Tag Archive : 360 video

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360 VIDEO: ASU Schools of Engineering – Tooker House Virtual Reality Tour

Hi! Welcome to Tooker House. My name is Julianna and I’m going to take you on a 360° tour of our newest living learning
community at Arizona State University. Tooker House is named after Gary and
Diane Tooker both are ASU alum and they’re great supporters of the university. Feel free to look around while we take our tour. Let’s go! Here we have two e-space classrooms that will have classes such as FSE 100 where you will have access to 3D
printers and tools to make your engineering ideas come to life. This is our 14,000 square foot dining
facility that will serve the residence hall. It will set up to 525 students at a
time. There are different seating areas and
options and multiple areas that can be closed off for private events. So here we are in the dorm. This is an example of a four person suite with a shared bathroom.
Each student has their own study and sleeping space. Private rooms are also
available. Every two floors of room will have a
shared space like this one, a place to relax, watch a little TV, cook and play
ping-pong. The Fulton Schools will also use the
shared space and kitchen for fun learning programs such as the chemistry
of baking. We have 3 different laundry facilities here at Tooker House and with Bluetooth technologies you’ll always know when your clothes are done. This is the on-site modern fitness
center with cardio machines and strength equipment. It’s perfect for a student
that needs a quick workout and doesn’t have time to make it to the Sun Devils
fitness complex. On behalf of Arizona State University
thanks for taking this 360 tour of our new engineering residence hall. Share
this video with a friend or colleague and remember to like us on social media
for more exciting news. Innovation has a new home address and it’s called Tooker House.

What is Virtual Reality and Augmented Reality? | ConTECHtual | NowThis

Oh my God, why am I scared right now? This is not supposed to be scary. Welcome to ConTechtual, where we show you the history, and future,
of all the tech you’re coveting or using right now. Are you sick of this reality? Oh God yes. So am I. And because of that we’re going to be talking about virtual and augmented reality. Virtual realities take place on a screen in a digital world, and augmented realities are projected
on the real world in front of you, usually through your screen— pretty much on your smart phone. They both go back way longer than you’d think too. For example, In 1835 we got the
stereoscope—the coolest VR of the 19th century— they were essentially goggles you wore on
your face, with lenses and duplicate images to transport the wearer to another location, or at least it convinced people of the 1800s
that they were transported to another location, but they also believed in witches— what are you doing? I’m transporting. That’s not how this works—It’s not any goggles— there’s stickers, those are stickers on the goggles. That’s what you think. Okay. Sure. In 1929, people built this thing that passed for a flight simulator. And in 1962, a filmmaker named Morton Heilig patented the Sensorama Simulator. A crazy arcade cabinet with a 3-D screen that took up your entire field of vision. It had vents for wind and
smell and a vibrating seat. Mmm! The games included “A Date with Sabina,” Hence the vibrating seat. You can’t have a date with Sabina without a vibrating seat. And weirdly enough something called “I’m A Coca Cola Bottle!” Also, for the vibrating seat? Probably to simulate carbonation. Oh. Myron Krueger brought some of the
first Augmented Reality with Videoplace, a crazy art project that used holograms, projections, cameras, and other technology to put users
in a space where they could interact with the art, including interacting with some of the other users from another room via hologram. That’s pretty impressive for the time— Which brings us to modern VR, We went to VR World to play around a bit. VR World is a center for virtual reality,
augmented reality, and mixed reality. Our mission is to make it more accessible— is to make it more accessible in
general to the mainstream audience. It’s more than gaming— Yeah, totally. I mean, the gaming community—
of course they’re going to love VR, right? It’s like gaming on steroids. But we wanted to do something that was beneficial for everyone. And also showcase the storytelling
power that this medium has. Oh! Sh*t! I’m sorry. Dain, I got your six. What the— oh, oh God! [Screaming] This is not supposed to be scary. Oh no, oh no—okay it’s just floor, it’s just floor, guys. Woooh! That— I’m done. You really feel like you’re not on the ground! [Shaken] But VR tech can go beyond just making Dain scream like a teensy, tiny, little baby man. Alright. So we’re talking to Dr. Justin Barad via robot. He’s a pediatric orthopedic surgeon who
used his interest in video game development to co-found Osso VR, a virtual reality training software for surgeons. What is Osso? It’s a surgical training platform that you
can use anytime and anywhere that allows you to practice a procedure
before you operate on a patient— which is kind of a novel concept. So what makes VR such a crucial tool for the medical field? Students basically that were trained with VR operated at twice the performance level of non VR trained students, which is a larger effect than we thought. The last question is: what is your vision? How do you see the future of the medical field changing
as more and more people start using this tech? If you’ve ever traveled around the world in like medical missions or doctors without borders, you’ll see that a lot of times these regions
have very, very intelligent, capable people. But they don’t have the training infrastructure and resources that we do here. So this is an incredible option that allows you to roll out you know, cutting edge surgical training in a global way. Really on the verge of an interesting kind of revolution in how we— how you know, you basically go and see someone and eventually get surgery and recover afterwards— and the whole process is going to be much more exciting streamline, safer, and effective. And of course, we still don’t know
if our own reality is some kind of virtual one put up for us by robots like in that movie The Matrix. Which would make all of existence completely meaningless. But we’ll see you next week! Where we’ll dive into 3-D printing.

Virtual reality audiences are building, as cutting-edge technology improves the experience

