>>Good morning live from Chicago. It's the cube on the floor at Ansible Fast 2022. This is day two of our wall to wall coverage. Lisa Martin here with John Furrier. John, we're gonna be talking next in the segment with two alumni about what Red Hat and IBM are doing to give Ansible users AI superpowers. As one of our alumni guests said, just off the keynote stage, we're nearing an inflection point in ai. >>The power of AI with Ansible is really gonna be an innovative, I think an inflection point for a long time because Ansible does such great things. This segment's gonna explore that innovation, bringing AI and making people more productive and more importantly, you know, this whole low code, no code, kind of right in the sweet spot of the skills gap. So should be a great segment. >>Great segment. Please welcome back two of our alumni. Perry is here, the Chief scientist, IBM Research and IBM Fellow. And Tom Anderson joins us once again, VP and general manager at Red Hat. Gentlemen, great to have you on the program. We're gonna have you back. >>Thank you for having >>Us and thanks for joining us. Fresh off the keynote stage. Really enjoyed your keynote this morning. Very exciting news. You have a project called Project Wisdom. We're talking about this inflection point in ai. Tell the audience, the viewers, what is Project Wisdom And Wisdom differs from intelligence. How >>I think Project Wisdom is really about, as I said, sort of combining two major forces that are in many ways disrupting and, and really constructing many a aspects of our society, which are software and AI together. Yeah. And I truly believe it's gonna result in a se shift on how not just enterprises, but society carries forefront. And as I said, intelligence is, is, I would argue at least artificial intelligence is more, in some ways mechanical, if I may say it, it's about algorithms, it's about data, it's about compute. Wisdom is all about what is truly important to bring out. It's not just about when you bring out a, a insight, when you bring out a decision to be able to explain that decision as well. It's almost like humans have wisdom. Machines have intelligence and, and it's about project wisdom. That's why we called it wisdom. >>Because it is about being a, a assistant augmenting humans. Just like be there with the humans and, and almost think of it as behave and interact with them as another colleague will versus intelligence, which is, you know, as I said, more mechanical is about data. Computer algorithms crunch together and, and we wanna bring the power of project wisdom and artificial intelligence to developers to, as you said, close the skills gap to be able to really make them more productive and have wisdom for Ansible be their assistant. Yeah. To be able to get things for them that they would find many ways mundane, many ways hard to find and again, be an assistant and augmented, >>You know, you know what's interesting, I want to get into the origin, how it all happened, but interesting IBM research, well known for the deep tech, big engineering. And you guys have been doing this for a long time, so congratulations. But it's interesting here at this event, even on stage here event, you're starting to see the automation come in. So the question comes up, scale. So what happens, IBM buys Red Hat, you go raid the, the raid, the ip, Trevor Treasure trove of ai. I mean this cuz this is kind of like bringing two killer apps together. The Ansible configuration automation layer with ai just kind of a, >>Yeah, it's an amazing relationship. I was gonna say marriage, but I don't wanna say marriage cause I may be >>Last. I didn't mean say raid the Treasure Trobe, but the kind of >>Like, oh my God. An amazing relationship where we bring all this expertise around automation, obviously around IP and application infrastructure automation and IBM research, Richie and his team bring this amazing capacity and experience around ai. Bring those two things together and applying AI to automation for our teams is so incredibly fantastic. I just can't contain my enthusiasm about it. And you could feel it in the keynote this morning that Richie was doing the energy in the room and when folks saw that, it's just amazing. >>The geeks are gonna love it for sure. But here I wanna get into the whole evolution. Computers on computers, remember the old days thinking machines was a company generations ago that I think they've sold or went outta business, but self-learning, learning machines, computers, programming, computers was actually on your slide you kind of piece out this next wave of AI and machine learning, starting with expert systems really kind of, I'm almost say static, but like okay programs. Yeah, yeah. And then now with machine learning and that big debate was unsupervised, supervised, which is not really perfect. Deep learning, which now explores some things, but now we're at another wave. Take, take us through the thought there explaining what this transition looks like and why. >>I think we are, as I said, we are really at an inflection point in the journey of ai. And if ai, I think it's fair to say data is the pain of ai without data, AI doesn't exist. But if I were to train AI with what is known as supervised learning or or data that is labeled, you are almost sort of limited because there are only so many people who have that expertise. And interestingly, they all have day jobs. So they're not just gonna sit around and label this for you. Some people may be available, but you know, this is not, again, as I as Tom said, we are really trying to apply it to some very sort of key domains which require subject matter expertise. This is not like labeling cats and dogs that everybody else in the board knows there are, the community's very large, but still the skills to go around are not that many. >>And I truly believe to apply AI to the, to the word of, you know, enterprises information technology automation, you have to have unsupervised learning and that's the only way to skate. Yeah. And these two trends really about, you know, information technology percolating across every enterprise and unsupervised learning, which is learning on this very large amount of data with of course know very large compute with some very powerful algorithms like transformer architectures and others which have been disrupting the, the domain of natural language as well are coming together with what I described as foundation models. Yeah. Which anybody who plays with it, you'll be blown away. That's literally blown away. >>And you call that self supervision at scale, which is kind of the foundation. So I have to ask you, cuz this comes up a lot with cloud, cloud scale, everyone tells horizontally scalable cloud, but vertically specialized applications where domain expertise and data plays. So the better the data, the better the self supervision, better the learning. But if