Hello everyone, it's working.

So, you say everything already, so let's keep this. So I'll try to be brief. So it's half hour, I'll try to speak 20 minutes and then give 10 minutes for question and answer and if you don't have any question I will continue to talk the last 10 minutes. So I make a little introduction, then we'll speak about storytelling, prediction, distribution and I'll show you some tools.

So what I will say today, only apply on what I call GOVIs because I do production that thing that are between games and movie, so I call them GOVIs. So I'm not doing games, so I will speak only of what I know. It means doing cinematic reality, doing movies in virtual reality,

which is really different from the gaming that have other rules. So as you say, I've co-founded a studio called Okyo which is specialized in the production of immersive content which is VR content, virtual reality content for now and also soon augmented reality content. Just to know, who already tried VR can raise their hand?

Okay, so I think I'll just skip the intro really quickly because you obviously know what it is and there is great movie upstairs in the other floor. So we got many headset that can read virtual reality cinematic experience.

Okay one, better one, huge one, cheap one. You can read it also on 360 which means if you don't have a Google, an HMD, you can watch it with a phone or on a computer. So I like this sentence, this sentence which is saved by the master.

It means like we'll need to get rid of the screen. We have one century of watching screen and now we want immersion and immersion is not like a new thing that everybody wants. It's something that evolved during the past century. If we remember what happened, we got first the theater, then the TV, then the computer, then the iPad, then the iPhone.

So the last centimeter was like nothing to do. So it's something that really came because the public wants immersion that way like the screen come closer and closer and also like we were black and white, then color, then 2D, then stereoscopy, mono, then stereo. So the immersion is a long way that finally come to virtual reality.

So for me, virtual reality, I will say VR now. VR is like a real evolution and it's not really happening. So it's still early stage. The Googles are not really performed yet. It's not the best, but it's still something that you can feel. So now the real talk. So I'm saying Goveez, that's my name.

So that's the name of the thing I like to call. So it's my non-gaming VR narrative experience. I'll try to talk about this. Most of the thing I will say today might be wrong in one year because things evolve really quick. So I'll try to say a thing that I think is right today. If you want to try to write a movie,

direct a movie, or produce a movie. So the name of my conference is Orange Science Fiction, but of course what I will tell apply to any kind of movie you want to do. It's just because I'm a big fan of science fiction and the two first piece I did are science fiction movie. So of course the name of the conference is Narrative Orange Science Fiction,

but it's mostly narrative in virtual reality, cinematic reality. So I did one piece called I, Philip, and the other Alteration, which is just up here. It was finished three weeks ago. We went to Tribeca, and then it's the second festival we do. So I hope you can watch it after. And I, Philip was the first one. So to be really quick.

So I, Philip is a story that, it's a real story. Philip K. Dick was a science fiction author, so he write many, many books. He write this four books that made movie after and made the other one. So he died in 82, and in 2005, someone replicate the head of Philip K. Dick

and put it in IA inside his brain. So you can speak to the Android of Philip K. Dick. So this is really something that happened. And then six months after the creation of the head, someone stole the head of the Android of Philip K. Dick. So the first movie we did, I, Philip, was the story of this head from the point of view of the head of the Android of Philip K. Dick.

So the second movie, Alteration, which is upside now, it's of course again a science fiction movie. And you're Alexandro, and you volunteer for an experiment about dreams, and then the bad doctor will plug you in IA that will come into your dream and will steal your dream.

So we love IA and things like this. So that was to introduce a little bit what we did. And now, sorry, the few thing that I've learned these past three years, I'll try to tell him to you if you want to apply it to do a movie. So the first thing, I call it presence and immersion versus 360 degree.

And I tell versus because it's, for me, this slide is the most important of all my presentation. So sometime when you want to do a VR movie, the first thing that some people can think, it's okay, I need to tell a story in 360 degrees because you have the full space of the 360 degrees. But the fact is, it's not really useful

to use the 360 degrees all the time because we got a neck we're used to watch there. We got one century of watching movie on TV, on theaters, on screen. So it's just the beginning for us. So turning all the time in a story, it's maybe not the best way of telling a 360 story.

So what I suggest, and in many movie, like 90% of the narrative stay on 180 or 210 degrees. It mean you look the story like this. Of course, sometime you can do thing in the back, of course, but it's better if the spectator

don't spin around during all the movie. So the really great thing about virtual reality is what the American call the empathy machine. What is really powerful is the fact that when you put a VR HMD, you feel like you are in the story so now we are telling stories and we make live stories to the people

and that's the most important thing. It's what we call the presence. So when you put a VR HMD, you will feel that you're part of the story and that's for me the most important thing. It's not the fact that it's 360, it's the fact that you are in the story and you can give emotion that other tools and other books, music, cinema cannot give.

