In December, meta Announced a multier partnership With James Cameron Lightstorm vision To bring 3D entertainment to the Meta Quest Headset. This week, Cameron joined the Meta CTO Andrew Bosworth on stage during the company’s meta connect conference to share the first result of that partnership: Quest owners are capable of seeing a special preview clip for Cameron’s upcoming Avatar 3 Movie through the new horizon TV app of the headset.
I had a chance to sit forward with the pair next to my main appearance that the mixed reality headset 3D video, 3D TV’s complex history and their main appearance to talk about the ability to represents the capacity of generic AI to the camel’s attitude.
This interview is edited for length and brevity.
Why did you partner with Meta on 3D Entertainment?
James Cameron: It just looks like a natural convergence. I had been prosecuting stereoscopic media and entertainment for 25 years. It became inactive for some time, as cinema was actually the only place to see it. This flat panel was a brief life on TV, but the instruments never really did a good job.
But in a mixed reality headset, you are spontaneously a stereoscopic audience. (When I saw) the mixed reality headset, it happened to me: this is the time to bring back the capacity I spent in developing 15, 16 years. So I raised a new company, Lightstorm Vision around stereoscopic production. At the same time, the Meta content team was looking for a partner in entertainment, in entertainment breaks, studios and filmmakers.
Andrew Bosworth: (We) were looking for each other without realizing it. We pitched each other. This remains a tremendous partnership for us. (James is not just a great storyteller,), but also an enlightened who can tell us: here are the ways in which the things you are creating is not meeting the needs of the storytellers. Someone who has an expert and a critic has a very high value for us.
A lot of VR Storytelling has focused the audience on putting the film in the middle of the film, making things more interactive. Do you think you are more about 3D stereoscopic, frame lean-back-box entertainment?
Cameron: You are right. The career I have done is telling stories in a linear story format. Sometimes, they are documentary stories. Sometimes, they are completely fictional stories. But it is in a rectangle.
Everyone was in a hurry to give rebate to the rectangle. But what the verse does, it directs the eye. Avatar Movies are an example of what I like to do, which gives you a lot of things to enjoy within a frame. But the frame is a frame. The frame is telling the story.
We have maps of cinematic terminology (that) of hundred-plas year, the way Mind writes memory. This is why the cinematic terminology is similar in China, India, Japan, America, Europe. We all think through that rectangular window in the same way, because it is how the brain works.
Bosworth: This is the time (key.). Partly, we did not have demonstrations for it. You had a TV. You had a phone. When the resolution was not good, why would you watch a film in the headset?
Now what is different that we have a resolution. What do we really have people see in these other environment. We have a fresh rate that is really high. We are with the headsets that we are in the market today, not only ours, where we can do what TV does, and is also media. I think there is probably place for both.
Cameron: I think episodic television is very ignored here. Stereoscopic production increases your sense of engagement with those you are looking into the frame. But Aaj Tak episodic television is not a way to distribute stereosopically. It is changing, and I think it’s going to be very big.
It is interesting that you have mentioned 3D TV. They clearly flopped, and sometimes people say: VR is going to be the next 3D TV. Now you are telling me: Yes, VR is going to be the next 3D TV, but it is really working.
Bosworth: A funny thing is that people say: Oh, 3D are all the same. The first time I went to meet James in LA, he showed us a piece of his upcoming film. He showed how the average stereoscopic movie theater projects it, which is a relatively low glow. Then he put it on a laser projector, which he intends to see in theaters. This is a deep difference.
One of the problems you has is that the audience feels that they are all the same. You have to be relatively sensible to understand what the dolby vision means, or what IMAX means. 3D TV was a relatively poor stereoscopic experience. Some of these were glasses. Some of these were limited depth projection. There was some glow from it …
Bosworth: Completely. It was not a great experience. The good thing about the headset is that you guarantee an excellent experience every time. This is a separate product, and I think to some extent, we give ourselves a disagreement when we level the consumer electronic location highly on things.
James, you are in the board of stability AI. What do you get as a filmmaker, and as a CGI pioneer, is excited about generative AI?
Cameron: These days I see the cost of VFX, which is quite limited to the types of films and get a greenlight. The labor rate has increased significantly, and the dramatic market has partially collapsed, at least 30 percent. And so we need a solution.
The solution will probably be a lie in creating a specific custom general AI model that can be injected into the existing visual impact workflows. I am less interested in a kind of magic wand text-to-video approach. If I had been a young filmmaker, with no resources, no money, and could not tolerate the actors, I would be very interested in that type of production. But this is not my interest.
My interest is the mainstream and high-end production that includes a lot of effects. And I am not an anti-artist at all. I do not want to cut people. I do not want people to lose their jobs. What I want to do is more productive, so that we can create more throwputs through existing companies.
Through stability, I (found) a lot of general AI developers. Great people, but they are making goods in a vacuum. He has never made a shot for a film from end to end. All production-centered equipment that were built in CG and VFX over the last 30-few years, as the products required them. They were not built in a vacuum.
Do you think the generative AI, however, is going to democratizing filmmaking for that young filmmaker? People used to say the same thing about game engines, real -time and virtual production equipment, and this is not right. Instead, it has given birth to Hollywood using a huge, extremely expensive LED screen …
Cameron: I think it is going to make an entry-tier avenues for those who can come with a film (in Hollywood), which they have created using signals. I think it (that) system is easy to make, but I don’t think the system will change fundamentally.
I personally hope that we will never change the actors. For me, the pleasure of the process is working with other artists, creating a moment, a authentic moment, an emotional moment, characters.
People say: General AI cannot be creative as humans. I think this is wrong. I think it can just be creative. What it cannot do, it creates a unique living experience of a personal view that we love the most in literature, in novels and films. It cannot do so, but it can be in the service of that unique vision. And I intend to embrace it as much as possible, but always in the service of the creative process.
it is low pass Janako by roettgersA column at the intersection that is sometimes developed with technology and entertainment, just syndicated for Ruckus Customer once a week.
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