it's horizontally scalable is a lot to learn. So how do you create that data ops where it's where the machines are gonna be peaked to maximize what's addressable, but what's also in the domain too, you gotta have that kind of diversity. Can you share your thoughts on that? >>Absolutely. So in, in the domain of foundation models, there are two main stages I would say. One is what I'll describe as pre-training, which is think of it as the, the machine in this particular case is knowledgeable about the domain of code in general. It knows syntax of Python, Java script know, go see Java and so, so on actually, and, and also Yammel as well, which is obviously one would argue is the domain of information technology. And once you get to that level, it's a, it's almost like having a developer who knows all of this but may not be an expert at Ansible just yet. He or she can be an expert at Ansible but is not there yet. That's what I'll call background knowledge. And also in the, in the case of foundation models, they are very adept at natural language as well. So they can connect natural language to code, but they are not yet expert at the domain of Ansible. >>Now there's something called, the second stage of learning is called fine tuning, which is about this data ops where I take data, which is sort of the SME data in this particular case. And it's curated. So this is not just generic data, you pick off GitHub, you don't know what exists out there. This is the data which is governed, which we know is of high quality as well. And you think of it as you specialize the generic AI with pre-trained AI with that data. And those two stages, including the governance of that data that goes into it results in this sort of really breakthrough technology that we've been calling Project Wisdom for. Our first application is Ansible, but just watch out that area. There are many more to come and, and we are gonna really, I'm really excited about this partnership with Red Hat because across IBM and research, I think where wherever we, if there is one place where we can find excited, open source, open developer community, it is Right. That's, >>Yeah. >>Tom, talk about the, the role of open source and Project Wisdom, the involvement of the community and maybe Richard, any feedback that you've gotten since coming off stage? I'm sure you were mobbed. >>Yeah, so for us this is, it's called Project Wisdom, not Product Wisdom. Right? Sorry. Right. And so, no, you didn't say that but I wanna just emphasize that it is a project and for us that is a key word in the upstream community that this is where we're inviting the community to jump on board with us and bring their expertise. All these people that are here will start to participate. They're excited in it. They'll bring their expertise and experience and that fine tuning of the model will just get better and better. So we're really excited about introducing this now and involving the community because it's super nuts. Everything that Red Hat does is around the community and this is no different. And so we're really excited about Project Wisdom. >>That's interesting. The project piece because if you see in today's world the innovation strategy before where we are now, go back to say 15 years ago it was of standard, it's gotta have standard bodies. You can still innovate and differentiate, but yet with open source and community, it's a blending of research and practitioners. I think that to me is a big story here is that what you guys are demonstrating is the combination of research and practitioners in the project. Yes. So how does this play out? Cuz this is kind of like how things are gonna get done in the cloud cuz Amazon's not gonna just standardize their stack at at higher level services, nor is Azure and they might get some plumbing commonalities below, but for Project Project Wisdom to be successful, they can, it doesn't need to have standards. If I get this right, if I can my on point here, what do you guys think about that? React to that? Yeah, >>So I definitely, I think standardization in terms of what we will call ML ops pipeline for models to be deployed and managed and operated. It's like models, like any other code, there's standardization on DevOps ops pipeline, there's standardization on machine learning pipeline. And these models will be deployed in the cloud because they need to scale. The only way to scale to, you know, thousands of users is through cloud. And there is, there are standard pipelines that we are working and architecting together with the Red Hat community leveraging open source packages. Yeah. Is really to, to help scale out the AI models of wisdom together. And another point I wanted to pick up on just what Tom said, I've been sort of in the area of productizing AI for for long now having experience with Watson as well. The only scenario where I've seen AI being successful is in this scenario where, what I describe as it meets the criteria of flywheel of ai. >>What do I mean by flywheel of ai? It cannot be some research people build a model. It may be wowing, but you roll it out and there's no feedback. Yeah, exactly. Okay. We are duh. So what actually, the only way the more people use these models, the more they give you feedback, the better it gets because it knows what is right and what is not right. It will never be right the first time. Actually, you know, the data it is trained on is a depiction of reality. Yeah. It is not a reality in itself. Yeah. The reality is a constantly moving target and the only way to make AI successful is to close that loop with the community. And that's why I just wanted to reemphasize the point on why community is that important >>Actually. And what's interesting Tom is this is a difference between standards bodies, old school and communities. Because developers are very efficient in their feedback. Yes. They jump to patterns that serve their needs, whether it's self-service or whatever. You can kind of see what's going on. Yeah. It's either working or not. Yeah, yeah, >>Yeah. We get immediate feedback from the community and we know real fast when something isn't working, when something is working, there are no problems with the flow of data between the members of the community and, and the developers themselves. So yeah, it's, I'm it's great. It's gonna be fantastic. The energy around Project Wisdom already. I bet. We're gonna go down to the Project Wisdom session, the breakout session, and I bet you the room will be overflowed. >>How do people get involved real quick? Get, get a take a minute to explain how I would get involved. I'm a community member. Yep. I'm watching this video, I'm intrigued. This has got me enthusiastic. How do I get more confident with this opportunity? >>So you go to, first of all, you go to red hat.com/project Wisdom and you register your interests and you wanna participate. We're gonna start growing this