Soñar el futuro - Entretenimiento
La necesidad de entretener, inherente al hombre, y la oferta de ocio nunca han sido más importante que en la actualidad. Las nuevas tecnologías, especialmente la realidad virtual, están revolucionando la industria del entretenimiento, en concreto el de los videojuegos y las industrias de cine, que ofrecen oportunidades increíbles. Los cascos de realidad virtual y el mundo 3D, proporcionan un nuevo modo de entretenimiento casi real y lleno de emoción, existiendo ya parques de atracciones de realidad virtual como The Void en Salt Lake City
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FunTranscript
00:00The need for entertainment is part of the human nature.
00:04As it is increasingly accessible, entertainment has become omnipresent.
00:08And the new technologies that have invaded our lives are revolutionizing leisure time.
00:13Entertainment is in full expansion.
00:15The interesting thing is that, in addition to all the movies that are made and all the games that are developed,
00:20we are witnessing the emergence of a new form of entertainment.
00:23The most spectacular changes are those that the visionaries are preparing for us,
00:27who are creating the movies and video games of the future.
00:30Now, with all these new platforms and new possibilities,
00:33how do we take a little bit of each one and create another medium that is at least as good as all the others,
00:38and that can also take you where the others can't take you?
00:41Well, we're going to have to wait and see.
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04:05We like to have fun at any age,
04:07anywhere and with any company.
04:09And now, at the beginning of the 21st century,
04:11the paradigm is changing once again
04:13with the emergence of virtual reality.
04:17To experience virtual reality,
04:19a helmet is usually necessary.
04:21It transports you to a virtual world,
04:23a world invented in which you can move
04:25and take a look at everything around you.
04:27Now that virtual reality helmets
04:29are available all over the world,
04:31it's as if an impossible dream had come true.
04:33Entering the movie.
04:35We are immersed in a three-dimensional world
04:37that seems more real than real life
04:39and that we can explore at will.
04:41It's a difficult feeling to imagine
04:43if you haven't experienced it.
04:45It's very difficult to show people
04:47what it's like to be in a virtual reality.
04:49It's very difficult to show people
04:51what it's like to be in a virtual reality.
04:53It's very difficult to show people
04:55what it's like to be in a virtual reality
04:57if you haven't experienced it.
04:59Recording yourself on a green screen
05:01is the best thing we can think of
05:03to show everyone what it's like
05:05to be in a virtual reality.
05:11Since this feeling of immersion
05:13sharpens the senses,
05:15make sure you are prepared
05:17to live certain experiences.
05:19My goodness, it's amazing!
05:21Turn around, Karen.
05:25Japan has always been at the forefront
05:27of innovation in the video game sector.
05:29Bandai, king of entertainment,
05:31is one of the pioneers
05:33in the search for the virtual worlds of the future.
05:35Bandai, king of entertainment,
05:37is one of the pioneers
05:39in the search for the virtual worlds of the future.
05:41His project ICANN
05:43is a unique laboratory
05:45in which they conceive virtual reality activities
05:47that are at least amazing.
05:51I'm scared!
05:53I'm scared!
05:55His experiments are based on an original concept,
05:57overcoming oneself.
05:59In virtual reality,
06:01everything is possible,
06:03the most extreme sensations,
06:05the most impressive experiences.
06:11My name is Iunichiro Koyama
06:13and I'm 49 years old.
06:15I think that with virtual reality
06:17we can overcome the limits by having fun.
06:19I really like developing this aspect.
06:23This way, please.
06:27As you can see,
06:29the whole system is apparent.
06:31The black object is the cat.
06:33Who will be the first?
06:35You?
06:37Very good.
06:39Come on, let's go.
06:41To appear in virtual reality,
06:43participants willing to overcome their fears
06:45have to equip themselves first.
06:47In this room,
06:49full of infrared cameras,
06:51there are small shoes
06:53and these levers allow to detect
06:55the movement of hands and legs.
