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#rp15 revisited: James Pallot interviewed by DCTP.TV

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but I will come dCTP got be from the Republic in missile about them and we're talking now about the very innovative form of journalism it's called a massive journalism in the next guests James Palo welcome to the program things you'd like to be so I you from the emblematic group and uh you talk is and what was about uh inverses journalism what what is it exactly i it's a new kind of media
I would call a transmedia John right it's a a way where we take elements from different media like traditional journalism and documentary film-making but also video games and movies like CGI and we bring these elements together to create a new
kind of hybrid that is capable of telling stories in of every power I need a unique newcomer powerful way will be immersed you in the and we just want to show an example that knows very well what you're talking about a just give us a brief idea
of what we gonna see right this is the a piece about the shooting of Trayvon Martin the African-American guy it was shot and killed by neighborhood watch volunteer in Florida on it's a
re-creation of the events around the shooting nobody knows exactly what happened we would have to have a uh documentary evidence of the letter what happens but we took a lot of existing elements like for example security camera footage um from a convenience store which ever was before the incident we have the recordings of the phone calls to the police the 9 1 1 calls so we can hear George Zimmerman on the front the police 21st spots try 1 year would just play the piece and you know you know and so on so
this is obviously a computer-generated video yes this is the a rendering of the condominium complex where the where the event took place and so that's but lesbian the it's real innocent that built on 3 D rendering modern architectural models of the actual complex so it's it's realistic in that level and the sound we hear the sound of the actual sample this is the tape made 1st by George Zimmerman calling the police and the it the the the incredible piece here is that at the end of the call him he says I see this I see the suspicious guys running around which led to the the at the end he says you know he's he's he's running away on the plan the police men on the other on the line says ieee following and your says yes again kind some so it we don't have sound it's this muted or otherwise that's mutant I look someone OK so we we don't we are of sound look at OK so let it run so and they were so OK but we we can imagine hearing like a phone calls
uh security guy calling in the Georgia reminders that that the man that
shot and killed 3 von called the police and the describes a suspicious man looking in the complex and moving around here walking around standards in the distance from a shadowy at the end of the cold uh yeah the pieces they buy you following him and George movement says yes I am on the figures as we don't need you to do
that so it's great to see you here that we was toluene did need to follow and then we cut from there to and the inside of various apartment uh apartments in the complex and again this is all based on actual
recorded audio of calls to the police to various people say I'm hearing some struggling this commotion unknown outside under some point you hear gunshots I'm on the user
response after the shots being fired so and this scene right now is inside where it inside 1 of the apartments in the housing
complex is a couple that we hearing was going out of Siam a call the police to say hey we have some emotion OK and catch to the next scene 2 more condos also in the experiencing yes a new amount exactly that time so we we stick of a timeline of events all based on calls calls the 9 1 1 calls
to the police OK 1st with George entry bond and then from these 3 different apartment room company apartments in the interior is also based on on on the right is the amazing thing that a so much of these materials now are full of open source or widely available so you can get architectural models of the complex on the internet for the exteriors and interiors so we know that this is
actually you know it's accurate you can't say forget it this real because it's it we built a CG but it's accurate it really reflects what the place looks like and feel like arm and similarly the committee in the early seem easy jaw sitting in his car and you can go on the internet now and find uh 3 D
renderings of pretty much every column the market and even by the about box and pull it down so they have the tools to make these pieces i in many ways a becoming more widely available for more plug and play experience OK now we cut
back to the outside and see what this
guy and then every mother them again the magazine and so with this was really just until this point most of the pieces we built the non Panyu founded the company she's been doing this for 8 years since way before
anyone even really knew what what what would you out Estonia had the idea of doing journalism India a little early on like this you're crazy you can't do this is like the video games you can't you can't tell news stories but it is a pioneer she persevered on and because no 1 else was doing it she's actually made her own hardware which was terrible stories also physically building they had set so that you could experience the thing the for bunch is um is new for us because we built it so that can be experienced on the arm something give the I had
set on Google cardboard him so we're making a content more widely available to a wider audience OK we we have a video he