– Hi again. Welcome back. Re-bonjour tout le monde. J’espère que vous avez apprécié votre premiere matinée. Good morning. Great. Yeah, pretty good, amazing. It was fun to read all your
tweets, and sometimes because
you guys were tweeting while you were talking, there was fun typos to read up
there. (audience laughs) Like “baby boomers.” I just saw that one go by. This is one of the only
conferences where you want people
to be not looking at you while you’re speaking. It’s great. On a eu un super bon matin. J’espère que vous avez bien manger. Hope you guys had a great lunch
break, had a chance to visit the hub, and if you didn’t have a chance to check out the Flixel booth, it’ll also be available tonight at the social event. And speaking of the social
event, quick reminder, we hope to
see you all there tonight. You can start arriving at 6:30. Official start is 7pm, and
the Burroughes building is about a five, ten
minute walk from here. So, I hope we see you guys
there. Food and beverages, cool
surprises… On va se voir ce soir des sept heures. Now back to business. Before we get to our
second keynote of the day, we have a guest of honor
with us this afternoon. L’honorable Mélanie Joly, ministre du patrimoine canadien et avec nous cet après-midi. Merci beaucoup d’être la. Elle va vous dire quelques mots. Madame Joly croie firmament qui est important de s’impliquer dans sa communauté. Et au fil des années, elle a manifesté sa passion en s’impliquant dans plusieurs organistes, dans plusieurs conseils d”administrations. Notablement ceux du Musée d’Art Comtemporain de Montréal, de la Fondation du CHUM, et de la Régie des Rentes du Quebec. Throughout the years, that
passion showed her involvement
in various organizations, both community based and
provincial. As she’s a lawyer by trade, she’s also become the
for Logis Rose-Virginie, and the ambassador for
Herstreet in Montreal. Madame Joly believes in the
power of positive politics, which actually explains, at
least in part, her presence with us here today. Je vous invite à se joindre à moi pour lui souhaiter la bienvenue. La Ministre Mélanie Jolie. (audience applause) Merci Marie. Madame Jolie – Okay, can everybody hear me
now? – [Voiceover] Yes. – Good, perfect. Well, I’m very happy to
be here with all of you, and to see again the Monsieur Blais et Monsieur Jolicoeur and all of you. And I know you had a very busy
morning, and had already some
productive discussions. Mais j’aimerai tout d’abord remercier CRTC et en fait, l’Office National du Film, Claude, Jean-Pierre pour avoir organisé ce sommet très innovateur et la passion pour la découvrabilité, un term qu’on a tous découvert en fait. Qui est un peu difficile à prononcer mais qu’on Et particulièrement, en tant que ministre du patrimoine canadien, je suis moi aussi très interessée par le sujet. Et je sais à quel point la découvrabilité m’aidera à discuter le plan qu’on va mettre en place en fait que gouvernement afin de renforcer nos industries de la création et de la culture. Addressing the question of
discoverability is crucial to implementing our government’s
plan to strengthen our cultural
and creative industries. The government of Canada is
proud to help support and promote Canadian
culture, Canadian artists, and Canadian
creators, across the cultural industries
spectrum. For example, Book of Negroes, Schitt’s Creek, and Orphan
Black, all top winners at the recent
Canadian Screen Awards, were supported by a Canada media
fund. Du côté des marchés francophones, des grands gagnants de la dernière cérémonie des prix Gémeaux, on été en autres Les Beaux Malaises et 19 2, deux séries réaliser avec l’aide du fond des médias du Canada. De plus, cette année à Cannes, trois productions Canadiennes de réalité virtuelle ont été sur les projecteurs du marché international des programmes de télévision et de contenu numérique, le MEPTV Les productions en vedette L’Echo du Cinéma, et Time Machine VR, ont été créer avec la collaboration et le soutien de Télé-film Canada, et le fond du média du Canada. Et The Unknown Photographer a été produit par l’Office National du Film. Of course, the National Film
Board, one of the summit’s co-hosts, continue its long tradition
of groundbreaking excellence. And we are very proud of
the work you’re doing. For example, NFB.ca, home to the NFB’s award
winning online screening room, features over 3,000 productions
available for streaming at any time and on any device. In this innovative way, the NFB is making its
collection of documentary, fiction, animated, and
experimental films, as well as interactive
productions, available to Canadians and
audiences around the world. In the recent budget, we
announce a 1.9 billion dollar investment in arts and culture
over the next five years, the largest investment in
this sector in 30 years. And, as a country, we
are leading the path. We were the first G7 country to
do so. And recently, Italy invested one
million in its own arts and culture
sector. So, please follow the leader. And why do we do that as a
government? Well not simply because
of the sector’s importance to the economy, and we
know it’s very important, because it’s worth 48 billion
dollars, 3% of our GDP, 640,000 jobs. But we really want to invest
in an ecosystem of innovation, of creation that will foster
innovation. Innovation is of utmost
importance in today’s world. Peu import de cette activité, notre capacité d’innover, d’imaginer, de créer, et de repousser les frontières est inestimable. Le secteur culturel, bien entendu, est l’un des secteurs le plus créatif et innovateur. Et doit faire figure de proue en la matière. L’indice mondial de la créativité pour 2015 établit un lien directs entre la culture, la créativité, une forte sensé économique, et prospérité durable. Je suis fière de souligner que le Canada occupe le quatrième rang parmi les 25 pays qui ont été évalués. Mais on doit pas s’arrêter là, y faut viser encore plus haut. Nous vivons à l’ère du numérique, dans une écomonie mondiale qui exige de plus en plus de créativité, de souplaisse, et d’agilité. As I just said in French, in any
sector, the ability to innovate,
to imagine, to create, and to push boundaries is
invaluable. The cultural sector, of course, is one of the most creative
and innovative sectors and must continue to be. The 2015 Global Creativity
Index connects culture to creativity, and creativity
to advanced economic growth and sustainable prosperity. I’m proud to note that
Canada ranked fourth out of 25 countries studied. But we cannot be content to stop
here. We live in a digital
age, in a global economy that demands creativity,
flexibility, and agility. Technology has significantly
transformed our world and the way we live. Blockbuster video rental
stores have been replaced by online services like
iTunes and Netflix, and video on demand services
like shomi and CraveTV have changed the habits
of television viewers. And we know that, and we
must acknowledge that. More and more Canadians use
music streaming services like Spotify, Google Play
Music, CBC Music, or EC Music, to listen to the music of their
choice. As well, more and more
Canadians listen to podcasts of their favorite radio shows, or choose to listen to AM,
FM radio stations online, when they want, where they want. As we speak, even texting is
being rivaled by Snapchat and WhatsApp. Les temps changent et nous devons suivre le rythme de l’évolution. Ce nous, englobe qui? Englobe les entreprises, grandes et petites, de meme que les artistes, les créateurs qui veulent connaître succès sur un marché de plus en plus mondialisé. Technology has made
creators of almost everyone. Content of all kinds,
from almost everywhere, is available on multiple
platforms. This, in many ways, is good
news. On the other hand, it has
made it more challenging for content creators to
stand out and find audiences. And because of the ever
increasing range of content choices, we
need to make it easier for Canadians to find the
content that they’re looking
for. I’m encouraged that innovators
and industry leaders like you have gathered to discuss
the paradigm shifts that are taking place, and the challenges and
opportunities they present. I believe that Canadian
creators who have learned to attract audiences from across our vast and diverse country, but also from around the world, have what it takes to prosper
in the economy of the future. It will require thinking outside
the box. It will require creativity,
courage, and cooperation. Last week, I was quite inspired
by the teams participating in the Youth Summit on
Discoverability. High school students between 15
and 17, the first real digital
generation, brainstormed and discussed
some of the issues you will talk about today and
tomorrow. You will have an opportunity
to learn what they had to say. I’m sure you will find their
perspective enlightening, like my team and I did. But I also praise you
to pay close attention to their opinions and findings. Considering the amount
of talent and know how in this room, I am confident
that, as you take these and other
points of view into account, you will find innovative ways to improve Canadians’ ability
to find and access content. J’ai hâte d’entendre vos idées et vos suggestions. J’ai hâte de savoir ce qui découlera de vos discussions. And as Minister of Canadian
Heritage, I recently launched
consultations of what the government can do
differently to strengthen the creation,
discovery, and export of Canadian
content in the digital era. This exercise is driven by our
belief that the time is right to review the roll of the federal
government in helping Canada’s
creative sector navigate the digital transformation,
and chart a course to ensure that we’re poised
to position ourselves as global leaders. I’m open to listen to new ideas and considering fresh
perspectives on how the government can best
assist the cultural sector in navigating the digital
transformation. But I really urge you to
think outside the box. I urge you to accept that
technological changes which impact people’s
consumption of news and entertainment
can be an opportunity for us to develop a new model
that will lead the way to other countries’ own digital
strategy. The ideas that come out of this
summit will inform our public
consultation, which I encourage you,
all of you actually, to participate in. Let’s all work together to
discover how to ensure the continued
vitality of Canada’s cultural sector. I wish you an interesting
and informative discussion this afternoon and tomorrow. (audience applause) Merci beaucoup madame ministre. – It’s a real pleasure to have you with us this
afternoon. And now, before we move on
to our afternoon keynote, I want to invite Valerie
Creighton, president and CEO of
the Canadian Media Fund, who sponsored part of this
event, to come and say a few words. Join me in welcoming her. (audience applause) – It’s always nerve wracking
to follow the Minister, but how about that kick ass
announcement on the consultation? Yes? (audience applause) It’s a pleasure to be here this afternoon to introduce
James, president and executive
producer at Secret Location, the Toronto-based award