06:57We add a virtual reality helmet
06:59on the head and the adventure can begin.
07:01Without all these accessories,
07:03the reference points are lost.
07:05It would not be possible
07:07to walk on this wooden board.
07:09Although we do not see
07:11all his body,
07:13we see his hands and feet
07:15and that allows you to locate yourself
07:17in space to move
07:19This is a very important process.
07:21Everything is apparent.
07:23Players can see
07:25the black mattresses,
07:27the wooden board,
07:29they can move around the room.
07:31We have asked ourselves many times
07:33if it was necessary
07:35to show them all this or not.
07:37It may seem strange,
07:39but to get to move
07:41around the virtual world,
07:43people need to learn
07:45real space first.
07:47To feel safe.
08:01We have arrived.
08:03Come on, come on,
08:05cheer up!
08:07I'll wait for you here.
08:11Come on, slowly.
08:17Be careful.
08:21If you fall, you're dead.
08:23Don't tell me that.
08:25Careful, careful,
08:27don't fall.
08:29When our life is finally deprived
08:31of reality,
08:33it is immediately compensated
08:35because our brain only believes
08:37what it sees.
08:39Therefore, when we see something
08:41different from reality,
08:43we accept it, we believe it,
08:45we close our ears
08:47and we don't hear anything
08:49from reality
08:51so that we immerse ourselves
08:53auditively,
08:55and then we fully accept
08:57the reality they propose to us.
08:59Come on, come on.
09:07I can't.
09:09Okay.
09:11Maybe it's impossible.
09:13I hope that visual stimulation
09:15can sharpen our senses
09:17at this point,
09:19such as the desire for adventure
09:21or the pleasure of playing.
09:23People who are more or less
09:25reserved in the day-to-day
09:27have exaggerated reactions
09:29to virtual reality.
09:33In that environment,
09:35a part of ourselves
09:37that we did not know
09:39is awakened.
09:41For example,
09:43you can start screaming
09:45or behave in an extravagant way.
09:49Sometimes there are people
09:51who laugh,
09:53or even
09:55there are people
09:57who get angry,
09:59very angry.
10:03We find pleasure in illusion,
10:05pure pleasure.
10:07I think that nowadays
10:09if you dig a little
10:11under these doctrinal
10:13and erudite reasons,
10:15we find the simple pleasure,
10:17almost childish,
10:19of being in a somewhat
10:21confusing situation
10:23in which it is not known
10:25what is alive and what imitates
10:27the living.
10:29It is quite poetic.
10:31In 2050, the feeling of total immersion
10:33that virtual reality provides
10:35will allow everyone
10:37to experience it with a single blink.
10:39To further enhance the experience,
10:41all physical senses must be stimulated.
10:43Jackets, gloves and backpacks
10:45covered with sensors
10:47allow to sharpen the physical senses,
10:49what we call haptic responses.
10:53Playing with our senses
10:55is precisely the goal
10:57of the first futuristic amusement parks
10:59that are being created all over the world.
11:03Tokyo's Sky Circus, for example,
11:05is a pioneer in this genre.
11:07Here, helmets are common
11:09in the most traditional attractions
11:11and virtual reality entertainments
11:13are designed to be enjoyed
11:15by several people.
11:17So in 2050 we will continue
11:19to have fun together,
11:21only that we will share
11:23unknown sensations today.
11:29The Void is one of those
11:31virtual reality amusement parks
11:33where the most intrepid
11:35fantastic worlds await them.
11:37Participants play in a barn
11:39full of high-tech devices
11:41where the decorated ones
11:43give life to the virtual world.
11:45Emotions are guaranteed.
11:49The main thing is to get
11:51people to understand
11:53that their actions
11:55have an impact on that world.
11:57You move your arm and something happens.
11:59You look at a place and something else happens.
12:01And the sound changes.
12:03You realize that the relationship
12:05with the sound is three-dimensional
12:07and that is very interesting in itself.
12:09You can do the same in the real world,
12:11in an immersive sound space,
12:13but you don't have the visions.
