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VP01-What is Virtual Production
Welcome to the disguise Virtual Production course.
欢迎来到Disguise虚拟制片课程
This course will cover a range of subjects related to all of the system components needed for an xR system in order to prepare you for the xR workflows course.
It is recommended that you complete Fundamental Training before starting this course in order to learn the essentials of working with disguise.
本课程将涵盖一系列关于XR系统所需的所有系统组件，以便你为XR工作流课程做好准备
建议你在开始本课程之前完成基础训练课程，以学习使用Disguise工作的基础知识
目录
VP01-What is Virtual Production
1-4 What is Virtual Production?
Motion Capture aka MoCap 动作捕捉，也叫做“动捕”
Back to Virtual Production 回到虚拟制片
What are some of the advantages of a virtual production workflow?虚拟制片工作流有哪些优势
disguise xR: a new workflow for Virtual Production 一个新的虚拟制片工作流
disguise: Fully integrated toolkit for a variety of workflows
3-4 Virtual Production Team Roles
For the xR stage during production you also need:对于制片过程中的xR舞台，你还需要：
New standards for Team Communication and Collaboration 团队沟通和协作的新标准
Coming up next -System Setup 接下来的内容 - 系统设置
1-4 What is Virtual Production?
This first lesson will introduce you to the techniques and terminology common in virtual production.
Virtual production is a broad term that is applied to a variety of digital 2D and 3D video and filmmaking workflows. For this course we further define ‘virtual production’ as in-camera visual FX being recorded in real-time during production versus visual effects added in post.
虚拟制片Virtual Production是一个宽泛的术语，适用于各种数字2D和3D视频及电影制作工作流程。在本课程中，我们进一步将“虚拟制片”定义为在制片过程中实时录制的相机内in-camera视觉效果与后期添加的视觉效果。
"Virtual Production combines virtual and augmented reality with CGI and game-engine technologies to enable production crews to see their scenes unfold as they are composed and captured on set."
“虚拟制片将虚拟现实和增强现实与CGI和游戏引擎技术相结合，使制片人员能够在场景的创作和拍摄时看到场景在眼前展开。”
Unreal Virtual Production Field Guide
While you can see there are many ways to describe what it is, the term ‘Virtual Production’ generally refers to a composition in camera created by combining real-world elements with digital virtual elements, all interacting in real-time in the same performance space.
虽然您可以看到有许多方法来描述它是什么，但术语“虚拟制片”通常指的是通过将现实世界元素与数字虚拟元素相结合并且在相机中进行创建的一个合成，所有这些元素都在同一表演空间中实时交互。
The term "Virtual Production” is often used to describe any type of video or filmmaking workflow that uses one or more of these elements in any combination:
术语“虚拟制作”通常用于描述任何类型的视频或电影制作工作流程，这些工作流程以任意组合方式使用一个或多个以下元素:
Green Screen is an common type of virtual product workflow. It involves filming a performer in front of a green or other colour screen, and then removing the colour in post-production and the process called "keying". Then replacing that colour with a digital environment while recording or broadcasting.
Motion Capture aka MoCap 动作捕捉，也叫做“动捕”
MoCap refers to motion capture, and is the process of recording the movement of objects or people. MoCap suits have been use in virtual production such as avatar as well as several remakes Planet of the Apes
Pre-visualisation generally refers to the process of creating the model of virtual environment for the purpose of be enable to see the envoronment including the set, camera angles, lighting, and other elements before the production stage begins
预可视化通常是指在制作阶段开始之前，为了能够看到包括布景、摄像机角度、照明和其他元素在内的环境而创建虚拟环境模型的过程
图片文字：
AR-Augmented Reality
See virtual digital objects overlaid onto the real-world environment, through a viewport such as a camera or screen
音频：
AR is an acronym name for Augmented Reality. An AR element is a virtual element rendered to the foreground of the camera on to a plan that we refer to as the front plate
AR是增强现实的缩写名称。AR元素是一个虚拟元素，它被渲染到摄像机的前景中，该前景的位置叫做前景层front plate
音频：
Since AR elements are rendered on top of all other XR elements, they are not typically visible to the performer in the space without a local confidence monitor. But we will discuss how the XR workflow within disguise has change this later in this course
由于增强现实元素呈现在所有其他xR现实元素之上，如果没有本地监视器，它们通常对现实空间中的表演者不可见。但是我们将在本课程的后面讨论Disguise下的XR工作流是如何改变这一点的
音频：
VR is an acronym name for Virtual Reality, this term usually refers to the concept wear in a headset or VR glasses to enter a fully Immersive virtual 3D world
VR是虚拟现实的缩写名称，这个术语通常指戴上头显或VR眼镜进入完全沉浸式虚拟3D世界的概念
音频：
disguise includes support for mulitpul VR headset platforms make it a great tool for pre-visuallizing the virtual world of a set for a film or broadcast
Disguise包括了对多种VR头显平台的支持，使其成为一个很好的工具，用于预演电影或广播场景的虚拟世界
音频：
MR is an acronym name for Mixed Reality.
