>> Hello and welcome to a special CUBE Conversation. I'm John Furrier, the co-founder of SiliconANGLE on theCUBE. We're here in Sundance 2018 at the Intel Tech Lounge for a panel discussion with experts on the topic of The New Creative. We believe a new creative renaissance is coming in application development and also artistry. The role of craft and the role of technology and software coming together at the intersection. You're seeing results in the gaming industry. Virtual reality, augmented reality, mixed reality. A new wave is coming and it's really inspiring, but also there's a few thought leaders at the front end of this big wave setting the trends and they're here with us in this special panel for The New Creative. Here with us is Brooks Browne, Global Director of VR at Starbreeze Studios, a lot to share there, welcome to the panel. Lisa Watt, VR Marketing Strategist at Intel, Intel powering a lot of these VR games here. And Winslow Porter, co-founder and director of The New Reality Company. Many submissions at Sundance. Not this year, but a ton of experience talk about the role of Sundance and artistry. And then we have Gary Radburn who's a director of commercial VR and AR from media within Dell, Dell Technologies. Guys, welcome to this panel. Lisa, I want to start off with you at Intel. Obviously the Tech Lounge here, phenomenal location on Main Street in Sundance. Really drawing a massive crowd. Yesterday it was packed. This is a new generation here and you're seeing a younger demographic. You're seeing savvier consumers. They love tech, but interesting Sundance is turning into kind of an artistry tech show and the game is changing, your thoughts on this new creative. >> Yeah, it's been amazing to watch. I've been here for, this is my third year coming back with VR experiences. And it's really just been incredible to see. Sundance has been on the leading edge of exploring new technologies for a long time and I think this is, I feel like you know this feels like the break out year really. I mean, it's been successful the last few years, but something about this year feels a little bit different. And I think maybe it's the people are getting more familiar with the technology. I think the artists are getting more comfortable with how to push the boundaries. And then we certainly are getting a lot out of seeing what they're doing and how we can improve our products in the future. >> We were talking yesterday, Lisa, about the dynamic at Sundance. And you were mentioning that you see a few trends popping out. What is the most important story this year for the folks who couldn't make it, who might be watching this video that you see at Sundance? Obviously it's a great day today, it's snowing, it's a white day, it's beautiful powder, greatest snow on Earth. But there's some trends that are emerging. We had a march this morning, the Women's March. You're seeing interesting signals. What's your view? >> I think there's a lot less desire to put up with subpar experiences. I mean I think everyone is really starting to push the boundaries, I mean, we saw a lot of 360 video which we love for a linear narrative. But they're really breaking out and really exploring what does it mean to have autonomy especially in the virtual reality experiences, a lot more social is coming to the forefront. And then a lot more exploration of haptics and the new ways of extending into more 4D effects, etc. So I think it's very very exciting. We're really excited to see all the new innovations. >> Winslow, I want to ask you, if you can comment, you've been an active participant in the community with submissions here at Sundance. This year you're kind of chilling out, hanging out. You've been on the front lines, what is your take on the vibe? What's the sentiment out there? Because you're seeing the wave coming, we're feeling it. It feels early. I don't know how early it is, and the impact to people doing great creative work. What's that take? >> Well yeah, it's kind of like VR years are like dog years, you know. Like a lot can happen in a month in the VR space. So I had a piece here in 2014 called Clouds. It was an interactive documentary about Creative Code, but that was back when there was only two other VR pieces. It's interesting to see how the landscape has changed. Because CCP Games had a piece there. An early version of E Valkyrie. And unfortunately in the last three months, they had to close their VR wing. So, and then Chris Milk also had a Lincoln piece with Beck. Which was a multi camera 360, actually it was a flash video that they recorded to the DK1. And so that was, seeing that everyone was, saw the potential. The technology was still pretty rudimentary or crude even, we should say. Before any tracking cameras. But every year people learned from previous Sundances and other festivals. And we're seeing that Sundance kind of raises the bar every year. It's nice that it's in January because then there's all these other festivals that sort of follow through with either similar content, newer versions of content that's here, or people have just sort of learned from what is here. >> So I got to ask you. You know, obviously Sundance is known for pushing the boundaries. You see a lot of creative range. You see a lot of different stuff. And also you mentioned the VR. We've seen some failures, you've seen some successes, but that's growth. This market has to have some failures. Failures create opportunities to folks who are reiterating in that. What are some of the things that you can point to that are a positive? Things that have happened whether they're failures and/or successes, that folks can learn from? >> Well, I think that this year there's a lot more social VR. We're connecting people. Even though they're in the same space, they're able to be in this new virtual world together. There's something amazing about being able to interact with people in real life. But as soon as you have sort of a hyper reality where people are able to be experiencing a Sufi ritual together. Things that you wouldn't normally... That they're not possible in the real world. And also, I think that there's issues with lines too. Obviously every year, but the more that we can have larger experiences with multiple people, the more people we can get through. And then more impact we can make on the audience. It's really... We were in claim jumper last year. And we could only get one person in every 10 minutes. And that makes things pretty tricky. >> And what are you doing at Sundance this year? You've obviously got some stuff going on with some of the work you've done. What's your focus? >> So yeah we have a company called New Reality Company where we produce Giant and Tree. It's part of a trilogy where Breathe is going to be the third part. We're going to be completing that by the end of this year. And right now, I would say the best thing about Sundance is the projects, but also the people. Being able to come here, check in, meet new people, see partners that we've been working with in the past. Also new collaborations, everywhere you turn, there's amazing possibilities abound. >> I want to talk about empathy and social. I mentioned social's interesting in these trends. I want to go to Brooks Brown, who's got some really interesting work with Starbreeze and the Hero project. You know, being a pioneer, you've got to take a few arrows in your back, you've got to blow peoples' minds. You're doing some pretty amazing work. You're in the front lines as well. What's the experience that you're seeing? Talk about your project and its impact. >> Well for us, we set out with our partner's ink stories, Navid Khonsari, a wonderful creative, and his entire team to try to create that intensely personal experience kind of moving the opposite direction of these very much social things. The goal, ultimately being to try to put a person inside of an event rather than a game style situation where you have objective A, B, or C. Or a film that's a very, very hyper linear narrative. What is that sort of middle ground that VR itself has as unique medium? So we built out our entire piece. Deep 4D effects, everything is actually physically built out so you have that tactility as you walk around. Things react to you. We have smell, temperature, air movement, the audio provided by our partners at DTS is exceptional. And the goal is ultimately to see if we put you in a situation... I'm doing my best not to talk about what that situation is. It's pretty important to that. But to watch people react. And the core concept is would you be a hero? All over the world, every day people are going through horrific stuff. We're fortunate because we're the kind of people who, in order to experience, say a tragedy in Syria, we're fortunate that we have to go to Park City, Utah and go in virtual reality to experience something that is tragic, real, and deeply emotional. And so our goal is to put people through that and come out of it changed. Traumatized actually. So that way you have a little bit more empathy into the real world into the actual experiences they went through. >> And what's the goal? This is interesting because most of the some stuff you see, the sizzle out there is look at the beautiful vistas and the beaches and the peaks and you can almost be there. Now you're taking a different approach of putting people in situations that probe some emotional responses. >> Yeah. It's a big deal to us. The way Navid like to put it, and I'm going to steal this from him, is you see a great deal of people prototyping on hardware and all of these things, and it's great cause we need that. We need to be able to stand on the shoulders of those giants to be able to do these things. But you see very few people really prototyping what is the concept of story as per VR? We've been doing, at Starbreeze, we've been doing location based for some time now and I've been getting thousands upon thousands of pitches. And whenever you get a pitch, you can pretty much identify, oh you come from a film background, you come from a games background. There's very few people who come down that middle line and go, well this is what VR is supposed to be. This is that interesting thing that makes it very deeply unique. >> What's the confluence and what's the trend in your mind as this changes? Cause you mentioned that gamers have affinity towards VR. We were talking about that before we came on the panel. You know, pump someone in mainstream USA or around the world who does email, does work, may not be there, you're seeing this confluence. How is that culture shifting? How do you see that? Cause you're bringing a whole nother dimension. >> We're trying to go back to a little bit, something about this Sundance being a little bit different. I think in general in VR, you're seeing this sort of shift from a few years ago it was all potentiality. And I think a lot of us, the projects were great, but a lot of us who work in VR were like oh I see what they're trying to do. And people like my dad would be like I don't. I don't see what they're trying to do. But that is shifting. And you're seeing a larger shift into that actuality where we're not quite there yet where we can talk about the experiences every day Americans are going to have. What is the real ready player one that we're actually going to have existing. We're not there yet, but we're much closer every time. And we're starting to see a lot of these things that are pushing towards that. Final question before I go to some of the speeds and feeds questions I want to get with Intel and Dell on is what is the biggest impact that you're seeing with your project and VR in general that will have the most important consequences for societal impact? >> Well, we were fortunate yesterday we had a number of people come through Hero. And a number of them simply actually couldn't handle it. Had to come out. We had to pull people out. The moment we took the headset off, they were, tears were streaming down their face. There's a level of emotional impact VR is extremely able to cut through. It's not that you're playing a character. It's not that you're in a separate world. You are you inside of that space. And that is a dangerous but very promising ability of VR. >> Winslow, could you take a stab at that, I'd like to get your reaction to that because people are trying to figure out the societal impact in a positive way and potentially negative. >> Yeah I