12:15Science fiction imagines
12:17that we could literally
12:19connect to video game platforms
12:21and immerse ourselves in virtual worlds
12:23to experience quite distressing situations.
12:25Our rate is rising.
12:27Keep her in play.
12:55What if technology
12:57had relaxing properties?
12:59Some dream of a virtual reality
13:01that puts us directly
13:03in symbiosis with nature
13:05thanks to a new way
13:07of walking through the field.
13:15We wanted to create
13:17an experience in the forest
13:19that surprised people.
13:21My name is Robin McNicholas
13:23and I'm 37 years old.
13:25I see that experiences
13:27that combine realities
13:29are going to have
13:31an important role in the future.
13:37My interest in virtual reality
13:39is probably because
13:41I grew up in the 80s.
13:43At the time,
13:45there were many fascinating
13:47science fiction movies
13:49that promised us artificial universes
13:51with which we could interact.
13:57I remember when my brother
13:59and I created universes
14:01with a friendly computer
14:03that we had.
14:05We put a blanket over it
14:07and simulated that universe.
14:09Back then,
14:11and even now,
14:13the secret was
14:15to let the viewer
14:17have a free rein
14:19in their imagination.
14:25The idea was that the forest
14:27would play an important role too.
14:29The leaves that cross the floor,
14:31the fact of sitting
14:33under a tree,
14:35and being able to perceive
14:37other sensory elements
14:39like the smell of the forest,
14:41the singing of the birds,
14:43and things like that.
14:47The experience
14:49In the Eyes of the Animal
14:51invites you to see the forest
14:53as four of its inhabitants see it.
14:55In this order.
14:57A mosquito, a dragonfly,
14:59a frog, and an owl.
15:01This project led Robin and his team
15:03to work with experts
15:05from the Natural History Museum in London.
15:07They scanned a forest
15:09and then freely reinterpreted
15:11all the scientific information
15:13they had gathered.
15:15The project In the Eyes of the Animal
15:17has a light scientific basis,
15:19but we have taken
15:21a lot of artistic liberty.
15:23The idea was born
15:25in a very natural way
15:27by visiting this place
15:29and observing the environment.
15:31The staging,
15:33the design,
15:35the real-time technology,
15:37and the multi-sensory stimuli
15:39that are present
15:41in the environment
15:43that all work together
15:45to create
15:47In the Eyes of the Animal.
15:53What can you see now?
15:55This is like a fly.
15:57Very good.
15:59Yes.
16:11We wanted the sound
16:13to work at a physical level
16:15and this is how we discovered
16:17the sub-bass.
16:19It's a sub-bass that vibrates
16:21through your body
16:23so you can feel the music.
16:25It's the kind of resonance
16:27that you feel
16:29when you're near a speaker
16:31in the discotheque,
16:33but in this case
16:35you're in the woods.
16:45It's so critical
16:47and it just helps
16:49to create atmosphere.
16:51It creates a real sense
16:53of narrative
16:55and, as such, abstract.
17:07What we're interested in
17:09is sparking the imagination
17:11and causing a chain reaction.
17:13And that's what we're about
17:15to achieve.
17:17We want people
17:19to engage with nature
17:21and...
17:23to explore alternative ideas
17:25and to feel the world
17:27around them
17:29in completely different ways.
17:35We see virtual reality
17:37and augmented reality
17:39as two sides of the road
17:41to a mixed reality
17:43where the line between
17:45the virtual world and the real world
17:47is completely blurred.
17:49So this is the future, right?
17:51Exactly.
17:55You're welcome.
17:57All these new possibilities
17:59of visualization are,
18:01without a doubt,
18:03a source of pleasure
18:05that the human being
18:07has never known,
18:09not even in the strangest,
18:11most extravagant
18:13or most surreal representations.
18:16The virtual reality headset
18:18forces us to rethink
18:20our relationship with screens.
