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  • I love making movies.

  • Motion pictures have been in existence for more than a hundred years.

  • Filmmaking hasn't changed for the dimensional mindset.

  • Placing the camera in a scene and pressing "record" hasn't changed.

  • Filmmaking is still a frontal experience,

  • and creating the film has the possibility

  • to follow the same direction of the content creation.

  • We still stand in front of a flat image,

  • watching the fiction.

  • There's nothing wrong with it.

  • I love watching movies and going to the theaters.

  • The experiences can be such emotional experiences.

  • The art and craft of emotional experiences within a frame

  • can be so strong to drive a stronger emotion.

  • The question we're asking is,

  • How the experience of motion pictures can exist beyond the flat screen.

  • How can we start creating content

  • for the next generation of content experiences?

  • Traditionally, when we imagine a scene,

  • we look at the frame and the composition.

  • We have to think about how we create depth and parallax

  • using foreground, background elements as the camera moves.

  • With the technology today and devices of VR glasses,

  • AR glasses, smart devices,

  • allowing three-dimensional and full navigation in space,

  • we have the possibility to enable audiences

  • to experience content from multiple perspectives.

  • What we have to think about is how we take this technology,

  • all the capabilities,

  • and enable the experience to move farther away inside the scene.

  • Now we're not talking about video games or computer-generated actors,

  • which look tremendously realistic.

  • We're talking about real actors and real performance,

  • performing onstage.

  • We have to start thinking how we capture the actors

  • and how we capture the real scene

  • in order to immerse inside.

  • Now, we're familiar with the 360-degree video,

  • where you place a camera inside the scene

  • and you can create this beautiful panoramic image all around you,

  • but from the same aspect,

  • filmmaking is still frontal.

  • In order to emerge fully inside the scene,

  • we will need to capture the light from all the possible directions.

  • We will have to surround the scene with an enormous amount of sensors,

  • with all possible capabilities to capture the light

  • and enable us to emerge inside afterwards again.

  • Now, in this setup,

  • there's no more foreground or background

  • or a camera placed in space

  • but hundreds of sensors capturing the light

  • and capturing the motion from all the possible directions.

  • With the new technological advancements,

  • we can start looking at 3D photography,

  • capturing the light from multiple perspectives,

  • enabling us to reconstruct the object.

  • This is like photography in 3D space.

  • Now, with these technological advancements,

  • we can record video not just as a flat image

  • but as a volume.

  • This is what we call "volumetric video,"

  • and it has the capability to record every action of the scene

  • as a full three-dimensional volume.

  • Now, what is a voxel?

  • A voxel is like a three-dimensional pixel,

  • but instead of being a flat image square, staying light and colored,

  • it's like a three-dimensional cube in space,

  • with x, y, and z positions.

  • This enables us to create a full capture of the scene

  • from any perspective.

  • Now this renders a fully light-immersive scene

  • from multiple perspectives.

  • This capability requires an insane amount of information to be processed.

  • We will have to capture the light from an enormous amount of cameras

  • to create this information.

  • Now, in order to do such a thing,

  • we would need a setup that would host a numerous amount of cameras

  • installed in a stage

  • and a stage big enough in order to fit a full cinematic experience.

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

  • For the last three years,

  • we have been building a huge volumetric camera chamber.

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

  • enabling to capture the action from any location.

  • We have deployed hundreds of cameras,

  • sending a tremendous amount of information

  • to a huge data center powered by Intel supercomputers.

  • The ability to have this 10,000 feet

  • enables us to fit any kind of action,

  • any kind of performance.

  • It is the size of an average Broadway stage.

  • We call it Intel Studios,

  • and it's the largest volumetric stage in the world,

  • with the objective of enabling and exploring

  • the next generation of this immersive media filmmaking.

  • Now, to test these ideas,

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

  • So we chose the Western scene.

  • We brought horses, set designers, dirt,

  • everything needed to create the full scene of a Western.

  • But this time, there was no camera inside.

  • There was nothing really moving besides all the cameras

  • installed outside.

