“We now have an opportunity to have our lighting expert in Mumbai collaborate live with colleagues who are on a virtual set in Vancouver. The idea of having to ship a hard drive with someone sitting on a plane seat can be consigned to history.”ĭNEG is a great example of a company with a number of facilities around the world and contributors for projects who could be based anywhere. “You don’t necessarily have to be on location to see dailies, you can have them streamed to where you are. “It’s one where more individuals can contribute at lower cost to the final solution,” he says. In terms of production, an area of focus for Anthony is around cloud and how the opportunity to stream content securely from location to location offers producers a more integrated pipeline. There are so many ways to hack our wetware and integrate us into story environments that don’t exist in traditional presentation.” There are ways of integrating the user inside of an environment in a meaningful way. How do you merge a directed experience inside of an environment where people are able to move? Game designers are doing it all the time with subtle visual cues to try to pull your focus towards an area and then reward you when you start going in the correct direction. “It’s also a challenge for content creators. “Consumers have the opportunity in some cases to become the cinematographer and move around and create their own perspective and their own experience. He says storytellers are getting used to using other mediums like gaming and VR to communicate their ideas. It is presented as fast as it needs to be in order to immerse you in the story.” “There is no 24fps high motion blur narrative experience for The Last of Us Part II . “Storytelling in computer games doesn’t have a cadence locked to a specific frame rate,” he says. The narrative experience of the Gen Z/millennial generation is being shaped as much by gaming and 3D experiences in VR as by stories told linearly on a giant 2D screen. Technology is changing all the time and HFR’s time will come.”Īnthony grew up in the late 1970s with video games as much an influence as cinema. “If cinematographers only had a 50mm lens then whole styles of shot simply wouldn’t exist. “High frame rates are just another tool in the tool box along with stereo 3D and wide colour gamut for content creators,” he insists. His team collaborated with directors and high frame rate (HFR) pioneers Douglas Trumbull, Ang Lee and James Cameron and created some seminal research work around the perception of HFR from an audience perspective.ĭespite these efforts, high frame rates have yet to capture the cinema-goers’ imagination. His previous job at Ventuz Technology saw him working on real-time graphics in broadcast and live events, such as in-camera AR and camera tracking on virtual sets. Prior to that he headed up the research and innovation team at projection systems vendor Christie Digital “working on tech solutions that could be reframed or presented in a different way”, he says, “like a subversive marketing group”. He holds patents in stereoscopy, VR /AR display systems and calibration. It’s a virtuous circle.”Īnthony’s primary focus is on emerging technologies, driving innovation within the domains of real-time technology and the use of artificial intelligence to enhance the artist experience across visual effects and animation. “One inspires the other, which unlocks creative potential which inspires further innovation. “I’ve always seen technology and art as interdependent,” says Roy C Anthony.
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