MIKE TAVENDALE: Like I
said, it's web-based. This is our landing page. We have a couple options. So the feedback
button at the top is really useful if you want
to get in contact with us. If you experience any bugs,
which you probably will, since it's in development,
this is the most useful way to get hold of us. We're a team of four, but
every time you hit that Submit button, we all get an email. So we can't lie and say we
didn't get it, because we did. [LAUGHTER] Famous last words, I know. But it doesn't give us any
personally identifiable information. All it tells us is the
hardware you're using and your browser, so nothing
uniquely identifiable. But that is the best
way for us to help you, so I urge you to use it if
you experience any problems. I will also leave
my email, so feel free to contact me directly. So here we have two options. We have our blank project. And we can open an
existing project. If I click this dropdown, you'll
see we have these quick starts. I'm going to come back
to that in a little bit. So moving ahead,
clicking on New Project. I'm in my setup screen. So these are all just
input simply as a means to get us started. You can change all of
these after the fact. So just off the bat, I'm
just going to do Hong Kong. Our dimensions at 1920 by 1080. We actually support
up to 4K, but if you try to do anything bigger,
we simply won't let you. But we can do different
aspect ratios, so it's really what
you want to put in. Duration is 450. Again, you can change
this after fact. And then you also have frames
per second or frame rate. So hitting Start, we're going
to get into our main UI. And in the middle right here
you'll see our [INAUDIBLE].. This is the easiest way to
interact with the globe. So if I click and drag,
it will move just like so. If I hold down my right
click on the mouse, it'll allow me to
zoom in and out. And at the bottom
here, you'll see that this is timeline based. On the bottom left you'll
see all the attributes that we can animate with. So by default we'll
see our camera position is defined by long, lat
and alt, camera position by pan and tilt. Add Attributes is
an additional tool that uncovers a couple
more things that we can animate with. We'll go into each one
of these in detail. But just to give you
a quick overview, Camera Target is an
awesome, awesome feature. If you're doing a
particular story that focuses on a building,
a point of interest, a particular address,
this is the easiest way to create very
professional looking move without doing a lot of work. And all it does is
we lock our camera to always look at this point
of interest as defined by you. And no matter where you go,
how far you move away from it, you will always
keep looking at it. Then we have our
Field of View, which is really nice if you want to
create something a little bit more cinematic, wide angle,
this is what you want to use. Then we also have Time of Day. This is an awesome feature, but
it's essentially a web WebGl shader. And all it does is emulates the
sun, and we light up the scene according to where the Sun is. But the biggest caveat
is it doesn't give us night lights in urban areas. That's definitely
the Holy Grail. But for right now, you can do
really awesome time lapses, sunrises, sunsets as you will. Then we also have clouds. These clouds that we have in
our studio today are real time. We're actually fetching to the
server every three hours or so. In time, what we
would like to do is to be able to animate them. So if we know a hurricane
or a typhoon is forming. we'll be able to see it
come into fruition and form. But as of right now, it's
really an on and off thing. The reason why we
have it is sometimes when you're doing
these macro shots, you kind of want to take
away some of the detail because it becomes
almost a bit too much. So similarly, we let you turn
off the ocean topography. And just like that, you're
getting less details so that it makes it way
more friendly for labels. If you want to do any
type of annotation, it would just sit
on the eye better. I'm going to turn
these guys off. And then on our top
left, we have our Search, powered by Maps API. So just like how you
would expect Maps to work, this would work the same way. So I'm going to go to Hong
Kong, which is where I'm from. So we're going to
zoom in and out. As you use Earth Studio, your
internet connection speed is probably the biggest
factor in your experience of the product. The faster connection
speed you have, the better experience
it will be. So I know, Hong Kong
is really nice 3D, so I can zoom all the way down. And if I hold down Alt,
I'm able to tilt my camera. So our controls are slightly
