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I love making movies. Motion pictures have been in existence for more than a hundred years.
我热爱电影创作。电影已经有超过100年的历史了。
Filmmaking hasn't changed for the dimensional mindset.
但是从维度思维的角度来说，电影创作的过程几乎毫无变化。
Placing the camera in a scene and pressing "record" hasn't changed.
摄影机往场景内一放，按下录制键就是了。
Filmmaking is still a frontal experience,
电影创作仍然是一种正面的体验，
and creating the film has the possibility to follow the same direction of the content creation.
创作一部电影能让人跟随着内容创作的方向。
We still stand in front of a flat image, watching the fiction.
可我们面对的仍然是扁平的图像，看着虚构的故事。
There's nothing wrong with it. I love watching movies and going to the theaters.
这也没什么不好的。我喜欢看电影，喜欢去影院。
The experiences can be such emotional experiences.
那是很感性的体验。
The art and craft of emotional experiences within a frame can be so strong to drive a stronger emotion.
画面中的这种感性体验所包含的艺术与心血，强烈到足以带出更为浓烈的情感。
The question we're asking is, How the experience of motion pictures can exist beyond the flat screen.
人们想要知道的是，脱离了平面幕布之后，电影能带来怎样的体验。
How can we start creating content for the next generation of content experiences?
我们该如何开始为新一代的内容体验进行内容创作？
Traditionally, when we imagine a scene, we look at the frame and the composition.
当我们想象一个场景的时候，传统的做法是，我们看着画面，想着构图。
We have to think about how we create depth and parallax using foreground, background elements as the camera moves.
我们得想想，当镜头移动的时候，如何借助前景和背景的元素来实现景深和视差。
With the technology today and devices of VR glasses, AR glasses, smart devices,
现在有了虚拟现实眼镜、增强现实眼镜、智能设备等这些技术与设备，
allowing three-dimensional and full navigation in space,
我们在空间中能实现三维和全方位导航，
we have the possibility to enable audiences to experience content from multiple perspectives.
我们能让观众从多视角去体验内容创作。
What we have to think about is how we take this technology, all the capabilities,
我们现在需要考虑的是，如何利用这种技术，这些能力，
and enable the experience to move farther away inside the scene.
使得场景中的体验得到更高层次的提升。
Now we're not talking about video games or computer-generated actors, which look tremendously realistic.
我们现在谈论的并不是看起来栩栩如生的电子游戏或者计算机生成的演员。
We're talking about real actors and real performance, performing onstage.
我们谈的是舞台上真实的演员，真实的表演。
We have to start thinking how we capture the actors and how we capture the real scene in order to immerse inside.
为了做到沉浸其中，我们现在要开始思考如何捕捉演员，如何捕捉真实的场景。
Now, we're familiar with the 360-degree video,
我们已经对360度视频很熟悉了，
where you place a camera inside the scene and you can create this beautiful panoramic image all around you,
也就是在场景里放置一台摄影机，便能生成曼妙的全景图，
but from the same aspect, filmmaking is still frontal.
但是从这个层面来看，电影拍摄仍然是正面的。
In order to emerge fully inside the scene, we will need to capture the light from all the possible directions.
为了展现场景里的各个角落，我们还需要从一切可能的方向捕捉光影。
We will have to surround the scene with an enormous amount of sensors,
也就是说，我们还得在场景四周设下无数的传感器，
with all possible capabilities to capture the light and enable us to emerge inside afterwards again.
才能尽可能地捕捉光影，随后在场景里把所有细节再次展示出来。
Now, in this setup, there's no more foreground or background or a camera placed in space
现在有了这种布置，不再需要前景或者背景，不再需要放置摄影机，
but hundreds of sensors capturing the light and capturing the motion from all the possible directions.
只需要用于捕捉光影的成百上千的传感器从一切可能的角度捕捉动作。
With the new technological advancements, we can start looking at 3D photography,
凭借着新的技术进展，我们可以实现三维摄影，
capturing the light from multiple perspectives, enabling us to reconstruct the object.
从多视角捕捉光影，能够重塑拍摄对象。
This is like photography in 3D space.
就像是在三维空间进行拍摄。
Now, with these technological advancements, we can record video not just as a flat image but as a volume.
凭借着新的技术进展，我们所拍摄的视频不再是扁平的图像，而是一个立体的场景。
This is what we call "volumetric video,"
这就是我们所说的“体积视频”。
and it has the capability to record every action of the scene as a full three-dimensional volume.