process, bringing people in, getting ready to make the service available to people to start using and to experiment with. Start getting their feedback. So this is the beginning of, of a journey. This isn't the, you know, this isn't the midpoint of a journey, this is the begin. You know, even though the work has been going on for a year, this is the beginning of the community journey now. And so we're gonna start working together through channels like Discord and whatnot to be able to exchange information and bring people in. >>What are some of the key use cases, maybe Richie are starting with you that, that you think maybe dream use cases that you think the community will help to really uncover as we're looking at Project Wisdom really helping in this transformation of ai. >>So if I focus on let's say Ansible itself, there are much wider use cases, but Ansible itself and you know, I, I would say I had not realized, I've been working on AI for Good for long, but I had not realized the excitement and the power of Ansible community itself. It's very large, it's very bottom sum, which I love actually. But as I went to lot of like CTOs and CIOs of lot of our customers as well, it was becoming clear the use cases of, you know, I've got thousand Ansible developers or IT or automation experts. They write code all the time. I don't know what all of this code is about. So the, the system administrators, managers, they're trying to figure out sort of how to organize all of this together and think of it as Google for finding all of these automation code automation content. >>And I'm very excited about not just the use cases that we demonstrated today, that is beginning of the journey, but to be able to help enterprises in finding the right code through natural language interfaces, generating the code, helping Del us debug their code as well. Giving them predictive insights into this may happen. Just watch out for it when you deploy this. Something like that happened before, just watch out for it as well. So I'm, I'm excited about the entire life cycle of IT automation, Not just about at the build time, but also at the time of deployment. At the time of management. This is just a start of a journey, but there are many exciting use cases abound for Ansible and beyond. >>It's gonna be great to watch this as it unfolds. Obviously just announcing this today. We thank you both so much for joining us on the program, talking about Project wisdom and, and sharing how the community can get involved. So you're gonna have to come back next year. We're gonna have to talk about what's going on. Cause I imagine with the excitement of the community and the volume of the community, this is just the tip of the iceberg. Absolutely. >>This is absolutely exactly. You're excited about. >>Excellent. And you should be. Congratulations. Thank, thanks again for joining us. We really appreciate your insights. Thank you. Thank >>You for having >>Us. For our guests and John Furrier, I'm Lisa Barton and you're watching The Cube Lie from Chicago at Ansible Fest 22. This is day two of wall to wall coverage on the cube. Stick around. Our next guest joins us in just a minute.

>> live from Las Vegas. It's the queue covering del Technologies. World twenty nineteen. Brought to you by Del Technologies and its ecosystem partners. >> Welcome back to Las Vegas. Lisa Martin with John Ferrier. You're watching the Cube live at Del Technologies World twenty nineteen. This is our second full day of Double Cube set coverage. We've got a couple of we're gonna really cool conversation coming up for you. We've got Robbie Pender County, one of our alumni on the cue back as VP product management server solutions. Robbie, Welcome back. >> Thank you, Lisa. Much appreciated. >> And you brought some Hollywood? Yes. Glenn Glenn ER, president of Sony Innovation Studios. Glenn and welcome to the Cube. >> Thank you very much. It's great to be here. >> So you are love this intersection of Hollywood and technology. But you're a filmmaker. >> Yeah. I have been filming movies for many years. Uh, I started off making motion pictures for many years. Executive produced him and over so production for them at one of our movie labels called Screen Gems, which is part of Sony Pictures. >> Wait a tremendous amount of evolution of the creative process being really fueled by technology and vice versa. Sony Innovation Studios is not quite one year old. This is a really exciting venture. Tell us about that and and what the the impetus was to start this company. >> You know that the genesis for it was based out of necessity because I looked at a nice Well, you know, I love making movies were doing it for a long time. And the challenge of making good pictures is resource is and you never get enough money believing not you never get enough money and never get enough time. That's everybody's issue, particularly time management. And I thought, Well, you know, we got a pretty good technology company behind us. What if we looked inward towards technology to help us find solutions? And so innovation studios is born out of that idea on what was exciting about it was to know that we had, uh, invited partners to the game right here with Del so that we could make movies and television shows and commercials and even enterprise solutions leaning into state of the art and cutting edge technology. >> And what some of the work prize and you guys envision coming out this mission you mentioned commercials. TV is it going to be like an artist's studio actor? Ackerson Ball is Take us through what this is going to look like. How does it get billed out? >> I lean into my career as a producer. To answer that one and say is going to enable that's one of the greatest things about being a producer is enabling stories, uh, inspiring ideas to be Greenland. That may not have been able to be done so before. And there's a key reason why we can't do that, because one of our key technologies is what we call the volumetric image acquisition. That's a lot of words. You probably say. What the heck is that? But a volumetric image acquisition is our ability to capture a real world, this analog world and digitize it, bring it into our servers using the power of Del and then live in that new environment, which is now a virtual sets. And that virtual set is made out of billions and trillions in quadrillions of points, much like the matter around us. And it's a difference because many people use pixels, which is interpretation of like worry, using points which is representative of the world around us, so it's a whole revolutionary way of looking at it. But what it allows us to do is actually film in it in a thirty K moving volume. >> It's like a monster green screen for the world. Been away >> in a way, your your your your action around it because you have peril X so these cameras could be photographing us. And for all you know, we may not be