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Sci-fi & VR: Narratives of the Future

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the the the the question if you if you want to do with the and
and for the time being keep I the hello everyone get it's
working so you say everything already is so let's do this so I'll try to be brief so it's hard for and try to speak 20 minutes and then the kids terminals for question answer and if you don't have any question I will continue to talk the last 10 minutes so I make a little information on them was big about storytelling production distribution and I show you some tools so what I want to say today only apply all on what I
call gobies because I do predictions prediction that thing that hours between games and movies cycle them goalies so I'm not doing games so I would speak only of what I know it means doing cinematic rigidly movies inveterate which is really different from the gaming the have all the rules so as you say I come from the most you culture which is specialized in the production of immersive content which is your content nurturing 2004 now and also some augmented reality content just you know um did you only Wu already tried the optimized during the hand OK so I think
that students were really quickly because you obviously you know what it is and there is great movie observers in your other 4 so we get many at said that in reverse and really the cinematic experience and
OK 1 better 1 huge 1 ship 1 you can really done some 260 which mean that if you don't have a uh Google's and H in the game which it on was a form or on a computer so I like this sentence to sentence which is saved by the master its main like uh willing to get rid of this tree we have 1 century of watching scream and no we want immersion and emotion is not like the new thing that everybody wants something that evolved during the past century if we remember what happened we got 1st the t the when we then the TV than the
computer than the iPad and iPhone so the last century there was like nothing to do so it's something that really can because the pubic once immersion that white with that discrete come closer and closer and also like we were black and white than core into didn't arrest of the mono than 0 so the immersion is a long way that time come to religious or from the virtual reality I would savior know your is like a real evolution and it's not really happening so it's still early stage there go those are not freely the from yet it's not the best but it's still something and you can feel so you know there is talk so and Singhalese that's my name so that the name of the thing I like to call so it's mean non-gaming VR narrative experience and tried to talk about this and most of the thing I was I was say today might be wrong in 1 year because they evolve really quick so try to a thing that I think is right today if you want to try to write a movie director movie or produce so won't happen the name of my conferences on are in science fiction but of course what I will tell applied to any kind of movie where you want to do it just because I'm a big fan of science fiction and that of 2 1st decided are science-fiction movies so of course the name of the Conference's narrative on science fiction but it's mostly narrative in marry cinematic rarity cited 1 disco I feel it and the other alteration which is just up here it was finished 3 weeks ago we
went to traffic and then it's the 3rd emphasis and we do so I hope you can watch it after and I feel for the first one so to be really quick so I
feel it is um it's a story that is a real story and actually paid was a science-fiction alter so he right many many books and here I just for will that may movie after and many other 1 so he died in 82 and 2 dozen and 5 someone not replicate the head of the KDE and put it on I a inside his brains we can speak to the upgrade of the mechanics of this is really something that happened and then 6 months after the creation of the had someone stole the head of the right of the decadic so the 1st movie we we did I said it
was the story of his head from the point of view of the head of the Android of the Catholic so this certainly ulceration which is some of those of side now it's a of course again science-fiction movies and now you're Alexandros you answer for an experiment about dreams and then the the bad doctor will play you and I that we come into your dream and was to your dream so we we love I and things like this and so that was to introduce a little bit what we did and all of them
sorry the few things that I learned this past 4 years I've tried to extend to you if you want to apply it to the moving so the 1st thing I call it presents an immersion varices 360 degrees and I tell versus because it's for me it's this slide is the most important of all my presentation so sometimes when you want to do a of you're moving the 1st thing that some people 1st can't think it's OK I need to tell a story and 360 degrees because you have the full space of the tree 60 degrees but the fact is it's not really useful to use the tree 60 degrees all the time because we get America were used to watch that we get 1 century of watching a movie on TV on others on screen so just the beginning for us so turning all the time in history this maybe not the best way of telling the truth 60 story so what I suggested in many movies the but the like 90 per cent of the narratives stay on 180 ought to 10 degrees it manually history like
this of course sometimes you can be do in the back of course but the vote do not it it's better if the spectator don't spin around doing all the moving so during the great thing about virtual reality is what the American called that mention which is really poor fool is the fact that when you put of your H. the you feel like you are in the story so no we are telling stories and we make lead stories to the people and that the most important important thing is this what we call the presence so when you put them out of your age and the you will feel that you part of the story and that's for me the most important thing is not the fact that it's true 60 is the fact that you are in the story and you can give motion that other tools and other books music cinema cannot be cited some figures of fear of fusion fusion of this thing related to the brain so the are don't don't touch the same part of the brain the art that's what we call the law part of the brain and directing and brain so I can I can make you feel virtually industrial reality and you cannot do that in another 10 of entertainment so what I suggest is when you choose a story to write to directed to produce is defined as the we where did you version and the presence is something important for you so you have to tell the story and make leave emotion so if you can't do it in another way like if you can do a short movie without the ah because the the story don't fit do a short movie was of the art because of the is like a pain in the ass is expensive is along so choose carefully your story that is a story where the immersion is really something important for you you want people to leave something that you do the ah so the so then that I want to speak a little bit about the rhythm the rhythm is really important because all we also get many