winning content studio for emerging platforms,
which we at the CMF have had the pleasure to work
with and support on numerous
occasions. So thanks Minister Joly
for your ongoing support of the industry and
the CRTC and the NFB… Now there’s a scary bench. (audience laughs) And the NFB for hosting this
very interesting dialogue over the next couple of days. James is gonna describe
to you the current state of virtual reality and how it’s
being used in entertainment and the
potential of this great platform in the
near future. Eight of the Fortune
top 10 technology giants are now in the VR business, with several other tech
innovators investing in the technology
to get ahead of the market. Recent studies suggest that
the global market for VR could reach US 30 billion by
2020, primarily driven by the
proliferation of various uses for VR technology and content. From entertainment to health
care, through education and
industrial applications, new ways of using VR are
constantly being developed. Content producers in Canada
are turning to VR projects as a way to create experiences
that push the limits of art and technology. Offering immersive VR content for new and unexplored
perspectives, VR content creators have
literally widened and deepened our
horizons when consuming this type of
media. We’re really proud that Canadian
companies are at the forefront of
digital media innovation. Thanks to the reputation of
Canadian digital media content, the expertise acquired by
producers and the funding ecosystem
that supports innovation and creative story telling,
Canada is well positioned to lead the promising VR market and respond to consumer trends. In the past year alone,
the CMF has supported over 30 innovative VR projects through the experimental stream. We recently showcased six of
those at MIP to a packed house, and it was
some of the most interesting content and had great buzz at the
market. We’re seeing boundless
applications for Canadian VR and its impact in the way we experience
our content as palpable. So the question is, how will virtual reality
play out alongside the multitude of devices
consumers are using to consume content? What are the revenue streams? What does the long term
viability of this type of content look
like? What makes large scale
VR production possible? What will it take for these
platforms and content formats to be increasingly
accessible by audiences? So, here to give you the answer
to all of these questions, please welcome me in
joining James Milward. (audience applause) – Thanks. Hi, how’s it going? This is when I pray it turns on
behind me. Can we get the screen on? Can anyone? Well, I’m James Milward. I founded a company
called Secret Location. We’re a content studio
for emerging platforms, whatever that means. It’s adequately confusing to
mean nothing, and hopefully everything, all at
once. I’ll give you a little bit of
background. We started as a digital agency, because that’s how we needed to
make money by doing work and getting paid
for it. But over time, we’ve been
able to evolve our business, not just in terms of
the content we create… I see it up there. Oh, it’s there, perfect. So nothing, okay, perfect,
great. I’m gonna ditch what I was
saying because I was just scrambling
for something to say. (audience laughs) We’re based in Toronto and LA. We’re a content studio
for emerging platforms. All that really means
is that we’re 70 people who are a diverse team
of producers, creatives, technologists, strategists. Really all you need to know
is that we makes things. We don’t talk about making
things, we just make things. And it’s really simple. The way we do that is,
despite the technology, despite the platform, despite any of the shining
corners that we can get hooked on,
we just start with story, because that’s ultimately
what connects people together, and that’s what people care
about, despite the platform. Then we figure out where it
should live and why it should live there,
and then we make things. And the reality of it is,
using that pretty simple story format and execution
formula, we’ve been able to create
some interesting experiments and some great projects. I wanted to start off by giving
you a little bit of background on
VR, and I’m sorry if anybody has
already got this background, but I thought it might be
helpful just to start from the
beginning. At our company, and I think for
a lot people making content, we’ve been chasing this idea
of immersion for a long time, the idea that viewing content or participating in content
on emerging platforms could actually have a visceral
effect that could transcend
traditional media formats, or at least augment and extend
them. We’ve been able to do this on
big shows like Rookie Blue, with big brands like Red Bull. We won our first Emmy
working with a TV show called Endgame here on Showcase
with Shaw, and we were lucky enough to do the launch campaign
for The Blacklist, which turned into one of
the larger shows in the US. But what all of these executions and the platforms that we had
at our disposal had in common was that they were framed. We had to live in a box,
literally. But then this little
guy, scrappy little guy, came up with the Oculous Rift
and put it on Kickstarter. He was looking for a little
bit of money, 250 grand, and within two days he got
two and a half million. And I’ll tell you how that
goes down in a minute. But it’s important to
understand that VR isn’t new. We’ve been chasing some form of immersive content for a long
time. The Sensorama, this weird thing, anybody remembers the old Sega
Genesis VR? That was a gem. Virtual Boy? We actually have one of these in our office, and it’s awesome. This really crescendoed in 1992 with popular culture emerging and creating The Lawnmower Man, and then of course a lot of
Keanu Reeves in a lot of movies about VR. But the difference really now is that for the first time
virtual reality at a consumer level is possible. So what’s happened is
essentially computers have miniaturized, phones and mobility have
miniaturized and become more powerful, and the age old issue of
delivery has transcended. And so what that allowed was
basically the perfect storm of technology
and distribution to emerge and to be fit into one small
box. This is the Oculous Rift
developer kit. This was what we got in the mail from our Kickstarter
contribution, and about four months later
it was acquired by Facebook for 2 billion dollars, and
that sort of put the first legitimacy in the market of VR. To be honest with you, when we
first got that developer kit, it was really just a
doorstop in our office. We were tinkering with it. We were trying to figure out
what to do, but it really had no practical
purpose. Once Facebook kissed into it with 2 million, or 2 billion
dollars, it had a couple uses
that we could think of. (audience laughs) We started working more
earnestly on it. So, just to step back, there’s really sort of a
few critical tiers of VR to understand. So, a lot of you have probably
seen the Google Cardboard device. This isn’t actually a
Google Cardboard device, this is just Google putting out
the plans. A lot of people have said
it was in a direct response to Oculous Rift, seeing that
thing is gonna cost you $800, how about we do it for $4? Which worked, because they’ve
gotten about five million into the market. Last year, The New York Times
launched a million of them to their
subscribers. The next sort of tier up
is the Samsung Gear VR, which runs off specific Samsung
phones. So, by using a slightly more
sophisticated operating system and phone, they’re able to
deliver a slightly more sophisticated
experience. And then you now have the
consumer version of the Oculous Rift, which
launched just about four weeks ago. Between the first two developer
kits, which were really for developers
like us, they actually shipped about
300,000 units, which is crazy, because there weren’t that
many developers in the world who could do anything with it. So what that meant is that a lot
of people who thought they could
do something with it ordered it and then had it
sitting there, and now they’re getting the
full package to play with. HTC and Valve, which is one of
the largest video game distribution
networks, is also partnered to develop the
headset, and Sony PlayStation will be
coming out with theirs later in the year. It’s important to understand
that VR is a combination of a few things at once,
but there’s also 360 video, which is what we like to call
“The Gateway Drug to VR.” It gets you hooked and
going and wanting more. And YouTube has launched 360, and Facebook has launched 360, and that has started to propel
even more heat and activity. So, why is VR powerful? What does it do? Well, it creates at its
best the sense of presence. The idea that it takes away
the distractions of the world, it transports you somewhere
else, and you are present in that
environment. You’re no longer constrained by the physicality of the real
world, you’re now in a virtual
environment that’s got you fully immersed
and present. It allows you to do something
that you couldn’t possibly do in real life, both because it
can transport you somewhere and it can also enable an
experience that isn’t actually physically
possible, and of course empathy,
just like these two cats, empathizing with one another. It is actually quite
striking to see people experience content in VR, because even on their first go
around, you do, if it’s the right
experience, you do see an emotional reaction
that’s hard to describe, and it’s hard to quantify
against other media. This is one of my favorite
clips. I’ll show you this project
later, but this was a kid that sat in our virtual reality
experience for two minutes. (audience laughs) No matter how good Game of
Thrones is, that’s pretty
unique. (audience laughs) And how does it do that? So, the first thing is it puts
you in a 360 degree point of view. It uses spatial audio,
which follows your head. So, where you look in that 360
space, the audio reacts to it. And ultimately, at its
best, it has 3D visuals, which means it creates
depth and the ability to have things happen in that
space that is not necessarily
possible in traditional media. So, what this has meant is that we’ve had to figure out new
processes to create content. So, we’ve figured out how to
storyboard, how to plan shoots, and
ultimately how to build
technology that really gets us to
the goal of making things that are professional quality, which actually is quite hard
today in virtual reality. So I want to show some projects, and then how we did them to
explain what the world is like to make
and distribute content in VR. I picked this project, and
spoiler alert, these are all our projects. We were fortunate enough
that we got an opportunity to work with FOX very,
very early on two years ago for Comic Con 2014, and
we were able to build a experience that I’ll show you
guys. But basically, it allowed
us to jump in very early and put something out in the
world, before anybody could
even have heard of VR, and get and illicit reactions, which has then informed our
work, and I’ll show you a
little more about that. So, here’s the video. – [Voiceover] The Sleepy Hollow
