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The future of filming on location: Certified digital replicas & IP ownership
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00:01All right, so we have another initiative for you now.
00:05These guys are going to be speaking about the future of filming on location
00:11with the use of certified digital replicas and IP ownership.
00:16What their initiative is, is creating a digital twin, if you like, an archive of information
00:25which is taken, stored, unbreakable, which can be used for contemporary and future productions.
00:33Here to tell you more, I'd like to invite to the stage Kirsten from SyncSea and Messe Aya.
00:46Messe Aya.
00:48Please welcome to the stage. I'm so sorry I didn't ask your name earlier.
00:54Let's go.
00:54Let's go. Yeah.
00:56Down.
01:06Wow.
01:11Hi there. My name is Kirsten.
01:13Kirsten Davis, founder of SyncSea, former head of technology and innovation at the New York Times International.
01:20I've got more than 20 years' experience using technology to bring factual information to global audiences.
01:28Hello. My name is Maciej Rzamoicin. I'm 20 years in film industry and I'm working with technology in storytelling.
01:38Okay. Okay. Quick ask to the audience. How many of you have ever heard of the street artist Banksy? Put
01:45your hands up.
01:46Okay. Great. Because it is with this street artist Banksy and on the streets of Kyiv, Ukraine, that this story
01:54starts.
01:56So, and how many of you have met Banksy?
02:01Okay. So, it's going to be an interesting story for you.
02:05So, some time ago, this was 2022, when the Russian invasion on Ukraine started, we were in London.
02:15And apart from all the aid we were trying to, how we were trying to support Ukraine at this time
02:21with physical aid like tires, food, etc.
02:26We went to London and we realized that no one is really talking about Ukraine anymore after a couple of
02:32months.
02:33And we thought, okay, we are at the mission, so we need to do something.
02:38We need to just tell people about that this is, it is happening and it is happening in Europe.
02:44And how to say it in an authentic way, in a way that people believe in it.
02:51So, what we've done, after, this was December, we were in London and we, Banksy, went to Ukraine at 2022
03:02November.
03:03And we scanned the Banksy murals, so we've done 3D scanning of Banksy murals in January and February.
03:13By that time, one of the murals was already stolen.
03:18So, one of the seven murals is a replica and we told a story about Ukraine, putting light on Ukraine,
03:27using authentic footage, authentic data, authentic 3D scans of the Banksy murals.
03:35And there is a but, yes, so it put a lot of light on Ukraine, it put a lot of
03:39light on the story.
03:42In fact, it traveled all around the planet, it was like really in all around Europe, in New York, even
03:50in Korea, even in New Zealand we were, yes?
03:54So, really, it worked and people believed it because this was authentic scans and they believed where the data is
04:05coming from.
04:07But there was one but, who owns the IP to this data?
04:14Of course, we informed Banksy and there is a special way of informing Banksy, we tried a couple of times.
04:21I'm not going to tell you if we met Banksy or not, so, because I'm not allowed to tell you.
04:27And if I were allowed, I would not tell you.
04:31But in the end of the day, Banksy knew about it, but we don't know till now who owns the
04:38IP.
04:39And there is, this is the moment where our next project and next mission started.
04:45Exactly. So, this is it.
04:47We took the technical learnings from the murals project in Ukraine, but we also took the learnings from the approach.
04:54In order to do something different with this current project, this current project is called Picture from Auschwitz.
05:01Okay, you can see it up here.
05:02And this is also about buildings.
05:05It's also about art.
05:07And it's also about cinema this time, rather than graffiti art.
05:12What Picture of Auschwitz is, is it's a 3D scan, a digital twin of the Auschwitz site.
05:21Okay.
05:21By the way, this site is off limits to all filming.
05:27Not even Spielberg could get permission to film Schindler's List there.
05:33So, what were we doing with this project?
