 So, hello and welcome this afternoon. My name is Olivier Amrine, I'm from Switzerland. I speak French, so I might have a small French accent. I hope it gives some charm to this talk, hopefully. Anyway, so what I'm going to show and explain a bit is what we have done in the last few years, different projects for what I call innovative showcases. This is mostly for watchmakers. Let me first show you a little demo of the different kind of projects we worked on. I have a good idea of what I mean about showcases. It's mostly for watches during their big fair and presentations. So there are a few things that we try to do and because usually they have just black boxes and with glass and the watch inside and if you are interested you go. What we try to bring is some kind of the wow effect or the kind of come and see me and gather around and see what's mysterious or strange in this. So usually it's trying to get the people to see the watch and then talk, eventually talk about it or get friends to come around. Again, it's very important to be kind of short. You cannot tell a story. You just have to have an effect or have something that's, oh, what's this? And you come and have a look. These are the three main techniques or showcases I'm going to show. One is holographic, just the one that you saw here. Then we did a lot of mapping, motion mapping, what you call motion mapping is mapping on objects that are already moving and then the raptor is the one where the watch goes down when you approach the hand. That's the last project. If I have time, I'm not sure. In our work for the whole of these showcases, we often are three main actors, three main entities, companies. In the middle is Ditlin. He's the one who does and builds the showcases, really the physical showcase. And then on one side there are the engineers that do all the motors, the lead, electronic, the sequencer. And then RGBPred, the company I work for, and we are doing the animation, the visuals and the programming actually of the, like, syncing the different objects. This is just a few pictures to show during the construction of those things. So on the left you can see a lot of cables and I don't do the cables, luckily. But I get to blame people when the cables do not work. So on the very bottom right you can see that's the media player because they are building their own custom media player so that the animations can be on the millisecond precise timing. This is a new thing, so we didn't have it always. I like schematic things, so I thought, yeah, let's add one. We just chose the green things, the green squares are what the people see. The blue is mostly what is inside the box and the sequencer is where we can control the timing between those different things. So the sequencer we say, for instance, okay, now play the first video. So okay, it goes on the screen. And then 15 seconds later, oh, start the motor so that this watch goes to the right or to the left. And then, oh, shut down the light. Because now we have a video with an explosion or whatever, and then, oh. Or it can even be 345 milliseconds later because sometimes when you have an impact of a watch or something, you have to try to be as precise as possible. Just put back the LED on and then we have the effect. That's an example of the sequencer. It's not no programming, no, I mean, there are some loops and functions that you can do, but it's really, it's linear. And what I mean by linear, it goes really one after the other. I mean, animation is always like this. But it means that you have to wait for a moment and then do the other action. And then you cannot do simultaneously things. So you really have to sometimes find clever ways to allow this effect. And it's also impossible, for instance, if we have a watch that goes from here to here, to have a real like a spline animation to make something like, ooh, like this. It's really, you can only give position at different times. This is sometimes hard and we have to deal with it. So let's talk a bit about the holographic. So I have another video and I can lower a bit the sound, but it's nice sound. To show you the different projects. So that's one with three sides. And in this case, we tried to have some nice interaction between the two. So sometimes for different projects, I use a blender for real 3D. Sometimes we just use footage. Sometimes the client also they have footages or things that they want to use because they already have visuals. And here you can see that we put the light on so the object appears. That's also some interesting effect that you can play with it. That's a very classical just hologram around. But then we try to turn around with the balls. Yes, Hublot is the name of the watch company that we work a lot for. This is like completely redone in 3D so that we get the real effect. And here the company gives us the models of the watch and we recreate them in 3D so that we can really play with them around and for the holographics. So thank you for applause. I'm very happy because I have two other videos. So you might applaud again. So of course, I wrote in the little leaflet and the presentation is going to be about holographic. And holographic is a word, it's a buzzword. It's a different kind of holographic. We call it this, but of course it's not Star Wars holographic yet. I've seen some videos where people are trying to have some smoke, little smoke ejectors and lighting projectors, but we are not there yet. So that's what we use. And I