It's like it's a thing related to the brain. So VR don't touch the same part of the brain, VR touch what we call the lower part of the brain, like the reptilian brain. So I can make you feel vertigo in virtual reality and you cannot do that in another kind of entertainment.

So what I suggest is when you choose a story to write, to direct or to produce is to find a story where the immersion and the presence is something important for you. So you have to tell the story and make live emotion so if you can do it in another way, like if you can do a short movie without VR

because the story don't fit, do a short movie without VR because VR is like a pain in the ass, it's expensive, it's long so choose carefully your story and choose a story where the immersion is really something important for you. You want people to live something, then you do VR.

So then I want to speak a little bit about the rhythm. The rhythm is really important because we also got many reflexes from what we did before and I think rhythm, it's something that, it's okay to have two minutes on it. I'm not allowed to pass this line but I will have now. So here is like, if you're on HMD, it will be 360, okay?

So now it's like my 360 images, I put it flat for you. So what is really important is the rhythm in the scene because in the scene in virtual reality, the scene have to be a little bit longer because the first thing people do is like, okay, I'm here, so everything there is a cut,

you need to give the spectator five, 10 seconds to be used to where he is. So that's the first thing about the rhythm, you cannot go straight and straight, the action cannot begin directly after the cut or the transition and where you're in the movie,

can I take that? So if you're in the HMD, that will be your frame, okay? So you will see only part like this when you move your head in the 360. So if this man talk to this girl really quickly, you will need to do this. Now really, and you will be like this all the time

and you will miss the story. So what you have to do when you want to write a VR story is to be conscious of that and so you can write avoiding this. So it mean he speak to him, he speak to him, he speak to him, she like clear her throat or what we did in the movie, the cell phone ring.

So then you go there and then she talk. So you have to construct the scene with a different rhythm that allow you to don't break the immersion by doing this all the time because it's not comfortable. So that's something really important. So the rhythm in editing, writing

and in the timing is different. The timing means I suggest you to do long scene because people take time in virtual reality. In writing, it's what I told you. It's like write the sentence on a way that people can feel it naturally. And on the editing also because in VR,

it seem obvious but I will say it, there is really a few editing. You choose your scene, you put it one to another. You cannot do like this kind of shot, this kind of shot, close up. You cannot do this. So what we'll do is you will edit in the scene. If you want a close up,

he will come in front of the camera and that will make a close up. But you will not do in addition, you will do in the narration of the scene. So the rhythm is really different in all the way on studying a story into VR. How long did I get? 15 more? Okay, it's quick.

So another thing really important is when you are in that sphere, a 360 story, you can look everywhere. But the goal of a director, I'm not a director but I work with them closely, the work of a director is to make you look where he wants you to look. Because if you're looking all around all the time, you will miss the plot, you will miss the narrative,

you will miss the story. So the role of the director today is to make you look where he wants you to look. And so for that, he gets few tools. One of the great tools is the sound because sound in virtual reality can be 360. So it's specialized sound, 3D sound. So if I drop this on the floor here, the sound won't come here, it come from there.

So you look here. Like if I'm talking to you and then the next phase is someone entering here, like the door will open, I'll hear the door, I'll do that, then I don't miss the story. So sound is really important but you also got choreography and body movement. Like if you look at me,

even if you don't feel it and if I do that, your head will slightly move around there and though it means that the one here will speak after me, I will help you to guide your look to have the story. So as it's really going fast, so there is other challenge to have that

but you'll discover when you try to produce and write. Good luck but it's really fun. So other thing is like, don't be afraid, VR is really new. So we're making like storytelling of the future and everything but with old tools. So soon the camera will be ready. Soon editing software will be ready. Soon, soon, soon but today, no.

So today you have to construct everything. It's really DIY, do it yourself style. So I have to build camera, you have to take the old software to adapt them and for the software, it's beginning to happen. Now there is plugins that accept VR so it's really more easy than one year ago. For the camera, we're not yet there yet.

