 Hello, hello. It's working. Good morning! A little official thing I have to say on behalf of the Bali. Officially the fire people, I don't want people to sit on the aisle because we need an evacuation within five seconds or something. So we only do that now because this is the opening and we might be doing it in the end. But please, during normal talks, lose normal seats here if it will work fine. Okay, let's get started. As an old person who started all of this, I would like to have the opportunity to share some things and project some ideas in your brains. So what I think the three main themes of the Blender Conference, what they could be and what I see what is already happening within the Blender Universe is one, it's change. Things are really changing. They are different. What you see, we have a Blender Institute with ten employees at the moment. The Blender Development Fund is paying three, four people, the cookies are growing, guru is growing, we have a Blender Market. So things are really changing from a more developer, a volunteer organization into a more professional organization. How do we cope with that? The other thing is diversity. We always had many different types of users, like architects or game makers, filmmakers, people who used Blender for science or physics, and you see that this is becoming a bigger problem because ten years ago we could add everything in Blender. There was enough space in the interface. But right now we can't do anything anymore or you conflict with somebody else's workflow. So instead of trying to make one version of Blender, we might have to think of how do we make Blender more efficient? We might have to think of a specific workflow, for architects, for modelers, for visual effect artists, lighters, shaders, game makers. They all might have different ideas. And we could also look at occasional users, people who want to do 3D printing or so. They should be able to use Blender as well. And the last thing is quality. Because how do we keep Blender really good? Because I really like it that we have the best artists working with Blender making really awesome things. They need a good tool. How do we handle code submissions, for example? We did have a lot of, like recently, patches being submitted for really good functionality. But then we say, yes, but the code is not good enough. It doesn't fit. So our quality standards for Blender is getting higher, which means it's getting more difficult to get into Blender. So how do we handle that? The same thing you see for interface discussions. Every time there is an interface topic, you will find tens of thousands of people who consider themselves to be expert on interface design. I think all of you guys know how to make an interface, right? Yes. Unfortunately, it's not that simple. It might take many years. It's like if you do animation, character animation, or if you want to do visual effects or color grading or game design, whatever you do, it might take five years before you know the basics. For interface design, it's the same thing. So instead of fighting over the placement of a tab or how to do things, you could also look at how to add a driver in Blender, for example. The animation system. There's only one person really coding on the animation system in Blender, while everybody is using it. But animations are more difficult. How do we design a driver interface? That's the things we could look at. And lastly, the quality thing is in our working environment. Because Blender has to be fun. It has to be fun and awesome to be part of this team. It has to be inspiring and challenging. So I know, for example, that the people who come into our projects and who loved did that because for them, at some moment, Blender was not challenging anymore. They were feeling like pulled down all the time because they have to explain to everybody again and again how to do something. While they can get another working environment where they find people they can look up to. And the people who really know how to make Blender any sense, how to make film, how to make games, the people they can be pulling themselves upwards. So we have to make sure that the talents we have on board, that they keep being here, that we can keep supporting them and not pulling them down all the time to do things which might make them unhappy and at some moment they might believe in. It's an important topic to look at. That was my little thing to strength off. I'm going to the front part with the warming up. I always want people to show some hands because I like to know you guys a little bit better. I have to make my little notes, otherwise I forget to write order. For example, where is everybody from? Let's first define the Europeans from the rest of the world. Who's European here? Whoa, whoa, whoa. And the rest of the world? Well, that's not bad. Not bad. So let's go a little bit in detail then. Who's here from the Netherlands? Quite good. Let's not keep on it then. So I'll do all the Dutch people now that there's a Blender Institute in Amsterdam where we welcome Blender to. After the Friday, nowadays we will have a weekly presentation from the team. You can email me for reservation and then you can join us in the studio for two hours, have a drink and then I will see what the Gooseberry team is doing. Of course everybody is welcome, but Dutch people are closer. Okay, next country then, the Germans. There must be really a lot of them. British. The French maybe. Belgium. Spain. Italy. Italians. Come on, Italians. Now we have of course the