火山引擎对话导演乔恩·欧文，用 Seedance 把后期特效搬进片场

以下是视频口播的自动转写，可能有错字。

See this too was for me the model. I don't think anyone expected because it was so powerful. I was still in post-production and about to deliver young washington.

The movie that released in theaters and the model was so profound. We opened the movie back up and we started regenerating as many vfx as we could with c-dance too.

So we literally redid a lot of the effects work. At the very like two weeks at the very end of young washington, just because of the power of the model, you know, i'm a diver and water is never safe.

Cold water is impossible to make safe. So the only other way to do this sequence would have been to travel like to canada or to someone very somewhere, very cold, take a whole crew up there.

It would have been very expensive. It would have been very dangerous. Instead, we just dug a hole in in ireland. Oh, that's your set.

And and we literally dug a hole and we put a boat engine. In this hole that we dug and we had about 50 feet and we had this raft on a tow line and we filmed the actors performances.

And the close-up work and then we generated the entire world around them and then generated based off their performances.

A lot of work that again would have been very dangerous. So to think about i mean, as you know, in visual effects water is horrible.

If you look at any of this stuff like a shot like like this right here, that is. One of the three reasons i stopped being a 3d animator when i was 22 years old, any volumetric simulation was horrible to get accurate in any way and and so, water is just one of the more difficult things water fire, you know, gusts of wind and so anything that involves volume in.

Traditional vfx is very expensive, incredibly time-consuming, never looks right. Always done super late in the game under duress.

And so what i began to notice about generative ai tools and and c-dance is on a whole other level. Is there their ability to do kind of physics-based simulations, you know, volumetrics.

Is like nothing i've ever seen. I still it's magic to me. I don't know how again i literally almost threw my computer into the trash because it was it was volumetrics distributed rendering and and character rigging was called an ik chain which is like you know should be very simple.

We're the three things that i'm done with this. I'm going out in the real world and i'm making films and and so the fact that the models are so good.

This shot would cost in the traditional sense. It would first of all, it'd be a massive asset build and then it would be a massive render.

Not to mention the render times. Yes, three four. I think the time of time. So the fact that i was generating versions of this on the set and then we then we regenerated it in post.

And you can do a shot like this in 8 minutes, that you can then uprest to final, is transformative to the entire industry.

Well, if you think about where visual effects happen in a production. It's not conducive to creativity, so it's separated.

It's separated. Yeah, it's bifurcated in process. And so what you end up with is these holes in your edit. Maybe you have a storyboard, maybe you have some previews if you're lucky and you have a budget, but and all the way through the testing phase, you have these visual effects slugs.

And then finally, you get to picture lock. Where you can't change it. And then you triple bid these shots and you don't get the vendor that you want.

It's it's it's it's it's antithetical to creativity. So i began to ask, why do we wait till picture lock to the vfx? These tools are powerful enough.

I want to shoot the vfx on the same day as i shoot the scene. So this was the first time we'd experimented with what we call digital principal photography where we actually.

We have a, we have a generative team. That's almost like a second unit on set and i'm directing the live action and i'm directing the visual effects based off the live action at the same time and then they'll get feedback.

Yeah. And the actors are able to say like oh i see where i am. I see where i am out. They love it. Like i see where i am in the rapids and i and i see how big the rapids are and.

That's going to change my performance and everybody can collaborate everything. You know what we do is the symphony of art, you know, it's these, it's this, it's a bunch of art forms together.

And so why can't we do the visual effects on the same day? We shoot, we've just never had a technology to be able to ask that question.