00:07hi I'm Jessica brilhart I work at UH
00:10Google I'm the they gave me this title
00:13this week but I'm the principal
00:14filmmaker for VR at Google um so hi
00:17how's it going um and I'm going to talk
00:21today about uh sort of the state of VR
00:25I'm not I'm not a designer I'm a
00:26filmmaker but a lot of the stuff that I
00:28do is generally about design and design
00:29is very huge in the VR space um I think
00:32Ken's going to be doing the the wrap up
00:35of the uh of the conference and he's
00:38also really been thinking about lot of
00:39the stuff so he'll be talking more about
00:40designing specifically in the VR
00:43space uh so yeah anyway that's me um so
00:46I work with a team that does something
00:48called jump which uh this will all make
00:50sense soon but it's the it's a 360 uh
00:54stereoscopic rig uh it's software that
00:56stitches all the cameras from that rig
00:58together into one seamless experience um
01:00and then it's support on YouTube so
01:01recently we announced that we would
01:02support um stereoscopic 360 content on
01:06YouTube so anyone in the world can see
01:07it which is huge as long as you have
01:09cardboard and Android phone we're
01:10working on iOS that will be a thing but
01:12for now it's uh Android so this is the
01:15state of My Life currently I don't know
01:22basically he's supposed to be moving and
01:25putting down tracks on this as he's
01:28going down the track
01:30but I guess it's not playing but anyway
01:32uh that's my life and that's a state of
01:34VR we're all kind of running very
01:36quickly at things um and we're kind of
01:38laying down the tracks as we go we're
01:39like this is great and then we're just
01:40sort of like rebuilding Reinventing the
01:42wheel every time which makes uh it makes
01:45everything very exciting but it makes
01:46making presentations like incredibly
01:48frustrating and difficult so bear with
01:50me it's all going to be what it is now
01:52and it'll probably change tomorrow or
01:53the next day or the next week or
01:58so the landscape so I'm going to talk
02:01really quickly about the the like uh the
02:04gear the gear talk um and uh there are
02:09two real ranges to to VR currently
02:12there's the Cinematic and then there's
02:13positional so one is you can move around
02:15and walk around and that's how you how
02:17you experience the thing and the other
02:19side is Cinematic which is where I
02:21generally work where the engagement is a
02:23psychological um so Henry uh which is
02:27made by my friend saska at Oculus uh he
02:30uh his stuff is generally more
02:32positional so basically you experience
02:33this thing in a DK2 or you know
02:35obviously whatever else they're making
02:37um and you can like look over look
02:39around and it's it's a little bit more
02:40of like a move around in the experience
02:42thing uh and the thing that you saw
02:44which was World Tour which which I made
02:47uh is what we call three do which is you
02:50can rotate you can look up and down and
02:52you can slightly tilt not a whole lot
02:54but you can tilt a little bit um so
02:58capturing uh it's basically a lot of
03:02GoPros or a lot of cameras in some
03:04regard and so you can imagine the more
03:06GoPros you add the more complicated it
03:09gets but the more you know you'll
03:10achieve something a little bit clearer a
03:12little bit better um so you basically
03:14have mono 360 starting with a less
03:16amount lesser amount of GoPros you have
03:18uh steroscopic uh 360 with the increase
03:21in GoPros uh and one would argue one is
03:24less immersive one is more immersive one
03:27has a significantly easier playback uh
03:29the other one is a little bit more
03:31intensive and then you got cameras that
03:33look really neat and kind of like
03:35spaceships um so ours is the Odyssey uh
03:38GoPro is building it out for us uh it's
03:40using the jump geometry um we have J who
03:43made a thing uh sorry a camera called
03:45Neo and Nokia made one called OZO and I
03:48think ltra originally or sorry just
03:51recently came out with their light field
03:53camera or they at least announced it
03:54it's not out yet but um positional VR
03:59you basically build it in something like
04:00Unity um or the Unreal Engine as well uh
04:05I'm going through this really fast cuz
04:06the other part is actually I think a
04:08little bit more interesting than this
04:09but um and of course spatial audio is a
04:11thing we talk a lot about uh cameras and
04:14headsets but the microphone is a huge
04:16part audio is a very big part of this
04:18space so designing audio for VR is
04:20something that a lot of us have been
04:22thinking about um this is Chris milk's