mean, so with that, whenever you traumatize somebody else or have the ability to possibly re-traumatize somebody... In Giant, we made sure that we gave them a trigger warning because yeah these things can be intensely intimate or personal for somebody who already has that sort of baggage with them or could be living in a similar experience. In Giant, we witnessed the last moments of a family. As they're convincing their daughter that the approaching bomb blast is a giant that actually wants to play with her. And so we put haptics in the chair so the audience was also surprised. But we let them know that it was going to be taking place in a conflict zone. So if that was something that they didn't want to participate in, that they could opt out. But again, like we didn't know... We had to go and buy tissues like right off the bat because people were crying in the headset. And that's kind of a... It's an interesting problem to have for the sake of what are sort of the rules around that? But also it makes it more difficult to get people through the experience in a timely fashion as well. But yeah, but we're seeing that as things become more real then there's also a chance to possibly impact people. It's the... >> So it's social for you? You see it as a social impact? >> Well, I mean if everyone's experiencing the same thing that can be social, but again if it's a one on one experience, it's sort of like up to the filmmaker to make sure that they have the scruples that they are playing by the rules. Cause there's right now most every piece of content is being released through Oculus, Steam, or Viveport. But there will be... It's heavily regulated right now, but as soon as there's other means of distributing the content, it could take a different sort of face. >> Certainly some exciting things to grab on, great stuff. I want to get to the commercial angle. Then we're going to talk more about the craft and the role of artistry in the creating side of it. Gary, you're the commercial VR expert at Dell. You're commercializing this. You're making the faster machines. We want faster everything. I mean everyone... Anyone who's in VR knows that all the graphics cards. They know the speeds and feeds. They're totally hardware nerds. What's going on? Where's the action? >> Okay, that's such a large question. I mean we've had some great stuff here that I also want to comment on as well. But inside the commercial side, then yeah everybody wants bigger, stronger, better, faster. And to Winslow's comment about the dog years, that really puts the pressure on us to continue that innovation and working with partners like Intel to get those faster processors in there. Get faster graphics cards in there so that we can get people more emotionally bought in. We can do better textures, we can get more immersion inside the content itself. We're working a lot around VR in terms of opening peoples' eyes for societal impact. So VR for good for instance. Where we're taking people to far flung corners of the Earth. We work with Nat Geo explorer Mike Libecki to show the plight of polar bears in Greenland and how they're gradually becoming extinct for an edutainment and a learning tool. The boundaries are really being pushed in entertainment and film. That's always been the case. Consumer has always really pushed that technology. Commercial's always been a bit of a lagger. They want stability in what's going on. But the creation that's going on here is absolutely fantastic. It's taken what is essentially a prosumer headset and then taking it into that commercial world and lit it up. 360 video, its very inception, people are using it for training inside of their businesses and so that's now going out into businesses now. We're starting to see advances in 360 video with more compute power needed. Where, to the point about immersion and getting people emotionally bought in. Then you can start doing volumetric, getting them in there. And then we're also working with people like Dr. Skip Rizzo who was on our panel yesterday where we're starting to go into, okay, we can treat PTSD. Help people with autism, through the medium of VR. So again, that buys into... >> These are disruptive use cases that are legit? >> Yeah. >> These are big time, market moving, helping people... >> Absolutely. And that where it becomes really, really powerful. Yes, we want our companies to embrace it. Companies are embracing it for training. But when you start seeing the healthcare implications and people crying inside of headsets. That's effecting you deeply, emotionally. If you can make that for good, and change somebody's trigger points inside of PTSD, and the autism side of helping somebody in interview techniques to be able to be more self sufficient, it's absolutely awesome. >> This is the new creative. So what's your take on the new creative? What's your definition? Cause you're talking about a big range of use cases beyond just film making and digital artistry. >> Yeah, absolutely so the new creative is like with all the great work that's here, people are looking at film and entertainment. Now the world really is the oyster for all the creatives out there. People are clamoring out for modelers, artists, story tellers, story experiencers to be able to use that inside their commercial environments to make their businesses more effective. But they're not going to have a 360 video production company inside of their commercial organization. And it's then leveraging all of the creative here and all of the great stuff here. Which is really going to help the whole world a lot. >> Lisa, I want to get your thoughts on this cause you guys at Intel here at the Tech Lounge have a variety of demos, but there's a range of pro and entry level tools that can get someone up and running quickly to pro. And so there's a creative range not only just for digital artistry, but also business we're hearing. So what's the... Cause AI's involved in a lot of this too though. It's not just AI, it's a lot of these things. What's the Intel take on this. >> Well I think it's really an interesting time for us at Intel because one of the things that we have that I think probably nobody else has. We have this amazing slate of products that really cover the end to end process. Both from the creation side of the house all the way to the consumption side. And we talk a lot about our processors. We worked on an amazing project, a couple of huge scenes inside of the Sansar environment. Which is a great tool for really democratizing the creation of spaces. It's a cloud hosted service but it utilizes this amazing client-server architecture. We created four huge spaces in a matter of eight weeks to launch at CES. And some of the technologies that Gary was referring to just in pure processing power like two generations old processors were taking three hours to render just a small portion of a model where our newest generation Core i9s with our opting technology took that time to 15 minutes. So when we think about what we can do now, and those technologies are going to be available in even portable laptop form factors. We've got the piece where we were working here SPHERES. They were able to actually make some corrections and some tweaks basically immediately without having to send them off to some render farm. They were able to do those things. And I know Winslow has talked about that as well. What does it mean to you to be able to react real time. And be able to do your creative craft where you are and then be able to share that so readily. And then you know... I just think that's kind of an amazing equalizer. It's really democratizing the creation process. >> Okay the next question that begs for everyone to address is where are we in this progression? Early? What work needs to get done? Where are we holding back? Is it speeds and feeds? Is it the software? Is it the routines, libraries, art? Where's the bottleneck? Why isn't it going faster? Or is it going faster? >> I would, and I'm sure the team would agree here, I would say that one of the key things is the creator tools themselves, right. They are still somewhat cumbersome. We were talking to another filmmaker. He was like I can't even, I have to play the whole piece from the beginning, I can't just go in and edit, you know change control, being able to collaborate on these pieces with other people. I mean, if you can collaborate in a real world space, you should be able to also collaborate in VR and have change control and all those sorts of things that are necessary to the iteration of a project. So we're trying to work with our software partners. They're all doing a really great job of trying to iterate that, but it's going to take some time. I mean I think that's probably the bigger thing that's holding everything back. We're going to be right there with the processing power and the other technologies that we bring to the table. OEM partners are going to be right there with the best devices. I really think it's something we've all got to push for as far as those tools getting better. >> Brooks, comment on anything? You're in the... >> So for me, the thing that's holding back VR in general is actually the art form itself. One of the great challenges, if you look back, at say the history of film... We're at Sundance, so it's probably fairly apropo. Very early on in the early movies, aside from penny arcade machines that you'd actually stare at, they were 10 minute almost like plays that people would go to almost a playhouse and they'd watch this thing. There were not cuts, there were no angles. It was a single wide shot. Great Train Robbery came around and there was this crazy thing they did called an edit. Where they spliced film together. And if you go back and you read, and they did these dolly shots. People will have no idea what they're watching. There's no way people will be able to follow that. Like people were not happy with it at the time. Now it's stuff that children do on their iMacs at home. They do iMacs all the time, they do it on their iPhones, on their Android devices. These are normal languages of film that we have. VR doesn't have that yet. And there's not a great deal of effort being made in that direction. There's people here doing that. So I'm kind of speaking in the middle of the group, but outside of these people, there's only a handful who are really doing that and it's a significant challenge. When people who are the mainstream consumer put on a VR headset, it needs to be more than just a magic trick where they go oh that's cool. And that tends to be the vast majority of experiences. So what is the thing that is going to make someone go oh I get why we have VR as a medium. And we're not there yet. We're in the direction, but that's >> So you mentioned earlier the point where you can tell if someone's from film or gaming or whatever when you talk to them about VR. Who is the future VR developer? Is it a filmmaker? Is it a gamer? Is it a digital artist? What is this evolving? >> It's a kid in his basement who no one knows and is screwing around with it and is going to do something that everyone thinks is stupid. Like, it's going to be that. Basically every major leap in gaming is kind of the same thing. It's when we understand how ludonarrative dissonance works inside of telling how people move around a space. It's about how we do Dutch angle suddenly in film. And these things get invented. It's going to be some kid who's just screwing around who doesn't have the baggage of the language of film. A lot of the people I know in VR have been fortunate to work in film, in games and interactive or web dev. So you come from a lot of places but someone's going to come along who has none of that baggage. And they're going to be... >> Well you guys are pioneers and you're doing it. So for the first person out there that's in their basement, that inspirational soundbite or comment. How can you guys talk to that person or that group? Because this is the democratization, this is what's happening. It's not the gatekeepers. It's real creatives out there that could come from anywhere. YouTube generation, Twitch generation, gaming. What would you say to that person to motivate them and to give them that passion? >> Well it's only going to get easier, faster, cheaper, all these things are happening. But again, yeah I totally agree with what Brooks said. It's really about the culture and about educating the audience and getting