different from the folks who are used to Earth 7. But what we're
trying to do is we're balancing where we
can with Earth 7, but also more conventional
tools like Premier, like After Effects. AUDIENCE: Can I
ask you a question? MIKE TAVENDALE: Please. AUDIENCE: How accurate
are the buildings? MIKE TAVENDALE: The buildings
are pretty accurate. AUDIENCE: Are the derived? How do you get that data? MIKE TAVENDALE: So as far
as this 3D aerial imagery that you see, this imagery
is actually captured. We commission-- AUDIENCE: It's aerial. MIKE TAVENDALE:
--small planes, aerial, and it's photogrammetry. Yeah. AUDIENCE: Is there any
data that you can extract, any geometric characteristics? MIKE TAVENDALE: So we don't
let you export the geometry, unfortunately. AUDIENCE: [INAUDIBLE] MIKE TAVENDALE: Yeah, but I'm
glad you asked the question. So I'm just going to make a
quick animation real quick. This button right here
is a Keyframe All button. So essentially, it
locks the values for every single one of these
elements when I click them. So that's my first frame. So say I want to
punch in a little bit closer and move a
little bit further out, I hit my Keyframe
All button again. I go back. And just like that,
I've made, essentially, my first animation. So I'm just going to complete
the flow so you can see just how the process works. So we have this
big render button. When you push it, you get
into our Render Preview. So what you see is what you get. We give you a couple
additional features if you want to render part
of the sequence as opposed to the whole sequence. You can change that
as such in here. If you want to change
the dimensions, say if you just want to
split this thing out quick, and you don't want to do it
in 4K, what we call proxies-- you can make this
really low-res just so that you get it out quicker. And then by default, we
watermark our attribution. Our attribution is really
defined by two components-- the Google Earth logo that
you see right then and there. And underneath that is
essentially our third party licensed imagery providers. So based on your zoom level,
that second LineString will change. So if I'm coming all
the way out from space, I could be seeing anything like
NASA, DigitalGlobe, Landsat. It could be a whole
host of partners. But Google Earth is always going
to be part of that attribution model for us. And if you're just doing
this simple zoom right here, this is all aerial. So this is all
Google Earth imagery. So even though you're seeing
a LineString right here, when I actually hit Render, it
will only just say Google Earth because this is just
Google Earth imagery. So right now, we're rendering. I've decided I'd like my
animation that I've made, so I've gone ahead
and hit Render. And what you're
seeing right now is that first frame was all black. And that's always
going to be the case because we're loading all the 3D
nodes for the very first time. But thereafter, it will
chug away pretty quickly. You'll see on the
bottom right, it's just the number that's
aggregating in frames. So right now, Earth Studio only
exports JPEG image sequences. Down the line,
out of the box, we would very much like to be able
to do MP4s, different types of WebMs even. But right now, because we're
doing everything inside of Chrome, we are limited. So it is an image sequence. AUDIENCE: This is
being calculated in your Chrome browser? MIKE TAVENDALE: Yes. AUDIENCE: [INAUDIBLE] MIKE TAVENDALE: So
basically, for each frame, it's a unique URL, just like
in Maps, where it contains all of the coordinates. So we're calling to the
server for every frame. But then it's saving in your
Chrome temporary storage until we've done
every single frame. And then we turn it
into a zip that ends up in your downloads folder. AUDIENCE: Is that pretty smooth
as final product, just in terms of what we see on news clips? MIKE TAVENDALE: Yeah. Yeah. AUDIENCE: So you can see
the chops [INAUDIBLE].. MIKE TAVENDALE:
So it's kind of-- it's like an
animation flip book. So once you put it together-- say, there's this-- I'm going to show you a couple
of tools where we can simply-- because all it is
an image sequence in the video
container, [INAUDIBLE].. And that just plays it
concurrently so that it just appears like a video. But really, it has the
pieces that make up a video. But tricks that people
do with television at 720p for broadcast, but
some of our news partners-- and we've told them to render
in a higher resolution. Even if you know you're
going to be at 720p, and if you have time,
render it up to 4K because you'll get much
more higher image quality, even if you're