had enough you can see it uh linear acoustic OK so the this video um
the bastard did to a through yes this is really
bad year yes and we can see uh some of the hardware you are working with right so this
is our proprietary hardware we have these motion capture sense if you can see all around the room and they track the the
head-mounted display the you're wearing a helmet with antenna
on top so in this piece at a much more fully
immersive experience as you move the world moves around you you have to be in this lamp yes
well we can we can and we can install as many places but you have to be an event or someplace where we set up so an irony uh
as a user I have to be within this yes environment yet experienced this kind of yes so we've shown the spaces for example at the Sundance Film Festival at South by southwest of the Tribeca Film Festival at Davos appears commissioned by the World Economic Forum last year showed those or for example in the retractable Museum in London it's a it's an an an installation the you have to go and what it what is he doing with that OK so this
piece what happened here the pixels was built on 2
pieces of documentary footage capture on cell
uh 1 person had captured from the ground floor 1 person capture the scene from
above on a balcony in the scene of a man being
essentially beaten to death by US border guards it's it's terrible event the pattern yeah doming from above have form of running out of
power this unit had 60 seconds left to recall so what we did to try and make this piece
illustration of and and sort of instructive about this we we built in a color
gaming elements so you can read this but
the antenna top and you have to choose your
60 seconds of when you fell to try and get the best testimony I have to what
happened so it's almost like putting a bit of a video
game element into this documentary before OK so in the in the goggles
yeah you see the world around you
yes which is generated by you and computers based on video footage captured at this yes yes and then you have this gaming element like OK you have this smart phone device in your hand yeah and you have you have you have to capture 60 seconds what I you know exactly yep yep and uh white
you need all this how way to have to be in there to to to to actually experience while 1 of the curious from this is only piece right this was Sharon
around in its 2014 the at the Tribeca Film Festival at this point no 1 else was making the hardware that needed to tell a story so we have we to making our hardware we don't want to make our own hardware but we have to because no 1 else is making what we need to write that 1 thing the 2nd thing is i it is a more immersive kind of experience when you come to 1 of our full set up installations right and he put on these 100 heian goggles used you feel more physically present at the scene as you walk of for example if I'm talking you right now if I were to walk
around I can walk away from you comeback closes the wall reacts to my movements a lot of what you is called the arbiter of the EC now in the in the smaller you know you can't live around like that you can see around you a 360 degree field if you move the world moves with you yeah right so it's a bit of a conundrum because it's it if you want the full immersive experience it's a bigger set up but the lady at Sony and gear
and Stephen alice Yeah have have presented goggles where they track your movement not only they had yet had movement yes the movement of the whole MIT yes yes so you
could move around in this virtual world it's coming any of the the the advances in the hardware are astonishing we see new stuff in our
lab once a week comes in life was later so but if we will be thrilled when someone else is taken out the hardware pieces with weight where journalists we make content we tell stories we use the best available technology to do that and and we keep adapting to the new new equipment if it comes out to tell hopefully stronger more powerful stories that and would not you know we don't we don't want to make our hardware we've been doing that because and know of the we address the end with the yet so
the pieces we saw the advantage there is
you can make a news story where there is practically no footage on Knowl reuse sometimes sometimes yes no or very very little food and you only have uh like some animals some evidence some phone call some minor pieces that yet consisted yet again the to all the world and to experience yourself exactly
reaction we as a states because ditch really means at the time the 360 degree video that we have several camera angle any attitudinal them together the technical term but yes we blend those kind of elements for example we are we're working on a very big piece right now that's it the 1st frost was a
working in partnership with a major news organizations the Commission from Aljazeera America to do a piece article death in plain sight it's about domestic violence in South Carolina in South Carolina ends it's an extension of a documentary they've already made about about this domestic violence dating and there's incident in a documentary where and woman was shot and killed by her domestic partner in the house and her sister was also present in the house and the system was already
on the phone with the police as things started to unfold so the entire sequence of events is caught on that audio so so here yes of course there's no video but here we are essentially recreating an events based on the the the the real audio footage and that we are we have photograph example of inside the house where rendering those in CG which looks more and more