04:25interesting Mike headrig uh that he used
04:28for a couple of projects that he did uh
04:30adverse um so what do you do when you
04:33capture all that stuff you do stitching
04:36and stitching is basically where you
04:38take these uh 16 cameras and uh puts it
04:43together I mean it depends on how many
04:44cameras you have so the different
04:45footage gets basically gets lined up so
04:48those are the different feeds from
04:50cameras um and I think you can see it
04:54yeah I can see him walking
04:57um so this is my friend from uh YouTube
05:00and this is an example of a bad Stitch
05:03where uh basically these Stitch lines if
05:05you walk uh into them through them past
05:08them if anything Falls in a stitch line
05:10you generally get that kind of
05:11weirdness um and a lot of experiences
05:14you see now you'll definitely notice
05:15Stitch lines if you notice somebody
05:16walking around the rig you'll see like
05:18occasional little hiccups um and that's
05:20just uh a result of basically someone
05:23meticulously trying to get the Stitch
05:25lines out and probably not doing a very
05:26good job of it um but anyway this is
05:29what jump does and what you guys saw
05:31which is it uses it algorithmically puts
05:34it all together so uses computer vision
05:36um and uses uh Google's
05:40computing power and basically puts it
05:42all together as as such so viewing um
05:46the basics of a of a of a VR
05:49headset uh is kind of you have these
05:52eyes right uh you have lenses and you
05:55have a screen and basically what we
05:56realized was that the technology to be
05:57able to to immerse someone in a space
05:59with was really in your phone right it
06:01was the ability that you could like
06:02actually turn around your phone would
06:04know exact like positionally where you
06:05were and the real thing that you needed
06:08uh where were these lenses uh between
06:10you and the screen to give you enough
06:11distance so that you would uh be able to
06:14to view something uh
06:16appropriately so hmd
06:18examples um the Samsung gear which I'm
06:21sure you guys have seen maybe some of
06:23you haven't but uh we have
06:26cardboard um and then we've we've open
06:28source cardboard so we actually release
06:29the view Master which is really cool
06:31right so now you can actually have like
06:32the childhood view master and and go to
06:34all these different places uh have fun
06:36positional uh you basically have the
06:39Vive and Oculus uh with their uh with
06:41their Rift design so you can see stuff
06:44there you can have really crazy looking
06:47wands to interact with
06:50stuff and now the pain
06:53points it takes forever to stitch so you
06:56could film as much as you want but no
06:59that you'll probably be in an edit room
07:02working on Stitch lines for a good
07:03amount of your time so it's not not
07:07great um this was at ComicCon and if any
07:11of you know Nathan fillian he's right
07:17and uh he got too close to the rig so uh
07:20if you can imagine okay if you hold up
07:22your hand right there's no there's no
07:24basically you can't rack focus in VR so
07:27if I put my hand here you're all in
07:28focus but my hand's out of focus but I
07:30can choose then to um focus on my hand
07:33and then have you guys out of focus and
07:35that's sort of how things happen but
07:37because everything is in Focus you're
07:39getting this kind of weird proximity
07:41effect which is what Nathan does to
07:43destroy the clip um so uh by the way I
07:47did not plan that I think I won ComicCon
07:50because Nathan fillian showed up I was
07:52told that I did so I'm very excited
07:53about that um the other thing too is
07:56it's there's no real real easy way to
07:58handle spatial audio so the idea is that
08:00ideally what you'd want is audio that
08:01gets piped in and you can basically go
08:03like this and the audio tracks with your
08:04head motion um it's a completely awesome
08:08experience when it works um and it's
08:11kind of weird when it's just Visual and
08:12no audio anyway so we're all trying to
08:13figure out what the best way is to to
08:15deal with audio in the space and and
08:17help mix and create it um this is really
08:21interesting so uh Toy Story
08:243 um playbacks 24 frames per second
08:27pre-rendered content the render time to
08:29make one frame is 11
08:31hours in VR you need to have real time
08:34rendering and the playback is 90 frames
08:36per second and you need one frame every
08:39milliseconds that's insane but that's
08:42the sort of struggle that uh por sashka
08:44has to deal with and that's why he has
08:45to Lug around a really large computer