here. Could be at stage seven at Innovation Studios and not physically here, but you couldn't tell it. If >> this is like cloud computing, we talking check world, you don't the provisional these resource is you just get what you want. This is Hollywood looking at the artistry, enabling faster, more agile storytelling. You don't need to go set up a town and go get the permit. All the all the heavy lifting you're shooting in this new digital realm. >> That's right. Exactly. Now I love going on location on. There's a lot to celebrate about going on location, but we can always get to that location. Think of all the locations that we want to be in that air >> base off limits. Both space, the one I >> haven't been, uh, but but on said I've been I've walked on virtual moons and I've walked on set moons. But what if we did a volumetric image acquisition of someone set off the moon? Now we have that, and then we can walk around it. Or what if there's a great club, a nightclub? This says guys want you shoot here, but we have performances Monday night, Tuesday night, Wednesday night there. You know they have a job. What if we grab that image, acquired it, and then you could be there anytime you want. >> Robbie, we could go for an hour here. This is just a great comic. I >> completely agree with you. >> The Cube. You could. You could sponsor a cube in this new world. We could run the Q twenty four seven. That's absolutely >> right. And we don't even have >> to talk about the relationship with Dale because on Del Technologies, because you're enabling new capabilities. New kind of artistry was just totally cool. Want to get back to the second? But you guys were involved. What's your role? How do you get involved? Tell the story about your >> John. I mean, first and foremost one of things that didn't Glendon mention is he's actually got about fifty movies to his credit. So the guy actually knows this stuff, so which is absolutely fantastic. So we said, How do you go take average to the next level? So what else is better than trying to work something out, wherein we together between what Glenn and Esteem does at the Sony Innovation Labs for Studio Sorry. And as in Dead Technologies could do is to try and actually stretch the boundaries of our technology to a next tent that when he talks about kazillion bytes of data right one followed the harmony of our zeros way have to be able to process the data quickly. We have to be able to go out and do their rendering. We probably have to go out and do whatever is needed to make a high quality movie, and that, I think, in a way, is actually giving us an opportunity to go back and test the boundaries of their technology. They're building, which we believe this is the first of its kind in the media industry. If we can go learn together from this experience, we can actually go ahead and do other things in other industries. To maybe, and we were just talking about how we could also take this. He's got his labs here in Los Angeles, were thinking maybe one of the next things we do based on the learnings we get, we probably could take it to other parts of the world. And if we are successful, we might even take it to other industries. What if we could go do something to help in this field of medicine? >> It's just thinking that, right? Yes. >> Think about it. Lisa, John. I mean, it's phenomenal. I mean, this is something Michael always talks about is how do we as del technologies help in progress in the human kind? And if this is something that we can learn from, I think it's going to be phenomenal. >> I think I think that's so interesting. Not only is that a good angle for Del Technologies, the thing that strikes me is the access toe artist trees, voices, new voices that may be missed in the prop the vetting process the old way. But, you know, you got to know where we're going. No, in the Venture Capital way seen this with democratization of seed labs and incubators, where, if you can create access to the story, tells on the artists we're gonna have one more exposure to people might have missed. But also as things change, like whether it's Ray Ray beaming and streaming, we saw in the gaming side to pull a metric or volumetric things. You're gonna have a better canvas, more paint brushes on the creative side and more. Artist. Is that the mission to get AC, get those artists in there? Is it? Is that part of the core mission submission? Because you're going to be essentially incubating new opportunities really fast. >> It's, uh, it's very important to me. Personally. I know it speaks of the values of both Sony and L. I like to call it the democratization of storytelling. You know, I've been very blessed again, a Hollywood producer, and we maybe curate a certain kind of movie, a certain kind of experience. But there's so many voices around the world that need to be hurt, and there are so many stories that otherwise can't be enabled. Imagine a story that perhaps is a unique >> special voice but requires distance. It requires five disparate locations Perhaps it's in London, Piccadilly Circus and in Times Square. And perhaps it's overto Abu Dhabi on DH Libya somewhere because that's part of the story. We can now collapse geography and bring those locations to a central place and allow a story to be told that may not otherwise have been able to be created. And that's vital to the fabric of storytelling worldwide's >> going change the creative process to you don't have to have that waterfall kind of mentality like we don't talk about intact. You're totally distributed content, decentralized, potentially the creative process going change with all the tools and also the visual tools. >> That's right. It's >> almost becoming unlimited. >> You wanted to be unlimited. You want the human spirit to be unlimited. You want to be able to elevate people on. That's the great thing about what we're trying to achieve and will achieve. >> It is your right. I mean, it is interesting, you know, we were just talking about this, too. Uh, we're in, you know, as an example. Shock tank. Yes, right. I mean, they obviously did it. The filming and stuff, and then they don't have the access. Let's say to the right studio. But the fact is, they had all this done. Andi, you know, they had all the rendering they had captured. Already done. You could now go out and do your chute without having all the space you needed. >> That's right. In the case of Shark Tank, which shoots a Sony Pictures studios, they knew they had a real estate issue. The fact of the matter is, there's a limited amount of sound stages around the world. They needed to sound stages and only had access to one. So we went in and we did a volumetric image acquisition of their exit interview stage. They're set. And then when it came time to shoot the second half a season ten, one hundred contestants went into a virtual set and were filmed in that set. And the funny thing is, one