MR是混合现实的缩写名称。
音频：
MR combines real-world performers and objects. AR elements mapped to the camera front plate, and content on the LED screens mapps to the camera's back plate to create a single composition on camera.
MR结合了现实世界的表演者和物体。增强现实元素映射到相机前景层，LED屏幕上的内容映射到相机后景层，在相机上创建一个单独且统一的合成画面。
音频：
XR is an acronym name for Extened Reality. It is composite of the workflows of AR and MR and is refer to in this course as in-camera visual effects. Not only does XR allow disguise AR elements to be rendered in real-time, alone with content plug to the LED set, it also allows with the creation of virtual set extension in real-time beyond the boarders of the physical LED display to create a fully immersive 360° environment for the viewer. This powerful combination of workflows is key to allowing for accurate real-time interaction with environment by the talent.
XR是扩展现实的缩写名称。它由AR和MR的工作流组成，在本课程中被称为相机内in-camera视觉效果。XR不仅允许实时渲染Disguise的增强现实元素，只需将内容置入到LED片场中，还允许在物理LED显示器的边界之外实时创建虚拟场景的扩展，为观众创建360度完全沉浸式环境。这种强大的工作流组合是允许艺人与环境进行准确实时交互的关键。
Back to Virtual Production 回到虚拟制片
In a recent article published by Dandelion + Burdock, Nils Porrmann describes the 3D virtual production workflow as:
最近由Dandelion + Burdock, Nils Porrmann发表的一篇文章将3D虚拟制片描述为：
...production solutions that integrate real and virtual worlds, most commonly combining human performance with virtual set extensions, rendered for at least one camera in real time.
...整合真实和虚拟世界的制片解决方案，最常见的是将人类表演与虚拟场景的扩展相结合，为至少一台摄像机进行实时渲染。
Nils Porrmann, Mixed Reality Studios: A Primer for Producers
What are some of the advantages of a virtual production workflow?虚拟制片工作流有哪些优势
音频：
a typical video or film shot involves a lot of moving parts, from the planning the people the locations filming in shot and setting up re-takes to the time and budget needed to make it all happen. And that's not the biggest part of the process for standard film or video shot. All of this leads up to a typically lengthy post-production process where all of the footage is edited together into the final product. It is not until the editor has begun this part of the process that the director and director photography can began to see the puzzel coming together. And if anything needs to be re-shot or changed then it requires more time, money and effort to make it happened
一个典型的视频或电影拍摄包括许多活动部分，从计划拍摄人员、拍摄地点、设置重新拍摄到实现这一切所需的时间和预算。这不是标准电影或视频拍摄过程中最重要的部分。所有这些都导致了一个典型的冗长的后期制作过程，所有的素材都被放到最终制作中进行编辑。直到编辑人员开始最后这一步，导演和导演摄影才能开始看到这些拼图碎片拼合到一起。如果有什么东西需要重新拍摄或改变，那就需要更多的时间、金钱和人力来实现它
音频：
Using a virtual production Workflow on the other hand, shifts majority of workload to the pre-production stage. A fewer shots need to be recaptured as a result, because it removes the most of the guess work from the creative decisions that the director needs to make as each shot is captured. The virtual production process allows the team to see the live action happening in the same environment and at the same time as the virtual events. This allows a better collaboration between the creative on the project which helps to ensure the time spend on each shot looks the way everyone had in mind from the begining. There can be some cost savings to a virtual production workflow as well by using digital backgrounds to establish the locations and perform spaces within. The need for physical sets to be constructed and deconstructed is mostly eliminate. As well the crew and expenses needed for managing remote production site is also reduced.
