1 00:00:06,902 --> 00:00:10,990 [Taylor] Technology doesn't have to replace what went before, 2 00:00:11,073 --> 00:00:12,491 sometimes it can just augment it. 3 00:00:15,161 --> 00:00:18,831 The StudioLAB is actually housed in the old animation building 4 00:00:18,914 --> 00:00:22,585 in one of the units that was used to make Fantasia. 5 00:00:24,086 --> 00:00:26,297 This is ground zero for innovation for me, 6 00:00:26,380 --> 00:00:28,466 because this is where Walt really kicked it all off. 7 00:00:29,842 --> 00:00:32,511 The mixture of tech, old and new, 8 00:00:32,595 --> 00:00:36,015 pushing two together that maybe you hadn't thought of putting together before, 9 00:00:36,098 --> 00:00:37,391 you get something new. 10 00:00:51,364 --> 00:00:52,615 My name is Alice Taylor. 11 00:00:52,698 --> 00:00:57,495 I'm VP of Content Innovation and StudioLAB for studio technology. 12 00:00:57,578 --> 00:00:58,662 -That'd be awesome. -[woman] Yeah. 13 00:00:58,746 --> 00:01:02,500 It's a bit of a test space for storytelling through emerging technology, 14 00:01:02,583 --> 00:01:05,378 any kinda tech, any kinda stories. 15 00:01:05,461 --> 00:01:09,799 We're looking for interesting things that are happening in filmmaking and beyond, 16 00:01:09,882 --> 00:01:13,052 and then we put them in here, and we let people play with it. 17 00:01:15,513 --> 00:01:18,307 This place is about showcasing what is happening on set 18 00:01:18,391 --> 00:01:22,728 from various productions across the studios that are represented here. 19 00:01:22,812 --> 00:01:25,940 But it's also from pulling in interesting things happening out in the market. 20 00:01:26,023 --> 00:01:28,984 So, you'll see things like drones in here or AR, 21 00:01:29,068 --> 00:01:32,655 augmented reality content on phones here in the living room and stuff like that. 22 00:01:33,698 --> 00:01:35,991 Walt innovated like crazy. 23 00:01:36,075 --> 00:01:40,079 He had a culture of innovation at the heart of everything that he did. 24 00:01:40,162 --> 00:01:41,831 That was the way he lived, 25 00:01:41,914 --> 00:01:46,252 and the history is soaked into the floorboards and the walls, 26 00:01:46,335 --> 00:01:48,170 and you can feel it. 27 00:01:48,504 --> 00:01:50,339 I mean, we're just sitting in a building. 28 00:01:50,423 --> 00:01:52,883 It's just made of bricks but, on the other hand, it isn't. 29 00:01:52,967 --> 00:01:54,176 All of the characters from Inside Out... 30 00:01:54,260 --> 00:01:58,222 [Taylor] The interactive movie poster is a prototype that we're building. 31 00:01:58,305 --> 00:02:01,600 And we're looking at how a digital poster could react 32 00:02:01,684 --> 00:02:03,436 to the human being standing in front of it. 33 00:02:03,519 --> 00:02:08,024 If we can have one person having their emotion being recognized, 34 00:02:08,107 --> 00:02:10,693 then that could trigger extra content on top of that. 35 00:02:10,776 --> 00:02:11,986 You could totally play games. 36 00:02:12,069 --> 00:02:14,655 Try it. One, [chuckling] two, three. 37 00:02:15,364 --> 00:02:18,117 One way to react is to gauge the expression 38 00:02:18,200 --> 00:02:20,202 on the face of the person standing in front of it. 39 00:02:20,286 --> 00:02:23,789 So, what is happening here is that the software behind the poster 40 00:02:23,873 --> 00:02:26,375 is analyzing the faces and trying to determine 41 00:02:26,459 --> 00:02:30,629 whether the person looking at the poster is happy or sad, angry, disgusted, afraid. 42 00:02:30,713 --> 00:02:32,298 Number of emotions. 43 00:02:32,381 --> 00:02:36,010 One of the things that we're doing is working with our live-action team 44 00:02:36,093 --> 00:02:39,430 to explore storytelling in new mediums. 45 00:02:39,513 --> 00:02:42,183 [man] So, you know, I've been testing out the Figment designs. 46 00:02:42,558 --> 00:02:43,726 So, which one's the first model? 47 00:02:43,809 --> 00:02:45,561 -So this was the first one that we made. -[Taylor] Yeah. 48 00:02:45,644 --> 00:02:49,065 And that one's after the review from team at parks. 