08:47and put in a really you know have the
08:49the his headset basically plugged in
08:50with a bunch of wires um man it's it's
08:53not it's not an easy thing to do um and
08:56phones just aren't good enough yet so
08:58right now we can see things in
09:002K and it plays back fine uh 4K is like
09:06Baseline ideally and I I showed you guys
09:08this earlier I mean I have 8K adaptive
09:10playback stuff so it's basically you can
09:12like the clarity and the and the is
09:14really important and if you can't if you
09:16see pixels if you see pixels on the
09:18phone you see pixels on the on the like
09:21by by you know compression artifacts and
09:23things of that sort it just totally
09:25takes you out you're like oh I'm
09:26watching something on a phone so it's a
09:28little it's a it's a pain point and the
09:31and this to me is the most important
09:32thing there's not a lot of good content
09:34there just isn't because no one has you
09:36know no one wants to do the stitching
09:37the rigs aren't really widely
09:39available um and it's just something
09:41that people are just starting to make
09:44now and start to get really into that's
09:45why you guys are here I imagine is that
09:47you want to learn more about how to make
09:51content uh and this is basically it once
09:53the pain points of the equipment
09:55disappears and the gimmick has worn off
09:57all you're going to have is content
10:00and here's a here's a traditional bias
10:02so uh I'm I'm going to call this a
10:05flatty but basically it's a frame you
10:08see stuff in a frame you see stories in
10:09the frame it's basically a box with
10:11stuff in it beautiful boxes but a box
10:15and what we do is we stick it in a 360
10:17environment and then we put a person in
10:22there and then we have them uh engage
10:25with it but see what happens there is
10:29that um we think that just by taking
10:32what we're used to seeing and putting in
10:34a 360 environment we then made a really
10:36amazing VR experience and it couldn't be
10:39more wrong um because of the fact that
10:42all I need to do is uh look somewhere
10:45and go like this and it's terrible
10:50so if you think about VR as like a
10:52because you know Google math I don't
10:54know but 360 visual plus human plus
10:56engagement and the quality of VR is the
10:59the strength of the 360 visual plus
11:00respect to the human plus predicting the
11:05so that was almost like quality equals
11:07strength acknowledgement and
11:09understanding um so going back to the
11:12rock band performing at a concert
11:13scenario um put a rock band into a
11:19location put a person in the location
11:22looking at the rock band and that person
11:25uh starts to engage with the environment
11:28and the reality is it's just not the
11:29best experience you could give to
11:30somebody you're basically saying come
11:32into this experience with me but um I
11:34don't care about the other stuff that
11:35you might look at I just care about this
11:37one thing that I want you to look at and
11:38we're starting to get away from that now
11:42universe so I'm going to talk about
11:47um since the dawn of
11:50time uh we have uh attempted many ways
11:52to represent rocks visually through
11:54drawings photos paintings Etc uh We've
11:58uh did a lot of things to make them look
12:00half decent uh thanks to Getty Images
12:02for letting me pull off their website
12:04some really cool rock photos um you know
12:07the Majestic ocean rock you know piles
12:11rocks pushing rocks up of
12:15Ledges uh wedding rocks uh and the
12:18reality is rocks have never really been
12:20that interesting to look at visually
12:21right but we found uh when I went I
12:24filmed in Iceland and I found that uh VR
12:30awesome it was actually better than most
12:32of the stuff we shot which isn't to say
12:33that we didn't shoot some good stuff we
12:35did I'm just saying the Rocks was
12:36actually shockingly really good um and
12:40that you know what the heck's going on
12:41here and there there's two real things
12:42one is context it's not about it's about
12:45everything it's not about the thing it's
12:47about the things around the thing so
12:48it's everything it's how the whole thing
12:49is designed um and redefining meaningful
12:52experiences what we've known to be
12:54interesting when directed to it may not
12:55be as interesting as what we experience
12:57when we are given the Capac capacity to
13:00around so interesting is totally not the
13:16on and uh I watch these kids uh play
13:23soccer I think you'll see it in a
13:27second and what was really cool about
13:30this experience was that these kids
13:32actually ended up um revealing something