realistic all the time and the way to put those things together to create something that you help to tell that story in a different way than it's it's very
hard to describe but once you've put on such a VR goggles and you moved around yourself in such a VR environment yes it's very hard to describe everyone I did it myself I I know people who did hear and they all like thrown away from yeah but I tried games basically of so how is it can you describe how is how is it what's the
feeling what's the what's the the
value of moving around in a recreated like real current event well our real world situation that will which is based by relief facts and museum OK so the single
um most important feature of the art is what we call presents the right so it's that the even the you know that you'll hear you also your body is also really telling you that your somewhere else you feel like you're into place right am was a corner embodiment it's an embodied experience because you you've you feel present on the state what we have found is that that presents generates a very strong emotional response so people to come through these some scenes here that that people come through with these about syria for example that that we create an explosion in the streets of Aleppo and part of it was a very well known piece of video on each irreverent seen this footage we've had people come to the experience and they've seen the footage down the times but when they are inside it they we have this new stronger empathic response and people people come out naturally in tears you already
shaken the air we moved so it same that the are has his power
to I guess to move you in this powerful way that it is very interesting because uh this
American Life only only identical weeks ago had a piece about what make what makes people change their minds and an idea and their decisions and and and and and their opinion and they found out like based on statistical signs and everything it's not facts that you cannot be right convinced people by facts are able to change their mind for a longer period of time right
s only based on and evidence right the cases where they found people really really change their mind yeah opinion about something was then there were
experiencing something else when they're they're like for example they had the the example of a gay marriage people change their mind 4 of the long period of time when they were told by gays who married and told them about their personal experience sure then they the opposite side changed its mind yeah so think this is a very very profound argument
for the ah yes yeah if you if you grab people by their motions then there we can change them I exactly the opposite it's also a
warning that we have to be very careful and use it very responsibly it's a powerful tool it can be used to propaganda like anything else it can be used the bad reasons were as good reason so but we going to be absolutely sure that we're been
responsible journalists were telling the white
stories were not taking any liberties with the facts so that you know I think we were also for which I do is help to set the best practices for this medium will be it's too many powerful we wanna make sure it's powerful for the good reasons for the right reasons not for the wrong reasons but right now journalism
is about getting the facts right now you have to take care that you get the emotions right this for a while but yet have you made any experience with
that like what to do with not
possible that I earn my was not possible I mean element into that
was not possible that goes back to a more physical thing for example some people talk about experiencing knowledge they feel sick with the via I've seen some of those he is we have to remember and as as as money has this phrase your body is along for the ride OK so your mind is thinking that you're really in this situation so he has to be somewhere where you know you could potentially physically be yeah I could be walking around on street in Aleppo but it's suddenly the camera moves really fast or patterns of assumes you know in a way that's not like a human being could move and taken out of my body image that to feel
nauseous so that's 1 of the rules with blood of what you can't do it you have to respect the body respect the physical experiences if you really you is if you're really there and beyond down the more emotional level no luck we
try and we try and tell stories that are important the touch on no major if you uh we try and there you bring awareness to stories that are very well known that should be better than the and we're responsible in using the materials that we used to not to not
some of the node deviates from from reality then that's it yet and I was wondering because and right now we talked about being in a in a different environment but can you know what happens if you can
interact with during environment we had this example I have take is 60 minutes of 6 a 2nd yes video yeah OK this is a very basic kind of indexes but have you tried out out is like a level if you could talk to people if you could move things around if you can get good let all battle with a warrior and right right right right right we haven't done that yet but it's coming
some of these 2 working within the botanical strain constraints of what can be can be made right now but yes we certainly know we we
know with with the right resources we know how for example you could be walking through an experience we have 1 or 2 of your friends and you'd be aware that they were there and you could be sharing that experience together I think that's keepers 1 of that 1 of the things that we are right now it is such a solitary personal thing right people on the goggles on your you have it's very much you your mouse below but I think the next big step is going to be yes you can do it collaboratively or collectively with you know with your friends your family and being by and yes look there
