INTL AR VR Conference 2018 keynote BBC
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This document discusses emerging immersive media technologies and user experiences. It summarizes experiments conducted with 360 video and VR, noting a high completion and satisfaction rate but that more remains unknown about what users will want. It also describes challenges in directing attention and developing new storytelling conventions in 360 media. Early feedback on an augmented reality project is provided, and the document concludes by envisioning continued advances in devices, connectivity, content creation, and the development of immersive narratives and interactive experiences.
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INTL AR VR Conference 2018 keynote BBC
- 1. Developing New User Experiences in Immersive Media Adrian Woolard June 2018
- 2. Introduction
- 6. Create Broadcasting as a system Deliver Consume IP end to end Data centric New devices, new interfaces
- 7. The New Broadcasting Eco-system Deliver Consume Create Immersive Pervasive Data rich Interactive, personal, adaptive
- 11. 360 /VR
- 13. New pipelines, new devices, new experiences (Not currently offered)
- 14. R&D Future Experience Technologies
- 15. #BBCVR
- 17. 360 Video & Audio and WebVR
- 18. 78% completion rate (industry average 17%) 95% of people rated these pilots positively But … lots still unknown in what users will really want and how we will tell valuable stories…
- 19. TV ‘grammar’ inVR? 180-degree view from near front of audience at BBC Proms concert Views available from broadcast cameras: a medium shot is a small fraction (approx 12 degrees) of the full 180- degree view; tight shots are even less Compare 360 camera in audience vs conventional HD production
- 20. DirectingAttention in 360° Immersive viewing – the next step
- 21. Current production challenges .. requires completely different grammar of film making • There are no cutaways • There are no close-ups • You can’t pull focus or zoom • There is no hiding ‘behind the camera’ • You can’t imply things ”We need to develop a new shared language to do this”
- 22. • Lower cost headsets • Improved headset comfort • Higher quality resolution / optics • 5G Connectivity • Device/platform convergence • More high quality content • The ‘Killer’ experiences… Current industry challenges
- 23. bbc.co.uk/vr
- 25. AR
- 27. ‘Civilisations AR’ early feedback • Released 1st March ‘18 for iOS and Android • 57,000 downloads in week 1 • 250,000 to date • Average 3,500 downloads per day • 50% of downloads outside of UK. • Average session time: 4m14s • Average object engagement: 2,000+ users • 60,000+ photos taken (0 reported incidents - inappropriate use) • Average object engagement time: 16 sec
- 33. Conclusion
- 34. ParticipantRecipient Auteur Narrative Play Authored Perceptive Influenced Played Created Awareness AgencyInactivity Procedural Broadcast Games Toys??? StorytellingContinuum
- 36. bbc.co.uk/rd @BBCRD bbc.co.uk/taster @BBCTaster bbc.co.uk/connectedstudio @BBC_Connected bbcnewslabs.co.uk @BBC_News_Labs bbc.co.uk/vr Thanks!
Editor's Notes
- What have we done to date? Some of the things have we learnt from production and user perspective not specific technology aspects. What are challenges at present? How is VR going to change our lives? The inside story on pioneering VR projects How production and consumer ready is 360 & VR Tech? Amazing sound for Virtual Reality & 360 360 News – a new way to tell stories What makes a great 360 video and how to create it? Ground-breaking VR: inspiring award-winning examples BBC Taster
- Who am I? I started as engineer, did a PhD in animatronics – Spent sometime as professional geek (passionate but realistic about the future) Made technologies to make games and films more ‘ realistic’ Been at BBC for 17 years came to be an imagineer and currently head of Future Experience Technologies Working at intersection between emerging technologies, user centred design and new editorial concepts Now focused on leading partnership strategy for the research & innovation arm of future media
- List of products, teams, numbers of staff/trainees/apprentices, audience stats of usage of BBC digital things Embedding partnership and collaboration from the start (both across the BBC and externally) and continue throughout Being part of innovation communities The analysis found a positive contribution of the BBC to the Salford area in terms of employment, increased skill levels and spill -over effects. KPMG independent report on the online sector for BBC Trust finds that the BBC has had a positive economic impact on the sector via two channels, both resulting in overall market development and expansion: 1, technology spill-overs driven by the BBC’s innovation in the market; 2, and knowledge and skills spill - overs arising from BBC Online collaborations, partnerships and wider industry initiatives.