13:35really interesting about the experience
13:36which was like it's more it's less about
13:38the the directness of the thing the
13:39flatness of a space it's more about the
13:41layers of experience that happen in a
13:54so let's take this rock band scenario
13:57again so that's one way to think about
13:59it which obviously doesn't work very
14:01well and it's actually something more
14:05that so these different like these
14:07multiple layers of of uh of movement um
14:10and uh you know first layer being
14:13location so the best places aren't
14:15always the ones you would expect and
14:16sometimes you're were wrong about it so
14:20of course because it's like 360 and it's
14:21really cool like you know basketball
14:24okay so we go and we film basketball but
14:26it turns out the most interesting part
14:27of the basketball game wasn't so much
14:29the game itself but it was oh that
14:33go um so we filmed a bunch of stuff at
14:36uh this uh WNBA All-Star
14:38Game and uh what was interesting and I
14:43don't think we'll get to it till the end
14:44because of course we put at the end but
14:45uh it's the locker room
14:48scene with was like when the coach does
14:50a pep talk was far more interesting than
14:54game and so that's huge like you know
14:57having a meeting with you know the NBA
14:59and them saying I love that last shot
15:02completely forgetting that the whole
15:03point of us being there was to film this
15:05game um star spangle Banner was really
15:08interesting too we'll get to that in a
15:10second as well but basically in the
15:12location you have two two things to
15:14think about one is um there's access
15:17right it's like I'm on I'm on a I'm at a
15:18game I'm on Mars this is great and it's
15:21more about always wanting to be there
15:23and finally having the capacity to go
15:24there the second uh thing you can choose
15:27to do in a location is en
15:29I don't know where I am but I'd love to
15:30figure it out so basically like the the
15:33soccer game where I'm basically just
15:34dropped into a space being like okay
15:37like what what about this is important
15:39to me what where can I how can I piece
15:40it together into something
15:43meaningful um which get set to
15:46movement so the first layer is like
15:48location right I'm in Paris if we want
15:50to like break that down I'm in Paris and
15:53around me kids are playing
15:55soccer so to me the movement actually
15:57makes me accept the experience that I'm
15:59in I'm actually fully immersed based on
16:01that or it could be a lack of movement
16:03which makes me evaluate the experience I
16:05actually if there's nothing moving
16:06moving I'm going to actually stop and
16:07actually look around to see specifically
16:09what's going on like okay nothing's
16:16um this was in Iceland again Iceland uh
16:22and there's nothing happening but I am
16:24attracted to that plane because that's
16:25all that's in the space and I believe
16:27you should see like a man walking oh I
16:29shouldn't have revealed that too soon
16:32uh but basically I'm able to to identify
16:35spots within a space because there's no
16:36movement and focus my attention on that
16:38and let a story sort of emerge from
16:40those points that I'm looking
16:43at and then of course story which is the
16:45third layer story is really about the uh
16:47experiential kind of breadcrumbs the
16:48clues the characters um the things
16:50around a space that uh give me a better
16:52sense of what the what the situation is
16:56and we start getting into narrative
16:57based on based on that
17:01stuff um so here's a thing that's been
17:04really interesting we it's the same
17:06thing as the flatty scenario where we're
17:08like okay we're going to take what we
17:09are used to doing in a frame and we're
17:11going to put in a VR experience it's
17:13great we don't really think about the
17:16camera as a person we think about a
17:18camera as a portal to get what you know
17:20what we'd like to communicate to
17:22somebody out there but now we're at a
17:23point where someone has the agency to
17:24look around it's basically like you're
17:27taking a person being like here you
17:29go here you go raising making them
17:32taller making them shorter putting them
17:34in different positions so really the
17:35camera is a person and whatever happens
17:37psychologically in that space or
17:39whatever happens in that space will
17:40psychologically affect that person
17:42that's watching it so basically
17:43whatever's happening in that room to
17:45that camera is going to affect somebody
17:47but not from like a person to Machine
17:49level it's like a person to a person
