there's Ben 60. And this really became the template for moving forward.
看來很不錯,但我們只有44歲的他 現在我們需要的是40年後的他 我們找來了Rick Baker Rick是我們這行的化妝、特效 大師之一 我們也請來一位Kazu Tsuji先生 Kazu Tsuji是位很厲害的超現實雕刻家 我們請他做班傑明的雕塑模型 也可以說半身像 本著盛大揭幕的精神 我一定要揭露一下 這是80歲的班傑明 我們製作了三個 80歲、70歲、60歲 這就是之後我們依照的模板
Now, this was made from a life cast of Brad. So, in fact, anatomically, it is correct. The eyes, the jaw, the teeth: everything is in perfect alignment with what the real guy has. We have these maquettes scanned into the computer at very high resolution -- enormous polygonal count. And so now we had three age increments of Benjamin in the computer.
這是以布萊德的模樣刻的 所以當然是正確的樣貌 眼睛、下巴、牙齒... 每一樣都是真人比例 我們把雕塑圖掃瞄到電腦 使用超高解析 很多的多邊形 現在電腦裡有了三種班傑明 年老的樣子
But we needed to get a database of him doing more than that. We went through this process, then, called retargeting. This is Brad doing one of the Ekman FACS poses. And here's the resulting data that comes from that, the model that comes from that. Retargeting is the process of transposing that data onto another model. And because the life cast, or the bust -- the maquette -- of Benjamin was made from Brad, we could transpose the data of Brad at 44 onto Brad at 87. So now, we had a 3D database of everything Brad Pitt's face can do at age 87, in his 70s and in his 60s.
但我們需要更多的數據 接下來的過程,叫做重定向 這是布萊德做的Ekman FACS 這是獲得的數據 弄出來的樣子 重定向就是將這些數據轉移到 另一個模型上 利用依照布萊德做出的 班傑明的半身像 我們就能把44歲布萊德的數據轉移 到87歲的布萊德 所以我們有了布萊德彼特 87、70、60歲的所有臉部3D資料
Next we had to go into the shooting process. So while all that's going on, we're down in New Orleans and locations around the world. And we shot our body actors, and we shot them wearing blue hoods. So these are the gentleman who played Benjamin. And the blue hoods helped us with two things: one, we could easily erase their heads; and we also put tracking markers on their heads so we could recreate the camera motion and the lens optics from the set.
接下來就是進行拍攝了 同時間 我們去了紐奧良和其他各地 我們先拍了身體演員 讓他們穿了藍色頭套 這位先生飾演班傑明 藍色頭套的功用是 第一,可以輕易消除他們的頭 還有,可以直接標上追蹤點 以便讓我們能在片廠重製 攝影動作和鏡片光學
But now we needed to get Brad's performance to drive our virtual Benjamin. And so we edited the footage that was shot on location with the rest of the cast and the body actors and about six months later we brought Brad onto a sound stage in Los Angeles and he watched on the screen. His job, then, was to become Benjamin. And so we looped the scenes. He watched again and again. We encouraged him to improvise. And he took Benjamin into interesting and unusual places that we didn't think he was going to go. We shot him with four HD cameras so we'd get multiple views of him and then David would choose the take of Brad being Benjamin that he thought best matched the footage with the rest of the cast.
現在需要拍布萊德的表演,來結合虛擬的班傑明 我們重新編輯了實體拍攝的 其他演員片段 約半年後 布萊德來到了洛杉磯片廠 他看了已經拍好的畫面 他的工作就是變成班傑明 我們重複放了片段 他看了又看 我們鼓勵他即興唸台詞 他也把班傑明演的有趣獨特 出乎我們料想 我們用四台高清攝影機拍攝 為了取得各種角度的畫面 然後大衛會選最符合該片段 的臉部角度 以搭配身體部分
From there we went into a process called image analysis. And so here, you can see again, the chosen take. And you are seeing, now, that data being transposed on to Ben 87. And so, what's interesting about this is we used something called image analysis, which is taking timings from different components of Benjamin's face. And so we could choose, say, his left eyebrow. And the software would tell us that, well, in frame 14 the left eyebrow begins to move from here to here, and it concludes moving in frame 32. And so we could choose numbers of positions on the face to pull that data from.
再來的過程是影像分析 可以看到,選好的片段 資料轉換成班傑明87歲 最有趣的就是 我們使用畫面分析 擷取各時間點班傑明臉部的每個部分 所以我們可以隨便選,例如他的左眉 軟體就會告訴我們 在第14景,左眉從這裡移到這裡 然後在第32景停止 可以隨便取得任何一個表情的 臉部數據
And then, the sauce I talked about with our technology stew -- that secret sauce was, effectively, software that allowed us to match the performance footage of Brad in live action with our database of aged Benjamin, the FACS shapes that we had. On a frame-by-frame basis, we could actually reconstruct a 3D head that exactly matched the performance of Brad.