18:22In addition to transporting us
18:24to fantastic worlds,
18:26the headset will have more and more power
18:28to make us intervene directly
18:30in these parallel realities.
18:32It's a future that has already arrived
18:34with FOUB, a latest generation
18:36headset that handles the gaze
18:38and, among other things,
18:40allows young people with paralysis
18:42to play the piano
18:45and sing.
18:49Thus, it is worth imagining
18:51that in 2050 this entertainment
18:53will be available to everyone.
18:55The perspectives offered by
18:57virtual reality are not limited
18:59to experimenting with worlds
19:01invented by others.
19:03Soon there will be new tools
19:05that will allow us to have fun
19:07creating our own virtual worlds.
19:09This is the goal of Unity.
19:11This revolutionary software development
19:13makes creating video games easier
19:15and, consequently, more accessible.
19:17Timony West and Greg Madison
19:19are two of the pioneers
19:21behind their virtual reality
19:23creation program.
19:25Creating virtual reality
19:27is one of the most fascinating experiences.
19:29My name is Timony West
19:31and I'm a head designer at Unity Labs.
19:33I think that virtual reality
19:35gives us the opportunity
19:37to create our own worlds.
19:39Right now, when you create virtual content,
19:41you are seeing on a two-dimensional screen
19:43a three-dimensional version
19:45of something that has a natural size.
19:47It means that you are seeing
19:49something very small
19:51that is probably quite large.
19:53Being in virtual reality,
19:55creating a scene,
19:57is like preparing the setting
19:59of a play or a movie
20:01with the possibility
20:03of immersing yourself in it
20:05and seeing how everything is going.
20:07We are working on a project
20:09where you can simply put on a helmet,
20:11grab a few cards from the card shop
20:13and create your own worlds
20:15and games in virtual reality
20:17very easily.
20:19Okay, let's get started.
20:21Here are some worlds
20:23you can create. Choose your favorite.
20:27Medieval, please.
20:35You don't need to code anything.
20:37It's as easy as playing cards.
20:41My name is Greg Madison.
20:43I'm 37 years old
20:45and what I want is for everyone
20:47to be able to live their own reality
20:49but in the same world.
20:55When we were in our little room,
20:57a cardboard box
20:59could be a castle,
21:01stones, soldiers, etc.
21:03Imagination had no limits
21:05and if I could recreate something like that
21:07it would be perfect.
21:09These are the different categories.
21:11For example, here we have character.
21:13Let's just play it over
21:15to see if the elasticity is good.
21:19It's very convincing.
21:21I really feel like
21:23I'm playing the card with my finger.
21:25Now, if I turn it around,
21:27I can take something
21:29from the character category,
21:31an orca, for example,
21:33or a light bulb right here.
21:37In virtual reality,
21:39we manipulate something that doesn't exist.
21:41It's exactly the same thing
21:43we do with magic.
21:47I've been an illusionist
21:49and I know that to create an illusion
21:51you shouldn't just work with what you see
21:53but also with what you hear,
21:55with what you touch,
21:57with what we call haptic responses,
21:59all those little coherent sensations
22:01that you get when you touch something.
22:11What I try to do
22:13is simply make my contact surfaces
22:15with cardboard, adhesive tape
22:17and even wires.
22:19It may seem like DIY
22:21but the goal is not to get something beautiful
22:23but something you can feel,
22:25something you can manipulate
22:27to understand all the interactions well.
22:29The contact with the fingers...
22:43Let's add a character, for example.
22:45Do you see the object?
22:47You put it on and it appears.
22:49It's almost magical.
22:51You really feel immersed,
22:53not just playing a game.
22:55You're in that world
22:57and it's magical.
23:03Will this possibility of interacting
23:05allow Lomo Ludicus
23:07to live in imaginary worlds?
23:09Thanks to tablets and smart phones
23:11synthetic images will appear
23:13whenever we want and anywhere.
23:15What we call augmented reality
23:17is quite fun
23:19but it can also be very addictive.