shrinking it back down. It's a technique we
call super sampling. AUDIENCE: So start with
highest quality [INAUDIBLE] MIKE TAVENDALE: I think
it's more like render at a high resolution, even
if your final resolution is a smaller resolution. AUDIENCE: [INAUDIBLE] MIKE TAVENDALE: Yeah. So we're nearly there. But I just want to show
you the whole process so you get what happens. So right now, we've
rendered every single frame, and we're simply zipping
it all together in the zip. That's generating. What's nice about this is if you
make a mistake in the first 30 frames but you're happy with
the rest of your animation, you can always just
re-render the first 20 again, and it should fit right in line. So it's a 260 frame sequence. And we're doing it 1920 by 1080. And it should be-- there we go. So when I open my rendered
file, it's going to be a zip. And so now I unzip it. You'll get a--
this is essentially what every zip will look like. You'll have your footage folder,
which has every single frame. And it's literally a flipbook. And then you'll also have a
ESP, which is your Earth Studio project file. So it's really nice if,
for whatever reason, you forget to save your project,
every time you render, we always give you a local copy. And so when you use-- I have this one program that we
reference in our documentation. It's called [INAUDIBLE]. And we also have a
different one for PC. But just to show you that-- for the folks that
are less familiar with video production--
there are tools out there that make it easier to turn that
image sequence into a video. So I'm going to go pick
what I just downloaded. So essentially, it
loaded my image sequence into this software. I hit Export. It's 1920 by 1080. I'll do it mp4. I'm going to put
it on my desktop. It's going to be HK Test. Transferred pretty quick. So this is without
any color correction. This is literally, you
saw me just do it now. Except the only difference is
rather than out of the box, it being a "video,"
quote, unquote, per se, I just used a third
party free software to turn it into an image
sequence-- into a video. And then I just want to show
you just a couple more things. So we have these
play head controls. We have full screen. So if you choose-- it just makes it a
lot easier when-- instead of always
rendering everything, we try to make the
playback experience better, so you can hopefully
get as close to what the final render will look like
as you make your animation. So that's full screen. We also have playback controls
that you would expect. We have-- right
now, it's on loop, so it'll just keep playing
over and over and over. I can do single playback,
which is self-explanatory. I can do ping pong, which
means it'll go right to left, and it'll play backwards. And these are what
you think they are. And then we also have
this Snapshot button. This is a really nice tool if,
say you're working in a team, and someone's doing a little
bit of location scout-- I like this location-- I hit the snapshot button. This essentially
takes a screenshot of what's in your view port. So not your whole UI-- literally, what's in
the screen right here. And then you get a JPEG. So if I were then to
share it with a colleague, they would be able to-- they would be able to
just drag and drop. And what's really cool is if
you change any project settings, it would also get inherited
in the rendered frame because we're essentially
using the exif data to be able to plot you
back where the shot was taken. So super nice as far as being
able to share locations, especially if you're tackling
an animation together with a colleague. AUDIENCE: Does it keep
all of the attributes in the drawers you
got there, like, long, your choice of clouds, all that? MIKE TAVENDALE: Yeah, exactly. AUDIENCE: It's all in the exif? MIKE TAVENDALE: It's
all in the exif. So it's really nice, if
I change the time of day, and I hit the Snapshot button-- a snapshot is just
one rendered frame versus a rendered sequence,
it's the same thing. It's just I rendered
my whole sequence. So if I went to my
Downloads folder and went into my Footage
folder and picked any frame and dragged and
dropped onto the UI, it would take me back
there into that location with any project's
settings inherited. I'm going to show you-- so we have this view port mask. And sometimes folks like to-- so if I'm doing
it 1920 by 1080, I would turn up my
view port mask if I wanted to make sure
that I'm always focusing on the composition that
I'm most likely to export in. Folks sometimes just like to
see that additional landscape. But this is essentially
what this feature is for. So when you turn