of the guys in the truck you know how you have the camera trucks and, you know, off offstage, he leaned into the mike. Is that you guys, could you move that plant a couple inches to the left and somebody said, Uh, I don't think we can do it right now, he said, We're on a movie lot. You could move a plant. They said No, it's physically not there. We're on innovation studios goes Oh, that's right. It's virtual mind. >> So he was fooled. >> He was pulled. In a way, we're >> being hashing it out within a team. When we heard about some of the things you know Glenn and Team are doing is think about this. If you have to teach people when we are running short of doctors, right? Yeah, if you could. With this technology and the learnings that come from here, if you could go have an expert surgeon do surgery once you're captured, it would be nice. Just imagine, to take that learning, go to the new surgeons of the future and trained them and so they can get into the act without actually doing it. So my point and all this is this is where I think we can take technology, that next level where we can not only learn from one specific industry, but we could potentially put it to human good in terms of what we could to and not only preparing the next of doctors, but also take it to the next level. >> This was a great theme to Michael Dell put out there about these new kinds of use case is that the time is now to do before. Maybe you could get there technology, but maybe aspirational. Hey, let's do it. I could see that, Glenn, I want to ask you specifically. The time is now. This is all kind of coming together. Timing's pretty good. It's only gonna get better. It's gonna be good Tech, Tech mojo Coming for the creative side. Where were we before? Because I can almost imagine this is not a new vision for you. Probably seen it now that this house here now what was it like before for, um and compare contrast where you were a few years ago, maybe decades. Now what's different? Why? Why is this so important >> for me? There's a fundamental change in how we can create content and how we can tell stories. It used to be the two most expensive words in the movie TV industry were what if today that the most important words to me or what if Because what if we could collapse geography? What if we could empower a new story? Technology is at a place where, if we can dream it. Chances are we can make it a reality. We're changing the dynamics of how we may content. He used to be lights, action camera. I think it's now lights, action, compute power action, you know, is that kind of difference. >> That is an amazing vision. I think society now has opportunities to kind of take that from distance learning to distance connections, the distance sharing experiences, whether it's immersion, virtual analog face, the face could really be powerful. Yeah, >> and this is not even a year old. >> That's right. >> So if you look at your your launch, you said, I think let june fourth twenty eighteen. What? Where do you go from here? I mean, like we said, this is like, unlimited possibilities. But besides putting Robbie in the movie, naturally, Yes, of course I have >> a star here >> who? E. >> So I got to say he's got star power. >> What's what's next year? Exactly? >> Very exciting. I will say we have shark tank Thie Advanced Imaging Society gives an award for being the first volume met you set ever put out on the airwaves. Uh, for that television show is a great honor. We have already captured uh, men in black. We captured a fifty thousand square foot stage that had the men in black headquarters has been used for commercials to market the film that comes out this June. We have captured sets where television shows >> and in hopes, that they got a second season and one television show called up and said, Guys, we got the second season so they don't have to go back to what was a very expensive set and a beautiful set >> way captured that set. It reminds me of a story of productions and a friend of mine said, which is every year. The greatest gift I have is building a beautiful set and and to me, the biggest challenges. When I say, remember that sent you built four years ago? I need that again. Now you can go >> toe. It's hard to replicate the exact set. You capture it digitally. It lives. >> That's exactly it. >> And this is amazing. I mean, I'd love to do a cube set into do ah, like a simulcast. Virtually. >> So. This is the next thing John and Lisa. You guys could be sitting anywhere going forward >> way. You don't have to be really sitting here >> you could be doing. What do you have to do? And, you know, you got everything rendered >> captured. We don't have to come to Vegas twenty times a year. >> We billed upset once. You >> know you want to see you here believing that So I'LL take that >> visual is a really beautiful thing. So if we can with hologram just seeing people doing conscious with Hollywood. Frank Zappa just did a concert hologram concert, but bringing real people and from communities around the world where the localization diversity right into a content mixture is just so powerful. >> Actually, you said something very interesting, John, which is one of the other teams to which is, if you have a globally connected society and he wanted try and personalize it to that particular nation ethnicity group. You can do that easily now because you can probably pop in actors from the local area with the same. Yeah, think about it. >> It's surely right. >> There's a cascade of transformations that that this is going Teo to generate. I mean just thinking of how different even acting schools and drama schools will be well, teaching people how to behave in these virtual environments, right? >> How to immerse themselves in these environments. And we have tricks up our sleeves that Khun put the actor in that moment through projection mapping and the other techniques that allow filmmakers and actors to actually understand the world. They're about to stepped in rather than a green screen and saying, OK, there's going to be a creature over here is gonna be blue Water falls over there will actually be able to see that environment because that environment will exist before they step on the stage. >> Well, great job the Del Partnership. On my final question, Glenn, free since you're awesome and got a great vision so smart, experienced, I've been really thinking a lot about how visualization and artistry are coming together and how disciplines silo disciplines like music. They do great music, but they're not translating to the graphics. It was just some about Ray tracing and the impact with GP use for an immersive experiences, which we're seeing on the client side of the house. It del So you got the back and stuff you metrics. And so, as artist trees, the next generation come up. This is now a link between the visual that audio the storytelling. It's not a siloed. >> It is