Greek. And now I have to start quite a Poland, of course. It's a big community. And then you can go to the whole, what we call it, a very inquirect East Bloc. The countries like this used to be occupied by the Russians. Czechoslovakia, Slovenia the former Yugoslavian Republics something like that. Bulgarians. Look at that. So, Russians. What? Wow, look at that. Good. So, let me go to the rest of the world. Americans, United States. Okay, and Central America, Costa Rica. Yeah, that's Costa Rican. Any one more from Central America or South America? The whole continent. We have one Patagonian. There's one, half South American or not? Brazil. Good. Where's Delhi? Oh, there, sorry, I didn't see. I have to wave my hair. So, it's somebody from South Africa, the African continent. South African. And there's one. Where are you from? So, Asia. Where are you from? Japan. Australia, of course. There's one Australian, two, three. And then there may be somebody living on a tropical island somewhere in the Pacific. Hey. Okay. Good. The next thing. So, what is your own occupation? What are you doing usually? Like, are you a student? Can I see the student? What's wrong with you, man? So, are people architect? Who is the architect? Or doing architecture for the shop? Hey, we've been, yeah, you have a long beard, man. I didn't recognize you. So, who's doing game making or in game development or physical reality or that's related to that specialization? Real-time 3D. Or who's doing physical effects for film or TV? Physical effects. Nice. Or who's really into animation? Through the animation? Animation? Or is there a video making video programs or video something? Not many. Video is very outward. Nobody does video anymore. This is the files that we make. So, who's doing education as a shop? That's quite a lot. So, as a teacher, are you teaching or are you researching, maybe? Scientific research? Of course. That's good. And there's one and I can't even read my own handwriting anymore. What kind of job do we forget? So, there are people who have their own business. So, who is here using Blender for a living? For at least half. You've got something paid for using Blender. It's getting more and more. Really, really awesome. So, what is your interest in Blender? I want to see some hands for who's developing the coders. Where are the coders? That's coders, so many. Good. We have a coder session on Sunday at four or something. We will sit all of them in a row and then you guys can ask them anything and make sure that this happens within the next year. So, who wants to be a developer? So, do you guys know how to handle that? Like, talk to a developer, right? So, did you see who is a developer? So, talk to those people because they're here three days for you to get connected. So, who considers themselves an artist? Hot. So many. So few, I mean. Come on, everybody is an artist. Like, in the American dictionary, an artist is somebody who clicks on a button and then something happens. Everybody is an artist and how? Who would do most of the time modeling and design in Blender? Environmental design modeling. Animation, animators. The real hardcore animators. That's nice. Game designers, game makers, the game manager in Blender. Also really cool. The visual effect people of course, masking, motion tracking and all that stuff. Good. Of course, are the people who do compositing and rendering mostly in Blender. And that is the more internal research or scientific work with Blender. Did I miss anything? You can use Blender for everything. So, and the last one, my most popular question is for who is this, the first conference? And we're going to countdown so everybody has to count. How many conferences did you do? Who did two conferences? And who did three? And who did four? Five conferences. Six conferences. Seven conferences. Eight conferences. Nine conferences. Ten conferences. Not sure. Eleven Blender conferences. Twelve Blender conferences. This is number 13. Thirteen Blender conferences. The dinosaurs. Dinosaur one. Dinosaur two. This is number 13. No. Okay. You didn't do. I know. You wear that sometimes not. Okay. Welcome. Good. That's the warming up. I'm getting warm already. So, what are we going to do? I don't have a lot of time. We'll go rushing through my talk. So, we have a little bit of a delay. The wrong slide, doesn't matter. So, what are we going to do? Who makes Blender? What did we do? And some notes about the Blender conference. Many times when I talk to people, they want to know what is this whole thing? What is Blender Foundation? And who is now actively making Blender? So, what is the separation between these organizations? Sometimes there is an overlap. I mean, there is an overlap in people or in work, but there is also a very important separation. The Blender Foundation is our safe place. This is the non-profit plot. This is the bank account where the donations go there. We have the IP there for the sources, the brand, everything. So, that's the place that will be based on a conservative and continuity strategy. There's no risk in it. So, all the risky business goes to the Blender Institute. That's where I'm being paid and hired, that's where we hire other people, that's where we have the studio, the offices, all the liabilities, all the crap is there, the e-store, the crowdfunding, open movies, Blender Cloud, all the stuff we do as a business that has money involved is being put in Blender Institute. So, this kind of separation is quite normal for other open source projects, a bit bigger