23:21There's nothing more to look at
23:23than the huge success of Pokémon GO
23:25In 2050, hunting small monsters
23:27on the street will be as common
23:29as visiting Mars on your way to school.
23:39I think we're thinking a lot
23:41about augmented reality
23:43because screens are becoming
23:45windows into the world.
23:47Whether it's through a helmet
23:49or a window in a shop
23:51or a car window,
23:53what you see is augmented.
23:55All of those things are opportunities
23:57to redefine this notion of a window.
23:59When the screen disappears
24:01and becomes a portal
24:03that allows us to see another world.
24:05But we're still working on it.
24:09Access to those virtual worlds
24:11will be increasingly easier
24:13as the media used
24:15helmets, tablets or glasses
24:17lose their appearance.
24:19They may even disappear completely
24:21just as sci-fi writers imagine.
24:39We run the risk
24:41of making the world poorer
24:43if we choose a virtual world
24:45instead of a real one
24:47because disorder,
24:49the unexpected element
24:51of life,
24:53is what gives it density.
24:55And in this world
24:57without irregularities
24:59governed by algorithms
25:01and machines,
25:03there is a great risk
25:05of getting bored quickly.
25:15One of the challenges
25:17of creating movies
25:19and videogames of the future
25:21is to constantly improve
25:23the imitation of reality,
25:25a fantastic base material
25:27from which to create worlds
25:29as believable as amazing.
25:31The cinematographic research
25:33being carried out
25:35at the University of Southern California
25:37aims to develop special effects
25:39as impressive as possible.
25:41With a curriculum full of Hollywood hits,
25:43Paul Debeck and his team
25:45are working on a project
25:47called Light Stage.
25:49This visionary continues
25:51to widen the borders of illusion
25:53by creating increasingly realistic
25:55digital replicas.
25:57I've always been very interested
25:59in the ability
26:01to mix the virtual world
26:03with the real world
26:05and make the virtual so realistic
26:07that you can believe in it.
26:09My name is Paul Debeck.
26:11My vision for the future
26:13is that computerized images
26:15will produce a completely
26:17indistinguishable virtual imagery
26:19of the real world.
26:31Light affects us unconsciously.
26:33Our subconscious
26:35is the one that understands
26:37the interaction between light
26:39and matter.
26:41My vision is to manipulate
26:43the way things are illuminated
26:45to generate certain emotions
26:47and feelings
26:49because it is possible
26:51to communicate directly
26:53with people's emotional subconscious
26:55through light.
26:59So if you have a digital character
27:01and it looks like it's really there,
27:03you have to illuminate it.
27:05Now we have technology
27:07capable of capturing light
27:09using a computer
27:11to make it look like it's in the real world.
27:13All right, Camille, how are you doing there?
27:15Hello, very good.
27:17Great.
27:19It looks like you're ready
27:21with the head position sensors.
27:23Welcome to Light Stage X.
27:25This is where we digitize
27:27people's faces to turn
27:29real people into digital people
27:31that are exactly the same.
27:33We're not going to record
27:35just your neutral expression
27:37that we have below
27:39and I'm going to ask you
27:41to put all the facial expressions
27:43that we can think of
27:45and that your digital version
27:47may need.
27:51To meet the requirements
27:53of any film,
27:55the lights of Light Stage
27:57recreate all possible lighting conditions.
27:59The seven cameras of the sphere
28:01thus capture the light
28:03on the face of this actress.
28:07Can you move your cheeks a little bit?
28:09Like this, very good.
28:11And now look here, at this camera.
28:13And we scan in three, two, one.
28:15The images that are generated
28:17have an extraordinary precision.
28:19The texture of the skin
28:21is reproduced perfectly.
28:23The face of the actress, once scanned,
28:25becomes an ultra-realistic 3D model
28:27that can be modified at will.
28:29At this point,
28:31we can reproduce
28:33a digital puppet
28:35like, for example,
28:37the protagonist of Avatar,
28:39Sam Worthington, for example,
28:41and get it to gesticulate
28:43like Sam Worthington would,
28:45but it would be necessary
28:47for someone to reproduce
28:49the movements of the actor.