另一方面，使用虚拟制片工作流可以将大部分工作转移到前期制片阶段。因此，需要重新捕捉的镜头更少，因为它消除了导演在捕捉每一个镜头时需要做出的创意决策中的大部分猜测工作。虚拟制片过程允许团队看到与虚拟事件在同一环境和同一时间发生的实时活动。这使得项目中的创意人员能够更好地合作，这有助于确保每个镜头上花费的时间看起来像每个人从一开始就想到的那样。通过使用数字背景在其中建立位置和执行空间，虚拟制片工作流也可以节省一些成本。构建和解构物理集合的需求基本上被消除了。此外，管理远程制片现场所需的人员和费用也减少了。
音频：
Using Disguise for virtual production workflow has a distinct advantage in that it is also a pre-visualization tool. Allowing the creatives to collaborate in real time together, artist with director and seeing the overall picture in one location. This frees the posibility to explore new ideas much more quickly and affordably than re-shoting different scences with different effects. For this, in many other reasons, disguise has become an intercal part of the pre-planning stages of the project, because of it's ability to provide accurate model of the environment along with tools for sequencing compositing and rendering ideas in real time.
将Disguise用于虚拟制片工作流有一个明显的优势，因为它也是一个预演工具。允许创意人员一起实时协作，艺术家和导演在一个地方看到整个画面。这使得探索新思想的可能性比用不同的效果重新拍摄不同的场景更快、更经济。为此，出于许多其他原因，Disguise也已经成为项目预规划阶段的一个中间部分，因为它能够提供准确的环境模型以及实时排序合成和渲染想法的工具。
音频：
Disguise has re-engineered the workflow for creating a virtual production by developing an entirely new set of products and features specifically for xR.
通过开发一套全新的专门针对xR的产品和功能，Disguise公司重新设计了创建虚拟制片的工作流程。
disguise xR: a new workflow for Virtual Production 一个新的虚拟制片工作流
Disguise has re-engineered the workflow for creating a virtual production by developing an entirely new set of products and features specifically for xR based virtual productions. We will cover these new features in more depth in the next course, “What is xR?”
“Disguise”重新设计了创建虚拟制片的工作流程，开发了一套全新的产品和功能，专门用于基于xR的虚拟制片。我们将在下一课“xR是什么？”中更深入地介绍这些新功能
In the next lesson we will look at xR and how to create an xR system using disguise.
在下一课中，我们将研究xR以及如何使用Disguise来创建xR系统。
In the previous lesson we defined Virtual Production as "where the physical world meets the virtual world". Now, in this lesson, we will explore how the introduction of the new 3D disguise workflow known as xR has forever changed the virtual production industry.
在上一课中，我们将虚拟制片定义为“物理世界与虚拟世界相遇的地方”。现在，在本课中，我们将探索被称为xR的新3DDisguise工作流的引入如何永远改变了虚拟制片行业。
音频：
So, what is xR?
In this article, xR for Producers and Directors, Disguise found Ashraf Nehru explains:
那么，xR是什么？
在这篇文章中，xR for Producers and Directors，Disguise发现Ashraf Nehru解释为:
"xR ...uses LED screens to place performers and props in a fluid three-dimesional environment, captured in-camera without the need for costly post-production visual effects."
“xR...使用LED屏幕将表演者和道具放置在流畅的三维环境中，无需昂贵的后期制作视觉效果即可在相机中拍摄。”
For disguise, the term "Extended Reality" or "xR" is use to describe a collection of disguise workflows focuse on camera tracking and real-time content generation.
