I was enjoying a week of skiing in the colorado mountains in mid December at my very favorite Keystone Resort.

 

My phone didn’t come out to many times between runs but among one such outing I glanced through an email with an offer for a gig in Vegas for the Intel Keynote at CES 2018.

A surge of excitement ran through me as I passed it along to the powers that be and promptly returned to the snow. Over the next few days while still on the slopes the whole thing got ironed out and confirmed and I headed into the holidays knowing my 2018 would start in Las Vegas working with the intel VR team on a video as part of a very large Keynote presentation at the Park Theater in Las Vegas Nevada to kick of the 2018 Consumer Consumer Electronics Show.

I had spoken briefly to a worldstage video supervisor named TJ about the specifications of the project and if the 55 page PDF document from JOH productions containing the 10 day load in schedule was any indication of the scale of the project I knew I was gonna be among the best and brightest of the tech and entertainment industry. A few key words that I had gleaned from the load in schedule that caused me a handful google of searches were volocopter, nanotube speed winch, and synchronized drone show.

To say the least: I was extremely excited to see this particular show come together.

I walked into the Park Theater at 8am on January 2nd and there were hundreds of technicians, electricians, construction workers, riggers, suits and project managers, technology specialists, security guards and maybe thousands of road cases and pallets stacked and stacked through the several towering vomitorium style doors out to the revolving loading dock. As I stood on the stage and looked out on at the massive auditorium that is the Park Theater it’s width was astounding.

 

My first day on the job was watching the early incarnations of video village as it was all coming together. Miles and miles and literal tons of cable went into a room in the basement level of the Park theater underneath the stage.

 

A sea of monitors and 6 ft racks with feeds of all kinds and all shapes and sizes. I saw several video technologies I recognized: some D3 computers (14 of the to be exact) a Barco E2, an enormous 20 plus camera broadcast set up, racks full of image pros and scalers, custom builds, workboxes and processors.

 

 

 

 

As the day moved and more teams with dozens of machine strategized and set up their corner of the camp in video village.  I recognized some friendly faces from the NYC video scene and TJ and his infectiously gregarious laugh pointed to an unpopulated table where I was able to set up and learn a bit more about the project I would be involved in.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

I learned that the moving image I would be helping to create would live on a projection surface 195 ft wide and would feature a virtual reality representation of the Intel CES booth.

 

 

 

 

 

 

I would be taking the uncompressed feed from a virtual reality environment and translating it with a custom built rack of Ki Image pro ultra recorders and a distribution amplifier that would sync these five HD feeds so that I could stitch them all back together with the adobe NLE of my choice into a 9600 x 1080 video that we would flavor (hap) so the D3 software can push it through the E2 hardware and can play it on this massive this projection surface that is literally 15 feet wider than a football field and the entire width of the massive theater upstairs.

 In-between researching my hardware in video village I would wander upstairs into the load in for the theater and watch one of the biggest LED walls and floors I’ve ever seen (and I’ve built some big ones) get lifted into the sky.

Hundred of projectors lined the balconies and the set being built was enormous in scale.

 

 

 

 

 

By the end of the day I saw an army of what seemed like thousands of drones get unpacked from road cases and spread around backstage.

On day two I was assigned a new station in a ballroom up a couple elevators and down some long windy service corridors in the back alleys of the monte carlo hotel away from the theater.

That’s where I met my contacts at Intel who were all very nice and accommodating. They offered me a nice piece of real estate amongst a series of impressive looking VR set ups and even offered to build me my very own super fancy processing monster of a machine with which to do my work.

My video gear showed up slowly but surely over the next several days and while we waited out a series of delivery snafus I was immersed in the world of VR like I had never been before.

I learned about voxels, and VR cameras, how VR teams collaborate to create their environments. How VR designers talk to Steven Spielberg when they introduce him to a virtual world depicting one of his movie sets from inside the virtual world itself. I was surrounded by Intel veterans who had been working on these projects for several months if not a year and I was immersed into this show that I had only learned about but two weeks before.

On our “shoot” it felt a lot like a film set where the actors were gathering around the set and warming up, running through blocking, only this time the “actors” were avatars in the CES virtual booth. A virtual booth built by the fine folks at Sansar and giving anyone anywhere access to the booth in vegas and those attending the conference a VR portal of endless possibility. This particular booth walkthrough would feature avatars for Intel CEO Brian Krazanich (who I recognized from the recent dealbook gig), Intel Demo Specialist Donna, Intel employee and virtual booth assistant Lisa and CES chairman Gary. The “camera” was a fifth avatar in the virtual booth whose perspective would provide the frame for the video I was trying to capture. Armed with a joystick gaming controller my “DP” would wait for the action and we would go through the scene just like it was being printed to a piece of celluloid and after a couple days with a proof of concept and the VR designers putting the finishing touches on things we made our movie in about twelve takes and after a very long render we sent it back to video village to slot in the show that was now starting it’s run through rehearsals on the weekend leading up to the actual Keynote.

I had the pleasure of watching this spectacle about 7 times over the course of three days and everytime it was mesmerizing. AI instruments; data in the park, Sensor data robot gymnasts on trampolines, one of the most complex and amazing live video spectacles of a set i’ve ever seen and a presentation about the way that data has and will continue to transform the way our species evolves.

Check out this piece that verge did from behind the scenes.

I’m so glad Five Ohm got to take part in this guiness book of world record breaking spectacle of a technology show. Congratulations to the thousands of people that brought it all together.