28:51Ideally, Sam Worthington
28:53would put on a motion capture suit
28:55and have the camera
28:57record the movement of his face
28:59and then we would apply
29:01those movements to the digital replica.
29:03A fascinating process
29:05that Hollywood has not taken long
29:07to open the doors,
29:09either to age Brad Pitt
29:11in Benjamin Button
29:13or for the same actor
29:15to play two twins
29:17on the social network.
29:33Technologically,
29:35we have reached a point
29:37where, in terms of appearance,
29:39we cannot distinguish
29:41the real from the digital.
29:43The next big step
29:45will be to achieve
29:47the same with the behavior
29:49so that a real person
29:51cannot be distinguished
29:53from a digital one.
29:55There will be an artificial intelligence
29:57that will decide
29:59what those characters say
30:01or will influence
30:03what they say and how they act.
30:05We will have the technology
30:07that will allow anyone
30:09to create an adventure movie
30:11because if they want another actor
30:13for a scene, it will be as easy
30:15as going to a menu
30:17in which you will have the option
30:19to decide if you want a man
30:21or a woman,
30:23if you want him dressed
30:25in one way or another,
30:27the color of his hair,
30:29if you want him dressed
30:31in one way or another.
30:49I don't know where
30:51the privacy laws will go
30:53and what will happen to them,
30:55but it will be interesting
30:57to see if in 20 years
30:59someone will get your digital double
31:01and maybe be able to make a movie
31:03in which your avatar will say
31:05what that person writes
31:07or something else
31:09that you would never have said.
31:13This search for ultra-realism
31:15is not limited to the film industry,
31:17there are also many pioneers
31:19in the video game industry.
31:21The British studio Ninja Theory
31:23has proposed that Sinua,
31:25the character of the game Hellblade,
31:27be as believable as possible.
31:29The more authentic it seems,
31:31the more the player will identify
31:33with the character.
31:55To achieve this level of realism,
31:57the studio uses,
31:59and is one of the first to do so,
32:01tools that will undoubtedly
32:03be common in 2050,
32:05both in video games
32:07and in cinema.
32:09When you put a character
32:11in a fantastic situation,
32:13it is important
32:15that that character
32:17has a real appearance,
32:19otherwise the whole building
32:21of fantasy collapses.
32:23My name is Tamin Antoniades,
32:25I am 42 years old,
32:27and I believe that technology
32:29in real time will change
32:31the way we experience
32:33alternative realities.
32:41It's very good.
32:43They are like little capillaries
32:45that have burst
32:47by the effect of the wind
32:49and the sun.
32:51And also under the nose.
32:53Obviously,
32:55we want to get as far away
32:57as possible from the western melina,
32:59in perfect health.
33:01But it's good to start with realism
33:03and then add all these details
33:05to create something different.
33:09When we look at someone,
33:11we focus mainly on the eyes
33:13and the mouth.
33:15And if they look good,
33:17if they move well and look normal,
33:19it fits and unconsciously
33:21you believe the character.
33:23That's why we have
33:25looked so much in the eyes.
33:31Those little details
33:33that can bother us
33:35and make us distance
33:37when we are in front of a virtual human being
33:39is what is known as the valley of the strange.
33:41If it looks real but not at all,
33:43that causes a rejection reaction
33:45in the viewer,
33:47as humans we are so used
33:49to how a face is,
33:51that if there is something strange in it,
33:53something that does not fit,
33:55that does not move as it should,
33:57we immediately have a negative reaction to it.
34:01To overcome that valley of the strange
34:03and make the character of Sinua
34:05even more believable to the player,
34:07the actress and the team
34:09of Tamin Antoniades
34:11use another cinematographic technique,
34:13the performance capture.
34:17With numerous cameras and sensors,
34:19this technique is an even more innovative version
34:21of the traditional motion capture,
34:23which records the performance
34:25of the actress in real time.