These workflows can be applied to: Traditional screens, Argumented Reality or by combining these into Mixed Reality.
对于disguise，术语“扩展现实”或“xR”用于描述专注于摄像机跟踪和实时内容生成的Disguise工作流的集合。 这些工作流可以应用于:传统屏幕、增强显示或通过将它们组合而形成混合现实。
Here has all tiled together.
Disguise xR is a combination of creative software, enterprise software, and a new prefessional workflow that combines camera tracking, real-time rendering and large scale wall and floor displays on set, together with argumented reality. The final outcome is scalable immersive virtual environment, Visable live on set and capture diectly in camera or stream to broadcast.
这里已经全部平铺在一起了。
Disguise xR是创意软件、企业软件和新的专业工作流的结合，结合了摄像机跟踪、实时渲染和场景中的大尺寸墙壁和地板显像，以及增强现实。最终的结果是形成了可扩展的沉浸式虚拟环境，可在现场直播，并直接在摄像机中捕捉或流式广播。
There are many benfitis of using a disguise workflow during all stages of a virtual production.
The disguise stage is a powerful visualiser that combines real and virtual content, generative content streams and lighting in to a single 360° virtual environment. This virtual stage can then be used to visualize the entire virtual production prior to stepping onto the set. This powerful 3D visualizer also allows the director the ability to work out shots in advance and during shoting while in creasing coordination and reducing duplication.
在虚拟制片的所有阶段使用disguise工作流有很多好处。 disguise 舞台是一个强大的可视化工具，它将真实和虚拟内容、生成性内容流和灯光结合到一个360度的虚拟环境中。该虚拟舞台可用于在开始布景之前可视化整个虚拟制片。这种强大的3D可视化工具还允许导演在拍摄前和拍摄过程中制作镜头，同时增强协调性并减少重复。
During production, The full threed pre visualization gives the creative team the control over shot framing and lighting, because they can see it in real time. Allows performers the ability to interact with their environment naturally, providing for better talent, engagement and more natural eyelines, while eliminating the need for confidence monitors. Performers know what they're looking at because they can see it. Makes it possible for the director and the visual effects team to make fast decisions on the fly and to experiment with any scene at any time.
在制作过程中，全三维预演给了创作团队对镜头构图和照明的控制，因为他们可以实时看到它。让表演者能够自然地与环境互动，提供更好的演技、参与度和更自然的眼线，同时消除对自信监视器confidence monitor（类似提词器的东西）的需求。表演者知道他们在看什么，因为他们能看到。使导演和视觉效果团队能够快速做出决定，并在任何时候对任何场景进行实验。
Since all sets are virtual background plates that can be swapped quickly, less time is spent on scene resets. Since no color key is needed, this also means no color will spill onto real objects within the set. You have complete freedom of costume and lighting, because using an XR workflow enables more natural lighting and reflections on physical objects and performers. Calibration of camera and lenses happens in a fraction of the time it normally takes. And you can balance color between the virtual and real elements using the automated color calibration process.
由于所有设置都是可以快速切换的虚拟背景板，因此场景重置花费的时间更少。由于不需要色度抠像，这也意味着没有颜色会溢出到片场中的真实对象上。你有完全的服装和照明自由，因为使用XR工作流程可以在物理对象和表演者身上实现更自然的照明和反射。相机和镜头的校准只需正常时间的一小部分。您可以使用自动颜色校准处理来平衡虚拟元素和真实元素之间的颜色。
Using real time engines and visualization workflows means that more creative decisions can be made in production instead of in post production. Back plate and front plate content can be separately baked out from the rehearsal or show process for further tweaking in post production, if needed. And fewer retakes are often needed.
使用实时引擎和可视化工作流意味着可以在制片中而不是后期制作中做出更具创造性的决策。如果需要，后景层和前景层的内容可以从排练或演出过程中单独烘焙出来，以便在后期制作中进一步调整。通常能够减少更多的重拍工作。
Our extended reality tools are all about thinking differently about the workflows. From concept to delivery disguis is a platform which grows as the production evolves and enables collaboration at all points. The disguise xRworkflow breaks down into five elements. In-camera screens, camera and tracking systems, generative content, Augmented reality and the disguise workflow. Next, we take a deeper dive into each of these five elements.