17:53level so a lot of things to think about
17:55is you know setting the right
17:57height you know studying the right
17:59distance there's too many words so I'm
18:01just going to go through this real quick
18:05stereo this is the part that's going to
18:07piss a lot of you off or just make you
18:08feel a little uncomfortable it it made
18:10me really feel uncomfortable so uh uh I
18:12did this uh music video with a
18:15violinist uh and you I don't know if you
18:17can see it it's probably out the side
18:19but the idea is that we're so used to
18:20like okay I have I have two things here
18:23like here's the table I know I have a
18:25line that I can't leave but I'm I'm
18:27going to stand right here at the table
18:28it's can be beautifully composed awesome
18:32VR this is more interesting having to
18:35psychologically deal with another thing
18:37in front of a person is actually a
18:38better experience for somebody because
18:40they actually have to like basically
18:42fight another layer to get to you so
18:45compositionally being in the center is
18:47fine but being sort of in between all
18:50this stuff like the Messier of the
18:51framing of it the mess you're the
18:53composition the better a messy room is
18:55better than a clean room so any sort of
18:56OCD tendencies that you have
18:58just forget it because it I mean you you
19:01again totally works fine but the format
19:03itself and the media itself uh thrives
19:06in mess and thrives in
19:10chaos uh and movement of the rig is
19:13always a big thing everyone's always
19:14like should I put it on a drone can I
19:16move it around with a
19:18car can I put it on a horse uh no I mean
19:22you could but people generally throw up
19:24so there's that um and uh it's so
19:29constant velocity is
19:31fine uh but it's sort of so in the film
19:35that I showed you there's a tram shot
19:37right and the tram is designed by a
19:39person that knows that he or she is
19:41going to transport people up a mountain
19:43so it's not going to go fast it's not
19:44going to accelerate or decelerate it's
19:46not going to try to make a person sick
19:47it's going to try to make the person
19:48feel comfortable so in a situation like
19:50that putting a rig there elevators great
19:52so anything that sort of has that kind
19:54of um uh mechanics is great but as you
19:57know know probably from being in cars
20:00before if you're like reading or or on
20:01your phone or something and all of a
20:03sudden you uh you know you're
20:05accelerating decelerating as you're
20:06trying to focus on something it it
20:07really affects you um and uh the same
20:12well uh I worked with the
20:14BBC uh on uh just some tests in montere
20:18and that you can't really tell because
20:20but you can see how it's sort of this is
20:21a steady cam example do you see kind of
20:23How It's kind of doing this that makes
20:25me feel so sick like I I can't I can't
20:27even see it now but basically if you're
20:28in there you're kind of doing this like
20:30Rocky motion here and it's it's it's
20:33terrible uh uh learnings from this thing
20:36uh it's an ano chamber I don't I don't
20:39think I'm saying that right but uh and
20:41basically what it does is it uh it's a
20:43soundproof that they test antennas there
20:45and you can see it sort of spinning
20:47around there uh and also if you're
20:49moving and you're trying to focus on
20:50something uh it Al I mean again it's
20:52like car sickness you can't really you
20:55can't really register it makes you feel
20:58um although and I will say this you can
21:03advantage uh if you wanted to so say for
21:06instance there's a moment where you want
21:08someone to feel really uncomfortable
21:09maybe there's a point you want them to
21:10take to where I mean the Artistry in in
21:13this is more about the um taking sort of
21:16the weirdnesses of the format and really
21:18playing to those weirdnesses as
21:22uh so here you go um psychological
21:28um how do you deal with someone
21:31psychologically in a space so um we have
21:33a welcome mat idea which the Rocks
21:37actually help to uh portray so when you
21:39get into an experience I wish I could
21:42spend like a whole day with you guys
21:43because it could be really it gets
21:44really deep but um U when you enter an
21:45experience generally you don't want
21:46someone to iMed like people aren't going
21:48to know what to do people are going to
21:49go an experience and be like I just put
21:51on cardboard I just put like I just turn
21:53this experience on I don't know what's
21:54going on and so uh something that we've
21:57done uh is use rocks to uh to show um to
22:02allow a person to settle into an