- The role of BBC Research & Development is to provide world-class leading edge technical research and innovation expertise to the BBC. This enables the corporation to continue to create and deliver innovative high quality content and services, as cost-effectively as possible to the licence fee paying public. BBC R&D also advises the BBC on what is coming in the future – what it needs to be involved in and influence, what are the likely winning and losing technologies and what the BBC needs to lead, follow or ignore. The department has always followed a philosophy of collaboration and openness. It works regularly with other broadcasters, standard’s bodies and technology partners to evolve and influence the international media landscape. BBC R&D has worked in this way for over 60 years. From the development of colour TV and High Definition to Freeview and Freesat, the department’s involvement has always ensured the fairest and highest quality broadcast innovations for the benefit of industry and UK licence fee payers. Through technology BBC R&D has and will continue to, provide the BBC’s storytellers with the newest most cutting edge innovations to help enhance audience immersion in the narratives they create. In the internet age, BBC R&D leads the invention of new forms of content and new ways to make them in a predominantly IP world built to the principles of object based media. 1962 – First colour transatlantic TV transmission 1969 – BBC1 starts colour transmissions 1971 – World’s first digital stereo audio recording demo 1974 – CEEFAX launched 1989 – The Ginger Tree first HD film produced 1990 – First trial of DAB 1995 – DAB launched 2002 – Freeview launched 2007 – HDTV trial 2008 – Freesat launched 2008 – DVB-T2 Specification finalised, world-first to have signals on-air 2010 – Freeview HD launched using DVB-T2 2012 – World’s first Super Hi-Vision (8K) coverage of the Olympic Games with live transmission from London to Japan and the USA 2014 – World’s first implementation of a live End-To-End UHD broadcasting system over IP at Commonwealth Games 2014 2014 – UK first, used LTE eMBMS to broadcast live action from Commonwealth Games to 4G mobile handsets 2015 – built the BBC micro:bit prototype 2017 – Binaural sound version of Doctor Who season 10 episode - ‘Knock, Knock’ made available on BBC iPlayer 2017 – Blue Planet II series made available in HDR/HLG on BBC iPlayer
- Broadcasting as a system We have a stable architecture based on the rocks of Create, Deliver, Consume Simple, sustainable model of our industry Disruptive, technology driven, change But multiple waves of distuctive change were coming Internet protocol - streaming, of course, but the context of consumption and in the way we make things Data centric - being surfaced and used throughout our activity ... To control, shape and in some cases be the content (think stats in sport - or as news) Devices - range used to consume proliferate, of course; but also being used as a production tool and becoming part of consumption context (save for later on your ipad) Technology trends IP first IP-enabled services and devices are acting as intermediaries between media publishers and their audiences, affecting the ability to gather data, curate journeys, and provide innovative experiences. Seamless connectivity Driven by enhanced infrastructure (e.g. 5G), hardware (e.g. webattery life) and competitive markets (e.g. expanding data packages), seamless connectivity will allow increasingly high-quality mobile experiences through consistently high quality IP connectivity. Machine learning It will be easier to learn and respond quickly to user needs, as well as predict user interactions, automate and personalise experiences through machine learning and connected data. Object-based media Media itself is infinitely reconfigurable to enable hyper-personal experiences to be constructed on the fly in response to individuals and their environments. Interfaces New interfaces will enable fundamentally different kinds of media experiences for our audiences. ● Conversational interfaces enable two-way interactions between audience members and services. (e.g. Alexa for speech, Messenger bots for text). ● AR interfaces mean publishers can reimagine how users interact with the physical world, allowing content, characters and context to be overlaid onto real-world environments. ● Consider visual, touch, text, speech, biometrics, other senses, other sensors, and beyond...
- The New Broadcasting System We resolved to get ahead of this - to see how we can build a better BBC by embracing these changes Regarding it as a whole system, not a series of silos It gives us: Immersive - the potential for a fuller, more engaging experience with things like Virtual Reality and binaural audio Pervasive - media content that gets into every nook & crany of our lives - not just the "I'm watching telly" moment Data rich - that uses data to select shape and structure the experience Interactive, personal, adaptive - in response to who you are, what you are doing and what is going on around you ... It's right ...