reflexes from what we did before and I think read and it's something that it's OK to have 2 minutes on it I know I'm not a lot of this line that I will have no um so here is like if your it would be trees 60 OK so no it's like my tree 60 majors I put it flat for you so what is really important is the reader in because in the scene and naturality doesn't have to be a little bit longer because the 1st thing people do is like OK I'm here so everything there is a cut you need to give this becomes that 0 5 10 seconds to be used to where he is so that's the 1st thing about the read and you can't go straight and straight the action cannot begin directly after the the cat or the transition and where you are in the movie in fact then I think that so if you're in the that would be your
friend OK so you will see on the part like this when you move your head in the tree 60 so if this man that to do is go really quickly you into the disk and the really and you will be like this all the time and you will miss the story so what we have to you have to do when you you want to right of your story is to be conscious of that and so you can write avoiding these
so it means His speak to him his speak to him is speak to him she
like clear her throat and or what would the movie the self-ordering so then you go there and then she talk so you have to construct the scene with a different freedom that only you to don't break the immersion by doing this all the time because it's not convertible so that something really important so the rhythm in the editing writing and entertainment is different pertaining means I suggest you too long see because people take time in virtual reality in writing it's what I told you is like right this and that on the way that people can feel it naturally and on the editing also because in the ah it's simple views but they would say it there is really you editing you choose your scene you but it want to another you cannot do like um this kind of shot this kind of shot close up again at do so what we'll do is you will it's in the if you want uh and the close that he will come from the in front of the camera and that will make a close up but you will not do in addition you will do in the direction of the sea so the reader misery difference in all the way to studying history into via hold 15 more focus with so
mean another seemed really important is when you are in that as territories 60 story you can't look everywhere but that the goal of the director and the director but I work was then called closely the work of the director is to make you look what 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 is the story so the were the role of the director today is to make you look where he wants you to look and so for that he gets you choose 1 of the great tools is the side because some investor rating can be true 60 so it's specialized signed treaties signed so if I draw this on the floor here does someone come here it comes from there so you look here the like if I'm talking to you and then the next phase is someone in here like the door will open I haven't and here the are as you that then I don't use the story so the sun is really important but you also get choreography and body movement like if you look at me even if you don't feel delete anything do that europe had we
slightly more on there and 0 it means that the 1 here was big after me you know I will help you to give to guide your move to have the story so as it's really when faster I will so there is all the challenge to see how that that you discover when you try to produce an right good like but it's really fun so other things like on the on the afraid of URIs reading you so we're making light storytelling of the future and everything but with all the tools so soon become now will be ready soon editing software will be released soon so that today no so today you have to construct everything is really DIY do-it-yourself style set to build camera I have to take the old software to add them and for the software is like it's beginning to up another is plug-ins that acts of yeah so it's really more easier than 1 year ago for the coming out not yet various so this 1 summer you can build this 1 is a little bit too usage dislike if you want to be something really high so uh I show you the comprised of that time transition transition is really important until the so when I made these slides it's going I rearrange it but it was making the 1st conference did was 1 year ago and I told to people that don't text do not cuts but I was wrong like maybe I will 1 year on other thing but cats work you can cut in the arts so if you want to cut just haven't elements that make the the connection with the before like if I want to stay there and to cut and nobody will be there anymore it's OK because I will stay on the same location so if we can't and I'm in another location but I I still get you on my friend it would works because I have something reference that make the connection between the show so you can cut in the ah but try to did do disconnection and the best way is not to get if you can do it you know cat works again I don't like it specifically but it works is due to the transition
and did it take so in in the narration so the transition is part of the story is like OK delight of half go up and I'm in a new back the space so it will be like you want the transition because it will be the story just the light off and then you Frank so I get many more thing to say that maybe you want to speak a little bit if you that some questions the hello thank