it all the way up, you're essentially just
seeing what you're going to get in your final render. And then we also have-- I'm going to show you
some of these attributes. I'm going to restart real quick. I've been running my
machine for too long that I think it might be heating up. So going back to Mt. Shasta. I'm going to turn
on Field of View. I'm going to turn
on Time of Day. So Field of View is at 20. Let's change it to 60. And immediately, I get a
super wide angled shot, which is really nice. I'm going to-- AUDIENCE: But the camera's
in the same location. MIKE TAVENDALE: The camera's
in the same location, simply just changing
our field of view. So I'm going to
approach the mountain. So now I'm coming close to it. But what I want to do
is, at my end frame, I'm going to change
the time of day. And this is a global effect. And what's really cool
about it is you can-- if you know there
was a solar eclipse, you can-- so I know
there was one last year. So 0821. I think it was-- this is in Greenwich Mean Time. Yeah, so there it is. So it's really cool
as far as, like I said, when you're up at
this the view, marble view, the time of day is
really effective. You can kind of get these very
cinematic, gravity-like shots. But if I was to go to
Paris, for instance, it's going to be cool for
that sunrise and sunset, but I'm not going to ever
see lights in buildings. AUDIENCE: It just renders the
shadows around the buildings properly? MIKE TAVENDALE:
Let's take a look. Let's go to Paris. Sorry, my graphics
card is getting fried. In certain areas you
can see the shadows, but it's not going to really
be too bang for your buck. This is really-- this feature
is really cool, really for more vista, landscape shots. But here you can still get
very dramatic skyline shots. But it gets pretty dark, as
you can see on the buildings. And then I'm going to show
you a couple more things. So under View, we have
available 3D cities. So this is not a layer
that you can render out. This is really just a guide. And it gives you a sense
just where in the world do we have this 3D coverage. Again, just like
Google Earth, you're never going to go
somewhere where it's just going to be black. At the bare minimum, you'll
have satellite imagery. But what this layer tells you-- and all these points
[? region ?] it as you get closer, these are
just areas where we have 3D. So eventually, if I
get down low enough, like if you were going to see-- I can see these trees. And even in areas where we
don't have aerial, especially in mountains, in the Alps, we'll
still drape satellite imagery over DEM data. So you still get
some type of 3D, but it's not going to
be in quite the fidelity that you saw in, say,
Hong Kong, for example. So I'm going to turn this off. And I'm going to also
show you just a-- so we support KMLs and KMZs. We don't support the
full spec right now. And by that, I mean, we
don't support 3D models, we don't support LookAt Targets,
and we don't do polygons. We're hoping by the
beginning of next year, we'll be able to
do the full spec. But as of right now,
we do do images. We have it in our documentation. But, really, the
best rule of thumb is, if you have a KML or
KMZ, just drag it in here. And we will tell you what
exactly we support and we don't. So that really the
best way to find out is just drag it
onto the interface and see what you have. AUDIENCE: So you don't
support if you have KML with 3D [INAUDIBLE] data. [INAUDIBLE] MIKE TAVENDALE: No. But it would be really
cool to be able to drape it on a building, on top of-- SketchUp style, but, yeah. And then we do have these
[? in-tool ?] library of borders. These are essentially
KMLs, but we just serve them for everybody. So we have a country's-- and by default, we have-- AUDIENCE: Are you going to tell
me you don't have provinces? MIKE TAVENDALE: Yeah. It may be coming soon,
but as of right now, no. So you can turn all of--
it's really up to you how you select your
individual nodes. So if I wanted to just
do the United States, I'm going to click on that. We give you some
styling controls so you can change the color. And if I wanted to do
the same here, I could. Hit Done. And I can totally
animate this as well. And we actually
support multiple KMLs. So while we could have a
better [? in-tool ?] library, but at least we give you the
ability to render more than one. So please. AUDIENCE: Is there any
way you [INAUDIBLE] the possibility to
import to the KML and to use it as a [INAUDIBLE]? Because I think
already [INAUDIBLE] MIKE TAVENDALE: Yeah. That's a very common one. If I have a KML, can I use it
as a way to animate my camera? And that's something that