them up to speed. There are some VR experiences that as soon as they put on the headset, like somebody who's never done it before, immediately will take it off cause they'll get nauseated. And then there's people, like kids who are like jet fighters. They've seen everything. You could throw like a 30 frames per second experience at them and that doesn't even phase them. They can be, all of a sudden their worlds are changing and they're like bring it because they're ready for that. So I think it's sort of about raising the bar for what the audience is comfortable with, familiar with, educating the community. There's a lot of tools right now, you know with Unreal and Unity that allow people who have very little... They don't need to know C# or C++, they can get started in a lot of like visual. What you see is what you get. Being able to drag things into a virtual room. And the windows headsets that are out. They refer to them as mixed reality, but just even having the ability to flip up the screen and transition from the virtual world to the real world in milliseconds, it allows you to be able to create things more at the speed of thought instead of coming up with an idea, coding it, and making sure it works, and then eventually putting on the headset. The sooner that we can actually be ideating inside this virtual environment is when things will get really interesting. >> So the next question is to take to the next level is what's the playbook? How does someone get involved? How does someone ingratiate into a community? If I'm an artist, I want to get, and I'm proficient with technology, or maybe not, how do they get involved? Is it community driven? Is it social? You guys mentioned seeing social's a big trend here. How do people get involved? What's the track? >> Well yeah you don't just need to go to a grad school or... There's a lot of programs out there that are popping up. Almost every single major state school has like an interactive art program now. And that wasn't the case like two or three years ago. So we're seeing that that's a big shift in the culture. But again, VR is still... It's expensive and it's you know, like VR, I refer to it's in the stage of it's almost like in the neo geo phase, maybe a little before that. But it's the really expensive thing that your friend's neighbor has. Or his older brother or something. You get to play it a little bit, you're like that's great but there's no way in hell I'm going to... You know, I can't afford that or like that just doesn't really work with my lifestyle right now so it needs to incorporate itself into our everyday, our habits. And it needs to be something that... If we're all doing it then it makes sense for us to do it together not just somebody in their basement doing it by themselves. >> Yeah feel free to comment, this is a good topic. >> Oh yeah, absolutely. So what we're doing is sort of about democratization and accessibility. So for people to get into the then they're going to need a rig, they're going to need a headset and previously it's actually been quite expensive to actually take that first plunge into it. So now by democratizing and bringing price points down, it makes it more accessible. That helps content creators because there's now more of an audience that can now consume that content. And the people that can then play with the medium and consume it now have a better reason to do it. So we're working on that. We're also working on the education pieces like Key. It's actually going out there to schools and actually letting them experience VR and play with VR. Because it is a whole new different medium. We've seen film directors and filmmakers go into the VR space and things that worked in 2D film like fast pans and whatever else so the points have already been made don't really translate into VR without somebody losing their lunch. So it is going to be somebody who's coming up who hasn't got the baggage of previous skill sets inside of 2D doing it inside of VR. So we're going to see that. And in terms of the technology, everybody's wanting things to progress. That shows the level of excitement out there. And everybody wants to get into it. Everybody wants to see it go further. And I'm reminded of the mobile phone. Mobile phone, 30 years ago? Two suitcases for batteries, a large brick on the ear and a car antennae. Okay, so where we are now, if you had a time machine and you went back in time to talk to the inventor of the mobile phone, well, I'd be a lot richer because I know sports results and all, but that aside, but you go back and talk to them and you said do you know in 30 years time, everybody is going to be carrying that device? Everybody's going to be dependent on that device? They're going to get social anxiety and separation anxiety if they lose it. And they will probably laugh in your face. >> Alright so since you brought up the phone analogy, since I love that example, are we in the Blackberry moment of VR and no one yet has built the iPhone? Because the iPhone was the seminal moment for smartphones. And you see what happened there. Is VR needing that kind of break? Or is it there? >> I think we're on the cusp. Where we are at the moment with technology, we've had the headsets, which I say have been more in the consumer space, they've been designed to hit a certain price point. We had CES the other week where we've had advancements now in the resolutions of headset that are now coming out. One of the issues was well I can't see texts, I can't read texts. So from a working environment, if you're actually using tools that you would normally use on a 2D screen, you can now translate that and read that text. However, in terms of the tools that people use, why are we trying to put 2D screens into a VR headset? We've got a whole new way of interacting with data. We've got a whole new way of doing things that are going to be more intuitive than the mouse and keyboard interaction that we're used to. Why just translate that. Let's push that envelope and those are the developments that we're pushing our partners and our ISVs to really embrace. >> So it's an evoution. >> It's absolutely an evolution. >> You guys have any thoughts on that comment. That we have that inflection point, are we hitting that, will we see it soon, is it here? >> Well I think it's a very interesting symbiotic relationship between multiple factors. So you know, we hear the cost factor, we hear the technology factor, then we have the content factor. You know I saw an interesting evolution at CES we had created this virtual booth experience so that you could still come to the CES Intel booth without actually having to be there. And I met a guy in there and I was like hey where are you? He goes I've been in here like all week. (laughter) And I was like oh yeah, where do you live? He goes oh I'm in my basement in Nebraska. But he had just, this was Friday when I met him. He'd been in there all week, but in 2D mode. And he had gone out the night before and bought a headset just so he could come back and go in VR mode. And I think, yes, all these factors have to kind of line up, but I do think that content, those experiences that are going to keep people coming back for more. Like these guys literally kept coming back to our booth. Right, to see... >> Content gain. >> To see who was there. And to them at that point, it wasn't really a barrier of cost. It was like there is something that I want to consume therefore I am going to go get what I need to consume it. And I use the analogy of HDTV, right. When we kind of moved over that hump where there was enough content people didn't really care how much that television cost. >> Sports was great. Sports really highlighted HD. >> Yeah. >> But this is a good point. This is a good question to ask. Brooks, I'd love to get your thoughts. Content drives experiences, amazing experiences, but we're building the scaffolding of everything at the same time. So where are we, what's your opinion? >> So here on the Starbreeze side, we're fortunate because we have our own headset. We have the StarVR headset we've been building with Acer. 5K all of that stuff and we're upgrading it over the next year. Our focus has been, we skipped the consumer market very much. We went straight to location based and enterprise. And the reason we did that is because there's a promise of VR at a basic, I don't want to say technology stand point, but from an experience perspective, when it comes to that resolution, when it comes to that field of view, when it comes to these things people expect. Average consumers who go to a movie and they see these giant screens. They want that translated. They don't have the understanding like we do of well, LED panels are actually a pain in the ass to build and it takes a little bit and they flip at their own speeds. Time to photon is not a thing my dad will ever see in his life. But there's a reality that people have a need for that. And it is extremely expensive. It's again the reason we went straight to LBE. But for us it's about marrying the two and consistently trying to match what's happening. So when we're talking about, as I mentioned earlier the technology and how we're standing on the shoulders of giants very very quickly, someone who's doing technology is going to see what we're doing content wise and go well I can do that better technology wise. And then we're just going to keep leap frogging. And it's very similar to the phone in the same way that we're not at the final stage of the phone. Like we're at our stage of the phone and no doubt in 30 years people will laugh at us for carrying anything. The same way we laugh about the briefcases and the giant batteries in the cars we had to pull with us. So it's one of those things that's continually transitional. And VR's in an odd, amazing place. >> Well you know, it was a lot of waves that we've all seen. You mentioned the mobile phone, that's a good one to point to. It feels like the PC revolution to me because the same culture of entrepreneurs and pioneers come from a bunch of different backgrounds. So I'd like to get Brooks perspective and Winslow's perspective on this because I think there's an entrepreneurial culture out there right now that's just emerging very fast. It's not like your classic entrepreneur software developer. So in this movement, in this wave, the entrepreneur is the filmmaker, it could be the kid in the basement, could be the gamer. Those entrepreneurs are trying to find a path. >> Yeah, it's a weird mix. VR is at this odd point where not only is it the people who are wanting to be cutting edge in terms of content or technology, but also that first mover strategy from the business side of things. And so everyone wants to be those guys who are charging ahead because in reality, if you look at the financials around all of this, VR is one of those things that you don't want to finance. It's not nearly as safe as say Marvel Avengers or the next Call of Duty. >> You've got to be, you've got to hustle. >> Yeah you've got to hustle. You've got to make... >> What's your advice? >> Start doing it. That's really it. It's the same advice I used to give to game makers when people would be like well I want to learn how to make games. It's like go to YouTube, download a thing and go do it. There's literally no reason why you can't. >> Are there meetups or like the Homebrew Computer Club that spawned the Mac. >> There are, there are infinite groups of VR people who are more than happy to give you all the terrible and wonderful opinions that come with that. There's no shortage of people. There's no shortage and it's an amazingly helpful group. Because everyone wants someone else to figure out something so they can steal that and then figure out something else. >> Winslow, your advice to entrepreneurs out there that are young and/or 14 to 50, what should they do? Jump right in obviously is a good one. >> Well yeah, experiment, break things, that's really the only way to learn. I would say watch as much VR as you can because sometimes bad VR is the best VR. Because you can learn don't do that. And if you learn, if you put all that together, you can really... It's like this lexicon that you can really follow. Also, I think we... As people in tech, we kind of get obsessed with things like resolution, frame rate, and these are very important, but it's also good to remember, or at least for me, I watch some of the best experiences