virtual reality experience is an innovative, narrative
driven fan experience that debuted at San Diego Comic
Con 2014, in support of the hit FOX
series. (dramatic music) Combining Oculous Rift
technology, a custom built app, and an atmospheric live
setting, Secret Location created an immersive, one
of a kind installation that thrilled thousands
of excited visitors and reached millions in social
media. The cutting edge VR experience utilized top quality CGI
graphics, 360 degree sound, and live action video to
deliver a gripping narrative that plunged users deep into
the world of Sleepy Hollow. – [Voiceover] Stay where you
are. In the dark, in the fog,
he might not detect you. – [Voiceover] Through the
magic of virtual reality, visitors found themselves in the show’s spooky graveyard
setting, receiving a dire warning
from the main character, Ichabod Crane, moments before
a hair raising encounter with the Headless Horseman. (dramatic music crescendos) The experience thrilled visitors and generated huge buzz at Comic
Con, as well as socially through
a custom digital souvenir. To capture the experience for
attendees, we built a custom mobile app that created personalized
images for each visitor to the installation,
creating engaging content directly out of the event. The app took visitors’ photos and automatically composited
them into a pre-designed backdrop
from the virtual reality scene they were watching in the
Oculous Rift, along with tune in details
for the second season airings. By the time the scene was over,
the finished souvenir images were already on display at the
event and sent to the user’s
email or Twitter accounts, enhancing the impulse social
pass along. The final piece was designing
the whole installation around FOX’s eye catching
Sleepy Hollow bridge for maximum exposure and
participation. Over the entire production
process, Secret Location worked
hand in hand with FOX for a deeply authentic
experience. We collaborated with the
show runners and writers to capture the tone of the
series, resulting in an engaging
narrative that is firmly grounded in
the world of Sleep Hollow. (dramatic music) Key to this was Secret Location filming show lead Tom
Mison’s original performance in live action 3D, and
incorporating it into the virtual environment for a totally unique fan
experience. In fact, this was the
first time live action and CG animation have been
combined in virtual reality for a television series or a
film project. The Sleepy Hollow Virtual
Reality Experience offered something new and
thrilling, and received a massive response
from fans and the media. Over four days at Comic Con,
thousands of people took part, including cast members from the
show, creating millions of media
impressions online and socially, enabling a totally unique
experience for a legion of loyal fans
and those new to the series. (dramatic music crescendos) – Okay, so what that project has
in common with almost everything else that’s been done in virtual
reality at a large budget or for a
studio, or for anything that
many people have seen, is that we also had to figure
out how to put it in an installation so that anybody could see it, because nobody had headsets. And that’s been the case for
the last year and a half. We’ve done probably 20
projects in virtual reality that nobody has been able to see unless we put it somewhere
physical. And we’ve only just started to
be able to deliver this content
to a market of people who have headsets in their
hands or their houses. And that’s a pretty crazy
thing to talk about. As a content creator, that you
make things and you just hope that you
actually have to build a place for them to see it. And it’s also crazy when you
think about what it takes to make something. This is a traditional set of
storyboards. This is how we normally plan a
shoot. We had to start to
rethink everything we did about production in order to
make this, because what ended up happening when we tried to shoot what
was in these storyboards is that it really sucked. So we had to think
about what the story was in a much simpler way, and then we actually had to
figure out how to design 360 degree
storyboards, so that we could determine
action around the entire audience. We had to devise a way of
positioning how the camera would face out,
and where it would face out, and where the person would look, because things happen all
around you in 360 space. We don’t get to control the
frame anymore, so we have to moderate how we
produce, and therefore, when we
come back to storyboards so that we can actually show an
actor, we’re using these little
pie slices to show you what part of the environment
we’re actually looking at in a 360 scene. That then defined how
we shot the experience. And what we realized quickly
is that if we shoot it with one camera, we end
up with billboard video that basically just falls
down in the experience. So we had to figure out, “Okay, what cameras exist
where we could use 360, “but are not overly
cumbersome or expensive?” And the result three years ago was that we had to make our own
camera. It was dubbed Johnny 5 by the
lead actor because it looked like the
robot from Short Circuit. And we actually had to show
the actor in virtual reality a pre-vis of what he was gonna
be doing, because explaining to him how
to perform in virtual reality was like not gonna happen;
didn’t get it. We had to completely
redesign how we made audio. And all of these things taught
us how to make content at a higher
level and ultimately led to the
next thing we worked on, which was this, which is the LA Philharmonic’s
virtual reality piece. And I should just say, not too
Canadian to have a big thing, but this, the Sleepy Hollow
Experience was the first project to ever win a prime time
Emmy in virtual reality, which we won just last
September. And it’s interesting, because
there isn’t actually a category for
virtual reality at the Emmys. So we won in this user
experience and design category, which is totally
ill-fitted for what we did, but because it was sort of
this moment in time for VR, they decided to give it to us, which has been really great, because it’s helped create
a lot of leverage for us as a Canadian company
with the US platforms and the international platforms, and it’s also allowed us to get
access to these kinds of projects
at a higher and higher level. We were super lucky. Our clients at FOX introduced
us to the LA Philharmonic, and they have this idea. They have Gustavo Dudamel, who’s the world’s highest paid
conductor, and he’s really interested
in new technology, and we had the ability to
shoot the entire orchestra in virtual reality. So we did that, and it was
a pretty crazy experience, because during the Walt
Disney Concert Hall, with the 103 person orchestra
in full orchestra dress, we had one hour to shoot
them because of regulations. And, we had to figure out how to make the original Johnny
5 into a better version of Johnny
5. So, we actually joined a
collective called Verse, which is a guy named Chris Milk
in the US and a bunch of other VR
creators, and together we’ve all built
this camera system together, which continues to get improved. But the reality of it is, you can’t just go into a rental
house and rent something, you can’t go get equipment. You have to make everything
today, and you have to scrap it
together. And we ultimately added
a huge amount of CG, and I’ll show you what this
looks like. (Beethoven’s 5th Symphony) – [Voiceover] It is the
most dramatic beginning in the history of music
because it’s so direct. Beethoven opens to you the door to go inside of your essence, back to a rift there you
have to go individually. – [Voiceover] At the LA
Phil, we are so proud of this new virtual reality
tour, not just because we’re
using brand new technology in an unprecedented way, but also because we’re sharing
our music with the community. We are inviting LA to
experience classical music in a way it never has before. – [Voiceover] Virtual reality is a 3D, computer generated
environment that a user can enter and
explore. We’re really taking an old
art form and making it new for our modern audience. – [Voiceover] We used a
camera that’s essentially made up of eight modified
GoPros to capture the space, to give a sense of presence
in and amongst the orchestra that would otherwise not
be achievable in real life. And we took that footage
and sewed it together to create a stereoscopic 360
degree image. All of this to say,
you’ve never experienced Beethoven’s 5th like this
before. – [Voiceover] So what
we’re doing is we’re taking this VR experience, we’re
loading it into a truck, and we’re taking it to
arts festivals, to museums, to outdoor events, trying
to get it seen by people who might not otherwise get to
experience one of our concerts. And it’s called, “Van
Beethoven.” – [Voiceover] The CG
element brings this piece to the next level. Essentially, we’re
allowing the user to have a representation of what the
music does in the mind’s eye. I often love watching people
go into VR for the first time to watch them take off
their headset afterwards and see that sense of
wonder on their faces. Incredible. – [Voiceover] Wow!
(person laughs) – [Voiceover] You can
come see us at one of our Van Beethoven tour stops for
free, or– – You don’t need to come see it at one of the Van Beethoven tour
stops. But long story short,
again, we have to load it into a fricking van just
to get anyone to see it. It’s getting ridiculous. In the fall, we were
able to launch a project, and this is one of the first
projects we were to launch on a mass
scale. We worked with Frontline on PBS and the Columbia School of
Journalism to create an interactive
documentary about the Ebola outbreak. We had our 360 cameras,
took them to Sierra Leone deep into the jungle,
which was an experience, and was able to create
an 11 minute documentary about the spread of Ebola in
Sierra Leone in West Africa. So I’ll show you that project. But what’s interesting
is that just in the fall we actually were able… So this went out on thousands
of Google Cardboards that Frontline printed. Millions of people have
seen this on YouTube 360, and even more on Facebook 360. I think in the first 48
hours after launching it on Facebook 360 it had 30
million views, or something crazy like that. So there’s audience for this
content, it’s just a question
of where they find it. So I’ll show you what we did
here. – [Voiceover] a microscopic
virus began a deadly journey. It was the beginning of the
worst Ebola outbreak in history. – [Voiceover] If you go to
Leone, you see dead bodies. 15, 16, 17, 18 dead
bodies all in body bags. – [Voiceover] We lit the fire and they fell from the top of
the tree. Then we ate them. – [Voiceover] We had the
idea that Ebola was something which was severe, but typically
occurred in a certain way, and that it could be handled. – [Voiceover] Her burial will
cause an explosion of new cases. – [Voiceover] When she died,
we washed the whole body. – [Voiceover] Extremely
because people are dying, sometimes, very distressing
deaths. – [Voiceover] I was afraid
it would just be this like black plague; this
inexorable spread across the continent and beyond. – [Voiceover] Ebola was not an