34:31The expression of her face,
34:33her voice, her movements,
34:35everything that constitutes her character
34:37is recorded to the smallest detail.
34:41And when everything seems possible,
34:43the creators venture to record
34:45even the smallest details.
34:49There is a sequence in which
34:51we wanted to record Sinua
34:53talking to her alter ego
34:55in front of a mirror.
34:57For that, for example,
34:59what we did was record
35:01the interpretation of the alter ego
35:03in the mirror and then record
35:05the interpretation of Sinua
35:07in front of the alter ego.
35:09Now that it is integrated into the game,
35:11we just have to do the camera movements
35:13in 4, 3, 2, 1 ...
35:31Real-time animation seems exciting to me
35:33because what we used to do
35:35was record the actors in a black room
35:37without decorations, without costumes,
35:39without anything. You recorded something
35:41and you had to wait a few times
35:43more than a year to see
35:45what you had recorded.
35:47Now we do everything live
35:49and in real time.
35:57Cut.
35:59They collided, right?
36:01I don't know, we'll see.
36:03What I find very interesting
36:05is that many of the technologies
36:07used in cinema are also used
36:09in real time.
36:11The level and quality of video games
36:13has improved significantly.
36:15In some cases, it is very close
36:17to what is achieved in the cinema.
36:19But video games require different things.
36:21You have to create hundreds of characters
36:23and, obviously, it is played
36:25in a real-time environment.
36:31At the forefront of innovation,
36:33she also uses a completely new technique
36:35to record her scene.
36:37The camera, covered with sensors
36:39and located in the empty space of the studio,
36:41allows her to make camera movements
36:43around the characters.
36:45There are no actors on the set,
36:47just virtual characters.
36:49With the camera I can see the world,
36:51the world in its entirety.
36:53The lighting, the visual effects,
36:55the two sine waves,
36:57their facial expressions.
36:59I can hear them.
37:01I have everything I need
37:03to frame the shots
37:05and make them believable.
37:09Shit, I've annoyed her.
37:13Well, can we try that again?
37:15It allows us to visualize
37:17how the scene will look
37:19with a quality
37:21that is almost the same
37:23as the final result.
37:25Don't leave me.
37:31Please.
37:35It's not the technology itself.
37:37The technology allows you
37:39to do new things,
37:41but it's the people,
37:43the writers, the artists
37:45who have a vision.
37:47Technology is a means
37:49to share a vision
37:51and it is very important
37:53to understand that it is a tool
37:55for people to transmit
37:57their dreams to others.
37:59That's how I see it, at least.
38:01We all have dreams of greatness.
38:03We have made this dream
38:05a reality.
38:07The Citadel.
38:31We don't necessarily have to limit ourselves
38:33to the traditional narrative structure.
38:35We don't have to be limited
38:37by reality.
38:39And I'm not talking about
38:41sci-fi.
38:43I mean, really,
38:45I'm talking about changing
38:47the way you get involved
38:49emotionally in the world.
38:51Do you put almost invisible objects
38:53in space?
38:55Do you put invisible objects
38:57in space?
38:59Do you put almost invisible objects
39:01in space that are emotional triggers?
39:05I think it's a great opportunity
39:07for art and science
39:09to merge.
39:11For all the means
39:13of communication to merge.
39:15To start thinking about
39:17large-scale and high-level collaborations.
39:19And use our imagination
39:21to go beyond what we see
39:23as restrictions.
39:25And start thinking about
39:27our own limits.
39:31And to test
39:33these new narratives,
39:35what more appropriate universe
39:37could there be than Star Wars?
39:43Forty years after its creation,
39:45the saga conceived by George Lucas
39:47continues to feed our dreams.
39:51In this study,
39:53John Guetta, winner of an Oscar
39:55for his work on Matrix,
39:57leads a research laboratory
39:59that extends the experience
40:01of cult movies.