from storytelling when I was a kid, eight years old on a 12 inch screen that was 640 by 480. You know, like scan lines on the VHS. But for me the story still resonated and it's important to think of story first, but obviously it's a dance between the story and the technology. They kind of have to both organically work together. And if they don't, one thing in the story that doesn't work because the tech isn't supporting it, can throw you out of the experience. >> Other concern entrepreneurs might have is financing. How do I get someone to help me build it? And then doing relationships. Finding relationships that could... One plus one equals more than two, right. So how do you? >> You have to get really creative when it comes to funding right now. Unless you're doing location based, which also requires a certain amount of investment to get it up to a bar where you want to be showing it to people with all the haptic effects when it's heat, smell, vibration, stuff like that. You know, it's not cheap to develop. But as far as like working with film foundations, we're fortunate enough to be sponsored by Fledgling Fund and Chicken and Egg. But we also were able to get partnerships with people like Intel and NVidia. And also work with people who come from a traditional film background. There's not one way to successfully fund a project. There's a million. And that's why it's interesting that the technology's innovating, but also the market place is as well. >> One of the things I want to ask is as any new industry gets building, is cultures form early. DNA forms in the entrepreneurs, in the pioneers. And one of the big hottest topics in the creative world is inclusion and diversity. So what's the makeup of the culture of this new generation? Because democratization means everyone can participate, everyone's involved. What's the state of the community vis a vis diversity, inclusion, and the role of the actors in the community. >> Well I think it's important to understand that VR has a profound ability to place you in somebody else's shoes. The trick though is to make sure that those feel like they're your shoes. But I think that we're learning a lot more about story telling techniques and we're able to empower people that their voices you know were previously not heard. The tricky thing is being able to yeah, educate all different groups of people how to use the technology, but once they're enabled and empowered to do it, it's amazing what you can experience inside the headset. >> So VR can be an enabler for education, outreach, a variety of things? >> Yes, I mean the term empathy, empathy machine gets thrown around a lot. You could do a drinking game around it. For panels when people are talking about it. But it's important to know there is a truth to that. And it's, yeah the perspective shift from looking at a screen, a 16 by 9 screen where you can look away, then dissolving the screen and becoming that person. Becoming the director, the actor, the camera person, the editor. When you're in the first person perspective, there's so much more... It feels more personal and that's a really interesting angle that we're going to continue to explore. >> So you could walk in someone's shoes, literally? >> Yes, you literally can. You just have to make sure that you got a... The tracking system's proper or else you'll look like there's... It can be come a horror movie pretty quickly if your leg is behind your head. >> Lisa, your thoughts on this, I know it's important to you. >> Yeah, I mean I think it's fascinating because I've been in tech for a really long time. And seen many, many trends. I mean the first job I had at Intel I was a PC tech and as you can imagine as a female, I think there was one other tech female in the department at the time and I would get funny looks when I would show up with my bag. They were like hi can I help you? I'm like I'm not here to deliver coffee, I'm here to fix your computer, you know. So I've seen a lot of trends and it's super exciting to me to see so much diversity cross culture, cross country, I mean we're having... We had guys come in from all over the world. From even war torn, they've escaped their country just several years ago and they're coming and they're bringing all that creativity to the market. We're seeing very, very strong female contingent from the filmmaker perspective so it's this wonderful, wonderful just primordial soup of people that I think are growing their own voice and their own power. They're breaking molds as far as how you actually get content produced. Distribution is kind of crazy right now. I mean, how do you get it distributed? There's like so many different ways. But all of those things are so important to the evolutionary and biological process of this. Yes, we need to let it go and sometimes we're frustrated. We're like where's the standards? Where's the one ring to rule them all? Where there's not going to be one. And it's good for us that there's not right now. It's frustrating from a business perspective sometimes. You're like, I can't peanut butter myself around all of these places, but I think it's just a very unique time where so many people are... The technology is accessible, that means that so many creators can now bring their fresh voice to this space and it's just going to be fascinating to continue to watch. >> That's awesome. Well two more questions and I'll give you some time to think about the last one which is your perspective on Sundance, what's happening this year, your personal view of what you think's happening, what might happen during this year. But the question I have for you now is to go down the line. We'll start with Brooks here, and talk about the coolest thing that you're involved in right now. >> It actually has to be Hero. We're debuting it here at Sundance. We've been working on it and not talking about it for about nine months. And it's been very difficult. Again it's sacrosanct to the experience that you don't know literally what you're getting in to. And the emotional response has been essentially our goal, trying to find out how far can we take that. You actually being in a space, moving around, having that interactivity, doing what you would do. But it being your story and how deeply we can absolutely effect a human being. And again, watching people come out, it's one of those things, I've been doing game development, I've worked on films, I've done all kinds of stuff. And you usually get a chance when someone experiences something you've made, you walk up to them and you go so what'd you think? And that's not at all what we can do with ours. >> How has it impacted you, that reaction? >> Well, I personally suffer significant PTSD and I've had some traumas in my life. And so it's been incredibly powerful to be able to share these things with people. Share this emotion in a deeply profound, yet amazingly personal way. Which I'm amazingly fortunate to be able to be a part of it. >> Alright thanks for sharing. Coolest thing that's going on with you right now here at Sundance. >> Just the fact that I'm here at all. I mean, it's incredible right? Personally was able to be an advisor on the SPHERES project that is premiering here with Eliza McNitt. She's someone who was an Intel Science Fair winner back in high school and kind of came back to us. So just to see the evolution of an artist really from the beginning to the point where they've been able to come here to Sundance. I'm also very passionate about the work that we're doing with Sansar. I kind of consider myself one of the chief storytellers at Intel around Virtual reality and this new move into social where people are like well what's this game. I'm like, it's not a game. It's you are the game, you are the interactivity. You become the person that makes the space interesting. We're just really setting the scene for you. And there's so many... You know there's a lot of different people kind of chasing this be togetherness. But what we've been able to produce there. And just to be able to explore some of my own personal ideas has just been such a gift. Then to be working with guys like these on the panels and see what they're doing and just be in touch is really just an exciting time. >> John: Awesome. >> Probably what, other than the people on the projects, or the projects that are being shown here, we're working on our new project, which we would have loved to premiere here, but we did... Basically when you get in, you have two months to create a piece, so you have a demo and you have to finish it, so we're taking a little bit more time. This one's going to be about a year development cycle. It's called Breathe where we take you from where Giant left off, where, in Giant, the ceiling collapses on a family. They're in front of you. In this experience, we use a breathing apparatus to basically bring yourself back to life. And then you realize you're trapped under rubble and you remove the... We actually want to have physical objects on top of you that are going to be tracked. So you're moving rubble from you and you realize that you're a six year old girl. You're the survivor from Giant. And you get to witness what it's like to be a future refugee sort of in different key moments of her life that use breath. Whether it's a flirtatious moment, blowing a dandelion, seeing your own breath in snow as a drone shows you a message that your parents pre-recorded on your 18th birthday. This is all in the future, obviously, but every time you walk around an object, you actually grow 10 to 15 years older in the experience. As you get older, the world becomes smaller. And then we witness what's like for her last breath. From being six years old to being 90 years old. But it's a profound personal experience. >> John: That sounds cool, cool. Gary, coolest thing that you're involved in right now at Sundance. >> Wow. I could say it's all cool that would be a bit trite. They say if you enjoy what you do, is it really a job? And I'm lucky enough to be in that position. Because working with all these guys here and like people around the place, they're doing such great things that every day I wake up and I'm astounded of where the industry's going. In terms of what we're doing here at Sundance, then we're really starting to push those envelopes as well. I've been lucky enough to be involved with Dunkirk and Spider-Man: Homecoming. Like last year, so some great pieces there. And moving out into this year, we've got some other developments which I can't mention at this point, but we're showing things like AR and VR mashup. So we haven't talked much about augmented reality here. It's an evolutionary, it's not a replacement. Both can be used and we've started to really start to blend those two technologies now. So you can still see the outside world. Just touching on the commercial side, and health care's very big for me. That's where I think the really cool stuff is happening. Entertainment is great and that's really pushing the envelope and allowing us to then take it for the good of human kind. >> It happens everywhere, it's not just entertainment. >> Yeah absolutely. You start looking at MRI scans inside of VR or AR. Talking a patient through it so they can actually see exactly what you're talking about. You're now no longer pointing at flat things on a screen. You're now actually taking them through it. If you're using AR, you can actually judge the responses of the patient as for how they're reacting to the news. And effectively, inside of the VR, and what's really cool for me is seeing people's reaction to that content and to the entertainment content. >> That's awesome. Okay final question. This is a little bit of self serving because I'd like you to help me do my job at SiliconANGLE. If you were a reporter and you were going to report the most important stories happening this year at Sundance or really kind of what's really happening versus what's kind of being billed to be happening here. What's the story? What is the story this year at Sundance 2018 in your personal perspective? We'll go down the line and share your observations. >> Well, mine here, I'm a Sundance newbie. This is my first year of being here. I'm absolutely astounded by the community spirit that's around. I go to a lot of technical trade shows and technical presentations. People coming here with a willingness to learn. Wanting to learn from other people. It's been touched on already. It's