05:36This project is effectively about, like with murals, the need to preserve, the need to protect,
05:43but also the need to open up storytelling about what is going on and to shine a light onto that.
05:49Today, what we see is that with the rise of AI and synthetic media, the history is being eroded.
05:59Okay.
05:59The Auschwitz site is being physically eroded by time and by weather.
06:04But what we actually see here and now is that through AI, fake news and synthetic media, our history is
06:12also being eroded.
06:13So, it's very important for us to be able to do this.
06:16And, in fact, what we've been able to do in doing this 3D scan is also a different approach to
06:22this partnership.
06:24In order to get permission to do this, as I mentioned, not even Spielberg could get permission to go onto
06:30site.
06:31My chick and the team created a very strong partnership with the Auschwitz-Birkenau Foundation.
06:38Okay.
06:39That granted them the access to the site.
06:41But more than that, what it's been done is this partnership grants the access to this 3D digital scan to
06:51the foundation.
06:52They are the physical owners of the site.
06:55But today, they are also the digital owners of the site.
06:59What this means is that we've created an authenticity value chain from the physical all the way through to the
07:09digital.
07:09Now, today, anyone can go out there and scrape all of the information that's available and effectively create a 3D
07:17version of this.
07:19But if you go to the memorial and you access this rendering, you are using a certified, authenticated version.
07:29Something that we don't really see in digital storytelling and AI creation today.
07:35Maciek, tell us about how you've scanned.
07:37Yeah, so I think it's really boring, the scanning part, yes?
07:42So, and I have to tell you, it's really loud here.
07:47I hope you still hear us and we'll try not to shout, yes?
07:51So, the scanning part is really boring because we do the surveyor's part, the photogrammetry part, the Gaussian splat part,
07:59you know, AI, not AI, whatever, yes?
08:02It's like, I can tell, talk for weeks and I can, we've done it with some great people, yes?
08:08What is, you know, we've created even like, you know, like patterns for this, etc., yes?
08:13What we've done, what we've done, what is different from the traditional scanning and gathering the data.
08:20We've created a data pool which is future proof.
08:24So, what we have in mind is that someone, it's now, it was now 80th anniversary of the liberation of
08:33the camp and what we have in mind gathering this data, that someone in 80 years will reprocess this data
08:40and will use this data as an authentic timestamp, authentic source of data gathered today and process in 80 years.
08:51It might have been 10 years, it might have been 10 years and 5 years, we really believe that people
08:55will reprocess and will use this data.
08:58The source of the data still stays within Auschwitz-Birkenau Foundation and the process data is given to filmmakers who
09:10are willing to tell this, the authentic story about it in a dialogue with the memorial and with the foundation.
09:18And why is it important?
09:19Because if you look at, if we had like 1% of the data from 80 years ago, we could
09:27really do wonders with that.
09:30So, we're happy we have it now.
09:32Sometimes we ended up, if you look at this, all these points, this are camera, camera positions.
09:37So, we, even we were trying to prepare like this, we sometimes ended up with this.
09:44And based on this, we can really create a lot of stories, tell a lot of, using pictures, using film,
09:53tell a lot of stories.
09:54But it's always, we know where the data source comes from, and it's in a dialogue with the memorial and
10:04with the foundation.
10:05Looking at this, this is an authentic picture taken by the Nazi during the camp was in the 40s.
10:16And now you see a transition to a, to, to, to the, to the scan.
10:21What it does, it's a key to connect this data and authenticate pictures from the past and also pictures from
10:31the future.
10:32So, this way we connect it.
10:35This is a very important thing, like we announced it in May, so like one month ago in Cannes.
10:41And an important person came to Cannes at this time.
10:46This was Richard Horowitz.
10:48He is an Auschwitz survivor, a great artist who designed the poster at 1995 to Cannes Festival.
10:58And he's a famous New York-based photographer.
11:01And when we see the red arrow there, he's standing there.
11:05And when I get to know about it, I was scanning at Auschwitz.