ones, like Mozilla, Mozilla Foundation and Mozilla Corporation as well. But who actually makes Blender, that is, you guys, because the Blender Foundation is not making Blender. And the Blender Institute does contribute to Blender, but the project where we make Blender that is really Blender.org. So, you guys, it's an open project where everybody can take part in. And a part of the community we also find out that the industry is getting more and more interested and involved. There's people who support us, like Valve or the Steam Workshop, Epic Games is donating at the moment. We also have support from many other companies Google, HP, Dell, Nvidia, AMD, Intel, Apple, all of them. We have a new force in our Blender universe, it's the Blender Market, which is very interesting what happens over there. There's a way for developers to get some pay, or get a decent pay for what they do. They still release it as GPL or as open source software, but there is a way for developers to get into the code. And the current system of Blender add-ons is very powerful. You can really configure Blender into something else. There's several talks that will show that. And of course we have the industry embracing open source itself. There's people we really are closely collaborating with. Especially on Shagrath, we see that those guys really like Blender. They help us for it. But everything goes to Blender.org. The Homo's Blender, that's Blender.org. Blender Institute and Blender Foundation support it. And they are part of this network which is available for you. You can become part of the team, you can connect the developers or stakeholders, go to the, get involved with Blender.org and find out what we are doing. What did we do last year? I've been skimming through the release logs and I could find many things. I was only managing here. I managed to do a couple of smaller things, bigger things, which I thought was interesting to mention. The most important thing is of course the thousands of bug fixes. I know the core team of developers and we currently are almost like assigning employees or daily duties or schedules for place. When do I not have to do the bug tracker? I can do some coding work. But there's a lot of issues being reported in our trackers and there are a lot being handled and fixed. At the moment we still don't have more than 200 open issues in our tracker. Even though that's not the 50, which I would like to say ever from the past for a big project like Blender, having between 150 and 200 open issues which is being handled for a team of 100 developers is really nothing. It's really, really, really good. But that doesn't mean that nobody is reporting. I think every day over 10 or even more reports are coming in. So within a week, if you don't do anything, the bug tracker explodes to 250 reports. So it is really, really an important system. So what are we doing at the moment? Some interesting stuff. You can talk. You see this in the talks later in this conference. Like the OpenSubdiv thing is interesting. We have our Google summer of code projects being wrapped up. We've been hiring developers via the development front to work on FBX and game tools. Our cartoon rendering, the Python API, there's a multitude of stereo projects that work on nodes, print, et cetera, et cetera. And we are starting up the gooseberry development. And the gooseberry targets are more or less aligned with the targets we wanted to have for Blender anyway. That means we have to do important things like on the viewport, the viewport upgrade. Blender is still using OpenCL one in many areas. If you look at other programs like Maya's viewport tool or whatever they call the viewpoint 2.0, but you want to have your beautiful models or environment designs or whatever in the viewport looking in the highest quality possible. That's normal nowadays. Blender should be able to do that. You should be able to have compositing in it. You have depth of field and all that kind of things should be possible in your viewport. We are talking about a node system for modifiers and constraints. And it can be even merged into having particles and hair and all the stuff that has to do with physics. It can all be one single node system to control, duplicating and transformation of objects in Blender. And of course we have dependency graph. This is something mythical already. Nobody knows really what it is, but it is something that's in the heart of our emergency system. All the things you do in Blender is a dependency. You change the value and the value has to update something else. You move a bone and the bone has to result in a new deformation which might trigger the hair system to be redone, everything. Having a good system that handles it, fast and interactive and high quality is key to working on it. So the unification of physics. The people who try to do physics in Blender know that we have many cool things like we have cloth, we have hair, we have the fluids and everything else. But all those things are not very related. They all have their own ideas about what the collision is or what the gravity is or how friction works and all that kind of things. But also how point caches work or how to use it on a render farm. We want to be able to unify that better. It could be for example by integrating with Alembic, which is a great external farm for caching. You can look at OpenVDB. And the last thing of course is our asset management project to be able to handle projects. You have artists working together or you have your primitives or list of