40:03Conceived from the rich and detailed
40:05universe of Star Wars,
40:07we discover the entertainment
40:09of the future.
40:11What's so special about it?
40:13A revolutionary hybridization
40:15that will turn what we understand
40:17into entertainment.
40:19My name is John Guetta.
40:21I'm the artistic director
40:23Our goal is to build
40:25a bridge to the future of Star Wars.
40:33We want to create a story
40:35with multiple options
40:37that one can truly explore.
40:39If you have a world that can be explored,
40:41you can do much more than just see the story.
40:43You can play in it and relate to others
40:45within it.
40:49We like to think that we know
40:51where the current generation
40:53seems to be heading
40:55in a world full of electronic devices.
40:57What interests us
40:59is to turn mobile devices
41:01into portals
41:03to another universe.
41:05And from that,
41:07use helmets and glasses
41:09of all kinds
41:11as windows.
41:13In general terms,
41:15the experiment consisted
41:17of following an argumental line
41:19in which the characters cross paths
41:21and enter and exit the story.
41:23But once I go through a window,
41:25I can see where the characters
41:27come from and where they're going
41:29and discover many more things.
41:35The window opens
41:37and there we have the scene
41:39playing out.
41:41In a way, it's like a moving sculpture.
41:43There's a world right there
41:45waiting behind it.
41:47I could walk into our scene
41:49and go anywhere in the world.
41:51I could walk into any room.
41:57I could walk around that building
41:59and what's there?
42:01It's another scene
42:03and I can discover more.
42:05We are working on many prototypes,
42:07experimenting with various forms
42:09of interaction and immersion.
42:11We are willing to produce
42:13and launch new forms of entertainment,
42:15new experiences
42:17as accessible to the public
42:19as a movie
42:21or a video game.
42:23And so,
42:25what we're trying to do
42:27is to create a world
42:29where people can interact
42:31with each other
42:33like a movie or a video game.
42:35It's a very interesting field
42:37because making movies
42:39presents a whole series
42:41of new challenges
42:43if you're trying to make a movie
42:45in virtual reality.
42:47One of them, for example,
42:49is that the viewer can look
42:51wherever they want
42:53and go anywhere.
42:55They can turn around
42:57and lose what's happening,
42:59so how do you get them
43:01to go wherever they want?
43:03How do you get people
43:05to go wherever they want
43:07without depriving them
43:09of the opportunity
43:11to make their own decisions
43:13and go wherever they want
43:15so that the story
43:17has a pre-created ending?
43:19More than a movie,
43:21more than a game,
43:23this new form of entertainment
43:25promises unknown emotions.
43:27And for the innumerable fans
43:29of the saga,
43:31the hope of seeing
43:33how their wildest dreams
43:35come true,
43:37interacting with their favorite droids,
43:39soon that will be possible
43:41with a tablet
43:43without even getting up
43:45from the sofa.
43:47As in the case of Star Wars,
43:49immersive and interactive
43:51attractions will open
43:53more perspectives
43:55for the player
43:57and involve you
43:59on an emotional, tactile
44:01and haptic level
44:03in an amazing way.
44:05This allows you to stimulate
44:07the senses like no other medium
44:09can do.
44:11It seems like the right way to go.
44:13The more accessible
44:15these tools are,
44:17the more the entertainment
44:19of the future will blur the line
44:21that separates the real world
44:23from the virtual world.
44:25They will be everywhere,
44:27but although the future promises us
44:29a technological hyper-stimulation,
44:31that does not necessarily mean
44:33that our imagination will resent itself.
44:35We will not just experience
44:37the vision of another,
44:39we will create our own vision.
44:41That's what the YouTube generation
44:43has taught us,
44:45that people create their own content.
44:47Ultimately,
44:49the best tool
44:51that man will have in 2050
44:53is the power of his imagination,
44:55because entertainment consists
44:57above all in dreaming,
44:59in giving our mind a break,
45:01and sometimes that simply means
45:03not doing anything.