我们的扩展现实工具都是关于工作流的不同思考。Disguise是一个贯穿概念到交付的平台，它随着制片的发展而发展，并支持所有点的协作。Disguise的xR workflow分解成五个元素：摄像机内屏幕、摄像机和追踪系统、生成式内容、增强现实和Disguise工作流程。接下来，我们深入探讨这五个要素。
With the X-R workflow, we remove the green screen from the environment and replace it with an LED screen. Using an LED instead of a green screen workflow has huge benefits in the virtual production workflow, such as:
The lighting and shadows are real, the reflections are real. No keying is needed. There will be no green spill onto objects or performers. A huge environment can be rendered live in a small studio space. And the performer on stage can see the virtual world around them. There's no need for confidence monitors. As you can see, the disguise workflow has huge benefits for production.
通过xR工作流，我们从环境中移除绿色屏幕，并将其替换为LED屏幕。使用LED代替绿屏工作流在虚拟制片工作流程中具有巨大优势，例如: 灯光和阴影是真实的，反射是真实的。不需要抠像。不会有绿色溢出到物体或表演者身上。一个巨大的环境可以在一个小的工作室空间里进行实时渲染。舞台上的表演者可以看到他们周围的虚拟世界。不需要信心监视器。如您所见，Disguise工作流对生产有巨大的好处。
Now let's add in camera tracking. Camera tracking isn't something new but for disguise, The XR workflow was designed to use some of the same tools use in the workflow for OmniCal: The proprietary disguise camera workflow that makes use of our 3D simulation.
Omnical was designed to be used to calibrate the space in a matter of minutes. In other solutions, this can be a day long process involving laser measures and tons of patients from other production departments.
Some of the many benefits of using a camera tracking system with disguise include:
Supporting both optical and mechanical tracking.
Works with major optical tracking companies,
supports multi camera workflows.
Tracking calibration can happen in less than ten minutes.
Lens calibration can take less than thirty minutes,
and every camera move can be pre-visualized.
现在让我们加入摄像机追踪。对Disguise来说，相机追踪不是新东西，XR工作流设计为使用OmniCal工作流中的一些相同的工具——利用我们的3D模拟设计的Disguise专用相机工作流。
Omnical设计与在几分钟内校准空间。在其他解决方案中，这可能是一整天的过程，涉及激光测量和来自其他制片部门的巨大耐心。
使用带伪装的摄像机跟踪系统的诸多好处包括:
支持光学和机械跟踪。
与主要的光学跟踪公司合作，
支持多摄像机工作流程。
跟踪校准可以在不到十分钟的时间内完成。
镜头校准不到三十分钟，
每一个摄像机的移动都可以被预演。
Once we know the position of the camera, we can then use that alongside our real time rendering. Disguise supports generative rendering engines and renders them in real time inside the disguised servers. So if we hand the three D position of the camera to one of these real time rendering engines, the render engine gives us a scene rendered perfectly to the perspective of that camera. That means that our scene can be delivered to the stage seconds after the calibration is complete, no need to dig into the configuration files or lens files or node graphics. And once the scene is running, the look of the scene is entirely up to the director, OK, the director and the creatives, But they can take any camera shot they want, and disguise just renders it as needed. All in real time with no need to post produce the content which is being shot.
一旦我们知道了摄像机的位置，我们就可以在实时渲染的同时使用它。Disguise支持生成式渲染引擎，并在Disguise的服务器中实时渲染它们。因此，如果我们将相机的三维位置交给其中一个实时渲染引擎，渲染引擎会给我们一个完美渲染到该相机视角的场景。这意味着我们的场景可以在校准完成后几秒钟内交付给舞台，无需深入配置文件或镜头文件或节点图形。一旦场景开始运行，场景的外观完全取决于导演，好吧，导演和创意人员，但是他们可以拍摄任何他们想要的镜头，并让Disguise根据需要进行渲染。所有这些都是实时拍摄的，不需要后期制作。
Generative content workflows such as this allow you to:
Build 3D world for your environment and constantly create different content for the same space.Make the studio a multi purpose space,
render a scene from the camera viewpoint.
