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.”
VoD cuts the cord in SA
Some 20% of South Africans who sign up for a subscription video on demand (SVOD) service such as Netflix or Showmax do so with the intention of cancelling their pay television subscription.
That’s according to GfK’s international ViewScape survey*, which this year covers Africa (South Africa, Kenya and Nigeria) for the first time.
The study—which surveyed 1,250 people representative of urban South African adults with Internet access—shows that 90% of the country’s online adults today use at least one online video service and that just over half are paying to view digital online content. The average user spends around 7 hours and two minutes a day consuming video content, with broadcast television accounting for just 42% of the time South Africans spend in front of a screen.
Consumers in South Africa spend nearly as much of their daily viewing time – 39% of the total – watching free digital video sources such as YouTube and Facebook as they do on linear television. People aged 18 to 24 years spend more than eight hours a day watching video content as they tend to spend more time with free digital video than people above their age.
Says Benjamin Ballensiefen, managing director for Sub Sahara Africa at GfK: “The media industry is experiencing a revolution as digital platforms transform viewers’ video consumption behaviour. The GfK ViewScape study is one of the first to not only examine broadcast television consumption in Kenya, Nigeria and South Africa, but also to quantify how linear and online forms of content distribution fit together in the dynamic world of video consumption.”
The study finds that just over a third of South African adults are using streaming video on demand (SVOD) services, with only 16% of SVOD users subscribing to multiple services. Around 23% use per-pay-view platforms such as DSTV Box Office, while about 10% download pirated content from the Internet. Around 82% still sometimes watch content on disc-based media.
“Linear and non-linear television both play significant roles in South Africa’s video landscape, though disruption from digital players poses a growing threat to the incumbents,” says Molemo Moahloli, general manager for media research & regional business development at GfK Sub Sahara Africa. “Among most demographics, usage of paid online content is incremental to consumption of linear television, but there are signs that younger consumers are beginning to substitute SVOD for pay-television subscriptions.”
New data rules raise business trust challenges
When the General Data Protection Regulation comes into effect on May 25th, financial services firms will face a new potential threat to their on-going challenges with building strong customer relationships, writes DARREL ORSMOND, Financial Services Industry Head at SAP Africa.
The regulation – dubbed GDPR for short – is aimed at giving European citizens control back over their personal data. Any firm that creates, stores, manages or transfers personal information of an EU citizen can be held liable under the new regulation. Non-compliance is not an option: the fines are steep, with a maximum penalty of €20-million – or nearly R300-million – for transgressors.
GDPR marks a step toward improved individual rights over large corporates and states that prevents the latter from using and abusing personal information at their discretion. Considering the prevailing trust deficit – one global EY survey found that 60% of global consumers worry about hacking of bank accounts or bank cards, and 58% worry about the amount of personal and private data organisations have about them – the new regulation comes at an opportune time. But it is almost certain to cause disruption to normal business practices when implemented, and therein lies both a threat and an opportunity.
The fundamentals of trust
GDPR is set to tamper with two fundamental factors that can have a detrimental effect on the implicit trust between financial services providers and their customers: firstly, customers will suddenly be challenged to validate that what they thought companies were already doing – storing and managing their personal data in a manner that is respectful of their privacy – is actually happening. Secondly, the outbreak of stories relating to companies mistreating customer data or exposing customers due to security breaches will increase the chances that customers now seek tangible reassurance from their providers that their data is stored correctly.
The recent news of Facebook’s indiscriminate sharing of 50 million of its members’ personal data to an outside firm has not only led to public outcry but could cost the company $2-trillion in fines should the Federal Trade Commission choose to pursue the matter to its fullest extent. The matter of trust also extends beyond personal data: in EY’s 2016 Global Consumer Banking Survey, less than a third of respondents had complete trust that their banks were being transparent about fees and charges.
This is forcing companies to reconsider their role in building and maintaining trust with its customers. In any customer relationship, much is done based on implicit trust. A personal banking customer will enjoy a measure of familiarity that often provides them with some latitude – for example when applying for access to a new service or an overdraft facility – that can save them a lot of time and energy. Under GDPR and South Africa’s POPI act, this process is drastically complicated: banks may now be obliged to obtain permission to share customer data between different business units (for example because they are part of different legal entities and have not expressly received permission). A customer may now allow banks to use their personal data in risk scoring models, but prevent them from determining whether they qualify for private banking services.
What used to happen naturally within standard banking processes may be suddenly constrained by regulation, directly affecting the bank’s relationship with its customers, as well as its ability to upsell to existing customers.
The risk of compliance
Are we moving to an overly bureaucratic world where even the simplest action is subject to a string of onerous processes? Compliance officers are already embedded within every function in a typical financial services institution, as well as at management level. Often the reporting of risk processes sits outside formal line functions and end up going straight to the board. This can have a stifling effect on innovation, with potentially negative consequences for customer service.
A typical banking environment is already creaking under the weight of close to 100 acts, which makes it difficult to take the calculated risks needed to develop and launch innovative new banking products. Entire new industries could now emerge, focusing purely on the matter of compliance and associated litigation. GDPR already requires the services of Data Protection Officers, but the growing complexity of regulatory compliance could add a swathe of new job functions and disciplines. None of this points to the type of innovation that the modern titans of business are renowned for.
A three-step plan of action
So how must banks and other financial services firms respond? I would argue there are three main elements to successfully navigating the immediate impact of the new regulations:
Firstly, ensuring that the technologies you use to secure, manage and store personal data is sufficiently robust. Modern financial services providers have a wealth of customer data at their disposal, including unstructured data from non-traditional sources such as social media. The tools they use to process and safeguard this data needs to be able to withstand the threats posed by potential data breaches and malicious attacks.
Secondly, rethinking the core organisational processes governing their interactions with customers. This includes the internal measures for setting terms and conditions, how customers are informed of their intention to use their data, and how risk is assessed. A customer applying for medical insurance will disclose deeply personal information about themselves to the insurance provider: it is imperative the insurer provides reassurance that the customer’s data will be treated respectfully and with discretion and with their express permission.
Thirdly, financial services firms need to define a core set of principles for how they treat customers and what constitutes fair treatment. This should be an extension of a broader organisational focus on treating customers fairly, and can go some way to repairing the trust deficit between the financial services industry and the customers they serve.