 Thank you. So hello everyone, my name is Andrew. So can you hear me at the end of the other rooms? Can you hear me? All right, so I just keep this volume. Okay, thank you, thank you. So actually, I mean like Don already mentioned that we actually are storytelling company focusing on doing virtual reality storytelling at this moment. I myself actually have been doing storytelling through my whole career during the past 10 plus years. And I feel that, I mean in the storytelling industry the key thing is how do you convey the ideas to the people? I mean for me, storytelling a story is one part of my life because I actually, I call this part of the story I'm sharing my idea to the audience. So I feel I'd rather to talk about sharing my work rather than just to tell a story or convey some ideas because that's really will nail down my definition about the storytelling. Because for me, I think earlier 2014, 2015 I started to pick up virtual reality because I'm quite amazed by how immersive the experience is and I feel that this immersive experience actually can bring a higher level of storytelling to be produced. So to be able to do this, we actually start to develop some basic equipment, 360 cameras. But actually apparently the timing for developing the camera spent much longer than I thought. I spent four to five months to develop everything that can do a basic work. So the photo you see on the left side actually is me actually trying to search my, it's me actually I'm trying to search my drone from a lake but I've been crashing two drones. One drone actually, I just fly in the tree park then actually drop on the tree. The tree is almost a 30 meter flight. Actually I went under the tree for whole day I called National Parks to help me solve problems. I called everyone, no one answered, even the police cannot solve this. Then second day I actually get this truck manager actually he got this cleaning truck that can stretch to 30 meters can get the drone from me. The second time actually I dropped the drone into the lake. The time I was trying to search all the, you know over the time when you use the 3CT cameras most of cameras are based on the GoPro concept. So when GoPro shoots you have this red blinking lights so that's how I can finally find all the cameras and the lakes. I even sweep into the lakes trying to find a lot of cameras that eventually go back but of course the drone is gone. So I mean to think this is to develop appropriately to shoot 360 video with enough freedom is really hard because I mean if you are only satisfied with doing a static shot just definitely no problem for you. You can just use a basic 360 rigs then place it on the tripod but for us we definitely want to do more. So actually we did some like underwater scooter plus with the 360 cameras. Well this one, the first experiment did in the pelmet is supposed to be failed because I also ignored another choose it's because when you shoot when you shoot video inside the water the field of view will decrease by 33 degrees. So when I use this basic 360 set up to shoot into the water it doesn't really cover anything. So the whole video come out is full of gaps here and there. I totally got confused of what is happening to do some basic research. And then I mean that's why it come out this second generation of improvement version. Actually I built all the domes the domes to cover the 360 camera to cover the camera lens so you actually can increase the maintain the field of view under the water. So this a lot of things we have done and we recently we have always we also done this 360 3D rigs by using 13 GoPro cameras and we print it from IDIS so all the things actually we have done along the way is to keep us improving the way how we can tell story from a basic 360 video shoot point of view. So after that actually we are able to produce a quite a few stories like we work with the artist Kostian Blacks we talk about the story in the B-Shield it's the Aliwa Street areas. So we had this story is quite like experiential story because in the beginning we feel that oh the feeling the immersive feeling is still strong then the virtual reality story it need nothing but the experiences. So that's why we end up doing a lot of kind of experiential videos with all this random footage plus someone trying to make everything connected with a nice script in the end of the day this is something to come up. It's not very happy with it but most of the artists really like it. After that actually we also a lot of producers like to level actually we captured a local after a great landscape. We also talked to local people to share their stories because what we hope is we actually can compile all these 360 experiences to encourage other travelers to support people during the time. So a few of this story actually it happened to get very good exposure because at the time at mid of 2015 a lot of experiment of virtual reality story have been done. So it's you know okay at the time here I'm looking for something is looks really cool kind of wallpaper-y so that's something I think it's already the end story. But until we start to a sorry I will skip the video because right now the PowerPoint doesn't play properly so I will play all the videos later on for my session. So until we start to produce this video it's called Against Blue Heron. This video is a story about the diving story but this diving story is a bit different because here is a group in Malaysia, Redang Island. This group is mainly helping other handicapped people to learn how to dive. So in the beginning I saw this is really awesome also because for me I also got my open diver license and also diver's license not a while ago but I feel that the whole process is really complicated. I mean not only mentioned to the handicapped but for the normal person it's also a bit challenging. So I just don't know how it happened but after I talk to the optimizer to programmers I feel that this is really interesting story that needs to be captured actually it can help other handicapped people to learn I mean this is doable and we can really encourage them by producing this a documentary kind of story. So during the time actually we follow with them the four days for all the for the trips all the diving experiences everyone is really enjoying the thing we do witness as all these people they are really I mean encourage themselves they take the challenge really treat a lot more than that then for me most of the time I'm repairing my camera outside. So actually you can see me everywhere I just use a lot of like epoxies to just try to blend the gap of the dome because some domes really got water as she started to leak waters