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← How volumetric video brings a new dimension to filmmaking


Showing Revision 13 created 02/21/2020 by Erin Gregory.

  1. I love making movies.
  2. Motion pictures have been in existence
    for more than a hundred years.
  3. Filmmaking hasn't changed
    for the dimensional mindset.
  4. Placing the camera in a scene
    and pressing "record" hasn't changed.
  5. Filmmaking is still a frontal experience,
  6. and creating the film has the possibility
  7. to follow the same direction
    of the content creation.
  8. We still stand in front of a flat image,
  9. watching the fiction.
  10. There's nothing wrong with it.

  11. I love watching movies
    and going to the theaters.
  12. The experiences can be
    such emotional experiences.
  13. The art and craft of emotional
    experiences within a frame
  14. can be so strong
    to drive a stronger emotion.
  15. The question we're asking is,
  16. How the experience of motion pictures
    can exist beyond the flat screen.
  17. How can we start creating content
  18. for the next generation
    of content experiences?
  19. Traditionally, when we imagine a scene,

  20. we look at the frame and the composition.
  21. We have to think about how we create
    depth and parallax
  22. using foreground, background elements
    as the camera moves.
  23. With the technology today
    and devices of VR glasses,
  24. AR glasses, smart devices,
  25. allowing three-dimensional
    and full navigation in space,
  26. we have the possibility
    to enable audiences
  27. to experience content
    from multiple perspectives.
  28. What we have to think about
    is how we take this technology,
  29. all the capabilities,
  30. and enable the experience
    to move farther away inside the scene.
  31. Now we're not talking about video games
    or computer-generated actors,
  32. which look tremendously realistic.
  33. We're talking about real actors
    and real performance,
  34. performing onstage.
  35. We have to start thinking
    how we capture the actors
  36. and how we capture the real scene
  37. in order to immerse inside.
  38. Now, we're familiar
    with the 360-degree video,

  39. where you place a camera inside the scene
  40. and you can create this beautiful
    panoramic image all around you,
  41. but from the same aspect,
  42. filmmaking is still frontal.
  43. In order to emerge fully inside the scene,
  44. we will need to capture the light
    from all the possible directions.
  45. We will have to surround the scene
    with an enormous amount of sensors,
  46. with all possible capabilities
    to capture the light
  47. and enable us to emerge
    inside afterwards again.
  48. Now, in this setup,

  49. there's no more foreground or background
  50. or a camera placed in space
  51. but hundreds of sensors
    capturing the light
  52. and capturing the motion
    from all the possible directions.
  53. With the new technological advancements,
  54. we can start looking at 3D photography,
  55. capturing the light
    from multiple perspectives,
  56. enabling us to reconstruct the object.
  57. This is like photography in 3D space.
  58. Now, with these
    technological advancements,
  59. we can record video
    not just as a flat image
  60. but as a volume.
  61. This is what we call "volumetric video,"
  62. and it has the capability
    to record every action of the scene
  63. as a full three-dimensional volume.
  64. Now, what is a voxel?

  65. A voxel is like a three-dimensional pixel,
  66. but instead of being a flat image square,
    staying light and colored,
  67. it's like a three-dimensional
    cube in space,
  68. with x, y, and z positions.
  69. This enables us to create
    a full capture of the scene
  70. from any perspective.
  71. Now this renders
    a fully light-immersive scene
  72. from multiple perspectives.
  73. This capability requires an insane amount
    of information to be processed.
  74. We will have to capture the light
    from an enormous amount of cameras
  75. to create this information.
  76. Now, in order to do such a thing,

  77. we would need a setup that would host
    a numerous amount of cameras
  78. installed in a stage
  79. and a stage big enough in order to fit
    a full cinematic experience.
  80. Now that sounds like a crazy idea,
    but that's exactly what we did.

  81. For the last three years,
  82. we have been building
    a huge volumetric camera chamber.
  83. It's 10,000 square feet of a stage,
  84. enabling to capture the action
    from any location.
  85. We have deployed hundreds of cameras,
  86. sending a tremendous amount of information
  87. to a huge data center
    powered by Intel supercomputers.
  88. The ability to have this 10,000 feet
  89. enables us to fit any kind of action,
  90. any kind of performance.
  91. It is the size of an average
    Broadway stage.
  92. We call it Intel Studios,
  93. and it's the largest volumetric
    stage in the world,
  94. with the objective
    of enabling and exploring
  95. the next generation
    of this immersive media filmmaking.
  96. Now, to test these ideas,