22:05experience uh in terms of introducing
22:08characters traditionally what you do um
22:12is uh similar to the rock band idea
22:16where it's like okay Clint Eastwood
22:17shows up I see Clint Eastwood he's my
22:19hero that's awesome let's
22:21go um and it's the same thing as the
22:24rock band where you're basically just
22:25doing the same thing that we've been
22:26doing traditionally forever
22:34that where discovering elements of the
22:37story is actually far more interesting
22:38to someone than having them presented to
22:43so the person actually looks for the
22:46hero the hero is discovered in that in
22:48that uh scenario Paris again I'm going
22:51to skip this but um you actually see the
22:53guy with the cart uh all the way to the
22:56left there and if you can imagine a situ
22:57situation like this where uh you have as
23:01you know you have your layers of
23:02experience and then within that there
23:04are these people that emerge that become
23:05your heroes or the villain or the
23:08bystandard um having the meaning
23:10actually emerge from the experience
23:12versus versus uh versus the
23:16latter and Rebellion is huge a lot of
23:18the things that we've learned about uh
23:20in this in this world is a lot based on
23:22the on a computer games or video games
23:25right um where you know for whatever
23:27reason I'm not want to look where you're
23:28telling me to look like I might see
23:30someone and be like I know that's the
23:31story but you know Screw you and then
23:34look the other direction um and in that
23:36if that's the case then I want to be
23:38able to actually introduce something on
23:39the opposite end for someone so that
23:41then when they turn they see it it could
23:44be another you know character it could
23:47be a substory it could be a guy eating a
23:48cheeseburger it doesn't matter but just
23:50the idea that you have given them the
23:51agency to look around and that there's a
23:53payoff for doing that is actually really
23:55big so um this is an example of that I'm
24:00actually standing behind the rig that
24:02was by accident but I mean if you turn
24:04around and you're not looking the
24:05direction that uh I want you to you get
24:07to see me whether or not that's
24:08interesting or not I don't know
24:11um and the other thing too is something
24:13like this where I this is kind of
24:15embarrassing but I'll show it it's in
24:21the so the idea is like I so I I could
24:24have just done it where I like put the
24:25put myself being a clut in the center
24:28and you saw that no matter what but
24:30there's something to be said about
24:33catching stuff right so like you know
24:36instead of instead of you seeing me be a
24:37clutz you kind of at the corner of your
24:40eye I can place and design it such that
24:42I can place it there that that person
24:44there and then you just basically look
24:45and it makes for a much more meaningful
24:47experience for for someone I mean it
24:49makes me look like an idiot but I'm fine
24:51with that too um and identity is really
24:54big in this space too so traditionally
24:58when we want someone to feel connected
24:59to somebody else we do
25:01this close up with the eyes close up of
25:04the face get connected with the person
25:06if you do it in a VR space it is the
25:08freakiest thing you're basically in like
25:10there's this thing next to you and you
25:11can't like you you can't smell them but
25:13you can't you know there's all these
25:15other things that actually happen to you
25:16psychologically when you're close to a
25:17person so this is actually pretty bad uh
25:19form this ends up being more
25:23interesting because you're kind of
25:24wondering well why is that person there
25:26like a person that doesn't need like if
25:27you imagine like right now I'm talking
25:28to you if I just did
25:30this and like started working there's
25:33there's a mystery to it like why why is
25:35why is she turning around like what's
25:36going on and I think that that actually
25:37helps to engage someone a little bit
25:39more and there's this want of connection
25:41versus again the presentation of trying
25:43to connect someone to something and then
25:45you can also feel loneliness when that
25:46person goes away same with eye contact
25:49you know it's fine but shared experience
25:53better this is like the star sple banner
25:55where everyone's standing up or any sort
25:57of you know game in the beginning
25:59everyone's standing up looking at a
26:00person singing and you feel like you're
26:03you're in this collective experience
26:04with somebody and that actually
26:05resonates and is pretty