things you can share. You can work in the studio locally or via service online. I didn't mean to say that all of this will be working next year, but at least all of that is currently really being worked on or being talked about and being designed and being started up. This is really something we want to do. I have a couple of personal things. My back projects I don't know if they happen, but one of them I mentioned it last year a little bit as a response to the interface discussions we had. I mentioned it last Seagraph which is what I call the Blender 101 project. For me it means a project that will allow the ultimate configurable interface for Blender. It is actually wrapping up the Blender 2.5 project which we set up a design roadmap for things we want to do on Blender and it should end with something you can control. You can make your own workflow. You can design your workflow. You should be able to kick out 95% of the features. Or you should be able to make a tool tailored for 3D printing. Or a 3D printing company should be able to say we pick up Blender and we make a nice drag and drop interface for people to configure their things. And the same thing could be possible for education. That's why I call it the Blender 101 which is a typical American term for the first lessons you get to learn something. High schools and the whole education system is screaming, really screaming and dying to get a 3D tool in the classrooms. So nowadays kids have to learn 3D. 3D modeling. But also they want to use it to get people to understand math, mathematics and physics better. 3D is the ultimate software like Blender. It's the ultimate place to show people how awesome it is to know mathematics. And actually it's useful to know that. I didn't know that when I was in high school. But now I know, right? And that's what you can show in Blender really well. There's a lot of interest from it. There's many parties who like to help. But there's nothing tangible I can mention yet. So we talk about it at this conference too. People who think or have ideas, who want to contribute, they can connect with me in one of the next sessions as well so we can see how to make it happen. And of course there's the WebGL. This is a development that's taking off really, really fast. So we have of course Sketchfab, there's B3D in, there's the Blends for Web project. This is really awesome. And I think as a Blender foundation we also should make sure that there's an open source free, well-working tool that you can use to get your Blends files or your especially saved Blends files to show effectively on the web as a free software thing. So the challenges, what I'm facing, I mentioned a couple of that in the opening of my talk. We have diversing opinions about what is usable or not usable, what is a good way to do something. Well in the end the best way to use Blender is the way how you want to use Blender. We can't totally define for people what they should do. We cannot define what they would call a default. What is default? The whole idea of default, we should have to rid of it because you spent far too much time on this whole idea of default. So we have to find a way that people can pick very quick, very efficient what they want and they consider that their default. The default should be more flexible. And of course we need support and services. I cannot say it every year there is really, really business out there to help professionals to get into Blender or to get Blender into their production environments into their studios, in the schools or whatever. But they don't there usually because there is no support. There is no hotline, there is no email system or whatever. There is no company where they can rely on to help them getting Blender in their environment. This is a big market where everybody who likes this kind of work, please consider to set it up. Tell me and I will help making PR or make sure that you are connected. So what else did we do? We worked on our Blender network. Of course there will be presentation about it. Our Blender network is still I think a very important initiative. This is our collaboration. We have a lot of people who do contract work or support work or people who need studios use it to collaborate, use it to find each other and use it to reach out to the outside world. It's an important thing to have this visible for everybody. The Blender website redesign completed. It's a Francesco and Pablo guys. Thank you. And of course Dan and Paul to do lots of system administration. A applause for Dan please. So this is another project this year, the project Gooseberry. Everybody remembers the big plan around to make a feature film with 12 studios around the world. Lots of attention, lots of support. We had 3,000 people signing up for being a monthly supporter. We had 1,500 people who donated but that was unfortunately still not enough because the cutting of this film will cost you millions. So I'm very happy that we did decide to continue. But we do it now much smaller so we can be much more focused and get ready for something big for next year. So at the moment this is Cosmos Laundromat with the title of the film. This is going to be a crazy movie about a sheep who got sucked into a tornado and then becomes a caterpillar falling in love with the butterfly and stuff like that. This is really really cool. You can hear everything about that on Sunday morning from the team. We expect to be ready next year. May 2015. You start screaming. Okay, July. We might be July then. I will try to do it with