we're definitely interested in, especially seeing just
the KMLs people have. We are actually
developing a plug-in right now for After Effects
that allows you to animate on and off the line strings. But the next step up would
be able to actually use it to animate the camera. But as of right now,
we don't have that. AUDIENCE: Is this [INAUDIBLE]
Premiere Pro [INAUDIBLE]?? Can this [INAUDIBLE]
in Premiere Pro? MIKE TAVENDALE:
Yeah, so right now, it's just an image
sequence, so you can import it to Premiere Pro,
no problem, or After Effects. Because at the end
of the day, we're not giving you these
individual layers. We're not giving you geometry. We're just giving you an image. So just to show you-- say I wanted to do
a zoom from the US, and I want to go focus
on a particular state. So I'm going to-- I now have my US states right
underneath my countries. I'm going to uncheck that. I'm going to do California. So now essentially I'm able to
kind of see both on the screen. What we're looking to do is
to be able to animate opacity. Because right now,
you would still have to go through the pain
of rendering multiple passes. So if I wanted to do a
zoom out from this view, and I don't want to see my
California border until I reach a certain zoom level,
I would essentially need to render
multiple passes, so one pass with just the US
border, one pass with just the California, and one
pass with nothing at all, so I can fade between them. But down the line, when we
have it as an attribute here, we'll be able to do
that out of the box. I'm going to show you-- so now-- AUDIENCE: So to
some extent, you can do all of those sort of
things in the third party. You're going to have to
decide to what extent you duplicate what
you can do also MIKE TAVENDALE: You
nailed it on the head. It's just because, at some
point, what we're really trying to do with this tool is,
it's a content creation tool. And at the end of the
day, different people have different pipelines. And we've been working
with a lot of news, but also filmmakers. And people use
different programs, even from editing software,
Final Cut, Premiere, After Effects, C 4D, if
we're really talking true 3D. So what we're trying
to do right now is make sure that you're able to
make your camera move in Earth Studio, no problem. But as to where the handshakes
are with other products, that's kind of what
we're deciding right now. But at the bare minimum,
we want to be able to have the [? in-tool ?] label
editor, because right now, if you want to annotate the map,
essentially there's really two ways to do that. One is you make a KML
and you import it. Or B, we let you
export the camera data. So if you use a compositing
software like After Effects, you'll be able to put-- anchor labels,
objects into the scene without worrying it
being off perspective. I'm going to show you that. But first, I'm going to
show you this one feature. So I'm going to go to Manhattan. I'm going to go
to Freedom Tower. So I'm going to
right click, and I'm going to do my
Set Camera Target. So this was the same
thing I was telling you about before in the draw. It's just there's two
ways to be able to set it. I can right click
in my view port, or I can go into my attributes
list and turn it on myself. So we don't-- the main view port
on the right always is a clean map. So this top view
becomes really useful because you can't
render cartographically. So this is really purely
for contextualizing. So you're able to see what
street data, road data. But this is emulating what
your camera is seeing. So this is what
we're looking at. And that target is me
setting a camera target. So essentially that's
the Freedom Tower. So my camera will always
look at that target because I've made
that my target. So now, I go up
here, turn around. I'm going to do-- So traditionally, if I was
to make this by key frame by key frame, I
would probably need to make a lot of key frames. But because I have my camera
target, a very finesse-looking move, I only really
need two key frames. And I'm able to get
kind of this really cinematic drive-by of a shot. And I can add multiple
camera targets. So if, say, after
coming out here, I want this to be my next camera
target, I'm going to set that. And then now you'll see
that there's another point. And this-- so if I
now turn around-- So now, midway
through my animation, once I'm done looking
at Freedom Tower, so I pass the set of key frames. Now I'm looking
at my next target, which I've listed as a
building to the right here. AUDIENCE: So the middle
is two key frames? MIKE TAVENDALE: So this is
now three sets of key frames. So one set, two
