0:00:00.775,0:00:02.541
I love making movies.

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Motion pictures have been in existence[br]for more than a hundred years.

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Filmmaking hasn't changed[br]for the dimensional mindset.

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Placing the camera in a scene[br]and pressing "record" hasn't changed.

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Filmmaking is still a frontal experience,

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and creating the film has the possibility

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to follow the same direction[br]of the content creation.

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We still stand in front of a flat image,

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watching the fiction.

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There's nothing wrong with it.

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I love watching movies[br]and going to the theaters.

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The experiences can be[br]such emotional experiences.

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The art and craft of emotional[br]experiences within a frame

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can be so strong[br]to drive a stronger emotion.

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The question we're asking is,

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How the experience of motion pictures[br]can exist beyond the flat screen.

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How can we start creating content

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for the next generation[br]of content experiences?

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Traditionally, when we imagine a scene,

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we look at the frame and the composition.

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We have to think about how we create[br]depth and parallax

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using foreground, background elements[br]as the camera moves.

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With the technology today[br]and devices of VR glasses,

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AR glasses, smart devices,

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allowing three-dimensional[br]and full navigation in space,

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we have the possibility[br]to enable audiences

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to experience content[br]from multiple perspectives.

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What we have to think about[br]is how we take this technology,

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all the capabilities,

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and enable the experience[br]to move farther away inside the scene.

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Now we're not talking about video games[br]or computer-generated actors,

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which look tremendously realistic.

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We're talking about real actors[br]and real performance,

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performing onstage.

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We have to start thinking[br]how we capture the actors

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and how we capture the real scene

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in order to immerse inside.

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Now, we're familiar[br]with the 360-degree video,

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where you place a camera inside the scene

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and you can create this beautiful[br]panoramic image all around you,

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but from the same aspect,

0:02:17.581,0:02:19.770
filmmaking is still frontal.

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In order to emerge fully inside the scene,

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we will need to capture the light[br]from all the possible directions.

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We will have to surround the scene[br]with an enormous amount of sensors,

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with all possible capabilities[br]to capture the light

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and enable us to emerge[br]inside afterwards again.

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Now, in this setup,

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there's no more foreground or background

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or a camera placed in space

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but hundreds of sensors[br]capturing the light

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and capturing the motion[br]from all the possible directions.

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With the new technological advancements,

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we can start looking at 3D photography,

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capturing the light[br]from multiple perspectives,

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enabling us to reconstruct the object.

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This is like photography in 3D space.

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Now, with these[br]technological advancements,

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we can record video[br]not just as a flat image

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but as a volume.

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This is what we call "volumetric video,"

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and it has the capability[br]to record every action of the scene

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as a full three-dimensional volume.

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Now, what is a voxel?

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A voxel is like a three-dimensional pixel,

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but instead of being a flat image square,[br]staying light and colored,

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it's like a three-dimensional[br]cube in space,

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with x, y, and z positions.

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This enables us to create[br]a full capture of the scene

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from any perspective.

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Now this renders[br]a fully light-immersive scene

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from multiple perspectives.

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This capability requires an insane amount[br]of information to be processed.

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We will have to capture the light[br]from an enormous amount of cameras

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to create this information.

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Now, in order to do such a thing,

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we would need a setup that would host[br]a numerous amount of cameras

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installed in a stage

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and a stage big enough in order to fit[br]a full cinematic experience.

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Now that sounds like a crazy idea,[br]but that's exactly what we did.

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For the last three years,

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we have been building[br]a huge volumetric camera chamber.

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It's 10,000 square feet of a stage,

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enabling to capture the action[br]from any location.

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We have deployed hundreds of cameras,

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sending a tremendous amount of information

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to a huge data center[br]powered by Intel supercomputers.

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The ability to have this 10,000 feet

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enables us to fit any kind of action,

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any kind of performance.

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It is the size of an average[br]Broadway stage.

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We call it Intel Studios,

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and it's the largest volumetric[br]stage in the world,

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with the objective[br]of enabling and exploring

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the next generation[br]of this immersive media filmmaking.

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Now, to test these ideas,

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we were thinking about what we can do[br]as the first scene to try it out.

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So we chose the Western scene.

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We brought horses, set designers, dirt,

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everything needed to create[br]the full scene of a Western.

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But this time, there was no camera inside.

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There was nothing really moving[br]besides all the cameras

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installed outside.