are all kinds of things will the goal haptic the love that reflect the mood the movement of your hands and that'll be your body our if you wanted to be with the you can imagine errands yes you will be able to interact with physical objects with of other people yeah there's no end to others can go I just I wanna show you something because this is I think this is the
next step of of the yard and I saw this on seeded and this is the go
prose Maya on the on on the so try and became the video output yep goes to to to see on this PC runs at a software called videos did she had been obvious that there and this stitches the video together into a 360 video rights which you can watch on every hour right so if you
you can see the other player that the audience is put at the place where the tripod stands and can look around so if you put like this tripod but with the cameras on the stage of the
life if it the on street in in in in in an in apple you and people put on their governance and they can move around and look around as if they were standing live on the street and i level is that a thing you're you're dealing with him well as 1 crucial difference that which is I would like to thank the when constructing narratives OK we are telling the story of an event so the yes look theoretically
you could have 1 of these cameras everywhere that you could choose to go the to virtually go anyway you wanted and see what's happening there where will then what's the point of going away because it's unfiltered and trust you me you know it's sort of the washer information yeah it's basically the the the equivalence um 2 2
days on life events you have
exactly well prepared large documentaries and you have this life events and so I've now to no rights location x where the right the point is not that this raw material is there it's how do you take that raw material actually tell a story and involves someone and move them right I think that's the difference so within
EU 360 billion no doubt at some point but it has to go beyond just paid you know you are at the minimal the World Cup final you know great because what's the point of view you know what's the story what's the what's the angle is always a man angle with narratives OK the rest is a
journalist that's the most important thing so where do you see this going what's the next what's your vision
home our vision is that this will become
part of the way in which a mainstream audience gets then use information about what's going on in the world I think every major news organization will start creating the art content so we wanna be you know a big force big brand in that world I think the goggles we get to a point where it is it is comfortable and light weight to sleep on a parodies goggles as today you put on your headphones to listen to music so it'll be it'll become from uh a basic part of the daily routine and even think about the i will become a medium that's alongside newspapers magazines and television of how you you know how to find out about what's going on in the world you get you today already you can have
different frames for your smartphone yeah you could put your smartphone India and
start a of the Optional yes smartphone absolutely yeah feeling is amazing not all yeah
who have bought for some large uh that's going to gather we've seen in the lab we seem lenses of such amazing clarity so like you know it's not take longer someone to put that into a really comfortable like had that that that that has 10 times the processing power of what's
in a foreign coming look Moore's law we know the technology just keeps getting more and more power 6 years ago when I saw 1 of money 1st pieces in a lab LA it it took a server the the the
size of this desk to power that had set to walk around here and I can do it with some of the waters with asthma it's only gonna get better more and there any any news organizations to use really for current
events and no 1 has gotten
seriously into it yet but we're talking to a potential partners like this before without a 0 about helping them get down that road that's coming terrorism James I think you're much a
time thank you have very interesting no stuff
you working on observed magnetic thanks very much
working for watching the event that the people working here so I think you will working this system style from um emblematic group uh we were talking about the immersive journalism thanks very much for watching by
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Metadaten

Formale Metadaten

Titel #rp15 revisited: James Pallot interviewed by DCTP.TV
Serientitel re:publica 2015
Teil 122
Anzahl der Teile 177
Autor Banse, Philip
Pallot, James
Lizenz CC-Namensnennung 3.0 Unported:
Sie dürfen das Werk bzw. den Inhalt zu jedem legalen Zweck nutzen, verändern und in unveränderter oder veränderter Form vervielfältigen, verbreiten und öffentlich zugänglich machen, sofern Sie den Namen des Autors/Rechteinhabers in der von ihm festgelegten Weise nennen.
DOI 10.5446/31821
Herausgeber re:publica
Erscheinungsjahr 2015
Sprache Englisch
Produktionsort Berlin

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Fachgebiet Informatik
Abstract Our media partner DCTP.TV has done interviews with selected speakers of re:publica 2015 about their topics. Philip Banse talks to James Pallot about "Immersive Journalism: Using Virtual Reality for News and Non-fiction", who was stepping in for his co-founder, Nonny de la Peña.

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