11:09And I went to this site and I clicked with my, with my mobile, this picture at exactly the site.
11:16And I hope you feel what we felt at the time.
11:20And what I feel right now, that this authentic connection between past and present and the future through the data
11:29is so important.
11:31And so emotionally heavy and important at the same time in terms of responsibility and importance.
11:44What else?
11:45What else we need to say?
11:47Richard came with us.
11:48Richard was with us at Cannes Film Festival.
11:50You're in fact only one of the second audiences to be seeing this because we presented this at Cannes just
11:58last month in May.
12:00And in fact, since then, we already have a number of Hollywood producers that we're talking to that are looking
12:06to use this virtual location to make new films.
12:10We've got a lot of great press.
12:11We saw the need and the desire for this technology, but also for this authenticated storytelling there.
12:19So we had articles in the Hollywood Reporter, Deadline, The Guardian.
12:24But what's most important is that the films that are produced using this will be made with a certified,
12:32and will actually come out with a certification of the memorial.
12:36So if you see this information, then you'll know that it's true to form.
12:43What's also important for us is that the licensing fees, because it's the memorial that owns the IP and owns
12:50the copyright,
12:51the licensing fees from any films made will go straight back to the foundation and to the memorial to help
12:59preserve and to protect.
13:01And usually, at this point, people ask the question, how can you avoid people just to create this kind of
13:093D model and do it themselves?
13:12And, you know, the answer is we can't.
13:16But if there is, but we create an opportunity and a possibility to go to the memorial and to talk,
13:25to use the real data and to tell the true story.
13:29So if there is no opportunity, we have absolutely zero chance.
13:35If the opportunity is there, we're sure some good amount, we hope 51% and hopefully 99% or 100%,
13:45will come to the memorial, will come to the foundation, will use the data, and will tell a true story.
13:52The timing of this is especially important.
13:54And as I mentioned today, we have more and more synthetic media, fake news, denial, distortion of the past.
14:03And what's more is that we have less and less survivors available and here to tell us firsthand their stories.
14:11Right here and right now, this virtual location is available for filming.
14:16In the future, it could be available for education or very many more things, as long as it is there
14:24for truthful, authentic representation of our past.
14:29So in doing this, what we've looked to do is to create, in fact, a new technological gold standard for
14:363D scanning, for virtual film location.
14:38But more than that, the partnerships between the technology and our physical assets, our true past, and to keep that
14:47going forwards for the future.
14:49So we are definitely in a moment, you cannot trust any pictures anymore.
14:54You cannot trust any videos anymore.
14:56But whom you can trust, you can trust institutions.
15:02So that's why all the copyright was donated to Auschwitz-Birkenau Foundation.
15:09Because we think it's correct, yes, that the digital IP and the physical IP is in the same hands.
15:20Because wherever this gap will be created, the problem is created.
15:26So to give you an example, if I go and scan Paris, do I own it?
15:31Can I tell a story about Paris?
15:34Random story.
15:35Do I own the digital Paris if I go with a scanner on the streets of Paris?
15:39So that's why I hope you feel it.
15:42That's why it's important, and this was really important for us, to keep it at the same place.
15:48So if you are a filmmaker, if you are out there documentary maker, if you are a storyteller, a digital
15:56storyteller, and you want to use this virtual film location, we've shown the link.
16:02Reach out to the foundation, and you can go through the process there to access this virtual location.
16:09If you want to find out more about the scanning.
16:12Thank you very much.
16:14Thank you.
16:17Thank you.
16:18Thank you to you both. Excellent. Excellent. Very nice. Very good work that you're both doing.
16:21Thank you.
16:22We have no time for questions, unfortunately, but I'd love to chat with you backstage.
16:26And apologies for getting your name wrong.
16:29My girlfriend is checked, by the way, and she would kill me.
16:32Merci.
16:34All right.
16:34All right.
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