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The challenge[br]of the actors was tremendous.

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They have to perform a flawless action[br]visible from all the directions.

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There's no possibility to hide a punch[br]or not show the action.

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Everything is captured[br]and everything is seen.

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The output of the capture --

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this is our future capture --

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opened our eyes for[br]the immense capabilities.

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It was like a full 3D scan[br]of the entire scene.

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We were able to move around[br]and travel in the space.

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The thing about this,

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it's not anymore about perceiving[br]the light emitted from a screen

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but now traveling inside the light,

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traveling inside the scene.

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This obviously opens possibilities[br]for an enormous amount

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of storytelling[br]and methodologies of creation.

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This is the possibilities[br]of your personal narrative,

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the possibility of creating[br]your own story inside,

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or maybe following other stories.

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Let's take a look[br]at one of the last renders and see.

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(Music)

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What you're seeing here[br]is full volumetric video,

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and there's no physical[br]camera in the scene.

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(Music)

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We have the full control

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(Music, sounds of combat)

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of space and time.

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(Music, sounds of combat)

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Now, again, no physical camera was here.

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Everything was captured surrounding.

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Now, this is very nice,

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but what if we wanted to see the scene,[br]maybe, from the eyes of the horse?

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Well, we can do that as well.

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(Horse galloping)

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So what you're seeing right now[br]is the same action,

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but this time, we're watching[br]exactly from the eyes of the horse.

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The possibilities are, well, unlimited.

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(Applause)

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Thank you.

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(Applause)

0:07:46.999,0:07:51.086
So this is all great[br]for creators and storytellers.

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It really opens a huge canvas

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for a different type[br]of storytelling and moviemaking.

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But what about the audience?

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How can the audience[br]experience this differently?

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In order to [create] our explorations,

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we partnered with Paramount Pictures

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in order to explore immersive media[br]in a Hollywood movie production.

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Together with the director Randal Kleiser,

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we reimagined the iconic movie of 1978,

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"Grease."

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Some of you know it, some of you don't.

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A 40-year-old movie, amazing experience.

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And our goal was really to look at how [br]we can take this iconic action and dance

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and bring it deeper into the experience,

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bring it deeper into the audience.

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Imagine that you can[br]not just watch the movie

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but get inside it[br]and dance with the actors

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and dance with the performance.

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Now we're breaking, really,[br]the traditional 2D mindset of thinking,

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and bringing a much richer[br]possibility of moviemaking

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and content creation.

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But why watch it on the screen?

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Let's try to bring these actors[br]here on the stage.

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So they're not going to really come --

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I'm going to use an iPad.

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(Laughter)

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Sorry.

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I'm going to use an iPad[br]in order to bring in augmented reality.

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Now, obviously, these devices[br]have their own limitations

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in terms of the data-computing process,

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so we have to reduce[br]the amount of resolution.

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So what I'm doing now,[br]I'm placing here a marker,

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so I'll be able to position exactly[br]where I want everyone to appear.

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OK.

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I think we have them here.

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(Applause)

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John Travolta, or --

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(Laughter)

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a version of him.

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Let's take a look.

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(Video) Female: Hey.

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Male: And that is how it's done.

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Female: Your turn.

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Male: Hey, guys! Check this out.

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(Song: "You're the one that I want")

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Danny: Sandy!

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Sandy: Tell me about it, stud.

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(Singing) I got chills.[br]They're multiplying

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And I'm losing control

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'Cause the power you're supplying

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It's electrifying!

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(Video ends)

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(Applause and cheers)

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Diego Prilusky: Thank you.

0:10:35.238,0:10:37.485
(Applause and cheers)

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So as you can see,

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we can watch and experience content[br]in the traditional way

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or in an immersive way.

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Really, the possibilities are open.

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We're not trying to change[br]or replace movies.

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We're enhancing them.

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The technologies enable new possibilities[br]to start thinking beyond the flat screen.

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We're in immersive and really[br]exciting times in filmmaking.

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We're at the threshold of a new era.

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We're opening the gates[br]for new possibilities

0:11:10.146,0:11:11.899
of immersive storytelling,

0:11:13.122,0:11:17.733
and exploration and defining[br]what immersive media filmmaking means.

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We're really just at the beginning,

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and we invite you all to join us.

0:11:24.150,0:11:25.301
Thank you.

0:11:25.325,0:11:30.436
(Applause)