set, my third set. And what's really cool is-- this is a nice-looking
move, but it's very linear. So every animation should
really start at a certain speed and either accelerate
or decelerate. So easing is really
what I'm after. So I can select my key
frames and right click. I get this context menu. And this allows me to just
apply some very basic easing controls. So typically you ease
out and you ease in at the end of an animation. Or I can just do Auto Ease. And don't know if you can see,
but there's these little arrows that are slightly highlighted. This tells me that
there's easing applied to these key frames. So now if I right click, if I
just do Command A, Auto Ease. So it went from slow,
it sped up a little bit, and now it's easing out. It might feel very subtle. So if I wanted to accentuate
that, what I can do is I can go into
my motion curves. And so this is where, if you
really want that full custom animation, custom
camera animation, this is essentially the Bezier
curves that we let you tweak. And if you hold down Shift, you
can see all of them together. And if you hold down Shift
as you drag these handles, we basically constrain
you to the access, because if I didn't do that,
they can kind of really easily go all over the place. And so if I want
to make this even-- so right now, it's
at 450 frames. I'm going to go
down to 200, but I'm going to scale my existing key
frames to the new duration. So now you see that it looks-- the graph is still the
same, but, really, it's going to happen a lot
quicker because I've made my animation shorter
in the number of frames. And so this is really getting
into kind of the minutia of details because you can-- typically, you would want to be
able to maneuver these together at once. It's not really preferable
to do them one by one because then you're probably
more likely than not going to introduce jerking
and where the animation doesn't seem that smooth. So you want to make sure that
if you're changing something, you're easing with
the [INAUDIBLE],, you probably want to
do it for all of them so that the change
that you're making is happening for
all your key frames. So I'm going to show
you a couple more. And, sorry, guys,
I'm just trying to go through a lot of
features to give you an idea of what can it can do. But we're nearly there. And then afterwards I would
love to get you guys access, and then you can
play around with it. But right now I just want
to make sure that you're aware of what the tool can do. So I'm going to show
you these quick starts. So Earth Studio, as you
saw with the motion curves, clearly built based on animation
principles that exist today. But we're also looking to try
to make it easier for folks who aren't animators by trade. So we have these quick starts. And so these are
common camera moves. We have five of them. So Zoom-to is what
you would expect, Orbit, we have Point
to Point, and Spiral, which is a corkscrew move. So picture a bigger
orbit radius, but as you get
closer to the ground, they become smaller orbits. And then we have Fly to an
Orbit, a bit of a combo move. So I'll show you that one. So you'll see that the
UI is very much stripped, and it's almost like a wizard. And the reason being is we just
want to make this as painless as possible so your camera
controls still stay the same. I can click and drag. I can hold down Alt
and tilt the camera. And then once I'm happy
with my composition, I can hit the Next arrow. And just like that, we'll
create this move just based on the inputs you provide. And we give you some sliders. So you can still
finesse the shot. You can change which
direction you're going, clockwise, anti-clockwise. You can change the duration. So if you want it really slow. So I'm going to go with 50. AUDIENCE: Did you tell
it where to start? MIKE TAVENDALE: Yeah. No, I told it where
I was going to end. AUDIENCE: So it's
starting from a default? MIKE TAVENDALE: Yes, it's
starting from a default. But these quick
starts, we are still in very much our first
iteration of these. So right now,
where it stands, is they really are quick starts. They just get you
into this timeline, but you can't actually go back. So if I were to get back
into my quick starts, I can refresh the page, or
I can go to my file menu and click from the five
that we saw earlier. But if I click on one, I'm
going to have to start again. And then now this is a Zoom-to. So let's do another one. Let's go to Los Angeles. So it's pretty neat if you just
want to make something quick. And this is always a great
way, especially-- because you can make really nice animations
if you play to your strengths as well. For instance, when I started