它能记录场景中的所有动作，并将其存储为一个全角度的三维场景。
Now, what is a voxel? A voxel is like a three-dimensional pixel,
我们再来看看什么是体素。体素就像是一个三维的像素，
but instead of being a flat image square, staying light and colored,
与只有亮度和色彩维度的扁平图块不同的是，
it's like a three-dimensional cube in space, with x, y, and z positions.
它是空间中的一个三维立方体，有着x、y、z三种方位。
This enables us to create a full capture of the scene from any perspective.
这能让我们从任何角度对场景进行全面捕捉。
Now this renders a fully light-immersive scene from multiple perspectives.
进而能够从多视角实现全面的光影沉浸式场景。
This capability requires an insane amount of information to be processed.
这种技术能力需要处理数量惊人的信息。
We will have to capture the light from an enormous amount of cameras to create this information.
我们需要利用大量的相机来捕捉光影，从而创造这样的信息。
Now, in order to do such a thing, we would need a setup that would host a numerous amount of cameras installed in a stage
为了做到这点，我们需要在舞台上安装大量的摄影机，
and a stage big enough in order to fit a full cinematic experience.
以及一个能匹配完整影院体验的足够大的舞台。
Now that sounds like a crazy idea, but that's exactly what we did.
这听起来像是很疯狂的想法，但我们的确这么做了。
For the last three years, we have been building a huge volumetric camera chamber.
在过去三年里，我们一直在打造一个巨大的体积摄影机室。
It's 10,000 square feet of a stage, enabling to capture the action from any location.
这是一个将近1000平米的拍摄场地，能捕捉任何位置的动作。
We have deployed hundreds of cameras,
我们安装了数百台摄影机，
sending a tremendous amount of information to a huge data center powered by Intel supercomputers.
将庞大的信息量发送到由英特尔超级电脑支持的巨大的数据中心。
The ability to have this 10,000 feet enables us to fit any kind of action, any kind of performance.
这个将近1000平米的空间能让我们排演任何动作，进行任何表演。
It is the size of an average Broadway stage.
它的大小大概相当于百老汇舞台的平均尺寸。
We call it Intel Studios, and it's the largest volumetric stage in the world,
我们称之为“英特尔工作室”，这是目前世界上最大的体积舞台，
with the objective of enabling and exploring the next generation of this immersive media filmmaking.
其目标是打造和探索新一代的沉浸式媒体电影创作。
Now, to test these ideas, we were thinking about what we can do as the first scene to try it out.
为了试验这些想法，我们思考了应该先尝试什么样的场景。
So we chose the Western scene.
后来选择了西部片的场景。
We brought horses, set designers, dirt, everything needed to create the full scene of a Western.
我们把马、场景设计师、泥土等西部片所需要的一切都带到了工作室。
But this time, there was no camera inside. There was nothing really moving besides all the cameras installed outside.
但是这一次，场地中并没有摄影机。除了在外面安装好的摄影机以外，场内没有任何移动的设备。
The challenge of the actors was tremendous. They have to perform a flawless action visible from all the directions.
演员面临的挑战十分艰巨。他们需要做到从所有角度来看都是无暇的表演。
There's no possibility to hide a punch or not show the action. Everything is captured and everything is seen.
每一记拳头根本不可能藏匿或者避开摄影机。一切皆被记录，一切皆可见。
The output of the capture -- this is our future capture -- opened our eyes for the immense capabilities.
摄影的输出--这是我们的第一次摄影输出--让我们看到了沉浸式的潜能。
It was like a full 3D scan of the entire scene. We were able to move around and travel in the space.
它就像是整整一个场景的全面三维扫描。我们能够在空间中随意移动，游弋。
The thing about this, it's not anymore about perceiving the light emitted from a screen
这一切的重点，不再是接受场景所投射出来的光影，
but now traveling inside the light, traveling inside the scene.
而是在光影中游弋，在场景中游弋。
This obviously opens possibilities for an enormous amount of storytelling and methodologies of creation.
毫无疑问，这将赋予叙事和创造方法论无限可能。
This is the possibilities of your personal narrative,
这关乎你个人叙事的可能性，
the possibility of creating your own story inside, or maybe following other stories.
创造专属于你个人故事或者是追随其他故事的可能性。
Let's take a look at one of the last renders and see.
我们一起来看看最新的一次创作。
What you're seeing here is full volumetric video, and there's no physical camera in the scene.
大家现在看到的是一个完整的体积视频，场景里并没有实体的摄影机。
We have the full control of space and time.
我们全面掌握着空间和时间。
Now, again, no physical camera was here. Everything was captured surrounding.
