Advanced enough technology is indistinguishable from magic, a legendary author once said. At Disney World, the two have been combined in a dazzling way, writes ARTHUR GOLDSTUCK.
The location is Disney World in Orlando. The scene is the World of Avatar, the newest major attraction at the theme park, based on the most successful movie ever.
Avatar lends itself to superlatives.
We are entering the most realistic fantasy world yet created as a theme park ride, the Na’vi River. Here, luminescent vegetation brushes our boat, glittering creatures bound past us, and the elusive Na’vi people lurk in the background.
“I helped create that sentry,” says my traveling companion, pointing to a magnificent, eerily real Na’vi guard that watches over the boats that brave this river. Even with this reminder of the manufactured nature of the scenery, the illusion persists.
“Arthur C Clarke one said that any advanced enough technology is indistinguishable from magic,” says my guide, Ron Martin, referring to the great science fiction author who wrote, among other, 2001 A Space Odyssey. Ron himself is something of a specialist in mixing technology and magic. He is vice president and director of the Panasonic Hollywood Laboratory, which has consulted on some of the great science fiction movies of our times.
This division of Panasonic has collaborated closely with movie-makers in the research and development of visual image processing technologies. It also works with cinemas in cutting edge projection technology. This legacy was brought strongly to bear on the World of Avatar and the planet Pandora.
“Our projection technology enables this lifelike imaging on the Na’vi River,” says Martin. “We sat down with Disney Imagineering, we listened to their creative vision, and we applied technology that satisfied that vision. We don’t move them to what we want, we make technology that enables the creative vision. It’s what I call technology under creative control.
“Anywhere you see something non-physical, a projected image, that is our projection technology. All the physical elements, the lighting, the plant life that is illuminated, are built by Disney. But the characters and animals you see moving, and the multi-layer environment that creates the illusion of depth and looking deep into the jungle, is all Panasonic projection technology.”
The end-result is, as intended, both other-worldly and visually compelling. It is designed to elicit both oohs and aahs at the dazzling visual feast, and a sense of wonder at the exquisite detail, complexity and richness of the alien environment.
The biggest surprise of all is the extent to which the technology behind it is entirely invisible. It stands in stark contrast to “traditional” Disney rides like Pirates of the Caribbean, where decades-old animatronics – in effect robots programmed with limited movements – are used to bring pirates and their environment to life.
Or, at least, a semblance of life. The creaking technology is all but visible, as the characters make their stilted and jerky movements.
“The key is that we don’t want to be pushing technology for technology’s sake, but for the story’s sake,” says Martin. “If we achieve that goal, the guest is going to respond, gasping for joy, rather than saying. ‘Gee, that looks fake’. Everything we do in this arena is to that end, to not being a distraction, to make the story the thing.”
The World of Avatar is simultaneously evidence of how realistic ally a movie world can be replicated as an experience, and the beginning of a new wave of immersive theme park attractions. This year Disney World will open Toy Story Land, in which the visitor appears to have been shrunk to the size of a toy. Next year, it will debut Star Wars Galaxy’s Edge, which will be the theme park culmination of Disney’s acquisition of the Star Wars franchise.
“More and more, that level of entertainment is media-driven, so what we want is media that fulfils the creative vision,” says Martin. “It includes issues like resolution, brightness, and colour imagery, so that imaging blends into environments precisely. In a theatrical story-telling environment, precision is everything. When we come in and blend that into a physical environment in a theme park, everything must blend in and complete the story rather than be a distraction from the story.
“Projection will continue to feature heavily in this process. These are contributory technologies to the idea of taking the cinema world and turning it into physical worlds you explore. The evolution of projection has to go forward, and brightness and colour accuracy and colour reproduction are a big part of the competitive nature of what we want to achieve.”
Having worked on ground-breaking titles like Avatar and Gravity, Martin is no stranger to both the imagination and technology it takes to create new worlds. He won’t go into detail on the specific technology that is used, but is happy to elaborate on his work on the original Avatar movie.
“The Panasonic Hollywood Laboratory worked very closely with James Cameron’s Lightstorm Entertainment in the development of the 3D imaging systems for Avatar, both on the cinema in terms of the specifications for the 3D cinema and for home video and the production of 3D Blu-ray and 3D televisions.
“We’ve worked very closely with many film-makers. Much of the movement in home video in particular and in theatrical presentation was done through some of the work of Panasonic through research and development at the Hollywood lab.”
Martin is a personal friend of Cameron and has worked with him since the making of the record-breaking Titanic movie, but is reticent about elaborating on his personal role.
“It’s a collaborative effort when we sit down with directors and cinematographers and post-production teams, to determine work-flows, colour correction systems and presentation systems, transmission systems to get the data out to the theatre, or out to the home user, whether in packaged media or streeaming services. This is part of Panasonic’s broad reach of technology in the entertainment sector.”
Ultimately, the technology will go beyond movies and theme parks, spilling over into destination resorts, museums and the like. But don’t expect an overnight revolution, Martin advises.
“Technology moves at a slow developmental incremental pace and, the smarter we can be about that evolution, working with creative companies, whether it’s on the theatrical cinema side or the theme park side or the home video side, it’s an advantage for us to be part of that.”
When will we stop calling them phones?
If you don’t remember when phones were only used to talk to people, you may wonder why we still use this term for handsets, writes ARTHUR GOLDSTUCK, on the eve of the 10th birthday of the app.
Do you remember when handsets were called phones because, well, we used them to phone people?
It took 120 years from the invention of the telephone to the use of phones to send text.
Between Alexander Graham Bell coining the term “telephone” in 1876 and Finland’s two main mobile operators allowing SMS messages between consumers in 1995, only science fiction writers and movie-makers imagined instant communication evolving much beyond voice. Even when BlackBerry shook the business world with email on a phone at the end of the last century, most consumers were adamant they would stick to voice.