exception. Ebola is a precedent. – The other thing that’s
been interesting to me about this project and
why I wanted to show this, is this is the first time I’ve
ever, and this is again, I’m too
Canadian to have an ego about this stuff, but it’s the first time
I’ve ever seen someone take off or finish watching our
work with tears in their eyes. I’ve never been able to
experience that. And we were able to showcase
it both in live events and to get that understanding
of how visceral it was for people to be transported
to an Ebola treatment hospital, or in front of the person
who lost their entire family. It’s a pretty powerful
mechanism to induce creativity to say, “What can we do next
with it?” Or, “What can we do on the
highest “or most emotional level of
that?” So the next couple projects
I’m just gonna show are just title slides, but we’ve been fortunate enough that we’re working on the first
cable VR and linear series with SyFy
International. It’s a 10 episode linear
series, 5 episode VR that’s completely interwoven. It’s a future facing police
procedural. That’s gonna launch in
September. And we’ve been funded
by the CMF experimental to do a 10 episode virtual
reality project with Stephen King, which is
pretty crazy because it took us quite a
while to convince Stephen King to have a conversation with us, let alone to do something in VR. So that’s a pretty big
opportunity, and quite frankly not just
because Val is sitting in the third row, but because we have this
funding, these resources to put forward against a very valuable
piece of IP in a format that other people hadn’t
been able to get to yet. So I just wanted to talk through where we see this going next, because as content creators,
it’s a really exciting time. And it’s an exciting
time for a few reasons. The first is that the creating
potential is out of control, it’s out
of bounds, it can do anything. So the question we’re to
continually ask ourselves is
not, “What can we do?” but,
“What should we do?” What’s appropriate? Why does watching or
participating in something in virtual reality matter
more than watching it or participating in it
on another platform? Because it’s our belief that
media is not a zero sum game. You don’t stop watching TV to
watch VR. You don’t stop listening
to the radio to watch TV. You do it all at once, and
you divert your attention based on the loudest or most
exciting or most conducive to that
attention at that moment, and so for us, asking
ourselves, “What should we do?” means that if somebody’s
gonna put on a headset and buy a computer, and go
through all the rigmarole to get their self in VR, then we better have something
really good for them, otherwise they’re going
to take that headset off and return to Best Buy and we’re
done. So for us looking ahead, we’re
both excited by the numbers. This year, it’s a build year for
sure. Next year, probably a build
year, as well. The content that gets
created and published, it’s not gonna be Angry
Birds, in my opinion. It might be, and that
would be very exciting, and I hope it’s ours,
but I think it’s better to take a bit of a long view
towards this. These headsets are not that
cool. They’re really not. (audience members laugh) And it’s an incredible
experience to watch people participate in it, and
you’d be surprised how much the content and the
possibility of the content overcomes how uncool these
headsets are. But the reality of it is, it’s
a bummer to wear that thing. It sucks, and we need to
get these things smaller and more conducive to the
content in order for them to be
successful. The potential of this,
and this is real data, is that this market grows by
20, 25, 125 million headsets. That’s divided somewhere between
software and content and hardware,
but you’re talking about an 80 billion dollar market by
2025. And that’s only nine years away. And I know that probably
doesn’t, or maybe it does, seem like a long time,
but between 2007 and now just whipped by for me. So what we’re really trying to
do is think about what this means. And we have some encouraging
understanding of audience. I always hate the word
millennial. I’m not one of them, and
I always hate it when… but the reality of it is that
millennials, they want VR, they’re
participating in it. 360 video on YouTube and
Facebook is punching way above its
weight. Way above its weight. So we’re starting to see that
gateway drug hook people. The question is, what will we
come with to continue to monetize that
behavior? 50% of millennials expressed
a favorable purchase intent, whatever that means,
but hopefully it means they’re gonna buy it. It’s hard for me to know
when PlayStation VR launches, that’s gonna be a big watershed
moment. 20 plus million people have
PlayStation 4s in their house right now. That means you don’t have
to go and buy a computer. The headsets, $400 or $500, max. You plug it in and you play. If this is good, when it’s good, we have a developer kit, it’s
good, it’s gonna be a game changer. And it might mean that games are what make a game changer
happen earlier than other things. But that doesn’t mean
that just because people enter through gaming they
stay because of gaming. And in fact, you look at Xbox
Live and Sony PlayStation Network, and you see a huge amount
of people using those for home entertainment needs. So the reality of it for
us is that we want content, we want storytelling, we
definitely or probably are interested in TV
movies and films in VR, and the big players are seeing
that. Netflix is wading in,
there’s no question about it. Oculous, it’s their whole
game, they’re going hard on it. Hulu, bit of a better judge in
my opinion, because not only have they waded
in, but they’ve also carved out and
created some original VR content. The Netflix screening
room where you can watch all their content in
VR, that happens today. You can buy a Samsung Gear VR, and watch all your Netflix
shows on a 40 foot screen in VR. It’s cool. And streaming concerts is cool. And 3D theater like Sleep No
More is gonna come to this. Watching sporting events. You can already go see
The Martian Experience. I think personally that sporting
events is a gateway, but it’s
not a firmed up position until you understand how
editorialized sports are and how that can be replicated
in VR. There’s a lot of talk that
you can just put a camera at center court and “Poof,” you’ve got millions of people
subscribing. I don’t know if you’ve ever
had an opportunity to sit at center court and never
get up from your seat, but it’s not that much fun. You kind of want a beer, and you kind of want to
watch some highlights, and you wanna talk to somebody, and that’s why I really
think that social VR is going to be the
ultimate watershed moment, the ultimate gateway. And if you think about
why Facebook would acquire Oculous Rift, you have
to think that the future of the social network is
at least in some degree based in virtual environment. So, for us, we’re thinking
about a number of different ways that those environments,
those social experiences, those narratives, whether it be
3D content and reactive themed
environments, is going to ultimately allow
you to participate in ways with content that you haven’t
yet. I think today, the way to
understand what’s happening in
VR is that there’s really a lot of
focus on making the fidelity high
enough to be palatable, and that means
that in it’s most derivative form, and I don’t mean this in a
negative way, I just mean that the way
people are contemplating it right now is that they’re
replicating reality. The race to capture reality is
on. We’re doing it, and that’s
what we did with the LA Phil. But, we’re starting to see
expirations, This is EVE: Valkyrie,
which is a really big game and really awesome in VR. We have Alien Isolation, which allows you to be
put in the alien movies. But for me, like when I’m really
excited, and where I think we will see
like our Angry Birds moment or those next level
monetizations is in how we extend and
transcend reality. For me, I think that if you
try to replicate reality, at the end of the day,
reality’s still gonna win. Primarily because the
headsets are not that much fun after you’re in them for
half an hour or an hour max. So if I can watch a beach, I might as well just go to
the beach at some point. But if I can go somewhere where
I would never be able to go, where my imagination
literally couldn’t take me, where we can facilitate
experiences that don’t exist in the real world, to me that’s
where we see the huge value. And ultimately what’s gonna
happen, Moore’s Law dictates this stuff gets faster and
faster, cheaper and cheaper. Hardware and peripheral
advancements, hopefully that don’t look like
this, are going to be awesome. It is possible that a VR
headset is in every home, and social standards will
adapt and evolve around that. And I think the most
important thing to understand is that, for us, we really
sort of live by this. The art that we make and the
storytelling, it challenges the
technology to do something, and the technology that we have
at our disposal inspires us to make stories that are
meaningful on these platforms. But I think that the most
important thing to leave this
room is that we’re all doing
something we don’t know how to
do in order to learn how to do it. And that’s particularly
important today, because by the time this does
have the ability to transcend, there’s a VR headset in every
house, there won’t be time to figure
out how not to screw it up. So we’re doing that now, so that when we’re there, we’re
gonna win. And hopefully we’re creating
a pipeline and a potential to get to that point where
again, it’s not a mutually exclusive
situation, but where we can create
virtual reality content just as well as we can
create television and film, and where all of those platforms
merge and work better together,
and involve audiences, and tell stories, and make
those stories more meaningful to people across all platforms, when and where they want
to have that experience. That’s it, thank you. (audience applause) This totally leaves
some time for questions. So unless you guys are running
late, do you guys want to ask
questions? Or, I can also go over there. No question is too dumb, because there are no dumb
questions. So, hit me. – [Voiceover] This is
fascinating. – [Voiceover] The 3D movement,
though, with televisions a couple years
ago, it didn’t seem that
that took off very well. Was it because the content
wasn’t there, which is why the devices
weren’t intriguing? Because if you recall, just two
years ago Sony and others were enabling 3D
TVs, but the market didn’t seem
to pick up on it as quickly. Do you think it was because the
content was just not available? – I think it’s a
combination of a few things. I think that people already have
a TV, so there’s already an inaction
there that’s gonna happen with
me needing and getting a TV for that explicit reason. It’s not necessarily a
compelling reason. Definitely the content wasn’t
there. There’s not even any question. And furthermore, the ability
to create that content was sort of not viewed as
something that needed to be paid
specific attention to. It was sort of like, “Oh, we’ll