  97. we were thinking about what we can do
    as the first scene to try it out.
  98. So we chose the Western scene.
  99. We brought horses, set designers, dirt,
  100. everything needed to create
    the full scene of a Western.
  101. But this time, there was no camera inside.
  102. There was nothing really moving
    besides all the cameras
  103. installed outside.
  104. The challenge
    of the actors was tremendous.
  105. They have to perform a flawless action
    visible from all the directions.
  106. There's no possibility to hide a punch
    or not show the action.
  107. Everything is captured
    and everything is seen.
  108. The output of the capture --

  109. this is our future capture --
  110. opened our eyes for
    the immense capabilities.
  111. It was like a full 3D scan
    of the entire scene.
  112. We were able to move around
    and travel in the space.
  113. The thing about this,
  114. it's not anymore about perceiving
    the light emitted from a screen
  115. but now traveling inside the light,
  116. traveling inside the scene.
  117. This obviously opens possibilities
    for an enormous amount
  118. of storytelling
    and methodologies of creation.
  119. This is the possibilities
    of your personal narrative,
  120. the possibility of creating
    your own story inside,
  121. or maybe following other stories.
  122. Let's take a look
    at one of the last renders and see.
  123. (Music)

  124. What you're seeing here
    is full volumetric video,

  125. and there's no physical
    camera in the scene.
  126. (Music)

  127. We have the full control

  128. (Music, sounds of combat)

  129. of space and time.

  130. (Music, sounds of combat)

  131. Now, again, no physical camera was here.

  132. Everything was captured surrounding.
  133. Now, this is very nice,

  134. but what if we wanted to see the scene,
    maybe, from the eyes of the horse?
  135. Well, we can do that as well.
  136. (Horse galloping)

  137. So what you're seeing right now
    is the same action,

  138. but this time, we're watching
    exactly from the eyes of the horse.
  139. The possibilities are, well, unlimited.
  140. (Applause)

  141. Thank you.

  142. (Applause)

  143. So this is all great
    for creators and storytellers.

  144. It really opens a huge canvas
  145. for a different type
    of storytelling and moviemaking.
  146. But what about the audience?
  147. How can the audience
    experience this differently?
  148. In order to [create] our explorations,
  149. we partnered with Paramount Pictures
  150. in order to explore immersive media
    in a Hollywood movie production.
  151. Together with the director Randal Kleiser,
  152. we reimagined the iconic movie of 1978,
  153. "Grease."
  154. Some of you know it, some of you don't.
  155. A 40-year-old movie, amazing experience.
  156. And our goal was really to look at how
    we can take this iconic action and dance
  157. and bring it deeper into the experience,
  158. bring it deeper into the audience.
  159. Imagine that you can
    not just watch the movie
  160. but get inside it
    and dance with the actors
  161. and dance with the performance.
  162. Now we're breaking, really,
    the traditional 2D mindset of thinking,
  163. and bringing a much richer
    possibility of moviemaking
  164. and content creation.
  165. But why watch it on the screen?

  166. Let's try to bring these actors
    here on the stage.
  167. So they're not going to really come --
  168. I'm going to use an iPad.
  169. (Laughter)

  170. Sorry.

  171. I'm going to use an iPad
    in order to bring in augmented reality.

  172. Now, obviously, these devices
    have their own limitations
  173. in terms of the data-computing process,
  174. so we have to reduce
    the amount of resolution.
  175. So what I'm doing now,
    I'm placing here a marker,
  176. so I'll be able to position exactly
    where I want everyone to appear.
  177. OK.
  178. I think we have them here.
  179. (Applause)

  180. John Travolta, or --

  181. (Laughter)

  182. a version of him.

  183. Let's take a look.
  184. (Video) Female: Hey.

  185. Male: And that is how it's done.

  186. Female: Your turn.

  187. Male: Hey, guys! Check this out.

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

  189. Danny: Sandy!

  190. Sandy: Tell me about it, stud.

  191. (Singing) I got chills.
    They're multiplying

  192. And I'm losing control

  193. 'Cause the power you're supplying

  194. It's electrifying!

  195. (Video ends)

  196. (Applause and cheers)

  197. Diego Prilusky: Thank you.

  198. (Applause and cheers)

  199. So as you can see,

  200. we can watch and experience content
    in the traditional way
  201. or in an immersive way.
  202. Really, the possibilities are open.
  203. We're not trying to change
    or replace movies.
  204. We're enhancing them.
  205. The technologies enable new possibilities
    to start thinking beyond the flat screen.
  206. We're in immersive and really
    exciting times in filmmaking.
  207. We're at the threshold of a new era.
  208. We're opening the gates
    for new possibilities
  209. of immersive storytelling,
  210. and exploration and defining
    what immersive media filmmaking means.
  211. We're really just at the beginning,
  212. and we invite you all to join us.
  213. Thank you.

  214. (Applause)