and then I tried to also one time one night I was using a hair dryer try to blow the water inside the dome then one dome suddenly got a blend literally the shape already gone so we have to use alternative better to shoot so a lot of it today is that I went to check with others the local stores to transform component imagine that in Redong Island it's totally not so civilized as the system also I mean it's very hard to achieve that but eventually we managed to create a good story the story actually we are targeting at a few individual they are all participants they are actually sharing with us what they learned during the whole process but during the shoot we actually developed some interesting tips that how to tell a story intrinsically for example like this one you can see that this is one of the perfect attendees actually he is a professor from Poland so he actually he has a lot of concerns so we are actually always trying to find out a good setup with a crowd surrounding with him himself like quite lonely standing there so actually this atmosphere really create the the feeling of loneliness to from the oldest point of view and also sometimes you do the sharing part we talked to a few attendees for example this one is actually the ambassador of Malaysia diving community and so actually maybe talk to her but you just place camera here and ask her to okay you can talk to camera but you have to calm down 15 times because we have to hide somewhere if you have a tree because the camera can see everything so actually we leave her the microphone so actually if you have to you have to just monitor then she really starts to calm down one, two, three, four she starts to talk but the amazing part is when we review the video from the watcher I think has that we really feel that she is talking to us philosophy really looking at you I mean eyes into your eyes and this feeling this impact of emotional touch really impressed me and also we tried some other setup for example this is another attendees so we use the camera actually as a triangle setup we have a speaker we have our interviewer and one of the camera placing on another seat so if we review this part of video we feel that oh actually we are sitting among the attendees actually we are listening to the sharing story as a conversation so there are a few setup actually really give us a different feeling when we review the video and also for the underwater shot we have a lot of very good shot and the case is sometimes we are using a scooter to make a motion shot sometimes we are using static shot but we also have to know that what the action might be having around the scenario because imagine this is kind of like half documentary, half story so there is a lot of activities it's really planned that you see not under our control so for example for this shot we have to really put our camera there and we have to hide somewhere and wait for them wait for this diver this is the professor he will come in from above the surface area then the time I check by the oxygens level is very low so it's very dangerous to me that I have to go up wait well they come back here to pick up my camera and then when they come back the camera already falls down somewhere it's because of the current so I mean because of we do against blue current there is some reason behind this so but we actually want to do more than that because we feel that when people enjoy the story they also want to do more than that for example someone always asks me the question okay when they are viewing the story they want to always start thinking where can I move in the scene of course it's not because all the shots are actually a prerecorded for this so we actually will start to think what else can we provide them why they want to move because when they have this freedom of truth to view they definitely want to do more than just view it they want to do some basic like interactions so we start to think about what else can we do by adapting this kind of I mean non-linear story heading because most of the video trace activity are just a linear story so we experiment these ideas as one of our journey in Kuching Island in Malaysia so in this journey actually we start to think about how we can make an interactive story from there so actually we plan this whole month map of the journey how it looks like so we start with one single point so the audience actually they can just decide how do they want to explore the city so for each single point for example they want to explore the culture the food, the city landscape they always go through a short story then they still can expand the story so in the end of the day everyone actually can get one of their customized tour themselves so we are quite I mean happy with the result account so I mean you can see how we have few securities which are built out a lot of triggers usually the kitchen is the most because the kitchen is a cat city so the symbol of the kitchen is a cat so we use the kitty to represent the guide so this is something I mean we learn from doing an interactive story because this kind of concept can definitely adapt more than just telling story can adapt to other industries like showcasing, as patients probably so I mean for me we have been thinking about a lot how we can make storytelling more interactive, more engaging we also continue to experiment what the future of my looks like so for me the future of virtual reality is definitely bring more freedom to the audience so a few weeks ago actually we started to do some experiment that I scanned myself into 3D using a few camera few scanner like the structure sensors and other auto dance some kind of measure we scanned our capture we also scanned some local I mean HDB program in 3D so eventually we just built everything into a 3D environment but beyond this we actually can I mean rig us into a 3D character so we can actually act we can actually talk using some like lip syncs parking so in the end of the day what all these can do is they actually can walk into the story so I mean just imagine that if we have this HTC wide kind of solution so we have a full 3D environment then that story happening and you can walk around so this is some freedom that we foresee in the future that how the story is heading we will look like so actually one time the director also shared with me because for all those traditional film directors they always have a concern because a director he's really what he's directing he's not directing the action or not directing the actor he's actually directing the audience he's directing the focus of the audience so we are thinking about doing a story in the 360 in the virtual world so suddenly