Create false depth in a scene by maintaining the correct perspective.
Use integrated workflows for Notch, unity and unreal with disguise.
Exploring the 3D world through the camera as required by the production, with no forced to shots or locked off cameras needed.
And making creative decisions on the environment is possible on the fly, without any requirement for re rendering content. Everything can happen in real time.
像这样的生成式内容工作流允许您:
为您的环境构建3D世界，并不断为同一空间创建不同的内容。让工作室成为多功能空间，
从相机视点渲染场景。
通过保持正确的视角在场景中创建伪深度。
Disguise为Notch，unity和UE提供集成化的工作流
根据制作需要，通过相机探索3D世界，无需强制拍摄或锁定相机。
并且在环境中做出创造性的决定是可能的，而不需要重新渲染内容。一切都可以实时发生。
Up until this point, we've only described what is essentially a really cool virtual studio, but now it's time to turn this into mixed reality.
到目前为止，我们只描述了听起来非常酷的虚拟摄影棚，但现在是时候把它变成混合现实了。
Not only can we use digital assets for the background, We can also add augmented reality objects into our 3D world. AR objects generated by a third party render engine are able to be composited by disguise, on top of the camera feed, meaning that presenters can be part of a virtual world. The best thing is that the objects are also rendered onto the LED screen, so the presenters are able to see and interact with the objects as they walk around the space. No more tape marks on the floor to avoid a couch or a car in front of the performer.
我们不仅可以使用数字资产作为背景，还可以将增强现实对象添加到我们的3D世界中。由第三方渲染引擎生成的增强现实对象可以通过Disguise合成，馈送到摄像机的取景器最前面，这意味着演示者可以是虚拟世界的一部分。最好的是，物体也呈现在LED屏幕上，因此演示者在空间中行走时能够看到对象并与之交互。地板上不再有胶带痕迹，以避免表演者面前出现沙发或汽车。
Augmented reality can also be used to create what we call the set extension which enables us to smoothly transition between the LED wall and a purely virtual world. As the camera pans off the edge of the wall, this allows the production to use smaller studios, saving money yet not compromising the scale of the project.
And a major step we've built into the disguise, xR workflow is balancing the color space between these two worlds. If you watch almost any AR broadcast today, the illusion is given away if the color of the augmented reality elements is different than that of the real studio elements.
增强现实还可以用来创建我们所说的片场扩展，使我们能够在LED墙和纯虚拟世界之间平滑过渡。随着摄像机从墙的边缘移开，这使得制作可以使用较小的工作室，既省钱又不影响项目的规模。 xR工作流程是我们在Disguise中迈出的重要一步，它平衡了这两个世界之间的色彩空间。如果你今天看了几乎任何一个增强现实广播，如果增强现实元素的颜色与真实工作室元素的颜色不同，幻觉就会消失。
Disguise has developed a way to automate a calibration between the camera and LED screens enabling us to recolor the image we feed to the LED screen to match the colors we want to receive into the camera. This means that our worlds look balanced, even and seamless.
伪装已经开发了一种方法来自动校准相机和LED屏幕之间的距离，使我们能够重新着色我们馈送到LED屏幕的图像，以匹配我们想要接收到相机中的颜色。这意味着我们的世界看起来是平衡的，均匀的，无缝的。
There are many benefits of using disguise to create an A-R workflow. Such as:
Selecting objects to appear in the foreground from your 3D scene.
Bringing in virtual elements in front of the performers.
Managing the color space between the front and back plates using the color calibration workflows.
And using key and fill workflows can be used for easy integration into a broadcast infrastructure.