So this one camera you can build, this one is a little bit too huge, just like if you want to build something really high. So I'll show you other cameras I've got time. Transition, transition is really important into VR. So when I make these slides, I rearrange it but it was make, the first conference I gave was one year ago

and I told to people don't cut, do not do cuts. But I was wrong. Like maybe I will in one year on other things but cuts work. You can cut in VR. So if you want to cut, just have an element that make the connection with the shot before. Like if I want to stay there and to cut

and nobody will be there anymore, it's okay because I will stay on the same location. So if we cut and I'm on another location but I still get you on my frame, it will work because I have something reference that make the connection between the shot. So you can cut in VR but try to do this connection

and the best way is not to cut, if you can do it. No, cut works. Okay, I don't like it specifically but it works. It's to do the transition, diegetic in the narration. So the transition is part of the story. It's like, okay, the light shut off, go up

and I'm in a new space. So it will be like, you won't feel the transition because it will be the story. Just the light shut off and then new frame. So I get many more thing to say but maybe you want to speak a little bit if you got some question.

Hello, thank you very much. My pleasure. It's so interesting. Just one question. It seemed that this refers to 360 degree so my question would be what about storytelling when you actually can move in the movie, how can you direct the audience to move in special ways up the stairs somewhere?

I mean, this is a whole new dimension that adds on top of all that you've already told. So tell me if I understand the question correctly. So what I say in the beginning is I only do movies. So in the movies you cannot walk. So the only thing you can do is look around

and soon you will be able to do that but the people who do games need to attract you to move on an open world but on my case I don't need to push the people to walk or to move. Only to look where I want them to look. Was the question a little bit or?

I can't. In a movie I cannot because a movie is like what we call pre-render. It's like we do all the special effects and there's things that we pre-render the movie so it's not like a game. It cannot evolve during the viewing. So everything is like this and the only thing you can think is look. And you can, if I look there you can launch something

but you cannot move and walk into the movie. You can if you do like an animation movie with a game engine then you can. But then it's not my job anymore. There is one who do great thing like this, Gregor, if you have question on this case. But I do movies and he do games.

What do you think about volumetric video? I mean how does that change your thesis that you just said? If you are a filmmaker and one cannot move around

in the movie because I mean that is that what we are hearing now all the time that that is the high end of virtual reality. Volumetric video or human body reconstruction and what about Microsoft and working and all that. So do I understand it correctly that you can move so that will be a movie in which the spectator can move

and that really is a new challenge, isn't it? Or what do you think? So there is two question on your question I'll try to answer both. So first thing I think volumetric video is like simply the future of cinematic reality. I think in three four years there will be only volumetric video because if you want people to feel it real

it's called virtual reality. You have to shoot in stereoscopic because we see in stereoscopic in life and you have to allow people to do that because we can do that in life. So volumetric video will be the future and it is what we need to do. So Alteration is my second movie and it will be the last one without volumetric.

No, I want to do volumetric even if it take millions and years but I want to do that. So for that there is camera that are coming one is called Lightro, the other one is made by Facebook. What we did before is we use a LIDAR scanner that scan, we shoot and we scan. So then you can remap the images on the scan

so you can have this but it's like fucking expensive and long. So soon the camera will be ready and we'll be able to do it but to answer the last part of your question you still cannot move. To move it's called room scale when you move on the thing with a game. On volumetric it will call six degree of freedom

because you'll be able to do that like this and this. So it's not really moving it's like watching a movie in volumetric. Is it, answer okay?

Yeah, I think you can but then you shoot in many space. I think you can, yes. Never, nobody have done it for yet but yeah, I don't know why you couldn't but then if you want to do that if you want to do that I think for a few years coming animation will be more easier.

Oh, photogrammetry. There was a question. You already talked about complexity of scenes and not overloading scenes. Can you maybe say something more

about playing with the space? So maybe using different dimensions of a space so maybe having someone talking in the foreground but having things that are interesting for the user in the background and how much you would use and when it starts to be over complex for the user? So I will answer your question

but on the other way. For me, we use space and we have to, as we said before we have to focus on where the director wants you to look. So for me the goal is to do really to empty the scene. So now we work really closely with the set director and the DOP, the one who do the lights

because if I want, okay my main action is here and I'm the director I want the viewer to look at you for three minutes because everything happening here. If I put too many layers, too many details interesting one, you will want to look there. So what will do the DOP, what will do the set designer? Okay, she won't put thing there.

Nothing to look. She will put a really not interesting slide like this one maybe. So you don't look there. Then the DOP, he will put the light a little bit less here so you won't even feel it but you will want to look here and not there. So of course you can put many layers

and you can also tell different story on the same shot. So if people watch the movie several times they have different thing to look at and I think that's a good way of thinking but we have to remember that the public is not really ready, VR is really new. So I think the movie that will be done this year coming will die in 10 years of course

because we will need more but I think for now I advise to keep it really simple like less is more and not put so many layer on the frame. Of course you can but I will advise to do less layer than you will do on a classic movie. Yeah, my question goes in a similar direction.