think it gives a nice effect and you can play it easily. You don't have too many complicated stuff. So the idea, because I'm telling the secret, there's a display on the top and then the green one is a double-sided mirror. It's a very special glass. You can do it with a glass normal, but it's a glass that only reflects mostly the light things. So the other part is you have the eye and so it reflects some of the images on the display. Mostly the black one gets transparent. So you have to imagine like this add and screen mode in Photoshop or Krita. You know, when you get an image or a picture of someone on a black background, you just put it on top, you do this add effect and then all the black or dark colors fade out and become transparent. That's the basic things. And when we do videos, we always try to do, of course, on a black background because of this. This will give the illusion. So during the years, I discovered a few things and these are rules, but again, sometimes we break them because of any reason. But mostly it's trying to have the purest black ground, I mean, just black, which by the way, it's not always easy because some screens like in this one, this is a AMOLED smartphone. So the blacks are really black, but some screens, especially like five years ago, they wear a little, you know, it's backlit. So it was harder to see. And then what I call safe borders is try not to get outside of your frame of the image because then you will see, I mean, the hologram will be cut when you go out. So try either to be inside or have an effect that make it appear, disappear. Use as most as possible 3D animations because 3D and when it moves, you also forget this sense of flatness because the hologram is a, it's kind of a flat image that is projected transparently. So we don't have the real hologram that you could really turn around and see on touch, but you need to use the 3D as much as possible. Static images work a bit less. And then have a real background pattern or object. This is something that don't project or don't use this hologram on a black background or something. In this case, like the Lego one, I recreated a small thing and this will, because you see a real scene and then you have the holographic image on top of it really. And this is very important. Okay, I did a slide with don't do, but basically it's the inverse of the twos. So yeah, like having, sometimes the clients, they want something and they give us their latest commercial or whatever image and they say, yeah, yeah, okay, can do something. The commercial is really great, but then it goes on the borders of the image and we cannot really use it, so we try to pick out elements of it that we can use. But again, often with these displays, we have to be innovative and we don't necessarily need to be 100% corporate and to follow their image. We can be a bit more creative and for this, it's happy for this. Don't overcharge your visuals, that's because sometimes it's better to have just one small thing that spins and gives the effect and then you have the rest. I'm focusing this again, but this is a good example and when you really have the 3D object that is moving in 3D, you really don't know the depth of the hologram and to make it disappear. And you could even make it disappear and eventually appear a real product on top of it. I mean, the possibilities are nearly endless, technically refrained, but you can do a lot. At least I'm having a lot of fun trying to do this. So that's the production process. It's not always like this, but we do the storyboard, the ideas, then the showcase starts and we start just ideas or concepts or what we want to do, show or research references. Then there's the first prototype that is built. I come to take the measurements of the layout because you need to, especially when you have interaction with the objects, you need that your animation is calibrated exactly when the impact is occurring. I try to recreate a scene in 3D, so be it a book for the mapping or these kind of things. I try to be in 3D so that when I'm rendering, I have already the depth and the different objects that I can play around. And then in red, repeat because often there are things that go wrong or something or they change because of any reason. The prototype was not working or the client wanted something else, so we often have to repeat this operation. Because every showcase is different or is a new idea. So we cannot, we're not industrial production, so we cannot just oh, we already have the measurements, we every time repeat. So this means that in this work, in these projects, not always like this, but 50% is creative production of the video and the animation, the stuff. And then 50% is more like doing the layout, re-measurement, timing, sequencing and solving some problems that we will get. Sometimes you have an idea and I'm at work and I'm working two days and think, oh, this effect is going to look great. Let's do a 3D thing that goes around and explodes or something. And then you see it on the reel and I know because of, I don't know, some lighting problem or something, so you have to readjust your animation. So this is maybe for more for the internet. I just did a small video because I wasn't sure also that they allowed me to take the glass in the plane, so in case I made a video. So just showing that. I think I would just keep the slides to the videos. It's going to be fun. So a little showing the different measurements that I did for this, for