使用伪装来创建AR工作流有许多好处。例如:
从3D场景中选择要出现在前景中的对象。
在表演者面前引入虚拟元素。
使用颜色校准工作流程管理前后j景层之间的颜色空间。
使用抠像与填像工作流可以轻松集成到广播基础架构中。
disguise: Fully integrated toolkit for a variety of workflows
All of these elements, AR, real world and set extension can be compositive easily within disguise. It's worth mentioning that all of this is an extension of the existing, powerful and versatile, disguised features, including 3D simulation VR pre-visualization, Multi user editing and a host of other features as well as working seamlessly in a single environment, no matter whether you're dealing with AR, MR, or all of these in a virtual studio.
所有这些元素，增强现实、现实世界和片场扩展都可以很容易地使用Disguise进行合成。值得一提的是，所有这些都是现有的强大、多功能、Disguise的功能的扩展，包括3D仿真VR预演、多用户编辑和许多其他功能，以及在单个环境中无缝工作，无论您是在虚拟工作室中处理AR、MR还是所有这些功能。
Working in one platform has huge benefits for all types of virtual productions and this is what makes using disguise the right choice for your virtual production workflow.
Disguise provides the best tool kit for XR workflows, for these reasons and more. One environment for LED screen and AR elements, which combined to make mixed reality and integrated lighting control via DMX.
One platform for visualization, pre programming and delivery.
And a VR simulation of all production elements is already a feature of disguise, making it possible to walk through the space virtually for a three hundred and sixty degree virtual immersive experience.
在一个平台上工作对所有类型的虚拟制片都有巨大的好处，这就是为什么使用Disguise是虚拟制片工作流的正确选择。
出于这些原因以及更多原因，Disguise为XR工作流提供了最好的工具包。一个由发光二极管屏幕和增强现实元素组成的环境，通过DMX结合起来，使混合现实和综合照明控制。
一个可视化、预编程和交付平台。
所有制片元素的VR模拟已经是Disguise的一个特征，使得虚拟地在空间中行走以获得360度的虚拟沉浸式体验成为可能。
So to recap XR. The physical requirements for a virtual studio are reduced.
You only need an LED screen, a tracking system and a camera for a simple setup.
You're able to expand your audience by bringing people together virtually.
You're able to increase the scale of your projects while making the limits of a small studio space appear endless using virtual set extensions and generative content created using gaming rendering engines.
Production costs can be reduced
And you're able to create a natural, immersive performance space for talent that requires little to know training for the talent.
所以重述一下XR。虚拟工作室的物理要求降低了。
你只需要一个LED 屏幕，一个跟踪系统和一个摄像头就可以搭建一个简单的片场。
你可以通过将人们虚拟地聚集在一起来扩大你的受众。
您可以增加项目的规模，同时使用虚拟片场扩展和使用游戏渲染引擎创建的生成式内容，使小工作室空间的上线看起来无穷大。
可以降低生产成本
您可以为艺人创造一个自然的、沉浸式的表演空间，而无需对艺人进行什么培训。
In the next lesson we will examine the team member roles required for a Virtual Production.
在下一课中，我们将研究虚拟制片所需的团队成员角色。
3-4 Virtual Production Team Roles
For typical non-virtual productions for film, the roles will include most if not all of the following:
对于典型的非虚拟电影制片，角色将包括以下大部分(如果不是全部的话):
Executive Producers 执行制片人，监制，执行监制
Producers 制片人
Director 导演
Cinematographer/Director of Photography (DOP) 电影摄影师/摄影总监
Camera Operators 摄像机操作员
Grips 机械工，机械组员
Gaffers 灯光师
Lighting Designer 灯光设计师
Lighting Programmer 灯光程序员
Creative Director 创意总监
Scenic Designer (including virtual scenery) 美工师（包括虚拟场景）
Scenic carpenters 场景木工
Projectionists and/or LED engineers 放映员与/或LED工程师
Video Engineers 视频工程师
Audio techs 音频技师
Editors 剪辑师
Location Scouts 勘景员
Travel planning and management staff 旅行计划与管理人员
For standard broadcast productions with limited virtual production fx such as overlays or keying effects, the team will also include: 对于一些带有有限虚拟制片效果（例如叠加与抠像）的标准广播制片来说，团队还会包括
Screens/xR Producer 屏幕/xR制片人
Visual FX Artists 视觉特效艺术家
System Engineer 系统工程师
For the xR stage during production you also need:对于制片过程中的xR舞台，你还需要：
Visual FX Artists (Render Engines) 视觉特效艺术家（渲染引擎）
Creation of Unreal, Unity, and/or Notch assets to spec
根据规格创建UE或Unity或Notch资产
Media Server Programming Specialist 媒体服务器编程专家
Content Programming and Playback
内容编程与播放
Render Engine Programming Specialist 渲染引擎编程专家
Setup and operation of generative content
生成式内容的设置与操作
Camera Tracking System Specialist 摄像机追踪系统专家
Setup, calibration, and operation of tracking system
追踪系统的设置，校准与操作
Adding xR into a Virtual Production adds (and in some cases replaces) a few of these roles such as: 将xR加入一个虚拟制片会增加（有些情况下会替代）一些角色，例如：
xR Producer xR制片人
Similar duties to Screens Producer role but with added xR oversight
类似于电影制片人的职责，但增加了xR监督职责
Previsualisation Team 预演团队
Skilled with generative content engines and disguise.