再來就是剛剛提過,科技大雜燴的醬料 獨門配方就是,一個軟體能讓我們 用布萊德的表演 配上電腦裡班傑明年老的 FACS數據 有了各景的基礎 我們可以重建出完全符合 布萊德演出的3D頭
So this was how the finished shot appeared in the film. And here you can see the body actor. And then this is what we called the "dead head," no reference to Jerry Garcia.
這就是電影最終畫面 可以看到身體演員 這個我們稱呼為死人頭,跟Jerry Garcia無關
And then here's the reconstructed performance now with the timings of the performance. And then, again, the final shot. It was a long process. (Applause)
這個是重建的演出 配上正確的時間點 最後,完成的畫面 是很冗長的過程 (掌聲)
The next section here, I'm going to just blast through this, because we could do a whole TEDTalk on the next several slides.
下一段我只能稍微帶過 要細說可能需要再做一次TEDTalk
We had to create a lighting system. So really, a big part of our processes was creating a lighting environment for every single location that Benjamin had to appear so that we could put Ben's head into any scene and it would exactly match the lighting that's on the other actors in the real world.
我們必須創造出燈光系統 這部分最難的是,創造班傑明每一場景 的各種燈光環境 到時候把頭接上才不會怪怪的 而且才能完美搭配真實演員的 身體演出部份
We also had to create an eye system. We found the old adage, you know, "The eyes are the window to the soul," absolutely true. So the key here was to keep everybody looking in Ben's eyes. And if you could feel the warmth, and feel the humanity, and feel his intent coming through the eyes, then we would succeed. So we had one person focused on the eye system for almost two full years.
我們也需要創造眼睛系統 因為俗話說的對 "眼睛是靈魂之窗" 真是一點也沒錯 關鍵就是,要讓大家能在班傑明眼中 感覺的到溫暖,感覺的到人性 從眼中感受的到熱誠 這樣就是成功了 我們有個同仁專門弄眼睛系統 快兩年的時間
We also had to create a mouth system. We worked from dental molds of Brad. We had to age the teeth over time.
再來是嘴巴系統 我們從布萊德的齒模下手 再來弄不同年紀的牙齒
We also had to create an articulating tongue that allowed him to enunciate his words. There was a whole system written in software to articulate the tongue. We had one person devoted to the tongue for about nine months. He was very popular.
還有要個能夠清晰發音的舌頭 有個完整程式負責清晰地發音 有位同仁花九個月的時間,致力於舌頭 他很受歡迎
Skin displacement: another big deal. The skin had to be absolutely accurate. He's also in an old age home, he's in a nursing home around other old people, so he had to look exactly the same as the others. So, lots of work on skin deformation, you can see in some of these cases it works, in some cases it looks bad. This is a very, very, very early test in our process. So, effectively we created a digital puppet that Brad Pitt could operate with his own face. There were no animators necessary to come in and interpret behavior or enhance his performance.
皮膚替換: 另一個挑戰 皮膚必須完全精確 他待過安養院、療養院 身邊有其他老人 所以他必須看起來跟其他人一樣 老化皮膚是項大工程 可以看到有時候成功 有時候失敗 這是我們非常早期的成果 蠻成功的做出數位人偶 讓布萊德彼特可以自己控制 不需要動畫師來製作 或加強表演
There was something that we encountered, though, that we ended up calling "the digital Botox effect." So, as things went through this process, Fincher would always say, "It sandblasts the edges off of the performance." And thing our process and the technology couldn't do, is they couldn't understand intent, the intent of the actor. So it sees a smile as a smile. It doesn't recognize an ironic smile, or a happy smile, or a frustrated smile. So it did take humans to kind of push it one way or another.
我們還經歷了一個過程 我們稱作是數位肉毒桿菌 在過程中 芬奇說,這修飾了最後演出 製作過程與技術唯一做不到的 是無法理解意圖 演員的意圖 微笑就是微笑 它不會分辨是諷刺的笑、或開心的笑 或挫折的笑 沒辦法理解其中的情緒意思
But we ended up calling the entire process and all the technology "emotion capture," as opposed to just motion capture. Take another look.
我們最後稱呼這個過程 情緒捕捉技術 與動態捕捉相反 再看一次
Brad Pitt: Well, I heard momma and Tizzy whisper, and they said I was gonna die soon, but ... maybe not.
布萊德彼特: 我聽到媽和Tizzy講悄悄話 說我活不了多久 但是... 也許他們說錯了
EU: That's how to create a digital human in 18 minutes. (Applause)
這就是18分鐘內解釋完 (掌聲)
A couple of quick factoids; it really took 155 people over two years, and we didn't even talk about 60 hairstyles and an all-digital haircut. But, that is Benjamin. Thank you.
再補件有趣的事 整個過程大概花了155人兩年的時間 我們甚至沒聊到60個髮型和數位剪髮 但,這就是大家的班傑明,謝謝