instance, in this case. Showing that after that I put it as a background and then I recreate in 3D the scene with the LEGOs. And then you can animate in this, you know where your stuff is and it should work fine. Now on to the mapping projects. Yeah, I have another video. You don't need to upload in the end, really. It's just showing the different projects. In this case, it's quite a big watch. It's moving, rotating. So that was also a challenge after to get it right. That was a hard thing. In both of these cases, we recreated, we printed actually the objects using Blender. So it's 3D printed book and 3D printed watch. For the figuring, I think it's an iPhone or a smartphone. That's a bit what I said. We had to, in this case, I had the chance to make the book in 3D so that they can print it in 3D. And then I have already the reference. So I just put it back on my scene. I calibrate the layout, the camera, so that the mapping goes directly on the object. And then from that on, I can animate, add things, effects, or change the textures of the watch. So, yeah, layout calibration is something that I spend a lot of time and you have to find some, not really workflow, but a way to test it. And there was no real direct computer to display output. It's sometimes, because of the displays, they are very technical stuff. There was like a SD card to take out, to make a movie, take out, go inside, and then again, it was very slow process, iterative process to check, take the measurements, and then, and by the way, taking measurements, sometimes I don't do really measurements, but I just put the image, see around, and I do okay. That's like half a pixel or half a line of these. I take a lot of pictures of the places. So that's, for instance, one of my photo timelines. So sometimes I have kids and sometimes I have days of watches and layout alignment. And I don't remember what this big, but bunny down, but I think one of the engineer, they use big bunny as a movie reference for their encoding and their stuff. So that's why I shot it. And finally, I'm going to talk a bit about the Raptor 2. That's the, there's another video. I can talk about it on it. The idea is, these are display and there's no glass, because these watches, I don't know what this one, but it's a few thousand euros and sometimes even more. And this, you can see it without glass, but you cannot touch it. If you want to touch it, it goes down to safety. And when it goes down, then there's still a little story that is happening to the watch. We had three different models. One was more mechanical. One is for more materials used for the watch and one more feminine. The real watch inside, of course, is not moving at all. It's just waiting, waiting to go back up and then we have the timing. Yeah, fruit simulation. Hey, it was okay, it was okay. I survived. It's just next slide, sorry. So, well, you've seen a bit how it works and basically there are some proximity sensors that detect when a hand is coming and then, well, the watch goes to safety very quickly and then launches a movie as fast as possible. It did still take some time to start the movie, so actually the movie, the start of the movie, for instance, this is a trick that we had to do is it doesn't start, the animation doesn't make the watch go down really. It already is a bit down because the latency there is 200 milliseconds. We use them and we play, I mean the real watch goes down and then starting the movie and it's only starting now the movie. So, we started the watch a bit already down, quite some. And there are actually five sequences that we had to split because of different conditions and state of the watch, for instance. If there is somebody always holding because you could like, okay, I'm clever, right? So, I'm waiting until the watch comes up again. So, I'm putting my hand here, but then no, no, we were more clever than the guys. So, we said, no, wait, there's a hand. So, I'm not going up. And that's why you get this message, please step back. That means, okay, nobody's around me, I'm going up. And even if you try to catch it when it's going up, there's still be a state where it's like, oh, wait, there's someone coming back. I'm giving back the animation. But then we cannot start the animation at the very beginning. Actually, what I'm saying, I think it's in this kind of schematic. It's really, you have to, we had to find different kind of key points or, yeah. Moments when you can decide, okay, we bring back the animation when it's going down or we let it go a bit up or this kind of things. And I think that's mostly the different conditions that you have when, okay. First, it's either up, you're waiting, then it goes down. So, let's see the timing. I'm very happy with my timing. So, I will play old so that you can see all the animations that I made in Blender, of course. Well, it was always the same music, but I can talk around it. And you can see that the timing is the same, although the animations are a bit different and some go faster. But when it's up, it's at the same time. These are one, this is in a different timing, like it's longer when it goes down. See, it takes some time to have this fluid effect and he's watching around the watch. And then only we get this, please take back. And at this point, if nobody is holding his hand and I think we have maybe, if there are some one or two questions to me, ask me questions also. Okay, I think we are done. You can ask me questions directly. Thank you.