- Working with many universities and academic institutions
- News Factual History Science
- WebVR is an open specification that makes it possible to experience VR in your browser It makes it easier for everyone to get into VR experiences, no matter what device they have Uses HTML Javascript and CSS to stream VR to any web browser With the exception of Playstation it is supported by all of the headsets It is in its early days but we want to trial it as it answers that problem of device/platform convergence and is a open platform that could potentially be used for daily content the BBC might deliver in the future.
- ROME CLIP
- It’s not a switch. It won’t be something that happens overnight. This won’t even happen tomorrow. It’s years – but you can see the start. And soon it will just be there. You’re working on it. Perhaps at the drinks something will kickstart the next big leap. For right now, I’m looking at how the technologies that are used in realtime rendering might come to drive the images on your headsets, augmented into your vision (or just giving you a legacy flat view) might work at scale for a broadcast model. If an EastEnders version of Walford was a place you could visit, how would a soap work? If it feels a bit “Westworld”… well, why not?
- variety of techniques including different camera angles, cuts, focus pulls and moving cameras, to lead the viewer through a story. close-ups, cuts, camera moves, ….
- Directing Attention in 360° Video 360° video is a special case of virtual reality (VR) in which the viewer experiences a sphere of video centred on a single position, or in other words, they experience an environment from a fixed viewpoint. 360° formats offer the filmmaker both opportunities and challenges. The action unfolds in a consistent space, and since the viewer is free to look around as they wish, they experience a video environment in a way that correlates more closely to real life. In traditional video formats however a director is able to use a variety of techniques including different camera angles, cuts, focus pulls and moving cameras, to lead the viewer through a story. But most of these techniques do not work particularly well in 360° video. When we are trying to tell stories in 360° video we need to have some way of making sure that the viewer is able to pay attention to the right thing at the right time. Which leads to an interesting question - how can we prevent the viewer from missing crucial elements of the story, when we can’t actually control where they are looking? In this study, we identified some basic techniques taken from theatre, using movement and sound cues, and decided to see what worked best in a 360° video environment. We were particularly interested in more subtle ways of directing the viewer’s attention.
- Works best at creating emotional experiences Using the 3dimensional space you are in and that connection you can have with real people in the space more agency and interactivity in Computer generated VR, video really works to create empathy and emotional connection. Thinking “spherically” & finding the right shots Hiding the crew/ kit Lighting and sound recording Camera technology not yet mature Post production - workflow is laborious & slow Know your platform Take me somewhere fantastic Make it personal Not easy for storytelling YET! Don’t forget the sound Or behind the scene which take me to The opportunity and problem with 360 video is it can be used on Social media on desktop/mobile or in a HMD. It is tempting to try to make something that works on both – don’t. Make decision on whether to watch or not in first few seconds versus may not have their headset on. You want to use the 360 space and have something to look at in all direction While you get a lot more control and interactivity in Computer generated VR, video really works to create empathy and emotional connection. 360 and VR are great for immersion and creating emotional empathy, but the stories tend to be simple vignettes and personally I feel It is currently better at experience and world building than storytelling.
- We hear in 3 dimensions, but stereo is only left and right. That’s usually fine when we are looking at a flat screen but not much use for VR.
- Like many publishers/broadcasters we set up a studio to commission and make VR
- • • • Civilisations AR Analytics Average object engagement 2,000 users 60,000 photos taken with 0 reported incidents of inappropriate usage or “bad actors” Average object engagement time before next interaction (hotspot, description, navigation) - 16 seconds of pure exploration
- We have also been taking interactive storytelling to platforms like Google Home and Amazon Echo – look out for a drama coming soon. All part of the Talking With Machines project. There’s also AI and Machine Learning work too – I’ll come back to that.
- And that’s where this has come from. <<TALK IT THROUGH>>
- End-to-end workflow Sound quality Production tools and integration Practical complexity Developing tools Evaluating technology Supporting productions Standards and best practices