not >> your I want to get your vision on. How do you see this playing out and your advice for young artists? That might be, you know, looked as country. What do you know? That's not how we do it. >> Well, the beautiful thing is that there are new ways to tell stories. You know, Hollywood has evolved over the last century. If you look at the studios and still exist, they have all evolved, and that's why they do exist. Great storytellers evolved. We tell stories differently, so long as we can emotionally relate to the story that's being told. I say, Do it in your own voice. The cinematic power is among us. We're blessed that when we look back, we have that shared experience, whether it's animate from Japan or traditional animation from Walt Disney everybody, she shares a similar history. Now it's opportunity to author our new stories, and we can do that and physical assets and volumetric assets and weaken blend the real and the unreal. With the compute power. The world is our oyster. >> Wow, >> What a nice >> trap right there. >> Exactly. That isn't my job. The transformation of of Hollywood. What it's really like the tip of the iceberg. Unlimited story potential. Thank you, Glenn. Thank you. This has been a fascinating cannot wait to hear, See and feel and touch What's next for Sony Animation studios With your technology power, we appreciate your time. >> Thank you. Thank you both. Which of >> our pleasure for John Carrier? I'm Lisa Martin. You're watching the Cube lie from Del Technologies World twenty nineteen We've just wrapped up Day two we'LL see you tomorrow.

>> Live from Las Vegas. It's the queue covering del Technologies. World twenty nineteen. Brought to you by Del Technologies and its ecosystem partners. >> Welcome back to Las Vegas. Lisa Martin with John Ferrier. You're watching the Cube live at Del Technologies World twenty nineteen. This is our second full day of Double Cube set coverage. We've got a couple of we got a really cool conversation coming up for you. We've got Robbie Pender County, one of our alumni on the cue back as VP product management server solutions. Robbie, Welcome back. >> Thank you, Lisa. Much appreciated. >> And you brought some Hollywood? Yes, Glenn Glenn er, president of Sony Innovation Studios. Glenn and welcome to the Cube. >> Thank you very much. It's great to be here. >> So you are love this intersection of Hollywood and technology. But you're a filmmaker. >> Yeah, I have been filming movies for many years. I started off making motion pictures for many years. Executive produced him and oversaw production for them at one of our movie labels called Screen Gems, which is part of Sony Pictures. >> Wait a tremendous amount of evolution of the creative process being really fueled by technology and vice versa. Sony Innovation Studios is not quite one year old. This is a really exciting venture. Tell us about that and and what the The impetus was to start this company. >> You know that the genesis for it was based out of necessity because I looked at a nice Well, you know, I love making movies were doing it for a long time. And the challenge of making good pictures is resource is and you never get enough money. Believe or not, you never get enough money and never get enough time. That's everybody's issue, particularly time management. And I thought, Well, you know, we got a pretty good technology company behind us. What if we looked inward towards technology to help us find solutions? And so innovation studios is born out of that idea on what was exciting about it was to know that we had, uh, invited partners to the game right here with Del so that we could make movies and television shows and commercials and even enterprise solutions leaning into state of the art and cutting edge technology. >> And what some of the work private you guys envision coming out this mission you mentioned commercials TV. Is it going to be like an artist's studio actor actress in ball is take us through what this is going to look like. How does it get billed out? >> I lean into my career as a producer. To answer that one and say is going to enable that's one of the greatest things about being a producer is enabling stories, uh, inspiring ideas to be green lit that may not have been able to be done so before. And there's a key reason why we can't do that, because one of our key technologies is what we call the volumetric image acquisition. That's a lot of words. You probably say. What the heck is that? But a volumetric image acquisition is our ability to capture a real world, this analog world and digitize it, bring it into our servers using the power of Del and then live in that new environment, which is now a virtual sets. And that virtual set is made out of billions and trillions in quadrillions of points, much like the matter around us. And that's a difference because many people use pixels, which is interpretation of like we're using points which is representative of the world around us, so it's a whole revolutionary way of looking at it. But what it allows us to do is actually film in it in a thirty K moving volume. >> It's like a monster green screen for the world. Been away >> in a way, you're you're you're interaction around it because you have peril X, so these cameras could be photographing us. And for all you know, we may not be here. Could be at stage seven at Innovation Studios and not physically here, but you couldn't tell the >> difference. This is like cloud computing. We talking check world, you don't the provisional these resource is you just get what you want. This is Hollywood looking at the artistry, enabling faster, more agile storytelling. You don't need to go set up a town and go get the permit. All the all the heavy lifting you're shooting in this new digital realm. >> That's right. Exactly. Now I love going on location on There's a lot to celebrate about going on location, but we can always get to that location. Think of all the locations that we want to be in that air >> base off limits. Both space, the one I >> haven't been, uh, but but on said I've been I've walked on virtual moons and I've walked on set moons. But what if we did a volumetric image acquisition of someone set off the moon? Now we have that, and then we can walk around it. Or what if there's a great club, a nightclub? This says guys and wanted to shoot here. But we have performances Monday night, Tuesday night, Wednesday night there. You know they have a job. What? We grabbed that image acquired it. And then you could be there anytime you want. >> Robbie, we could go for an hour here. This is just a great comic. I >> completely agree with >> you. The Cube. You could You could sponsor a cube in this new world. We could run the Q twenty four seven is absolutely >> right. And we don't even have >> to talk about the relationship with Dale because on Del Technologies, because you're enabling new capabilities. New kind