同样，这里也没有实体的摄影机。四周的一切都被记录了下来。
Now, this is very nice, but what if we wanted to see the scene, maybe, from the eyes of the horse?
目前为止，体验很棒，但是如果我们想要从马的视角来看这个场景呢？
Well, we can do that as well.
我们同样能办到。
So what you're seeing right now is the same action, but this time, we're watching exactly from the eyes of the horse.
大家现在看到的是同一个动作，但是这次我们是从马的视角来观看的。
The possibilities are, well, unlimited. Thank you.
潜能无限。谢谢大家。
So this is all great for creators and storytellers.
这对于创作者和叙事者而言是非常有利的。
It really opens a huge canvas for a different type of storytelling and moviemaking.
也为不同类型的叙事和电影创作展开了一张无比广阔的画布。
But what about the audience? How can the audience experience this differently?
但是对于观众而言呢？观众从中能得到怎样不同的体验？
In order to our explorations, we partnered with Paramount Pictures
为了能实现我们的探索，我们与派拉蒙影业合作，
in order to explore immersive media in a Hollywood movie production.
尝试在好莱坞电影制作中探索沉浸式媒体的运用。
Together with the director Randal Kleiser, we reimagined the iconic movie of 1978, "Grease."
我们和导演兰德尔·克莱泽一起，重现了1978年的经典电影《油脂》。
Some of you know it, some of you don't. A 40-year-old movie, amazing experience.
有些人知道这部电影，有些人可能没听说过。这是一部40年前的电影，能带给人非凡的体验。
And our goal was really to look at how we can take this iconic action and dance
我们的目标是想看看能否将里面的经典动作与舞蹈
and bring it deeper into the experience, bring it deeper into the audience.
在体验上做出进一步提升，为观众打造更深层次的体验。
Imagine that you can not just watch the movie but get inside it and dance with the actors and dance with the performance.
想象你不仅能观看这部电影，还能走进电影与里面的演员共舞，随着表演舞动起来。
Now we're breaking, really, the traditional 2D mindset of thinking,
我们实际上是在打破传统的二维思维，
and bringing a much richer possibility of moviemaking and content creation.
为电影创作和内容创作带来更为多样的可能性。
But why watch it on the screen? Let's try to bring these actors here on the stage.
但是为什么要在荧幕上观看呢？我们把演员都带到台上来吧。
So they're not going to really come -- I'm going to use an iPad.
当然他们不会真的到台上来--我得用一下iPad。
Sorry. I'm going to use an iPad in order to bring in augmented reality.
抱歉。我会用iPad来演示增强现实。
Now, obviously, these devices have their own limitations in terms of the data-computing process,
很明显，就数据计算处理而言，这些设备都有它们自身的限制，
so we have to reduce the amount of resolution.
我们得降低分辨率。
So what I'm doing now, I'm placing here a marker, so I'll be able to position exactly where I want everyone to appear.
我现在要在这里放一个标记，来定位我希望演员出现的地方。
OK. I think we have them here.
好了。我想他们都在这里了。
John Travolta, or a version of him. Let's take a look.
约翰·特拉沃尔塔，或者说，他的替身。我们来看看吧。
Hey. And that is how it's done.
嘿。这才是正确的做法。
Your turn. Hey, guys! Check this out.
该你了。嘿大伙，看我的。
Sandy! Tell me about it, stud.
桑迪！可不是嘛，浪子。
I got chills. They're multiplying. And I'm losing control.
内心激动，愈加强烈。我快要失去控制。
'Cause the power you're supplying. It's electrifying!
只因你所传递的能量。强如闪电！
Thank you. So as you can see, we can watch and experience content in the traditional way or in an immersive way.
谢谢大家。正如大家所见，我们可以用一种传统的方式来观看和体验内容，或者沉浸其中。
Really, the possibilities are open.
潜能无限的大门已开。
We're not trying to change or replace movies. We're enhancing them.
我们并不想改变或者取代电影。我们想让电影变得更美好。
The technologies enable new possibilities to start thinking beyond the flat screen.
这些技术能够实现新的可能性，跳脱平面荧幕的思维。
We're in immersive and really exciting times in filmmaking. We're at the threshold of a new era.
我们正处于一个沉浸式的、令人兴奋的电影创作时代。我们正处于新时代的起点。
We're opening the gates for new possibilities of immersive storytelling,
我们敞开大门，迎接沉浸式叙事的新的可能性，
and exploration and defining what immersive media filmmaking means.
并探索与定义沉浸式媒体电影创作。
We're really just at the beginning, and we invite you all to join us. Thank you.
我们才刚刚开始，在此，我们邀请你们一同加入。谢谢大家。