Collaborate directly with the Creative Director, the Director, and Visual FX artists, sharing assets and working in same pipeline from pre-production through to post-production stages.
擅长生成式内容与Disguise
直接与创意总监，导演和视觉特效艺术家合作，共享资产，从前期制作到后期制作都在他们的工作流程中
LED/Image Processing System Engineer LED/图形处理系统工程师
Replaces projection entirely
完全取代放映员
Engineer in Charge 主管工程师
The networking & system technician who manages all aspects of signal distribution
管理信号分配的所有方面的网络和系统技术人员
Scenic Carpenters 场景木工
The number of carpenters is reduced or no longer needed for building and striking sets
木工的数量减少了，或者不再需要建造装置
Supporting Crew Staff 辅助机组人员
Location scouts, travel management staff and other related staff may no longer be needed or reduced in numbers
不再需要或减少勘景员，旅行管理人员和其他相关人员
New standards for Team Communication and Collaboration 团队沟通和协作的新标准
So as you can see, the addition of X-R into the production creates a new standard for communication between all departments, as well as a new workflow for the programmers. Collaboration between all departments is now even more crucial, because creative decisions can be made throughout all stages of production Instead of being left to happen in the post production stage, And very little time is wasted while setting up to experiment with a new camera angle or background, simply load aim and go.
所以正如你所看到的，在制片中增加xR为所有部门之间的沟通创造了一个新的标准，也为程序员创造了一个新的工作流程。所有部门之间的合作现在变得更加重要，因为创意决策可以在制作的所有阶段做出，而不是在后期制作阶段进行，而且在设置新的相机角度或背景进行实验时，很少浪费时间，只需加载目标即可。
Coming up next is a short knowledge check to make sure you've picked up everything you might need.
接下来是一个简短的知识检查，以确保你已经获得了你可能需要的一切。
VR Wearing a headset or glasses to enter an immersive virtual 3D world
带着头显或眼镜进入沉浸式虚拟3D世界
Green Screen Film a performer in front of a coloured screen then replace it with a digital background
在有色彩的幕布前拍摄表演者，接着以数字背景替代
MoCap Captures the movement of objects or people for the purpose of use in a virtual production
捕捉物体或人物的动态用于虚拟制片
MR World of mixed reality; combining objects in the real world with virtual elements
混合现实的世界；结合了真实世界的物体与虚拟元素相结合
Previsualisation Creating a virtual 3D model of the set that can be used to preview content on the set
创建一个片场的虚拟3D模型以用于预览片场中的内容
xR World of Extended Reality; combining AR, MR and 'in-camera' visual fx
扩展现实的世界；结合了AR，MR与“相机内”视觉特效
AR World of augmented reality; virtual elements are mapped to the foreground of a camera
增强现实的世界，虚拟元素被映射在相机的前景中
Coming up next -System Setup 接下来的内容 - 系统设置
In the next course section we will look at the physical components that make up an xR system.
在下一节课程中，我们将了解构成xR系统的物理组件。
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