of artistry, just totally cool. Want to get back to the second? But you guys were involved. What's your role? How do you get involved? Tell the story about your >> John. I mean, first and foremost one of the things didn't Glendon mention is he's actually got about fifty movies to his credit. So the guy actually knows this stuff. So which is absolutely fantastic. So we said, How do you go take coverage to the next level? So what else is better than trying to work something out, wherein we together between what Glenn and Esteem does at the Sony Innovation Labs for Studio Sorry. And as in Dead Technologies could do is to try and actually stretch the boundaries of our technology to a next tent that when he talks about kazillion bytes of data right one followed by harmony, our zeros. We have to be able to process the data quickly. We have to be able to go out and do their rendering. We probably have to go out and do whatever is needed to make a high quality movie, and that, I think, in a way, is actually giving us an opportunity to go back and test the boundaries of their technology. They're building, which we believe this is the first of its kind in the media industry. If we can go learn together from this experience, we can actually go ahead and do other things in other industries do. Maybe. And we were just talking about how we could also take this. He's got his labs here in Los Angeles, were thinking maybe one of the next things we do based on the learning to get. We probably could take it to other parts of the world. And if we are successful, we might even take it to other industries. What if we could go do something to help in this field of medicine? >> It's just thinking that, right? Yes. Think >> about it. Lisa, John. I mean, it's phenomenal. I mean, this is something Michael always talks about is how do we as del technologies help in progress in the human kind? And if this is something that we can learn from, I think it's going to be phenomenal. >> I think I think that's so interesting. Not only is that a good angle for Del Technologies, the thing that strikes me is the access to artist trees, voices, new voices that may be missed in the prop the vetting process the old way. But, you know, you got to know where we're going. No, in the venture, cobble way seen this with democratization of seed labs and incubators where, if you can create access to the story, tells on the artists we're gonna have one more exposure to people might have missed. But also as things change, like whether it's Ray Ray beaming and streaming we saw in the gaming side to volumetric or volumetric things, you're gonna have a better canvas, more paint brushes on the creative side and more action. Is that the mission to get AC Get those artists in there? Is it? Is that part of the core mission submission? Because you're going to be essentially incubating new opportunities really fast. >> It's, uh, it's very important to me. Personally. I know it speaks of the values of both Sony and L. I like to call it the democratization of storytelling. You know, I've been very blessed again, a Hollywood producer, and we maybe curate a certain kind of movie, a certain kind of experience. But there's so many voices around the world that need to be hurt, and there are so many stories that otherwise can't be enabled. Imagine a story that perhaps is >> a unique special voice but requires distance. It requires five disparate locations. Perhaps it's in London Piccadilly Circus and in Times Square. And perhaps it's overto Abu Dhabi on DH Libya somewhere because that's part of the story. We can now collapse geography and bring those locations to a central place and allow a story to be told that may not otherwise have been able to be created. And that's vital to the fabric of storytelling. Worldwide >> is going to change the creative process to You don't have to have that waterfall kind of mentality like we don't talk about intact. You're totally distributed content, decentralized, potentially the creative process going change with all the tools and also the visual tools. >> That's right. It's >> almost becoming unlimited. >> You want it to be unlimited. You want the human spirit to be unlimited. You want to be able to elevate people on. That's the great thing about what we're trying to achieve and will achieve. >> It is your right. I mean, it is interesting, you know, we were just talking about this too. We're in, you know, as an example, shock tank. Yes, right. I mean, they obviously did it the filming and stuff, and then they don't have the access, let's say to the right studio, but The fact is, there had all this done on DH. No, they had all the rendering. They had the captured already done. You could now go out and do your chute without having all the space you needed. >> That's right. In the case of Shark Tank, which shoots a Sony Pictures studios, they knew they had a real estate issue. The fact of the matter is, there's a limited amount of sound stages around the world. They needed to sound stages and only had access to one. So we went in and we did a volumetric image acquisition of their exit interview stage. They're set. And then when it came time to shoot the second half a season ten, one hundred contestants went into a virtual set and were filmed in that set. And the funny thing is, one of the guys in the truck you know how you have the camera trucks and, you know, off offstage, he leaned into the mike. Is that you guys, could you move that plant a couple inches to the left and somebody said, Uh, I don't think we can do it right now, he said. We're on a movie lot. You could move a plant. They said, No, it's physically not there. We're on innovation studios goes Oh, that's right. It's virtual mind. >> So he was fooled. >> He was pulled. In a way, we're >> being hashing it out within a team. When we heard about some of the things you know Glenn and Team are doing is think about this. If you have to teach people when we are running short of doctors, right? Yeah, if you could. With this technology and the learnings that come from here, if you could go have an expert surgeon do surgery once you're captured, it would be nice. Just imagine, to take that learning, go to the new surgeons of the future and trained them and so they can get into the act without actually doing it. So my point in all this is this is where I think we can take technology, that next level where we can not only learn from one specific industry, but we could potentially put it to human good in terms of what we could to and not only preparing the next of doctors, but also take it to the next level. >> This was a great theme to Michael Dell put out there about these new kinds of use case is that the time is now to do before. Maybe you couldn't get there with technology, but maybe aspirational, eh? Let's do it. I could see that. Glenn, I want to ask you specifically. The time is now. This is all