you feel that you feel that he will lose the focus he will lose the how he can direct the audience then my answer to him is like imagine that what we are doing is not really directing the story anymore we actually are sharing something more powerful than a story we are sharing a work to do so if you want to bring the audience into your world we can let them feel how do you feel actually this kind of emotional connection is much stronger than what you did as a normal story and we believe that as a story teller we always believe that if you are able to build this emotional connection to them and if you are able to create this empathy you are able to actually convey the idea able to make them to a positive change in their lives so in the end of the day what we are always continuing to develop is how to create a better story telling experience and using this virtual technology and at the end of the day I can show you a video that we recently did a film screening event where we showcased this sum of stories to the audience but we are using a set up like everyone we call them to come over together so everyone put on the headset then we start to share the story actually you can view the story concurrently so this is all my talks but I will show you the four videos one by one and they can come to you come to check our sum of stories we bring a few gear here that you can have a try so it's not working I would see you be a worker brother so why don't we leave it there and give Andra a big round of applause for storytelling in VR and 360 degree video any questions from the audience? yeah I mean so it just seems that I've had some of these same concerns about directing and focus and all that but it seems like the further you go into exploring storytelling in VR the closer you get to gaming or at least the closer you get to interactive you're moving away from film you're moving towards interaction right? you're re-rendering the existing environments in virtual environments so you can use your testers you can use these things so it feels real but at the same time you're no longer telling a movie and when you remove control from the director and you put it in the hands of the audience then there's always a... there's always a gap right? because it's harder to tell a story when someone can do what they want as opposed to what you want them to do and the best stories I think need some kind of quarreling of the audience into some kind of focus that's even not chosen so what's your answer to good storytelling that way? like how do you see your work going forward? what kind of movies are you going to make that still retain this director-led focus but that have freedom? I don't know whether you... I've tried to watch this movie called Gun from the Milk VR that was a short TV series that was done by a US company so this gun is a top-of-the-dure gun it's a missing gun so actually this video is a kind of an interactive story so actually it sets up a few event triggers in the story for example we start with the Play-Bron scene so in the scene actually the audience actually can have this small trigger they can look at trigger they can jump to another location or another part of the video to continually still enjoy the story I think I totally agree with you that what we are going towards is definitely you blending the gaming and the filming but I also don't think the barrier is so important because of our telling story it doesn't really matter what's the way how we tell because our filming story telling has much a modern definition rather than just producing a few single videos because in the end of the day what we are providing is totally an experience so I mean we definitely understand that giving the full freedom to the audience it might also cause them to get lost in the scenario that's why somehow we feel that the certain triggers either is visible trigger or invincible trigger it's also important for example if I'm in the room then I look at maybe the destruction is a door that can so having to trigger an invincible trigger then the story continues so this can be something that gives the audience subconsciousness that's why I love the story because what we want to do is we give them freedom we give them direction but we also don't want to give them an illusion of freedom so they really feel like okay they are totally not really limited to the story but meanwhile we have to set up a route so how do we know to balance these two measures it's always play around same thing play around the tension play around focus but it's this time the way how we set up focus is like digital we probably set up a focus in the space rather than a focus just in front of the face what do you see the future of BL Storytelling in relation to sharing with friends and if you see it moving like sharing the stories with your friends how do you or what do you see as the best way to like implement that like how do you create a social storytelling sorry a social story so I just so you call the questions there's a meaning to ask me whether you see I see the future of Storytelling it's sharing it's a friend it's like social activities it's we're about like if we want to watch we want to do a story together do a story so let's enjoy a story together how do we do that and is it just we both are in the same experience to interact with each other if so how what do you have any idea about that okay in one of our recent film screening so we do use this better than everyone so they will be entering the same world so by our control so we actually we got them to start the same journey same film together okay but do we interact with each other or is it at this moment for the 360 video we didn't allow them but I mean technically wise it's definitely doable because they're all based on the game designs method it's just how what's the medium that you are playing back within this virtual world yeah this is kind of what I was getting at okay thank you it's cool shall we okay yes here we go ten um what do you mean it's sort of like roundhouse here that's not like I looked at that one set that you had there with the playground and it reminded me of seeing some old experience played with three done in a roundhouse where you'd have people sitting with 360 people all the way around I think the director's meeting them and I think we're going to come to the problem it is good sorry I did it I did it got you good actually alright actually why don't you guys we gotta move on to the next one why don't you I'll grab Ender that's what you're gonna find okay no no grab Ender after okay shall I just gonna take the stage can we give Ender again a hand and I'm gonna just throw all of you