 

I was enjoying a week of skiing in the colorado mountains in mid December at my very favorite Keystone Resort.

I was enjoying a week of skiing in the colorado mountains in mid December at my very favorite Keystone Resort.

 

My phone didn’t come out to many times between runs but among one such outing I glanced through an email with an offer for a gig in Vegas for the Intel Keynote at CES 2018.

A surge of excitement ran through me as I passed it along to the powers that be and promptly returned to the snow. Over the next few days while still on the slopes the whole thing got ironed out and confirmed and I headed into the holidays knowing my 2018 would start in Las Vegas working with the intel VR team on a video as part of a very large Keynote presentation at the Park Theater in Las Vegas Nevada to kick of the 2018 Consumer Consumer Electronics Show.

I had spoken briefly to a worldstage video supervisor named TJ about the specifications of the project and if the 55 page PDF document from JOH productions containing the 10 day load in schedule was any indication of the scale of the project I knew I was gonna be among the best and brightest of the tech and entertainment industry. A few key words that I had gleaned from the load in schedule that caused me a handful google of searches were volocopter, nanotube speed winch, and synchronized drone show.

To say the least: I was extremely excited to see this particular show come together.

I walked into the Park Theater at 8am on January 2nd and there were hundreds of technicians, electricians, construction workers, riggers, suits and project managers, technology specialists, security guards and maybe thousands of road cases and pallets stacked and stacked through the several towering vomitorium style doors out to the revolving loading dock. As I stood on the stage and looked out on at the massive auditorium that is the Park Theater it’s width was astounding.

 

My first day on the job was watching the early incarnations of video village as it was all coming together. Miles and miles and literal tons of cable went into a room in the basement level of the Park theater underneath the stage.

 

A sea of monitors and 6 ft racks with feeds of all kinds and all shapes and sizes. I saw several video technologies I recognized: some D3 computers (14 of the to be exact) a Barco E2, an enormous 20 plus camera broadcast set up, racks full of image pros and scalers, custom builds, workboxes and processors.

 

 

 

 

As the day moved and more teams with dozens of machine strategized and set up their corner of the camp in video village.  I recognized some friendly faces from the NYC video scene and TJ and his infectiously gregarious laugh pointed to an unpopulated table where I was able to set up and learn a bit more about the project I would be involved in.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

I learned that the moving image I would be helping to create would live on a projection surface 195 ft wide and would feature a virtual reality representation of the Intel CES booth.

 

 

 

 

 

 

I would be taking the uncompressed feed from a virtual reality environment and translating it with a custom built rack of Ki Image pro ultra recorders and a distribution amplifier that would sync these five HD feeds so that I could stitch them all back together with the adobe NLE of my choice into a 9600 x 1080 video that we would flavor (hap) so the D3 software can push it through the E2 hardware and can play it on this massive this projection surface that is literally 15 feet wider than a football field and the entire width of the massive theater upstairs.

 In-between researching my hardware in video village I would wander upstairs into the load in for the theater and watch one of the biggest LED walls and floors I’ve ever seen (and I’ve built some big ones) get lifted into the sky.

Hundred of projectors lined the balconies and the set being built was enormous in scale.

 

 

 

 

 

By the end of the day I saw an army of what seemed like thousands of drones get unpacked from road cases and spread around backstage.

On day two I was assigned a new station in a ballroom up a couple elevators and down some long windy service corridors in the back alleys of the monte carlo hotel away from the theater.

That’s where I met my contacts at Intel who were all very nice and accommodating. They offered me a nice piece of real estate amongst a series of impressive looking VR set ups and even offered to build me my very own super fancy processing monster of a machine with which to do my work.

My video gear showed up slowly but surely over the next several days and while we waited out a series of delivery snafus I was immersed in the world of VR like I had never been before.

I learned about voxels, and VR cameras, how VR teams collaborate to create their environments. How VR designers talk to Steven Spielberg when they introduce him to a virtual world depicting one of his movie sets from inside the virtual world itself. I was surrounded by Intel veterans who had been working on these projects for several months if not a year and I was immersed into this show that I had only learned about but two weeks before.

On our “shoot” it felt a lot like a film set where the actors were gathering around the set and warming up, running through blocking, only this time the “actors” were avatars in the CES virtual booth. A virtual booth built by the fine folks at Sansar and giving anyone anywhere access to the booth in vegas and those attending the conference a VR portal of endless possibility. This particular booth walkthrough would feature avatars for Intel CEO Brian Krazanich (who I recognized from the recent dealbook gig), Intel Demo Specialist Donna, Intel employee and virtual booth assistant Lisa and CES chairman Gary. The “camera” was a fifth avatar in the virtual booth whose perspective would provide the frame for the video I was trying to capture. Armed with a joystick gaming controller my “DP” would wait for the action and we would go through the scene just like it was being printed to a piece of celluloid and after a couple days with a proof of concept and the VR designers putting the finishing touches on things we made our movie in about twelve takes and after a very long render we sent it back to video village to slot in the show that was now starting it’s run through rehearsals on the weekend leading up to the actual Keynote.

I had the pleasure of watching this spectacle about 7 times over the course of three days and everytime it was mesmerizing. AI instruments; data in the park, Sensor data robot gymnasts on trampolines, one of the most complex and amazing live video spectacles of a set i’ve ever seen and a presentation about the way that data has and will continue to transform the way our species evolves.

Check out this piece that verge did from behind the scenes.

I’m so glad Five Ohm got to take part in this guiness book of world record breaking spectacle of a technology show. Congratulations to the thousands of people that brought it all together.