It’s hard to imagine today that the smartphone as we know it has been with us for less than 10 years. Apple introduced the iPhone, the world’s first mass-market touchscreen phone, in June 2007, but it is arguable that it was the advent of the app store in July the following year that changed our relationship with phones forever.
That was the moment when the revolution in our hands truly began, when it became possible for a “phone” to carry any service that had previously existed on the World Wide Web.
Today, most activity carried out by most people on their mobile devices would probably follow the order of social media in first place – Facebook, Twitter, Instagram and LinkedIn all jostling for attention – and instant messaging in close second, thanks to WhatsApp, Messenger, SnapChat and the like. Phone calls – using voice that is – probably don’t even take third place, but play fourth or fifth fiddle to mapping and navigation, driven by Google Maps and Waze, and transport, thanks to Uber, Taxify, and other support services in South Africa like MyCiti, Admyt and Kaching.
Despite the high cost of data, free public Wi-Fi is also seeing an explosion in use of streaming video – whether Youtube, Netflix, Showmax, or GETblack – and streaming music, particularly with the arrival of Spotify to compete with Simfy Africa.
Who has time for phone calls?
The changing of the phone guard in South Africa was officially signaled last week with the announcement of Vodacom’s annual results. Voice revenue for the 2018 financial year ending 31 March had fallen by 4.6%, to make up 40.6% of Vodacom’s revenue. Total revenue had grown by 8.1%, which meant voice seriously underperformed the group, and had fallen by 4% as a share of revenue, from 2017’s 44.6%.
The reason? Data had not only outperformed the group, increasing revenue by 12.8%, but it had also risen from 39.7% to 42.8% of group revenue,
This means that data has not only outperformed voice for the first time – as had been predicted by World Wide Worx a year ago – but it has also become Vodacom’s biggest contributor to revenue.
That scenario is being played out across all mobile network operators. In the same way, instant messaging began destroying SMS revenues as far back as five years ago – to the extent that SMS barely gets a mention in annual reports.
Data overtaking voice revenues signals the demise of voice as the main service and key selling point of mobile network operators. It also points to mobile phones – let’s call them handsets – shifting their primary focus. Voice quality will remain important, but now more a subset of audio quality rather than of connectivity. Sound quality will become a major differentiator as these devices become primary platforms for movies and music.
Contact management, privacy and security will become critical features as the handset becomes the storage device for one’s entire personal life.
Integration with accessories like smartwatches and activity monitors, earphones and earbuds, virtual home assistants and virtual car assistants, will become central to the functionality of these devices. Why? Because the handsets will control everything else? Hardly.
More likely, these gadgets will become an extension of who we are, what we do and where we are. As a result, they must be context aware, and also context compatible. This means they must hand over appropriate functions to appropriate devices at the appropriate time.
I need to communicate only using my earpiece? The handset must make it so. I have to use gesture control, and therefore some kind of sensor placed on my glasses, collar or wrist? The handset must instantly surrender its centrality.
There are numerous other scenarios and technology examples, many out of the pages of science fiction, that point to the changing role of the “phone”. The one thing that’s obvious is that it will be silly to call it a phone for much longer.
MTN 5G test gets 520Mbps
MTN and Huawei have launched Africa’s first 5G field trial with an end-to-end Huawei 5G solution.
The field trial demonstrated a 5G Fixed-Wireless Access (FWA) use case with Huawei’s 5G 28GHz mmWave Customer Premises Equipment (CPE) in a real-world environment in Hatfield Pretoria, South Africa. Speeds of 520Mbps downlink and 77Mbps uplink were attained throughout respectively.
“These 5G trials provide us with an opportunity to future proof our network and prepare it for the evolution of these new generation networks. We have gleaned invaluable insights about the modifications that we need to do on our core, radio and transmission network from these pilots. It is important to note that the transition to 5G is not just a flick of a switch, but it’s a roadmap that requires technical modifications and network architecture changes to ensure that we meet the standards that this technology requires. We are pleased that we are laying the groundwork that will lead to the full realisation of the boundless opportunities that are inherent in the digital world.” says Babak Fouladi, Group Chief Technology & Information Systems Officer, at MTN Group.
Giovanni Chiarelli, Chief Technology and Information Officer for MTN SA said: “Next generation services such as virtual and augmented reality, ultra-high definition video streaming, and cloud gaming require massive capacity and higher user data rates. The use of millimeter-wave spectrum bands is one of the key 5G enabling technologies to deliver the required capacity and massive data rates required for 5G’s Enhanced Mobile Broadband use cases. MTN and Huawei’s joint field trial of the first 5G mmWave Fixed-Wireless Access solution in Africa will also pave the way for a fixed-wireless access solution that is capable of replacing conventional fixed access technologies, such as fibre.”
“Huawei is continuing to invest heavily in innovative 5G technologies”, said Edward Deng, President of Wireless Network Product Line of Huawei. “5G mmWave technology can achieve unprecedented fiber-like speed for mobile broadband access. This trial has shown the capabilities of 5G technology to deliver exceptional user experience for Enhanced Mobile Broadband applications. With customer-centric innovation in mind, Huawei will continue to partner with MTN to deliver best-in-class advanced wireless solutions.”
“We are excited about the potential the technology will bring as well as the potential advancements we will see in the fields of medicine, entertainment and education. MTN has been investing heavily to further improve our network, with the recent “Best in Test” and MyBroadband best network recognition affirming this. With our focus on providing the South Africans with the best customer experience, speedy allocation of spectrum can help bring more of these technologies to our customers,” says Giovanni.