 We're here at 360 Designs. Who are you? My name is Alex Clive. I'm the founder and CEO of 360 Designs. We have a project where you're going to make a 360 professional camera system. That's right. So we're launching this, we're unveiling this for the first time today. It's the world's first finest professional video camera for virtual reality. You call it eye? It's called the eye, yeah. And it features 42 black magic micros in point-to-surgery cameras. They're arranged as three axes of 16. And the cameras have the axis points to double duty. And the point about that is that this allows you to capture the world in three dimensions, 360 degrees, but in three axes. Not dead spots. So, well, it's not just dead spots, but existing virtual reality cameras only usually shoot in one axis. So if you look up, you might be able to see up there, but it won't be in 3D. So if you tilt your head to the side, it won't be in 3D anymore. So we believe that immersive video, 360 video, you've got to have 3D and you've got to have it no matter which way you look. If I lay down on my bed, I want it to still be in 3D. If I'm lying on a virtual beach, I want to see the palm trees in 3D. So this is really where this comes from? How can it be in 3D? You have enough to capture information for both eyes in every direction? That's what it's all about, exactly. So it's about capturing from sufficient different points, basically which way you turn your head in every direction, to be able to have enough information for the stitching to create 3D. So it's computational photography. Is this real-size? How big is it going to be? This is almost real-size. It's a little bit bigger than this. It's 24 inches diameter. Do you have a real prototype somewhere or not? Yeah, I know it's a real thing. We've really made it. The only thing is the Blackmagic Micro Cinema Cameras, which is based around, are not actually out yet. And the company that makes them, Blackmagic, keeps delaying it. So we're looking at October to get the cameras. But it has another new feature too, which is, I hope you can see this, that's a silicon ear. And there isn't just one of them, there's 24 of them, four on each side of this cube. And they match and that creates 360 audio in all three axes, no matter which way you look. And it turns out that if you have a silicon ear and put a microphone in it, it sounds a lot more natural. So it's all very interesting. So where are you from? Where are you from? I'm originally from London, I'm based here in San Francisco. And so this is professional, does that mean you have to pay for 46 cameras? Yeah, so you're looking at fully loaded 135 grand, 42 cameras. But that's everything, tripod, you know, large professional tripod, custom flight cases. Which is the price that they pay for one camera, some of these studios, right? Sure, sure. For a professional area or something, right? Exactly, yeah. But they don't usually buy them, they tend to rent them, so we're looking at a rental and a purchase model for... And who's going to use them? So, you know, Hollywood, I think, is going to be a big market for this type of camera, because it's so high-end. It is the most high-end virtual reality camera in the world, there's no question about that. So, and large internet companies, large internet companies... Internet companies. Yeah, you know, the likes of Disney and so on. It's probably better than Google Camera, Google doesn't go up and down. That's right, you'll remember the Odyssey, 16 GoPros, yeah. Is it 3D or not? I know it is, but in a single axis, yeah, yeah, yeah. And the problem with GoPros, as is well known, is that they tend to be not so reliable. Trying to keep two working together at the same time is hard enough. Multiply that up to 16, 42, you know, it doesn't work. So, my background is I used to be a professional cameraman. I've been working in tech for about 10 years. I always wanted to make something like this, so there it is. And not VR is really thinking hard. Yeah. Now, this is really going to be useful for everybody in the match. How do you trigger them all to record at the same time? Why do they store each on different SD cards? Oh, those are really good questions, yeah. So, depending which camera you use, whether it's the micro-cinema camera or the micro-studio camera from Blackmagic, it's internal recording or external. So, they're two different cameras, and it works with both. So, this will work completely self-contained. It's got a four-hour battery. It's like 800 watts, so it's a meaty battery in there. Now, each camera needs a battery? How does it work? There's one battery inside the micro-burner ray that's powering everything. Oh. And, you know, six LiPo batteries. And, sorry, what was your, you asked me another question. Yeah, and you triggered the start and stop with one button. It's wireless. Exactly, yeah. So, we built a system, a control system. These boxes here, we call them J-boxes. Each one controls four cameras. And what's this box? This one here. Now, what this is providing to each camera is a synchronization suit. So, every camera, every frame is going at exactly the same time, which is very important. And GoPros can't do that, or not so far. Something called TimeCodes, which is reported to every single camera as well, which is very important for post-production. And, sorry, what was it? How does it record? Oh, yeah, yeah, yeah. Does that frame? How does that work? That's something supported by the Blackmagic. Right, so they record internally. The standard version that we sell, each camera records internally. We have a control system that will start and stop all cameras simultaneously, and which provides positive feedback that every single camera is actually recording, which is important for professional use. So, is it a digital system, or is it like a mechanical switch that goes and pushes their button to start? No, no, it's all digital. So, there's two protocols. One's called LANK, the other one's called S-BUS. Our system can use either. LANK is good because it's a two-way protocol, and it's simple. It provides this feedback that every camera is recording. Yeah, that's it. So, it's going to be at a big tripod? Big broadcast tripod. At the height of a human head? Yeah, you can get the tripod down quite low, so you can have it down quite low as well. And then, there will be a new game of thrones, and the walking dead and all that stuff. Yeah, live events. You know, personally I think sports, concerts, festivals. You know, I think pay-per-view VR will be massive. So, five to ten years from now, we'll be watching the World Cup final as if you're sitting in the stadium, lying on your couch at home. At the best seats? At the best seats. And a lot less than actually going there, so I'm pretty bullish on that. I think that's going to be... In the room, every time the president has a press conference, you can be sitting as one of the journalists asking the questions. I've been in that room, by the way. You've been there? How about robots? It should be on a robot. Yeah, that would be good. Or, you know, over the field, you know, a high-flying camera or a drone. Possibly, although... One of the issues with a lot of movement with VR is it can make you nauseous. Yeah. You need kind of steady movements to... Well, here in the conference, you want to be... But you would want to go around or something. Yeah. All right, cool.