  • The challenge of the actors was tremendous.

  • They have to perform a flawless action visible from all the directions.

  • There's no possibility to hide a punch or not show the action.

  • Everything is captured and everything is seen.

  • The output of the capture --

  • this is our future capture --

  • opened our eyes for the immense capabilities.

  • It was like a full 3D scan of the entire scene.

  • We were able to move around and travel in the space.

  • The thing about this,

  • it's not anymore about perceiving the light emitted from a screen

  • but now traveling inside the light,

  • traveling inside the scene.

  • This obviously opens possibilities for an enormous amount

  • of storytelling and methodologies of creation.

  • This is the possibilities of your personal narrative,

  • the possibility of creating your own story inside,

  • or maybe following other stories.

  • Let's take a look at one of the last renders and see.

  • (Music)

  • What you're seeing here is full volumetric video,

  • and there's no physical camera in the scene.

  • (Music)

  • We have the full control

  • (Music, sounds of combat)

  • of space and time.

  • (Music, sounds of combat)

  • Now, again, no physical camera was here.

  • Everything was captured surrounding.

  • Now, this is very nice,

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

  • Well, we can do that as well.

  • (Horse galloping)

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

  • but this time, we're watching exactly from the eyes of the horse.

  • The possibilities are, well, unlimited.

  • (Applause)

  • Thank you.

  • (Applause)

  • So this is all great for creators and storytellers.

  • It really opens a huge canvas

  • for a different type of storytelling and moviemaking.

  • But what about the audience?

  • How can the audience experience this differently?

  • In order to [create] our explorations,

  • we partnered with Paramount Pictures

  • in order to explore immersive media in a Hollywood movie production.

  • Together with the director Randal Kleiser,

  • we reimagined the iconic movie of 1978,

  • "Grease."

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

  • A 40-year-old movie, amazing experience.

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

  • and bring it deeper into the experience,

  • bring it deeper into the audience.

  • Imagine that you can not just watch the movie

  • but get inside it and dance with the actors

  • and dance with the performance.

  • Now we're breaking, really, the traditional 2D mindset of thinking,

  • and bringing a much richer possibility of moviemaking

  • and content creation.

  • But why watch it on the screen?

  • Let's try to bring these actors here on the stage.

  • So they're not going to really come --

  • I'm going to use an iPad.

  • (Laughter)

  • Sorry.

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

  • Now, obviously, these devices have their own limitations

  • in terms of the data-computing process,

  • so we have to reduce the amount of resolution.

  • So what I'm doing now, I'm placing here a marker,

  • so I'll be able to position exactly where I want everyone to appear.

  • OK.

  • I think we have them here.

  • (Applause)

  • John Travolta, or --

  • (Laughter)

  • a version of him.

  • Let's take a look.

  • (Video) Female: Hey.

  • Male: And that is how it's done.

  • Female: Your turn.

  • Male: Hey, guys! Check this out.

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

  • Danny: Sandy!

  • Sandy: Tell me about it, stud.

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

  • And I'm losing control

  • 'Cause the power you're supplying

  • It's electrifying!

  • (Video ends)

  • (Applause and cheers)

  • Diego Prilusky: Thank you.

  • (Applause and cheers)

  • So as you can see,

  • we can watch and experience content in the traditional way

  • or in an immersive way.

  • Really, the possibilities are open.

  • We're not trying to change or replace movies.

  • We're enhancing them.

  • The technologies enable new possibilities to start thinking beyond the flat screen.

  • We're in immersive and really exciting times in filmmaking.

  • We're at the threshold of a new era.

  • We're opening the gates for new possibilities

  • of immersive storytelling,

  • and exploration and defining what immersive media filmmaking means.

  • We're really just at the beginning,

  • and we invite you all to join us.

  • Thank you.

  • (Applause)

I love making movies.

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ボリュームビデオが映画制作に新次元をもたらす方法|ディエゴ・プリルスキー (How volumetric video brings a new dimension to filmmaking | Diego Prilusky)

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    林宜悉 に公開 2021 年 01 月 14 日
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