You can create monsters with VFX now.

即使现在可以使用视觉特效来制作怪兽。

Most VFX is still a very manual process.

大多数 VFX 仍然是一个非常依赖手动的过程。

And we specialize in doing VFX action-heavy, spectacle-heavy YouTube videos.

我们专门制作视觉特效的动作场面、场面宏大的油管视频。

You might be familiar with VFX pre-vis thanks to Marvel.

多亏了漫威，你可能对 VFX pre-vis 很熟悉。

But VFX was part of entertainment.

但视觉特效是娱乐的一部分。

Luckily, the VFX artists had the advantage of new technology: a physically based ray-tracing system partly developed at Pixar.

幸运的是，视觉特效艺术家拥有新技术的优势：部分由皮克斯开发的基于物理的光线追踪系统。

About 95% of " Moon Man" shots use special and visual effects, which were done by China's domestic visual effect companies, led by MORE VFX.

大约95%的电影镜头都使用了特效，是由国内特效公司MOREVFX领头完成的。

On the other side is Sandie in front of a green screen; VFX later adjusted her background to match.

另一边是绿色屏幕前的桑迪； VFX 后来调整了她的背景以匹配。

VFX artists take the time to make Taika Waititi's capture fit the body of Korg, but you can see what goes wrong without extra work.

视觉特效艺术家花了很长时间让泰卡·怀蒂蒂的动作捕捉适合于寇格的体型，但你可以看到，如果没有额外的工作，就会有地方出问题。

This helped the VFX artists avoid cutting out any of Michael Keaton's hair.

这有助于 VFX 艺术家避免剪掉迈克尔基顿的任何头发。

So the team used two VFX methods to seamlessly combine Robbie's training with her stunt double's.

因此，该团队使用两种 VFX 方法将 Robbie 的训练与她的替身特技无缝结合。

One notable example of where the technology is headed are the scenes involving advanced 3D VFX in " Avengers: Endgame."

这项技术发展方向的一个显著例子是《复仇者联盟：终局之战》中涉及高级 3D 视觉特效的场景。

To hide the ramp, filmmakers added this arch as a clever VFX cover.

为了隐藏坡道，电影制作人添加了这个拱门作为巧妙的 VFX 掩护。

VFX artists then wipe away the camera by swapping in pieces of the clean plate of the reflected background.

然后 VFX 艺术家通过交换反射背景的干净板片来擦掉相机。

And so, yeah, we had an amazing collaboration with our team at Imageworks, and an amazing VFX visual effects supervisor, Mike Lasker.

所以，是的，我们与 Imageworks 的团队以及令人惊叹的 VFX 视觉效果总监 Mike Lasker 进行了出色的合作。

The VFX team removed the support car and crane in post.

视觉特效团队在后期移除了支援车和吊车。

Filming her upside down was particularly helpful for the VFX artists.

拍摄她的颠倒对 VFX 艺术家特别有帮助。

So for those shots where the Bat did especially wild maneuvers, the VFX team had to replace the practical Bat with a digital replica.

因此，对于蝙蝠进行特别狂野动作的那些镜头，VFX 团队不得不用数字复制品替换实用的蝙蝠。

These red tracking marks allowed VFX to accurately place the arms, despite the constant moving camera and action.

尽管摄像机和动作不断移动，但这些红色跟踪标记使 VFX 能够准确地放置手臂。

This got even trickier for the VFX team as the sequence progressed and the character interacted more and more with his surroundings.

随着序列的推进以及角色与周围环境的互动越来越多，这对 VFX 团队来说变得更加棘手。