you very much the literature interesting destined question it seems that in this preface to 360 degrees so my question would be whether the attending actually can move in the movie how can you direct the audience to move and special layers and the stairs somewhere I mean this as a whole new name mentioned that acts on top of all that you've already told so I'm very very understandable question correctly so what I said in the beginning it's by only to movies so in the movies you cannot walk so the only thing you can do is look around as soon you will be able to do that but the the people with the games need to add structure to move on an open well but on my case I don't need to put the proposed to walk or to move only to look for I want them to look is was a question a little bit or time that I can see a movie I cannot because of movies like what we call pre-rendered so it's like we do all the special effect and the thing then read around the the movie so it's not like a game it cannot evolve during the reviewing so everything is like this and the other thing you can say is look and you can if I look very similar on something that you cannot move and walk into the movies you can if you do like an animation movie was game on giant then you can but then it's not my job in there was 1 who do great things like this thing well if you have a question on this case but
I do movies and he do games the and and what you think about for the metric the deal and I mean how does that change just see this effect you just said that if you have a filmmaker and and 1 cannot move
around in the movie because I mean that is that what we are hearing all the time that that is the high end of a virtual reality volumetric view all human body reconstruction and that and what about Microsoft and working and all that blandness and correctly that you can move so that will be in movies in which the spectator can move and that really is a new challenge is intent on what you've seen so on there's 2 question on original tree to answer both so 1st thing I think volumetric video was
like simply the future of cinematic reality by fusion tree for years there will be
only volumetric video because if you want people to fit a tree or a sculptor chopped reality you have shooting stereoscopic because in those we see is the risk of being alive and you have to to allow people to do that because we can do that in life so photometric video will be the future and it is what we need to do so by iteration is my 2nd movie and it will be the last 1 was volumetric no I want to devote a Metric even if you take millions of years but I want to do that so for that there is Canada come in 1 at the school level show do otherwise made by Facebook what we did before is we use a light are this kind that's can you we should end was kind so then you can remap the images on the sky and so you can have the but it's a fucking expensive and and so so that the camera will be ready and will be able to do it but to answer the last part of your question you still cannot move to move its core rooms care when you move on the thing was again on the volumetric it will book called six-degree-of-freedom because you'll be about that like this and this so true it's not really moving it's like watching a movie in a volumetric is it answer a great of the of yeah I think you can but then you should too many space I think
that has never nobody have donated for yes but then I don't know why you couldn't but then if you want to do that but I have shown if you into that I think it for a few years incoming animation will be more easier also the grammar tree the question and we
already talked about complexity of scenes and not overloading scenes and can you maybe say something more about and playing with the space so maybe using different dimensions of the space so maybe having someone talking in the foreground but having things that there are interesting for the user in the background and how yeah how much you would use and when it's safe to little complex for the user so I will uncertain course but on the other way for me the we use space and we have to as we said before we have to focus on more director want you to look so from the
goal is to do really to empty the and so no we work really closely was the set their answer and the and the ship and your people under the lights because if I want to look at my men action is here and that am the Director I want view were to look at you for training is because everything happening here if I if I put too many layers too many detainees interesting 1 you will want to live there so what within the GOP what will be the set designer OK she 1 good thing there's nothing to look she would put a really that's interesting slide like this 1 so you don't look very then that deal be he will like but the light a little bit less here so you won't even feel it but Europe you will want to look here and that there so of course you can put many layer and you can also tell a different story on the same shot so if people watch the movie serotonin have different thing to look at and I think that's a good way of thinking that we have to remember that the debate is not really ready here is really new so I think that the movie that will be done this in the 1st year coming but will die in 10 years of course because we will need more that thing for no I advised to keep it really simple like is more and not to so many lay on the frame of course you can but I will
advise to do less later than you will do on a classic movie M. my cursor goes in this similar direction back to the problem that for people in the room talking to each other and the laws of physics do not apply anymore why not just move the room around my 4th out OK so there is really a few things that is sure but what I will tell you know it's really sure you cannot force the uh the image to move it will make you see that because I as the are like to your brain some of your brain really feel he's emerged in history so then you can look where you want to look at as at the moment we forced this virtual or if I'm shooting something and I turn the camera like
this people can seek immediately it's like it's like reading on a car you know so that was an easy answer for but this is really 1 of the few rules all the filmmaker agree I think that's the only rules we already know I'm catherine and uh uh and um festival there I think