the pool of knowledge that's available inside of Sundance that everybody that comes here can actually tap into to create better content, to learn not what to do as well as learn what to do. And I just think that's brilliant because in that community spirit, that's really going to help enable this industry quickly. >> John: Winslow, you've got some experience, what's your thoughts? >> Obviously, this Intel house, just a little plug for you Lisa. (laughter) Tech Lounge. We got that? Okay good. I mean, yeah, the people that's here. Every year we come here and see where the high water mark is. All these people are... Some of these teams first started with two people and then they grew to six and then by the end of it, there's 100 people working around the clock, pulling all-nighters to be able to give the latest and greatest of what's available with these current tools. So it's amazing because the work itself doesn't really mean anything until people get to experience it. So that's nice that they make a big splash. The people here are very attentive to it. It's a very nice audience and this will continue the momentum for future festivals throughout the year, but also will excite people that have never done VR before. People who have never been to Sundance before. We're seeing that there's a lot of new people. And that will continue to influence many years to come. >> John: So you think VR is the top story here being told? >> As far as like just to generalize, I would say last year kind of the big VR year. This is kind of the big AR year. Next year's going to be the AI year. Then after that we're going to start putting them all together. >> John: Great, great feedback. >> I think it's just exciting for Intel just to be back here. I think Intel hasn't been here in quite some time. Dell coming in here probably one of the breakout years for us to come back and really talk to creators what we're doing from the Intel Studios all the way through to the stuff you can take home and do at home. And I think coming in, we're coming back here with a purpose really, not just to be here to be seen. We're really here with real things and want to have real conversations on how tech can enable what people are doing. Not just from a brand perspective, but from a real hands on point of view. >> John: Yeah, some great demos too, phenomenal tech. >> Really just, yeah everything from the AI stuff we have to the social to the great new pieces that have been submitted here like we mentioned with SPHERES. So I think, yeah, it doesn't feel gratuitous to me you know that Dell or Intel is here this year. We've really come with a purpose. >> You guys are moving the needle, it's really awesome. We need more horsepower. >> Brooks, your thoughts on Sundance this year. Observation, the vibe, what would you tell your friend back home when you get back? >> If, for me, I think it's almost the non-story. It's like the opposite of a story. It's just the deep integration of VR into the normal Sundance flow I think has been interesting. Some people have been here for a few years. And back in the day when it was one or two, it was a lot of oh, you do VR? What's that then? Whereas now, you see a lot more people who are crossing over. Going to see documentaries, then they come to see a VR piece and it's just a part of the normal flow. And the team at New Frontier has done exceptional work to kind of make sure that they have this ridiculous high level of broad content for all kinds of people. All kinds of experiences, all high end things. But it's not that VR's here. Oh good, we have a VR section. It's a lot more of an integrated set up. And it's been really encouraging to see. >> Well you guys have been great. It's been very inspirational. Great information. You guys are reimagining the future and building it at the same time so entrepreneurially and also with content and technology. So thanks so much for sharing on this panel The New Creative. This is SiliconANGLE's coverage of Sundance 2018 here at the Intel Tech Lounge at the Sundance Film Festival. I'm John Furrier thanks for watching. (upbeat music)

>>from around the globe. It's the Cube covering HP. Discover Virtual Experience Brought to you by HP >>Hello and welcome back to the Cube's coverage of HP Discover Virtual experience. This is the Cube. I'm John Furrier, your host. We're here in the Palo Alto studio with remote interviews. We have a great innovation story here with Disney and HBO. ET Al is tailor vice president of content innovation with studio lab Disney. And so men do suck. Sarkar, distinguished technologist, director of AI at HP. Thanks for coming on, Alice. Someone do. Thank you for taking the time. >>It's great to be here. Hi, >>I love this story. I think it's the innovation story, and I think it's going to be one that will experience in our life going forward. That is media, video and experiences and this innovation in AI. It's a lot to do with the collaboration between Disney Studio Labs Alice that you're running and it's super super important and fun as well. Very relevant. Cool. So first, before we get started, Alice, >>take a minute >>to explain a little about yourself and how Studio Lab came about. Yeah, >>McGuinness Studio lab is just over in its second year of operation. It was an idea that was had by our CTO. I'm going to say, three years ago and at the time, just previously before that I had a start up company that came through the Disney accelerators. So I was already inside the building and, um, the team there said Felicity on the said, You know, we need to start up an innovation lab that will investigate storytelling through emerging technology, and that's basically being the majority of my background. So I said Yes on then. Since then, we'll be going a team. We opened the lab in May of 2018 and here we are in the middle of Pandemic. But it has grown like crazy. Its just a wonderful place to be and to operate. And we've been doing some amazing projects with some amazing partners, >>and it's not unusual that an entrepreneur has this kind of role to think outside the box. We'll get some of that talk about your experiences, and I wonder how you got into this position because you came in as an entrepreneur. You're doing some creative things. Tell us that story real quick. >>Yeah, Okay, well, so as you could sell on British. My actual background started. My whole career started in technology in the mid nineties. A Xai started as a training video editor but then switched very quickly and 95 building websites. And from there on, it was Internet all the way. But I've always focused on storytelling. And, you know, much of my background is working for broadcasters and media and content creators. So those five years of the BBC in there already department and, um actually out here is VP of digital media for them and then Channel four as well. And throughout the whole process, I was always interested in how to tell stories with new technology and the new mediums as they emerged. So yep, flights side story and doing a startup which was actually in toys and video games, but again, big digital storytelling environments for Children. And then I came round. Robin, if you like into Disney and here we are still looking at how to you make films and episodic content. Even Mawr. You name it faster, better, more exciting. Using the best and greatest in emerging tech as we find it, >>and the lab that you're doing is it's an accelerant, almost four new technologies. Your job is to what? Look out over the horizon next 10 years or so to figure out what's next. It's >>not a structure. I think you have >>some rain to be creative and experiment >>Well, yeah, I mean, in fact. So it's a studio live at the studios. We'll Disney has eight studios at the moment, and what we do is we look at actually the whole breath of storytelling. So right from the moment when a creative has an idea through to how our guests and fans might be receiving the end product out in the world and we segregate those that that whole breadth from into three categories i d. Eight. When you know the process of generating the idea and building it, make how we make it where we make it, what we make it with on that experience, how we experience it out in the world. So we have a whole SNU of projects. The studio level so works with some of the best technology companies in the world, and we call those are innovation partners on. We sign these partnerships really to bring what we like to call superpowers to the system we like to think. But the combination of those companies and what comes out of these projects is going to give our filmmakers superpowers, but also that combinatorial effect of Disney. You know, in this case, for instance, working with HP like produces something that Disney couldn't necessarily do on its own or the HP. He couldn't necessarily do it on his own, either. So, yeah, it's a huge remit, and we tend to look, we don't look quite so far out. Generally speaking as 10 years, it's more like three to now. We don't do day to day operational work, but we try to pick something up a couple of years before it's going to be operationally ready and really investigated then and get a bit of a head start. >>Well, it's great. Have HBs partner and And having that bench of technology software people is just a nice power source for you as well. Someone to talk about the relation HP relationship with Disney because, um, you got a lot of deep technical from the lab standpoint to resilient technology. How are you involved? What's your role? You guys sitting around you riff and put a white board together and say, Hey, we're gonna solve these big problems. Here is the future of consumption. That is the future of video. What goes on? Tell us your the relationship between you guys. >>Yeah, it's a good question at HP. We don't really make the service, but what we also do is we work quite a lot on optimizing some of the artificial intelligence solutions and algorithms on the DP use and scale it across servers. So So you don't have this opportunity came up from Disney, where this thing came up with a very innovative solution where they were solving the video quality problem. As as, you know, there are a lot of blemishes and in the video that can come up and didn't want to fix all of them. And they have great algorithm. But what happens is, but with better guards comes a huge amount of computational complexity, which needs a little bit of heterogeneous compute input in parallel processing and in sequential processing. So we thought that it's a perfect on, and it's a combination off the skill sets to make this video quality software execute at speed switch needed for production. Disney. >>So it's good to have a data center whenever you need it to. You guys have a great technology. We hear a lot more from the execs at HB on our reporting else. Want to get your thoughts? We're covering some of this new edge technologies. We're talking about new experiences. I gave a talk at Sundance a few years ago, called The New Creative Class, and it's really about this next wave of art and filmmakers who are using the tools of the trade, which is a cell phone and and really set of Asti studios and use the technology. Can you give us some examples of how Studio Lab collaborates with filmmakers and execs to push the push, the art and technology of storytelling to be fresh? Because the sign of the times, our instagram, tic tac, this is just very elementary. The quality and the storytelling is pretty basic dopamine in, but you can almost imagine the range of quality that's going to come so access to more people, certainly more equipment, cameras, etcetera. What's next? How do you guys see? What's some examples can you share? >>It's an amazing question. I mean, we're working on films and episodic. It's rather than very short form content, obviously, but you're absolutely right. There's a lot of consumer grade technology that is entering the production pipeline in many ways and in many areas, whether it's phones or iPads first using certain bits of software. One of the things that we're building at the moment is the ability Teoh generate vertical metric models, capturing with consumer drones or even iPhones, and then use it getting that data into a three D model as soon as possible. There's a really big theme. What we want to do is like make the process more efficient so that our creatives and the folks working on productions aren't having to