kind of coming together. Timing's pretty good. It's only gonna get better. It's gonna be good. Tech, Tech mojo Coming for the creative side. Where were we before? Because I could almost imagine this is not a new vision for you. Probably seen it now that this house here now what was it like before for, um and compare contrast where you were a few years ago, maybe decades. Now what's different? Why? Why is this so important? >> You know, for me, there's a fundamental change in how we can create content and how we can tell stories. It used to be the two most expensive words in the movie TV industry were what if today that the most important words to me or what if Because what if we could collapse geography? What if we could empower a new story? Technology is at a place where if we can dream it. Chances are we can make it a reality. We're changing the dynamics of how we may content. He used to be lights, action, camera. I think it's now lights, action, compute power action, you know, is that kind of difference. >> That is an amazing vision. I think society now has opportunities to kind of take that from distance learning to distance connections, the distance sharing experiences, whether it's immersion, virtual analog face the face. I could really be powerful. Yeah, >> and this is not even a year old. >> That's right. >> So if you look at your your launch, you said, I think let june fourth twenty eighteen. What? Where do you go from here? I mean, like we said, this is like, unlimited possibilities. But besides putting Robbie in the movie, naturally, Yes, of course I have >> a star here >> who video. >> So I got to say he's got star power. >> What's what. The next year? Exactly. >> Very exciting. I will say we have shark tank Thie Advanced Imaging Society gives an award for being the first volume metric set ever put out on the airwaves. Uh, for that television show was a great honor. Uh, we have already captured, uh, men in black. We captured a fifty thousand square foot stage that had the men in black headquarters has been used for commercials to market the film that comes out this June. We have captured sets where television >> shows and in the in hopes that they got a second season and one television show called up and said, Guys, we got the second season so they don't have to go back to what was a very expensive set and a beautiful set >> Way captured that set. It reminds me of a story of productions and a friend of mine said, which is every year. The greatest gift I have is building a beautiful set and and to me, the biggest challenges. When I say, remember that sent you built four years ago. I need that again. Now you can go >> toe hard, replicate the exact set, you capture it digitally. It lives. >> That's exactly it. >> And this is amazing. I mean, I'd love to do a cube set into do ah, like a simulcasts. Virtually. >> So. This is the next thing John and Lisa. You guys could be sitting anywhere going forward. We don't have to be really sitting here you could be doing. What do you have to do? And, you know, you got everything rendered >> captured. We don't have to come to Vegas twenty times a year. >> We billed upset once >> You want to see you here believing that So I'LL take that >> visual is a really beautiful thing. So if we can with hologram just seeing people doing conscious. But Hollywood Frank Zappa just did a concert hologram concert, but bringing real people and from communities around the world where the localization diversity right into a content mixture is just so powerful. >> Actually, you said something very interesting, John, which is one of the other teams to which is, if you have a globally connected society and he wanted try and personalize it to that particular nation ethnicity group. You can do that easily now because you can probably pop in actors from the local area with the same city. Yeah, think about it. >> It's surely right. >> There's a cascade of transformations that that this is going Teo to generate. I mean just thinking of how different even acting schools and drama schools will be well, teaching people how to behave in these virtual environments, right? >> How to immerse themselves in these environments. And we have tricks up our sleeves that Khun put the actor in that moment through projection mapping and the other techniques that allow filmmakers and actors to actually understand the world. They're about to stepped in rather than a green screen and saying, OK, there's going to be a creature over here is gonna be blue Water Falls over there will actually be able to see that environment because that environment will exist before they step on the stage. >> Well, great job the Dale Partnership On my final question, Glenn free since you're awesome and got a great vision so smart, experienced, I've been really thinking a lot about how visualization and artistry are coming together and how disciplines silo disciplines like music. They do great music, but they're not translating to the graphics. It was just some about Ray tracing and the impact with GP use for immersive experiences, which was seeing on the client side of the house. It del So you got the back and stuff, but you metrics. And so, as artist trees, the next generation come up. This is now a link between the visual that audio, the storytelling. It's not a siloed. >> It is not >> your I want to get your vision on. How do you see this playing out and your advice for young artists? That might be, you know, looked as country. What do you know? That's not how we do it. >> Well, the beautiful thing is that there are new ways to tell stories. You know, Hollywood has evolved over the last century. If you look at the studios and still exist, they have all evolved, and that's why they do exist. Great storytellers evolved. We tell stories differently, so long as we can emotionally relate to the story that's being told. I say Do it in your own voice. The cinematic power is among us. We're blessed that when we look back, we have that shared experience, whether it's animate from Japan or traditional animation from Walt Disney, everybody shares a similar history. Now it's opportunity to author our new stories and we can do that and physical assets and volumetric assets and weakened blend the real and the unreal. With the compute power. The world is our oyster. >> Wow, >> What a nice >> trap right there. >> Exactly that is, um I dropped the transformation of Hollywood. What? And it's really think the tip of the iceberg. Unlimited story potential. Thank you, Glenn. Thank you. This has been a fascinating cannot wait to hear, See and feel and touch What's next for Sony Animation studios With your technology power We appreciate your time. >> Yeah, Thank you. Thank you both of >> our pleasure for John Farrier. I'm Lisa Martin. You're watching the Cube lie from Del Technologies World twenty nineteen We've just wrapped up Day two we'LL see you tomorrow.