26:09so people have been saying for a while
26:11that you can't edit in VR which is um
26:14not true and it's weird that people
26:16would say that knowing that no one's
26:17really been making a whole lot of VR um
26:20so traditionally again this is how we
26:23think of editing now it's uh you know to
26:29frame where in VR we really need to
26:41that these worlds of experience that
26:44basically build on top of each other and
26:46really what you're trying to do like
26:48dropping a bucket is you trying to like
26:49you're trying to rotate these worlds I'm
26:50talking more about Montage here but
26:52you're basically trying to rotate these
26:53worlds so that psychologically I can be
26:55in one space and that leads to the next
26:56experience psychologically that matches
26:59with that and so on so I called it
27:01because there's no terms for anything
27:03probabilistic experiential editing which
27:06has a really unfortunate
27:10and uh working on that um there's
27:14someone at MIT was who was really
27:16awesome because I guess people at MIT
27:18when you do talks with them they're like
27:19immediately trying to figure out how to
27:20solve all my issues and they're like
27:22well like there's there's one that's C
27:24there's one that's Pier I just keep it I
27:26don't I don't know whatever um so the
27:29idea is that uh you know these are
27:32points of interest so if if I'm in a
27:34space if I'm in an experience there are
27:36things I can look at some cases there
27:39it's more about the experience so right
27:41now I'm in like a the back to the Rocks
27:43thing again um and you know I'm I can
27:48anywhere and I can't really gauge where
27:51someone's going to look specifically so
27:53maybe I'm looking over
27:55here but in a scene like this
27:59they may start somewhere but I know that
28:07tram I imagine they're probably going to
28:09be looking at one of the
28:10windows I don't know anything for sure
28:13but I can make a pretty good
28:17basically what I can do from
28:20there is take these scenarios
28:23understanding where someone enters an
28:24experience and where someone uh exits
28:26that experience and then I basically
28:32rotate basically making kind of Shoots
28:36situation to psychologically engage
28:39someone and guide them through an
28:41experience and then I can take uh you
28:43know ideas like you know matches on
28:44attention if I'm looking in a particular
28:50sorry so I know they're looking at that
28:53guy and then I can cut to something that
28:56I think is important like her
29:01or this idea and this is sort of game
29:03like too where if I'm in a
29:05experience and and for this it was more
29:07about um the windows I can actually use
29:10the windows to psychologically to think
29:12about psychologically what a person's
29:13going through so when we look at when we
29:14look at a window we're not really
29:15looking at a window we're looking
29:16through a window at something
29:21do is um extend or reply to that I don't
29:25know if this is actually going to so I
29:26look out the window there and I can meet
29:28you with a horse face or the one before
29:33that where I can extend someone's gaze
29:41window to looking down a corridor of the
29:46instead uh and the Discover Moments
29:50thing we talked about as
29:53well and the last thing I want to talk
29:55about is this idea of home which which I
29:57think uh the keynote speaker also talked
29:59about where um a lot of the things that
30:02we've been thinking about um have been
30:04these really big major events um and
30:07there's something really remarkable
30:08about going to someone's
30:10house um I do a lot of traveling I I
30:13don't get to see my parents that often
30:15and maybe this makes me sound like a
30:16softy but I really like I like hang out
30:18with my mom so what's really cool and my
30:20dog I have a really cool dog sorry um so
30:24uh something that I learned from being
30:26at home you can see my dog actually I'm
30:29wearing really Che like ignore the pink
30:30pants that's like a back in the day kind
30:32of thing but um is that these intimate
30:35moments are actually what's going to
30:37make VR really awesome where you can
30:40actually go to someone's house and be
30:41around a family and um you know inviting
30:45someone into to a place that you live or
30:48you work um and that kind of
30:50transferring of ideas and that
30:51engagement will be really really uh cool
30:56so that was a lot of stuff um I'm happy
31:00to answer any questions uh we're all
31:01sort of learning this together and um
31:04there's a lot so um you know that that
31:07but that's it for me and uh so thank you
31:10um and do anyone have any