slog through something that's slow and tedious. They want to get to the story, telling the art in the act of storytelling as much as possible. And so waiting for a model to render or waiting for their QC process toe finished is what we want to kind of get rid of so they can really get to the meat of the problem much, much faster and just going back to what Mandy was saying about the AI project here I mean, it was about finding the dead pixels on screen when we do our finished prints, which would you believe we do with humans? Humans at their best historically have been the best of finding dead pixels. But what a job I have to do at the end of the process to go through quality control and then have to go and manually find the little dead pixels in each frame of our print. Right? Nobody actually wants to be doing that job. So the algorithm goes and looks follows automatically. And then HP came in and spread that whole process up by nine X. So now it actually runs fast enough to be used on our final prince. >>You know, it's interesting in the tech trend for the past 10 15 years that I've been covering cloud technology. Even in the early days, it was kind of on the fringe them because mainstream. But all the trends were more agility, faster taking with ah, heavy lifting so that the focus on the job at hand when it's creative writing software. This is kind of a success formula, and you're kind of applying it to film and creation, which is still like software is kind of same thing, almost so you know, when you see these new technologies that love to get both your reactions of this. One of the big misses that people kind of miss is the best stuff is often misunderstood until it's understood. And we're kind of seeing that now. A covert our ones. From a way, I could have seen this. No, no one predicted. So what's >>an >>example of something that people might be misunderstanding that super relevant, that that might become super important very quickly? Any thoughts? >>That's great. Well, I can give an example of something that has come and gone and then coming, potentially gone. Except it hasn't it's VR. So it came, you know, whenever it was 20 years ago, and then 10 years ago, and everybody was saying VR is going to change the world And then it reappeared again six years ago again, everybody said it's going to change the world, and in terms of film production, it really has. But that's slightly gone unnoticed, I think, because out in the market everyone is expecting VR to have being a huge consumer success, and I suspect it still will be one day a huge consumer success. But meanwhile, in the background, we're using VR on a daily basis in film production. Virtual production is one of the biggest, um, emerging processes that is happening If you've seen anything to do with, um Jungle Book Line King Man DeLorean. Anything the industrial like magic work on. You're really looking at a lot of virtual production techniques that have ended up on screen, and it is now a technology that we can't do without. I'm gonna have to think two seconds for something that's emerging. Ai and Ml is a huge area, obviously were scratching it. I don't think anyone is going to say that it's going to come and go in this one. This is huge, but we're only just beginning to see where and how we can apply Ai and Ml and you did you wanna jump in on that one? So >>let me take it from the technology standpoint, I think it was also very cool trends. Now what happens is that your ML spaces people have come up with creative ideas. But one of the biggest challenge is how do you take those ideas for commercial, use it on and make and make it work at the speed, as Alice was mentioning, It makes it feasible in production. So accelerating your ML on making it in a form which is visible is super important. And the other aspect of it is just the first video quality that it was mentioning. That picture is one types, and I know the business is working on certain other video qualities to fix the blemishes. But there's a whole variety of these vanishes on with human operators. It's kind of impossible to scale up the production on to find all these different artifacts like, you know, especially now. As you can see, the video is disseminated in your forms in your ipads from like, you know, in that streaming. So this is a problem of scale on do stuff. This is also like, you know, a lot of compute on a very like I said, a lot of collaboration with complimentary skill sets that make it real. >>I was talking with a friend who was an early Apple employees, now retired good friend, and we're talking about all the Dev ops agile go fast scale up, and he made a comment I want to get your reaction to, he said. You know what we're missing is craft and software. You speak crafts game. So when you have speed, you lose craft, and we see that certainly with cloud and agility and then iterating. Then you get to a good product over time. But I think one of the things that's interesting and you guys are kind of teasing out is you can kind of get craft with the help from some of these technologies where you can kind of build crafting into it. Alice, what's your reaction to that? >>One of our favorite anecdotes from The Lion King is so Jon Favreau, the director, built out the virtual production system himself, Teoh with his team to make the film, and it allowed for a smaller production team acting on a smaller footprint. What they didn't do was shortened the time to make the film. What the whole system enabled was more content created within that same amount of time, so effectively John had more takes and more material to make his final film with, and that that's what we want people to have. We want them to have to know ever to have to say I missed my perfect shot because of I don't know what you know. We run out of time so we couldn't get the perfect shot. That's it. That's a terrible thing. We never want that to happen. So where technology can help gather as much material is possible in the most efficient way. Basically, at the end of the day, for our for our creatives, that means more ability to tell a story. >>So someone do. This is an example of the pixel innovation. The Video QC. It's really a burden if you have to go get it and chase it. You can automate that respect from the tech trends. Will automation action in there? >>Yeah, absolutely. And as Chris was mentioning, If you can bridge the gap between imagination and realization, then you have solved the problem that the people who are creative can think on implement something in a very short time, gone back for like, you know, some of these I'm just coming. >>Well, it's a very impressed that I'm looking forward to coming down and visiting studio labs when the world gets back to work. You guys are in the heart of Burbank and all the action and the Euro little incubates really kind of R and D meets commercial commercially. Really cool. But I have to ask you, with covert 19 going on, how are you guys handling? The situation certainly impacted people coming to work. How is your team? Have been impacted. And how are you guys continuing the mission? >>Well, yeah, The lab itself is obviously a physical place on the lot. It's in the old animation building, but it's also this program of innovation that we have with our partners. To be honest, we didn't slow down at all. The team carried on the next day from home, and in fact, we have expanded even because new projects came rolling in as folks who were stuck at home suddenly had needs. So we had editors needing to work work remotely. You know, you name it folks with that home connections, wondering if we had some five G phones hanging around that kind of thing. And so everything really expanded a bit. We are hoping to get back into physical co location as soon as possible, not least to be able to shoot movies again. But I think that there will be an element of this remote working that's baked in forever from here on in not least, cause it was just around. This kind of what this has done has accelerated things like the beginning of cloud adoption properly in the beginning of remote teller work and remote telepresence and then also ideas coming out of that. So ah, you know, again, the other day I heard holograms coming up. Like, Can we have holograms yet? So we don't do it That's going to cover out again. Yeah, but you know what? The team have all been amazing, would. But we'll miss each other. You know, there's something about real life that can't be replaced by technology >>has been a great leader in in accumulating. All HP employees work from removed and in the process. But we're also discovered is we have also, you know, maybe so. We discovered innovative ways where we can still work together. Like so we increase the volume of our virtual collaborations on. I worked with Erica from Disney is a tremendous facilitator and the technologists of mining one. You have this close collaboration going. Andi almost missed nothing, but yes, if you would like to, you know, on the field each other on to be in close proximity. Look at each app in each other's eyes are probably that's only missing thing, but rest off it, You know, we created an environment perfect, clever and work pretty well. And actually, at this point in the process, we also discovered a lot of things which can be done in remote, considering the community of Silicon Valley. >>You know, the final question I want to get your thoughts on is your favorite technology that you're excited about. But someone doing you know, we're talking amongst us nerds and geeks here in Silicon Valley around you know what virtualization server virtualization has done? An HP knows a lot about server virtualization. You're in the server business that created cloud because with virtualization, you could create one server and great many servers. But I think this covert 19 and future beyond it virtualization of life, Immersion of digital is going to bring and change a lot of things. You guys highlight a few of them. Um, this virtualization of life society experiences playing work. It's not just work. It's experiences so Internet of things devices how I'm consuming how I'm producing. It's really going to have an impact. I'd love to get your both of your thoughts on this kind of virtualization of life because certainly impact studio lab, because you think about these things. Alice and HP has to invent that the tech to get scaling up. So final question. What do think about virtualization of life and what technologies do you see that you're excited about to help make our lives better? >>Well, goodness, may, I think we're only beginning to understand the impact that things like video conferencing has on folks. You know, I don't know whether you've seen all of the articles flying around about how it's a lot more work to do video conferencing that you don't have the same subtle cues as you have in real life. And again, you know, virtual technologies like we are on day similar and not going to solve that immediately. So what we'll have to happen is that humans themselves will adapt to the systems. I think, though fundamentally we're about to enter a radical period. We basically have already a radical period of innovation because as folks understand what's at their fingertips. And then what's missing? We're going to see all sorts of startups and new ideas come rushing out as people understand this new paradigm and what they could do to solve for the new pains that come out of it. I mean, just from my perspective, I have back to back nine hours of BTC a day. And by the end of the day, I could barely walk Way gonna do about that. I think we're gonna see holograms like that. We're gonna see home exercise equipment combined. You know, really good ones. Like you've seen politicians shares going crazy. There's tons of that. So I'm just really excited at the kind of three years or so. I think that we're going to see of radical innovation, the likes of which we have always usually being held back by, um other reasons, maybe not enough money or not enough permission. Whereas now people are like we have to fix this problem. >>Well, you've got a great job. I want to come to quit. My job income joined studio left. Sounds like it's a playground of fun. There great stuff. Someone do close us out here. What? Are you excited about as we virtualized you're in the in the labs, creating new technology. You're distinct, technologist and director of AI. When you're on the cutting edge, you're riding the wave two. What's your take on this? >>Virtually? Yeah, you know the experience. What it has done is it has pushed the age to the home. So now if you really see home is one of the principal connectivity to the outside world restaurants. Professional goes on and on with that, What I also offers is like a better experience. Right now. We're all gather about Zoom being able to do a video conferencing. But as this was pointing out there is that here in that we are now consider combining the augmented reality and and the way that we do your conference and all the other innovations that we could begin in the East so that the interactions becomes much more really. And that is like, you know, I'd say that the world is moving to >>l Cool. Thank you very much for that comment and insight really enjoyed. Congratulations on studio lab. You've got a great mission and very cool and very relevant. And someone do. Thank you very much for sharing the insights on HP's role in that. Appreciate it. Thank you very much. Okay, this is the Cube. Virtual covering HP Discover virtual experience. I'm John Furrow, your host of the Cube. Stay tuned for more coverage from HP Discover experience after this break. >>Yeah, yeah, yeah, yeah, yeah.