Back to the problem where four people in the room talking to each other. Laws of physics do not apply anymore. Why not just move the room around my forehead? Okay, so there is really few thing that is sure but what I will tell now is really sure. You cannot force the image to move, it will make you sick

because as VR lie to your brain so now your brain really feel his emerge in a story. So then you can look where you want to look and at the moment I will force the sphere to move or if I'm shooting something and I'll turn the camera like this people feel sick immediately.

It's like reading on a car, you know? So that was an easy answer for us but this is really one of the few rules all the filmmaker agree. I think that's the only rules we all agree. Hello, I'm Catherine and first of all I think very impressive what you're telling us.

Before you said that the whole VR will be R&D in the next three years so in your practical life how do you go about that? When you produce films on the one side for the financing so which kind of projects can you get financed?

On the other hand side how much research on the technical side do you put into your project? So what I do in my company, I do one movie every year and I do many commercial so commercial of course it's pay the bill and the salary and all that but also commercial is a good laboratory so when you do commercial they get more money and they want you to produce quick, quick, quick you got two months so you try with the money

of the commercial your technical experience and your R&D so without the commercial I will not be able to do movies because it will cost me too much money so that's for the first part so my R&D is funded by, yeah it's recorded, no, a little bit by the commercial and my clients

but they know it because and they even like it that they helping the thing evolve. The other part is like it's expensive but people are funding it because it's like new so it's more expensive than a movie but you can find many, many more money than before you know like before IMAX won't give you a movie

you know and Oculus which is like the brand of Facebook Oculus, Vive, this kind of thing they also funding contents so it's like before you had a broadcaster like Arte and now you can have Arte and a brand like Oculus

it's like if Panasonic was paying the movie before and it wasn't the case so it's more expensive but you have more people to fund it and you got also all the institutes and laboratory grants that helps their R&D. Hi my name is Anna and thank you so much

this is so interesting, just a quick question because you very much focused on fiction films and you talked a lot about timing and directing the audience et cetera how likely do you think is VR also the future for documentary films because there of course you can't really influence the timing the situation always. Yes you can I think.

I think the best movie are in documentary the first that really try to experience a narrative piece was a documentary director so there is great one. I see one this morning about South Sudan which was really well done and you can so what did this man, I don't know him I will speak of his movie but I don't know him

it's like of course he shot a documentary so he cannot say to the military go there, stop there, do it again he cannot do that but he can put the camera on the spot he will know something interesting will happen so at a moment you're like this on the front of the road and all the people come to you and you go oh they coming, they coming

they pass you and then you turn back and look at them so you can still use the space as you wish of course many shot will be not worth thing because I think the documentary is already like that you shoot a lot, you shoot a lot and then nothing happen as you planned but I think in VR you can still try to adjust the timing and adjust the reality

and sometime on a documentary you can ask the military to shoot again please shoot again and you know it's still possible it's of course more difficult than into feature and fiction but I think you can and I think you have to a little bit but I do one of the director I did it where he did a piece in Syria during the war so of course it was like

you cannot tell the people die now or hide now but what you can do is shoot more more more more more and then choose the sequence that is the best for you yeah my name is Christian I'm just a quick question because I think you believe that

basically VR is gonna be the next big thing in the movie industry and my question is when you are watching a movie you want to have all the details you wanna kind of capture the full screen and with a VR you are only seeing one scene at a time and you have to kind of turn around to see everything

and we can for example see that Phillips and other brands are trying to produce TVs who are U-shaped so you can get that full aspect when you are watching the movie or watching TV so how does this factor kind of impact

what you are saying right now is that a conflict with the people's experience in watching TVs or does it actually just contribute in making VR the next big thing? I think it's like it's really two separate thing I think in VR we keep saying I mean me the producer

we do movie or games movie or games and I think we might kill VR before it even exists I think VR is not gaming not VR it's new kind of experiences immersion and experiences on the immersion so TV of course I say in the introduction

we go deeper on the immersion so when the curve the TV to reinforce this immersion is something that go the same way as the stereoscopic as now we get the 4D seats on some theater like give you water and smells so I think every medium is going to reinforce immersion no even the play the theater I don't know if you heard of sleep no more

of this kind of play it's like you enter a building I didn't do it but many people told me you enter a building and there is like 200 comedian for you you can go whenever you want and they're playing in every room so I think immersion will take the lead in all the medium the TV the theater but VR is really something different so I think it's not competing

it's just the fashion today the immersion I think I'm out of time is it just if you want to see a storyboard and I'm out thank you