this film. It should be possible to do it. But to make it possible, we need lots of people. So at the moment we already have 4 developers working on things in the Blender Institute. All this what I've been mentioning. We have many artists. There's external artists, there's artists in house and hopefully we can afford more. And that is all thanks to our new initiative. This is the Blender Institute. The cloud is our open production platform. It's not what Adobe Creative Cloud is doing or the really horrible Autodesk clouds. All those clouds are not a real cloud. It's an iron curtain. They let down a big curtain between you and the software. Make a little peephole and then you can press buttons or you can look at their software. So what we want is an open system. What we do is sharing. What we do is making the software available. I try to find out if we can become some kind of a public or open studio where film is being made, where software is being made. So at the moment we will test that with the Gooseberry project. And while we work on the project, the tools we will use ourselves to become available for the supporters in Blender Cloud. And of course everything available is open source, Google GPL, Apache or Creative Commons. So one of the changes I noticed myself, which is important to reflect to, is the development of what happens with Blender Institute. Because we really have 10 people at the moment that are employed. And it feels like we can't even do yet what we want to do. So we even have to grow. We have to think of what we are doing here. So what I want is continuity. In the past we did a film like Sintel or Big Black Penny or Tears of Steel. And after fighting for six to nine months we had an awesome film and then everybody left. And I was sitting there alone doing some coding, which I really like. But I like that. I like to be there. But after a while I think maybe I should have some people around me again. But then you have to start over and you get a new team. And you get the same process of trying to get everybody to work together. Everybody has to learn how other people work, what are your qualities, what are your weak points. Before you have a working team it takes a year. So instead of kicking everybody out in July next year I want to make sure that we have continuity. Things go on. After whatever happens to the gooseberry, if we do a feature film or not I want to make sure that there is something to do next year. It could be any project. It could be an open production via the cloud, via public funding. We can look at, become like an open source movie production studio. Like yesterday we were talking at the Bali and Andrea mentioned that she had a presentation from somebody at Dreamworks and he said they have developers working on the code. And all those developers are working on code and software and tools. You will never see this. They released some little libraries maybe for open source. But that's it. So imagine all the power that goes on, all the great things they make there which is not being released. I think that's what Blender Institute is trying to be. We are like an open source picture, our open source Dreamworks. It's a big film, but we share. I also want to explore making a film founded by commercial parties. Open content is of course awesome, but it's still not the easiest way to make money with it. That's what we did with the little agent clip. I think people saw it, the secret agent moving around. This is a character from a cartoon artist in the Netherlands. This is one of the things I want to keep doing. This test if we could make a film which could go to a normal market and of course do everything with Blender and open source software. So this is the last slide. Some notes about the Blender conference. The badges always have your badge visible. It's not too creative things like putting it in the back or whatever. It's really cool, but it's important that we make a safe place here for people. You have your laptops here or you have your bags and your coats here. This is the Blender part of the Bali. Other people are not allowed in. That doesn't mean that you can leave your laptop everywhere. Last year we had one laptop disappearing. For whatever reason it is, it could happen. It can happen, so make sure you keep an eye on it. Make sure you keep an eye on what walks in and out here at the Bali. Other people are suspiciously looking in bags. There seems to be a mobile app. I have this from last year's URL. Is it till December? There is a mobile web app where you can get your schedule updated if everything is fine. There will be prints on the desk with the program. It will be available in a few minutes. We have daily lunch from 12 to 1.30 or maybe even later. Lunch this year is upstairs and downstairs. We have the whole cafe to our disposal. For speaker assistants, I would like to have Piotr standing up. Olivier. Thomas. You are a speaker and you are needing any assistance. You need a little cable and a laptop. Those are the people you can talk to. There will always be one of these people here or in the salon to help speakers with setting up stuff and to remind them to stick to the schedule which is already late. Good. Good night. There will be two screenings. We did it last year for the first time. Show anything. Whatever you have, it is awesome. Talk to Olivier and make a long list. We will have 90 minutes of fun looking at what we are doing together. Most of them have a lot of fun. See you later and thank you for listening to me. See you later.