>> Announcer: Live from San Juan, Puerto Rico it's theCUBE! Covering Blockchain Unbound. Brought to you by Blockchain Industries. (Latin music) >> Welcome back everyone, this is theCUBE, exclusive coverage of Puerto Rico covering Blockchain Unbound's global conference where token economics meets the real world global society, Blockchain decentralized applications, and of course, cryptocurrency all kind of coming together. You got investors, you got developers, you got billionaires and millionaires, and you got the capital markets all rolled up into one. My next guest is Andrew Prell, founder and CEO of Convergence, entrepreneur, visionary, experienced entrepreneur, welcome to theCUBE. >> Thank you very much for having me! >> So you're doing some really radical, not radical, progressive, I mean radical sounds (mumbles) Awesome things, you're re-imagining gaming. >> Andrew: Correct. >> Got a great team of people who have seen that movie before, literally, seen the entertainment side of gaming, the pro gaming side to the tactical gaming side, take a minute to explain what you guys are doin' that's super fascinating, how it works in this new era. >> So, we're re-imagining the entire game space, when I say that I'm talking the consumer side, that's cell phones all the way through consoles and PCs, out to the out-of-home entertainment side, which is arcades, location-based entertainment and full-blown theme parks, and marrying them all together with one backbone platform that allows all of the devices to interact with each other in the same game space. So you can be in a $300,000 simulator at Disneyland, workin' with guys on cell phones against guys in their head-mounted displays. Any of that, they all work together in one game space. >> So basically the world is the device, every device. >> Yes. >> On the network, IP connection or global, player, console, screen, and you're connecting them all together. Hence Convergence. >> Right, we're giving every device in the eco-system it's proper place and it's proper prestige. 'Cause if you've got a $5,000 gaming rig, you don't think a guy with a $800 cell phone should be at the exact same level, but maybe 10 other cell phones could be a equal match to you. >> Take me through a use case of how you're going to converge this all together. So you talk to some purists out there, "I've got a 4K monitor, I don't want this cell phone guy "comin' in here, he's got lag, "I got all kinds of gaming issues." Does that go away, how does it all work? >> What we're havin' to do is contextual-based interfaces, meaning that your roles and responsibilities in the game space is dependent on the devices that you bring in. Because virtual reality is not just the head-mounted display, it's all the new gear coming out with the tactile feedback, the bodysuits, the gloves, the boots, the treadmills, all of that. All of that, your roles and responsibilities in each game space is dependent on the device that you enter with. >> So I was at Sundance this year and I had a theme, I did a panel I put together called The New Creative. And if you look at all the new artists out there, they want to break down the elite gatekeepers, right? I mean the virtual-reality and augmented-reality world is colliding with film, filmmakers. You got YouTubers out there with a million, 10 million subscribers, built-in audiences, this new technology coming out. A lot of people are bringing storytelling, filmmaking, and it's just really in the early stages right now. People love the characters, but you start to see the new kind of format. Does this play into your world? I can imagine that, if you're thinking to be disruptive in the way you're thinking, new games're going to emerge so it's not thinking about the old games, it's thinking about potentially new games. >> Andrew: Correct. >> How do you view that, is that somethin' that you see? What's your reaction to that trend of this new, multifaceted VR, AR. >> We see that everybody is going to get to play together, cross every device, the developers are going to get rewarded for creating content, people are going to be rewarded for creating things inside of the games, and the players are going to get rewarded for doing all the top things, and getting to the top levels of all the games, and we're going to reward them through our cryptocurrency. >> We're in Puerto Rico obviously, this world's goin' to another level, Brock Pierce, his community, the Blockchain community, they're comin' to Puerto Rico, tax incentives, the government's here opening up their arms, But you're starting to see it go to the next level. These early industries you got the entrepreneurs and the promoters. The promoters promote the entrepreneurs, there's a lot of love goin' back and forth. But then they hit that threshold, the capital markets come in, you know, you start to see the opportunities, but the money start flowing in. It's kind of happening now, so it's goin' the next level. In your opinion, token economics; now that there's so much money flowin' in, now that people see that Blockchain's legit, now that people see that this is actually a new model, not everybody, but majority-a' people in the industry are all noddin' their heads, "Okay, Blockchain's "got some potential, token economics is a legit thing, "it's disrupting capital structures, "it's disrupting funding." How is it disrupting the gaming business? Can you share your opinion on that? >> People don't understand the overall impact. We didn't understand the overall impact. A lot of the investors coming in still don't fully understand the overall impact. I was in a discussion the other day, I'd written some articles in Medium about token economics, and about the virtuous circle of a token-based investment fund. Meaning everything that it invests, all the fees, everything coming out of it, is all based on a token inside of an ecosystem. We're about to head to GDC, Game Developers Conference, just like Kevin Bachus did for the Xbox, we're going out there to license and buy up all the content that we can through our tokens. Now the cool thing here, the thing that just makes the investment, the cash funds dead, is a dollar bill can not change in value other than go down over time slightly. So we'll just say the dollar bill doesn't change in value. If I was Kevin Bachus back when the Xbox was coming out, and I went and invested a million dollars in a hundred companies in crypto, say the Xbox is crypto, and you could only get to those games through the token, which is what we're doing, and I found Halo, which, a hundred-million people bought the Xbox just because of Halo, then what that does for a cash fund is everybody pats each other on the back because you've got one game that's goin' to exit and that's kind of cool, but that's it. Doesn't affect the rest of the economy other than a nice network effect. Halo gets a hundred million users, the next guy might get five million of those or 10 million of those, that's a nice small impact. When you do it with crypto, and you start out with a penny token, that you put a million dollars into a hundred companies, and you find that Halo, and it explodes, your penny token might go to 10 cents. So what you just did was you just 10-exed what you invested into Halo. >> It's a futures contract on gaming. >> Well. >> Kind of. >> I'm not going to talk to that point. (laughs) We're going to just talk about this example, is you 10-exed, you went from a million to 10 million in Halo, but you also 10-exed every single investment you just did, and you 10-exed every person in that ecosystem that's involved in it, that's getting paid in it. Your suppliers, your publishers, your media. >> John: Everyone gets paid. >> Everybody get 10-exed because you found Halo. So that makes this whole ubiquitous ecosystem involved with everybody else, meaning I get rewarded if you get rewarded, so everybody helps everybody else. >> That is exactly the model of token economics. >> Exactly, it explodes because it's so powerful. >> This is interesting, the inefficiencies of the process that you pointed out, the old way, is eliminated by the new model. Hence, the people who pick up the game are the participants who shorten that efficiencies. >> I had a guy the other guy ask me, "you're not asking for enough money with your ICO, "'cause you've got to go invest in all these companies." And I was like, "you don't understand token economics!". All I have to do is unlock the power of my token and invest with that, and I've already proven, back in 2015 we proved that a lot of the game developers would take our token without it even having a secondary market. >> You haven't even gone to a whole 'nother dimension that you don't even have to go to now, but that's future, is the role of consensus in these communities really also do the filtering at many levels. >> Andrew: 100%! >> If you look at what Activision got their ass handed to them, all you got to do is look at the Reddit threads. The whole gaming thing is, no one wants to see games go corporate. Because they had to force a business model, this is a huge issue, people are losing their shirts. "Oh, great creative studio, they sold out, game's over". The audience flocks away, why? 'Cause they have no incentive. Do you agree? >> I agree a 100%, but there's a lot of professional investors that don't. So we broke up the sum of our funds that we're investing into all these startups, we broke it up into 10 funds, and we're going to turn it into a game. We're going to give one of the funds purely to our token holders, and do a consensus model, and let them vote on what they think we should, what should be in our network. And they're going to go up against nine other investors. I threw down the gauntlet. Whoever gets best wins the extra bonuses. >> So are you raising money now or did you raise the token sale already? >> We're closing out our private presale, and because of Blockchain Unbound I doubt we'll actually hit the open market with the ICO, so people will have to go to our developers that we invest in, and get the tokens through them somehow. >> Good success year, huh? Blockchain Unbound been a good success for you? >> Oh yeah, Brock Pierce is on board, been pushin' behind us since Cayman. Him and Crystal both fully supported us and we're havin' awesome. >> What's your advice to people out there, scratchin' their heads, "Andrew, give me "the 101 on token economics, what's the bottom line, "what do I need to know about, where do I get started, "what do I do?". >> Once you get your token actually, say, authenticated, realized, everything's transparent, and it gets on that secondary market, it's better to use that to invest in anything you need to invest in. Get everybody incentivized around your token. All your employees, all your vendors, everybody incentivized around that token, it's a 1000% more powerful than a dollar, 'cause a dollar doesn't go up in value. Your token can go up and down, but trends up, and as soon as you find just one spark that blows up, everybody, all boats rise equally. It's awesome. >> All right, Andrew Prell, CEO, reimagining gaming. Token economics is a disruptive force. There's math involved, every company will need a a chief economic officer, that'll be a new title, we'll be certainly seein' that out. Thanks for comin' on theCUBE, 'preciate it. I'm John Furrier, you're watchin theCUBE. Exclusive coverage in Puerto Rico for Blockchain Unbound. Part of our two-day wall-to-wall coverage, thanks for watchin', we'll be back with more after this short break.