just do a post conversion.” Or, “Oh, we’ll just make
this at the same time. “Oh, we’ll just shoot
this stereoscopically.” Didn’t really work out that way. They were also really expensive. We’re talking in the VR
headsets that I’ve shown, Google Cardboard, $15. Samsung Gear VR, $99. Oculous, five, six
hundred bucks in the US. You’re not talking about $4,000. So at the end of the day when
you combine the number of things, I mean
I think we are at a moment where this will be a
shade closer to 3D TVs, or it could the iPad. And it really just depends
on that content ecosystem and the controlling mechanisms, and the way that developers
are given the ability to create content, versus
a closed ecosystem. You know, it’s very difficult
as someone who makes content to get my stuff on 3D TVs, or to get it into like their own
networks. It’s just the ecosystem
wasn’t quite there. The ecosystem is being set up
better here, it’s obviously got a long way to
go, but I think it’s a
different set of parameters. Okay. – [Voiceover] Well what do
you do in the editing room once you have all this finished, because I can’t quite imagine, because there’s a sequence to
storytelling that you kind of know, close
up reaction, this that, so– – So post production, across the
board, is by far the most difficult
rethink, gnarliest version of this. So when you shoot VR content, either with a 360 degree camera, or with two stereoscopic cameras that are then put into a CG
environment, you basically have to do a
first, almost like an assembly, but the assembly is more
sophisticated because you’re actually
stitching shots together. And that’s stitching of multiple
cameras from a 360 degree rig, or it’s just really arduous,
manual, crappy work. I wish there was a plug and play
system. We’re one of the earliest people to use the Google Jump camera. We’re actually getting
trained on it this week. I am literally praying
every night that it works, because it sucks so bad doing
that level of post production. Assuming that you can get
stitched, well placed footage, then it’s actually not that
different, because once you put that
into… You can either just put
the front facing cameras in into a traditional editing
program, like Final Cut or Element, or you can actually just
unfold, unstrip that video so that it looks like a giant
panorama, and then you basically
cut your shots together and then that goes back
over to a separate theme that basically takes those
shots, does a fine edit, a fine finish to the stitching, and then does another assembly
and then tweak from there, but it’s more like doing a CG
pipeline, adding multiple steps
with multiple authors on multiple different machines than it is doing a straight edit of just linear reality footage where you’re just gonna put it
in and find the story there. It’s a much more collaborative,
iterative process. One of the most difficult
things, quite frankly, is just actually publishing
rough VR projects for approval for people to see
it. We actually had to build
a proprietary platform that allows us to distribute
content so that we could just get that
content in the hands of our partners. And it’s not ideal. These are not the things we
go to work every day to do. We go to tell stories, but in
order to tell those stories, you have to figure out the
tools, and so that’s what we’ve been
doing part and parcel of our
structure. But I mean, there’s no right
answer, there’s no silver bullet, and
there’s slight variations, and there’s actually a lot
of open source documents on the Internet that just
have given people’s techniques of how they do it, or different
kludges or different workarounds. A lot of communities,
a lot of our post guys and technical guys just
going into Reddit forums and reading stuff. It’s gnarly. I wish it was more glamorous so I had some secret answer for
you, but it’s just hardcore. – [Voiceover] For every
hour that you produce, for every minute you can
produce, compared to conventional, what
would be, is there a factor, is it 10 times more human
resources than we expect? – I think it depends on
what your comparison is. Certainly it’s not more,
to go to Game of Thrones, or to do LA Philharmonic, probably comfier to Game
of Thrones man hours wise. But to do the Kardashians, probably a little bit
less time in comparison. And I’m not trying to be glib or
shitty, I’m just saying that it’s,
how long is a piece of string when it comes to what the
comparison is. I think what you’re talking
about, the best way to compare it is
sort of a… It’s a scripted, mid-level
with some CG execution. So you’ve got more post than
normal. You’ve gotta think about it
like a scripted experience in terms of your writing
staff and your creative team, even if you’re doing
something that’s unscripted, and in fact, sometimes even
more. Like we’ve had to figure out how to tell five different
stories so that when we go into the
field to tell a documentary, one of those is hopefully right, so that we can actually create
the prep and the assembly to take the materials in. So it’s an arduous process, but
to us, it’s something that we would
like to get and reduce. I’m really praying that
I get this Google camera, and we just plug and play. The idea with the Google camera is that it’s made with GoPro, it’s 360 degree of cameras
that are all around in an array that’s in a box. They basically all get connected
together, all the footage drops
down onto hard drives, you literally just plug those
hard drives in at night, it shoots it up to the Google
Cloud, they do some Google algorithm
magic, stitch it together, and then the next morning you
wake up and have your coffee, and you’ve got the stitched
footage, and you’re just ready to go, you should be able to go. Unfortunately, I’ve seen that
not happen on like seven other cameras. The problem is not that it’s
some genius needs to crack it, it’s actually just there’s
a physics problem with it that’s tough. I think that there’s no
short answer honestly, because I’m rambling, but
the middle to long answer is there’s no silver bullet,
depends on what you’re
executing, and it gets better every day, and sometimes it’s gonna get
dramatically better overnight. We’ve seen, in the last year and
a half, literally every week I do one of
these and then I look like a jerk the
next day because something comes in and
says half the stuff I said was wrong. So, it’s moving so quickly. – [Voiceover] You mentioned
that the headsets, I believe it’s your words, are a
bummer. For a long time, they also
made people feel sick. Are we past that yet? – Yeah. Yeah, so the headsets don’t
make people feel sick anymore. That was a function of screen
resolution, refresh rate, frame rate. The hardware issues that made
people feel sick are gone. The software, the content issues
that made people feel sick, will never be gone no
matter how good it is, which means that there are
rules to creating content in VR, and those rules are associated
with not doing things that make the brain lose
presence in the environment. So the best way I can explain
it is that nausea arouses when it’s like you’ve got your
eyes closed in the back of a car really hung
over. It’s like if you can avoid
some of those factors, (audience laughs) better off. So we don’t move people in VR without being attached to
something that they can see that is
moving, because that’s what makes you
feel like you have motion sickness. So at the beginning, we were
like, “Oh, you can be a disembodied
head “or you don’t need to be
associated with anything. “You’re just shifted across.” Everyone used to think in dolly
shots, “Oh, we’ll move you
through this room in VR,” and that just made people barf
right away. So now if we wanna do that,
we have to associate them with something that they
can see is moving with them, whether that’s a vehicle
or legs or anything, there’s a number of
other factors like that that we’ve figured out
and that we’ve worked at with the platforms that help
associate best case scenarios. There’s also factors of
interactivity in controllers that make it easier to cause
nausea, but the reality of it is
it’s not a hardware issue, it’s an us issue, and
it’s just trial and error until we get it right,
basically. One more? – [Voiceover] Yeah, one more. – [Voiceover] Peter Miller. You’re doing great work. There are other companies
in the Canadian space, both the hardware and software
space, that are doing great work. You’re obviously very optimistic
about how this can develop. My question is, how do you
think Canadian companies are positioned in this space? Is there real opportunity for
Canada to punch above its weight here? Particularly because it is a new
medium, and we’re getting in on the
ground floor, and also because, related
to the earlier question, it’s not about high
resolution, fancy graphics, it’s about immersion in
an environment that works, so the costs don’t have
to be ridiculously high. Any thoughts on that? – Yeah, I mean I think that… It’s an even playing field, so there aren’t any dramatic
territorial benefits, like in the late ’90s when there was just way
better broadband in Sweden. We don’t have any of those in
this. If you were based in Kansas
City with Google Fiber, you probably have a slight
advantage with your workflow, but other than that,
nobody has a better edge. I think that we have… It’s interesting to go to the
US. We have an office there, I’ve spent a lot of time there
recently. America is wonderful, as we all
know, but it also is not a place that
shepherds early stage stuff without it having market
validation. And so the advantage that we
have is that we do have some funding
here that is willing to take
earlier bets more often until we figure out what
that monetization is and evaluate it with maybe some
slightly different criteria. So that’s definitely got a
chance. There’s a company in
Montreal, Felix & Paul. We’re friends with that company. We won the first Emmy
in VR, prime time Emmy, they won the second Emmy
in VR, daytime Emmy. (audience laughs) You know what I’m saying, right? Just joking. I love those guys. But I think look, we just got
two out of the only Emmys in VR. We definitely have that capacity to punch above our weight. The other thing that’s been
crazy to me, we are very honest, we
have a Canadian office, a lot of our work gets done in
Canada, most of our work gets done in
Canada. No one in the US or
England or anywhere else has been like, “Oh, you
guys work in Canada.” It’s more that, “Oh, we get to work with
somebody in Canada.” So I think it’s that
their perception changes, the resources and financing they
have, and ultimately just that
effort, that willingness, to try things and hit it
and hope for the best, and when those things combine,
coalesce, we get a better shot at it than
anybody. – [Master Of Ceremonies] Thank
you. (audience applause) You guys were applauding, but because we’re gonna break, James, if you’re willing,
you guys can just go up specifically to James
and ask your question because we have about a 20
minute break. Does your brain hurt? – [Voiceover] No. – After hearing… Like, with the stitching of
the images, I just imagine… I can’t even take a pattern of a