49 00:02:49,148 --> 00:02:52,568 It's a character that it's in 3-D, and you can see him 50 00:02:52,651 --> 00:02:54,987 by putting on a headset and going into VR, 51 00:02:55,071 --> 00:02:57,907 but also our artist is sculpting the physical version. 52 00:02:59,617 --> 00:03:02,411 What's the benefit of doing the physical model? 53 00:03:02,495 --> 00:03:04,997 Why did we wanna go with the real clay here? 54 00:03:05,081 --> 00:03:08,667 [Choi] Yeah, so usually with a 3-D Maya, it's kinda hard for the directors 55 00:03:08,751 --> 00:03:11,253 and the producers to kind of get the feel of the design. 56 00:03:11,337 --> 00:03:12,421 -Right. -But with the clay 57 00:03:12,505 --> 00:03:16,384 you can immediately tell the artist to move the components of the model. 58 00:03:16,467 --> 00:03:17,676 -[Taylor] Yeah, yeah. -And the director will be like, 59 00:03:17,760 --> 00:03:20,388 "Okay, move the nose here." And we can change it very quickly. 60 00:03:21,847 --> 00:03:25,643 [Taylor] The physical version we then scan and pull into the 3-D world as well. 61 00:03:26,519 --> 00:03:30,606 When the turntable arrives with the robot arm we can do it with that as well, right? 62 00:03:30,690 --> 00:03:33,192 [Choi] That would be more efficient, 'cause right now just having iPad, 63 00:03:33,275 --> 00:03:34,568 -I have to walk around it. -[Taylor] Yeah. 64 00:03:34,652 --> 00:03:36,779 So, if we have the robot arm, you've got the stability? 65 00:03:36,862 --> 00:03:37,863 -[Choi] Right. -[Taylor] Yeah. 66 00:03:38,989 --> 00:03:40,950 You get to be able to reach out and touch the model, 67 00:03:41,033 --> 00:03:42,952 you get to put the headset on and see the model, 68 00:03:43,035 --> 00:03:45,121 you get to look at it from all angles. 69 00:03:45,621 --> 00:03:49,041 And that's how creative decision-making can then happen. 70 00:03:51,377 --> 00:03:53,087 [Jackson] So, yeah. Here's the Zootopia loop. 71 00:03:53,462 --> 00:03:55,131 They did some really fun stuff with this one. 72 00:03:55,214 --> 00:03:56,298 [Taylor] Yeah, they did. 73 00:03:56,382 --> 00:03:59,552 The magic window is two TV's on top of each other, 74 00:03:59,635 --> 00:04:02,888 OLED screens with a fake window panel in front of it. 75 00:04:03,472 --> 00:04:06,642 We can show content there that gives the illusion 76 00:04:06,726 --> 00:04:08,811 of looking out through a magic window. 77 00:04:09,603 --> 00:04:13,149 So, instead of looking at the window and seeing the back of another building, 78 00:04:13,232 --> 00:04:15,985 you can look out the window and see elephants passing by. 79 00:04:16,068 --> 00:04:18,988 [Jackson] This one, it is a totally static image. 80 00:04:19,071 --> 00:04:20,906 They don't have any camera movement or anything. 81 00:04:20,990 --> 00:04:23,826 It really makes that magic window effect. 82 00:04:23,909 --> 00:04:24,744 [Taylor] Yeah. That's nice. 83 00:04:24,827 --> 00:04:28,164 One of the great things about that project was the Children's Hospital Initiative 84 00:04:28,247 --> 00:04:30,666 came through and saw that and loved it. 85 00:04:30,750 --> 00:04:33,252 And so now, those kinds of magic windows 86 00:04:33,335 --> 00:04:35,713 are being installed in children's hospitals in America. 87 00:04:38,132 --> 00:04:39,884 -Elephants. -[Jackson] And more elephants. 88 00:04:39,967 --> 00:04:40,926 [Taylor laughs] 89 00:04:41,010 --> 00:04:42,803 [Jackson] Yeah. That first shot is pretty amazing. 90 00:04:42,887 --> 00:04:47,475 The storytelling that comes out the studios really matters. 91 00:04:51,187 --> 00:04:55,358 It's important to me that the stories that we tell shape the future. 92 00:04:56,692 --> 00:04:58,986 Disney himself was a great innovator 93 00:04:59,070 --> 00:05:03,908 and really pushed the envelope when it comes to story and technology. 94 00:05:03,991 --> 00:05:07,536 He loved technology. He used it in all sorts of new and interesting ways. 95 00:05:08,037 --> 00:05:10,206 And that's the culture we try to preserve here. 96 00:05:10,790 --> 00:05:14,085 'Cause it's telling the stories that matter and that really affect people. 97 00:05:15,002 --> 00:05:16,212 And that's amazing.