and very impressive and will with with telling his before you set that that the whole of the ob will be are indeed in the next 3 years so in your practical life how you go about that when you produce films on the 1 side and and for the financing at cell which kind of projects can you get finance and at the end Saito much research on the technical side do you put into your project so what we do in my company either 1 will be a reader and I during the commercial so commercial Of course beta do a the summary room but also commercial is a good laboratory so when the commercial they get more money and they wanted to produce quickly quickly get 2 months so you try with the money of the commercial your technical experience and you're indeed so without the commercial I would not be able to do movies because it would cost me too much money so that for the 1st parts of my guarantees is funded by is recorded know a little bit by the commercial and my claims that they know it because and even likely that they had been the thing of all the other part is that it's expensive but people are funding it because it's like new so it's more expensive out and then a movie but you can find many many more money than before you know like before um I actually
1 give you a movie you know and an OK this which is like uh the brain of Facebook OK is 5 this kind of thing they also funding contents so it's like before you had a broadcaster like after the and we can have after they m a brand like OK this like effective Panasonic was the movie before and it was in the day so it's more expensive but you have more people to find and you get all the institutes and laboratory that brands that helps their parents and high variance and the and thank you so much this is so interesting matter just a quick question because you very
much focus on fiction films and he talked a lot about timing and directing the audience etc. how likely do you think is the are also the future for documentary films because there of course you can't really influence the timing of the situation always yes you can I think I think the best movie or at the formed in the command during the 1st that really try to experience and narrative this was the the command director so there is great when I see 1 this morning about the so so so that which is really well done and you can so what did this man I don't know in my was because his movie but I domain is that of course he shot the country so he can say to the military go there stop there do it again he cannot do that that he can but the camera on the spot he we know something interesting will happen so at the moment your ideas are of fronts of the road and all the people come to you and I are all incoming incoming they pass you and then you turn back and look at them so that you can you can still use the space as you wish of course many shut will be not worth thing because I think the but the commander is already like that you should lot should 11 and nothing happened as you plan but I think we very you can still try to adjust the timing and edges that the image of the reality and sometime added a modicum during you can ask the military to shoot again to again you know it's still possible it's of course more difficult than into future and fiction that they think you can and I think you have to a little bit but I do have 1 of the director I did it when he did his and CAR during the war so of course it was like you cannot tell the people are dying all higher now but what you can do it should be more more more more more and then choose the sequence that is the best for you yeah I have illustration and disagree question because I think he's um you believe that
basically the errors maybe next big thing in the movie industry and the question is when you are watching a movie you want to have all the details what kind of capture the full screen and we the the all you are only seen 1 scene at the time and you have to kind of turn around to see everything and we can 1st simple so that the leaps in order brains are trained to produce TVs war R U shape so you can get that whole aspect when you're watching a movie or watching TV so how does this factor a kind of I it the In the past what you are saying right now be static conflict we've data you do with the people's experience in watching TV is all that is it actually just contribute in making the other the next big thing I think it's like it's really 2 separate things I think on In the art which we keep saying I mean me to producer we do movie are against movie or
games and I think we might kill the are before it be before it even exist I think the art is not gaming that we are a new kind of experiences immersion and experiences on the immersion of TV of course I I seemed introduction we could depended surrounding immersion so when the curve that you need to reinforce this immersion is something they go the same way as the stereoscopic as no we get before deceives on some chair the right give you what the and smiles so I think every medium is going to reinforce the notion know even the even the played at other and if you heard of signal more of this kind of place is like you enter a building I didn't do it but many people told me you enter a building and there is a 200 coming in for you can go whatever you want and are playing in every room taking immersion will take the lead in all the medium the TV but yet the but the R is we something different so I think it's not combating is just the fashion today the Martian making them out of the
you and it is not as if you want to storyboard
report the work that they can't you
hold or if you in you any
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Verkehrsinformation

Metadaten

Formale Metadaten

Titel Sci-fi & VR: Narratives of the Future
Serientitel re:publica 2017
Anzahl der Teile 234
Autor Cayrol, Antoine
Lizenz CC-Namensnennung - Weitergabe unter gleichen Bedingungen 3.0 Deutschland:
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 und das Werk bzw. diesen Inhalt auch in veränderter Form nur unter den Bedingungen dieser Lizenz weitergeben.
DOI 10.5446/32945
Herausgeber re:publica
Erscheinungsjahr 2017
Sprache Englisch

Inhaltliche Metadaten

Fachgebiet Informatik
Abstract In this session Antoine Cayrol will explore the new grammar of VR by looking at two sci-fi narrative pieces: I Philip and Alteration.

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