Barcelona [Katalonien], 360° Video Virtual Tour, Stadtführung, Stadtrundgang, Castell de Montjuïc

The Montjuïc Castle of Barcelona was a military fortress and after the Civil War a military museum. It is located on the mountain Montjuïc in Barcelona, over 170 meters high above a rocky terrace. The current state of the fortifications is the work of the military engineer Juan Martín Cermeño, who demolished the old fortress of 1640. Cermeño modified the existing fortifications and built new fortifications. Several bastions and outbuildings protect the core of the enclosure, surrounded by a deep moat.

Barcelona [Katalonien], 360° Video Virtual Tour, Stadtführung, Stadtrundgang, Montjuïc-Seilbahn

The Telefèric de Montjuïc is a detachable monorail gondola lift on the Montjuïc in Barcelona (Spain). The cable car is, except for the revision time, year round in operation. The cable car cabins slow down in the stations and are uncoupled from the hoisting rope to facilitate easier boarding and exiting. As a result, z. B. also wheelchairs, mountain bikes, strollers, etc. are transported easily. Today’s cable car replaces a former facility, which was opened on 22 June 1970. On 16 May 2007, the cable car was reopened after the renovation.

Barcelona [Katalonien], 360° Video Virtual Tour, Stadtführung, Stadtrundgang, Joan Miró-Stiftung