>> Announcer: Live from San Juan, Puerto Rico, it's the Cube, covering blockchain unbound. Brought to you by Blockchain Industries. (upbeat Cuban music) >> Hello there, and welcome back to our exclusive coverage. This is the Cube's coverage in Puerto Rico for Blockchain Unbound. We start week of variety of activities here on the island around blockchain, cryptocurrency, the decentralized internet, the future of work, the future of play, the future of society, all here, happening. My next guest is an entrepreneur. Steve Steward is the CEO and co-founder of that's V-E-Z-T. Really changing the game around music, relationship to fans, and using blockchain and tokens to enable that. Welcome to The Cube. >> Thank you so much John, it's great to be here. >> Thanks for coming on, so first talk a little bit about what your value proposition, what you guys are doing. Obviously, people who ever downloaded iTunes, and then said, "This sucks, let's go to Spotify." Now are going, "Hey, I'm on Instagram. "I have access to my artist directly." The internet is a response vehicle; one on one. Tell them about your opportunity. >> There's two value props. One for the consumer, right? So, if you're an artist fan, and you love a song. You love an artist. You want to be involved with that artist on a one to one basis, there's no way to do that right now. You can follow somebody on Twitter, you can like their YouTube, that doesn't connect you with them. Our platform let's you buy in, and by buy in I mean ownership. You own a piece of the IP with that artist in their song, so it's on a song by song basis. But if Ariana Grande's my favorite artist, I want to buy a little slice of her song for $10 or $100, I now have the opportunity to put that out there, and I can share in that royalty stream with her. And she and I will connect on a level. If she wants to take my information and send other things to me like concert tickets or backstage passes, that's possible now. So the value prop for the fan, is connection with the artist and ability to say, "I own a piece of that royalty stream. "I own a piece of that song." And on the artist side the value prop is, "I now get to actually share directly with my fans, "build that community directly. "There's no gate keeper like a label "or publishing company in the middle, "and I have the ability to reach out "and monetize directly based on demand and merit. "Then take that and do whatever I want "and build up my brand." >> So this is a great example where artists that have direct relationships, might be undervalued. Also, in a way there doing their own mini ICO, so to speak, with their fans by sharing in the future value of the success with the people that got 'em there. >> They are, we call it an ISO, Initial Song Offering. So just like a ticket on sale, it allows an artist to pick a time and date and say, "At noon on Thursday, I'm putting out 5% of my song "to raise $10,000." They pick the pricing, they pick the amount they want to put up, we admin the actual royalty stream for those people that put money into it, and the artist keeps the rest of it. >> I've seen a lot of pitches, I've seen a lot of stuff online, "Oh yeah, we're going to revolutionize "the new music industry, were going to use tokens." I've seen I feel pitches, but again, if you look at the smart money investors, they're looking at deals and saying, "Is there a network effect? "Is there a protocol of some sort in there?" Obviously you've identified a relationship that has tokenization or token economics built into the business model. Take a minute to explain that key tokenization. Why you're business is set for token economics? Why you, over someone else? >> So my backgrounds in the music business, I used to manage a band called Stone Temple Pilots for 20 years. Actually for 10 years, from 1990 to 2000. I had 20 other artist in that meantime. I understand the pain points from an artists perspective. I also know where the value is in the industry. It's in the publishing. Most of these entertainment businesses, the IP is where the real value is. Film, books, T.V., music, it's all in the underlying content. Not the distribution, not how many times I've downloaded it, but the actual ownership of the content. What we want to do, is put that in a basis so the artist can now take that on a fractional basis. We can use a tokenized product to let the fans buy in. The blockchain helps us track those rights, keep them secure, make them transparent, and allow the ownership to be shared between thousands or hundreds of thousands of people. >> And this also helps build community. I want to get your thoughts on something. I held a panel on Sundance this year, Sundance Film Festival, called The New Creative. What you're seeing emerging is a new artist. The new artists are digital native, their fan base is direct. Things we just talked about. But they're undervalued, because the gatekeepers, either the studios and or labels in your instance, are controlling distribution and they're also controlling the activities. So we all know what Apple's done with some of their artists, and artists have to go on the road and do all this work. Well digital changes all that, so from your perspective as a industry guru in music, how has digital changed that dynamic? And talk about this new artist breed, this new young upcoming digital generation of artists. >> There's two things. First, internet really hasn't delivered what it said it was going to the music community, right? When you had Napster come out, it's great for the fan base. The artist and the creators actually lost out. Music got valued from here to here. It went almost to zero. People were sharing files for free, so at some point we thought-- >> Regulatory tried to solve that legal-- >> Tried and tried, but once you build a generation on free, it's hard to change that. On the fan side it was great. There was a lot more distribution. On the artist and creator side, it wasn't so great. What we're trying to do is bring value back to that. We're going to use digital in a way that lets people share what they believe in, without these gatekeepers like you said; fully demand based. If I'm the small artist who plays banjo in Kentucky, but I've got a 100,000 fans who really love me, and they can show that by buying in, forget the labels. Forget the publishers. Forget the brands. I now have a direct connection. I'm earning a living directly from my fan base, which is how it should be. >> Kind of like we do open source content. We were talking about our business, you are enabling people to self-identify with the artist, letting the artist be open to that, make that handshake or if you will, digital handshake, and have a relationship beyond just being a fan. >> Most of the labels, in fact all the labels: Spotify, YouTube, Pandora. None of those platforms let the artist share directly with the consumer, right? If I say, "Look, I've got 20,000 streams today, "can you tell me who they were, no. "Can you show me where the downloads are, no." Why aren't they letting those people connect. The artist has a natural connection with their fans. >> That's because the tech platforms are optimized for a different business model. Look at Facebook, they're living in their own problem. Their success is almost killing them. They have this centralized data optimization for the wrong incentive. They're optimizing data for advertising, not user experience. In this case, you're saying, "Hey, lets use the infrastructure and crypto "to optimize the fan relationship and expand it." >> The reason artists get on stage, the reason they write a song, is to connect with people, right? We've disembodied that connection to the point where they're out there in the ether and the fans are over here. They're like, "How do we get together?" If we can bring that back, there's a very powerful connection there that we can take advantage of and let people actually make money from their craft. >> Well Steve, great to have you on The Cube because one, you have domain expertise, you're business model solid, and we've been saying yesterday and on The Cube that it's a reverse of the old stack model. The top of the stack is the business model. You nail the business model, the underlying plumbing will sort itself out. With that in mind, how are you guys looking at the plumbing? What are you doing here in Puerto Rico? Are you raising money? Are you doing an ICO? Take a little bit to explain your relationship to the plumbing under the hood, in the blockchain, crypto world. And then what you guys are doing here in Puerto Rico. >> We started building our platform the traditional way. We took traditional VC funding about a year ago. As we were building the platform, we understood the importance of a blockchain, some type of decentralized ledger that allows people to look transparently under the ownership stack. As we were building that, one of our engineers said, "hey, have you guys heard of an ICO?" we had no idea what this was. It was about a year ago. Got educated very quickly, dove deep on it, and realized there's an opportunity, not really for the fact that it's crypto, but to actually capitalize the company in a meaningful way. We want to scale this very quickly. We've got strategic partners in Asia, other parts of the world, that we need to grow very quickly into. We realized it was an opportunity to have. We did a raise close of December 1st; oron exchanges. >> An equity raise or a token raise? >> The token raise. We did a U.S. based PPM SAFT. >> So a security token. >> It's a utility token, but we followed a process that our legal advisors advised us. In the U.S., keep it as a PPM SAFT. If it's offshore, it's offshore. >> So accredited investors? >> Accredited investors only, small cap, try to keep it reasonable, because we don't need 100 billion dollars to build this platform right now. We're looking to get this in a traditional business sense, so we're building a real platform with a real team. We took advantage of that. We got listed on an exchange January 12th. At this point, we're head down in product. We're looking to launch this in 45 days at Coachella. We had an event two nights ago at South by Southwest. We came up here from Austin, so we're going back to California tomorrow. >> John: You're on a plane. >> Yeah, we're on a roadshow. We've got artist brand partners now. We're signing people, two or three artists a week that come in. We've got publishing catalogs that are coming on board realizing that there's a B to be played, because publishers only monetize the top two or 3% of their catalogs. The other 98% get no love. If they can put that on a retail platform like us, and allow consumers to buy directly into it, it's a whole windfall for them. >> Everyone's a media company these days. We've been saying it, and that's the new media model. You got a great formula, good luck. We'd love to keep in touch. >> Absolutely. >> What are you guys looking to do next six months as you get the product out the door? Ecosystem, you got to recruit more artists? What's the plan? >> My goal is 100,000 songs in the platform by the end of summer. Like I said, we're doing a lot of brand activations at music festivals. We see people, you know, exponential growth. Each song comes with an artist fan base. This builds into it. We're also supporting producers, co-writers, performers, the other guys that aren't on the stage. We realize this platforms for them, because the own live ownership in these songs, but have never had a way to monetize it. We're growing this very quickly. >> Steve Steward, CEO/co-founder of that's V-E-Z-T. Check 'em out. If you like music, this is a great way to actually take part in being a fan and owner of the actual property; great business model. We'll keep in touch. Thanks for sharing on The Cube. More live coverage here on The Cube, bringing you all the action, and extracting the signal from the noise. I'm John Furrier, thanks for watching. We'll be right back with more coverage after this break. >> Thanks guys, thanks John. (electronic instrumental music)