The Fundació Joan Miró is a museum of modern art in Barcelona dedicated to Joan Miró. The museum building is located at the foot of Montjuïc, near the Museu Nacional d’Art de Catalunya. It contains over 10,000 paintings, drawings, sculptures, stage designs and carpets by Joan Miró, from early drawings from 1901 to the late large-format paintings. On the roof terrace of the house sculptures of the artist are presented. In addition, regularly changing exhibitions of contemporary art can be seen. Through the series Nits de música (‘Nights of Music’), the Fundació Joan Miró becomes a center for classical music from June to September.

Dresden [Sachsen], 360° Video Virtual Tour, Stadtführung, Stadtrundgang, Deutsches Hygiene Museum

The Gläserne Manufaktur in Dresden is one of three production facilities of Volkswagen Sachsen GmbH. The Phaeton was produced in Dresden from 2002 to 2016, and since April 2017 the electric Golf of the Volkswagen brand. At the same time, the manufactory is developing into the Center of Future Mobility. The Glass Factory is located in the Dresden district of Seevorstadt-Ost / Großer Garten near the baroque city center of Dresden and forms the northwest corner of the Great Garden to Straßburger Platz (Stübelallee). Immediately southeast of it lies the area of the Botanical Garden.

Dresden [Sachsen], 360° Video Virtual Tour, Stadtführung, Stadtrundgang, Gläserne Manufaktur

The Gläserne Manufaktur in Dresden is one of three production facilities of Volkswagen Sachsen GmbH. The Phaeton was produced in Dresden from 2002 to 2016, and since April 2017 the electric Golf of the Volkswagen brand. At the same time, the manufactory is developing into the Center of Future Mobility. The Glass Factory is located in the Dresden district of Seevorstadt-Ost / Großer Garten near the baroque city center of Dresden and forms the northwest corner of the Great Garden to Straßburger Platz (Stübelallee). Immediately southeast of it lies the area of the Botanical Garden.

360° VR Roller Coaster – 5 Roller Coasters In One! – VR Box, Virtual Reality, 360° 4k

Welcome to Coaster Island, I hope you’re strapped
in safely. And lets begin with the first ride, Anbessa. Onto the second now. Elpidio. Now onto the third, Vasco. And if you’re enjoying this so far, make sure
to hit subscribe down below. And the fourth coaster now. Gonzalo! And the final one for this episode, Cayo. Thank you very much for watching, if you made
it all the way to the end make sure to subscribe, hit like and comment down below ‘VR is Amazing’ And I shall see you next time. Bye!

Dresden [Sachsen], 360° Video Virtual Tour, Stadtführung, Stadtrundgang, Zoo Dresden

The Dresden Zoo was opened on May 9, 1861, making it the fourth oldest zoo in Germany after Berlin, Frankfurt / Main and Cologne. It is located in the southwestern part of the Great Garden and in 2018 housed approximately 1,300 animals in 246 different species, including 82 species of birds and 64 mammals. In 2018, 903,000 visitors came. The area of the zoo is about 13 hectares. The Dresden Zoo is a partner of Stiftung Artenschutz, a global alliance between zoos, nature conservation organizations and commercial enterprises. The Stiftung Artenschutz takes care of the preservation of habitats and animal species.