doing this, what I would do is I would make a lot of
cuts and then I would really string them along in the edit
as opposed to trying to make one long continuous shot,
which is still possible, but for someone starting out in
the tool, it's quite a big ask. So what I definitely
recommend is getting familiar with our
quick starts, start seeing how they work because
you can click into the curves, and you can also mess around. So even though you can't get
back into the Quick Start menu, if I wanted to change,
I want to go further up, I can change that. Or if I want to
change my last frame-- I can change that. So it's not like we don't-- once you kind of learn how
these quick starts work, you also realize, hey, maybe
that's a really good way to get started, but then
I can change my end frame, my beginning frame. Some people even join
quick starts together. So if I were to copy all my key
frames and go to a new window-- it would load
everything right here. So I could potentially
have multiple tabs. I can make one quick start and,
say, make a point to point, a Zoom-to in one, a
Point to Point in one, and then actually join
them together simply by copy and pasting. So that's actually going
to be a feature that we're hoping to-- it kind of
gave us the inspiration that these quick
starts could eventually become blocks, and then
[? move ?] the editor style, we can join them together
as opposed to right now manually copying key frames. AUDIENCE: How do you
copy a key frame? MIKE TAVENDALE: So you
can click and drag over, or you can do Command A, if
you're on a Mac, or Control C. And then it's just you go to-- you go to another tab. And similarly,
Command C, undo, redo. If you go to Help, our
keyboard shortcuts are great. This is really the fastest way. It takes a little bit
of getting used to, but I totally suggest
learning them. It just makes-- you
just move around so much quicker in the tool. What else do we have? Similarly, if you find
a place in Google Maps-- go back to Earth Studio,
command V, same thing, we'll be able to plot either. We've really tried to
make it really easy. If you're used to
using one program, we really want it to make it
easy for you to just jump right into that in Earth Studio. Similarly, if I right
click, I can do what's here. It'll try its best to let
you know where you're at, but better yet, you can
also do copy location URL. So if you send this
to a colleague who has access to Earth Studio,
they can do Command V. And, again, it will take
them right then and there. I'm going to show you-- and on laptops,
the maximum number of view ports you
can get is two. But if you're on
a bigger monitor, we actually go up
to four, and just giving you that view
from all sorts of angles. But the other two views that
you can't see right now, those aren't as
vivid as these ones. Those are more just showing how
the camera looks from the side and from the bottom. Is there any other questions? I know-- AUDIENCE: [INAUDIBLE]
how to export your camera data for interfacing
with After Effects? MIKE TAVENDALE: No problem. I'll do it right now. So we're going to
go to Manhattan. So I'm going to make an
animation real quick. Going to set this. Pretty happy with this. But I want to add labels. Specifically, I want
to name Madison Square Garden, this building behind it,
and this building to the side. So I'm going to do these
labels in After Effects. So I'm going to export
the camera data. So first, I'm going to
set my track points so I have 3D camera data to export. So right click, just
like how we right click to set our camera target. The context menu actually
also has this thing called Set Track Point. And it will be
represented on the left. I should have picked
a better point. It's right on top of my
camera target, that red one. So I'm going to name it. I want to add a
label here, so I'm going to add
another track point. Building one. I'm going to add one more. Building two. So I can see the three
points corresponding in color to what I see in
my Overlays panel. I have my animation, so
I'm going to hit Render. And under Advanced, we have
this Include 3D Tracking Data. So if you wanted to
get the 3D camera, be sure to click this guy. Then you're going to hit Start. And it's going to be the
same process, except-- I've already rendered that
file that you saw me make. And it looks pretty similar,
but there's a couple things that's different. So in Earth Studio, you
saw in the beginning how we watermark
the attribution. We've also let you
render the map clean. And that's not because we
are ready to throw away our attribution model. That's just because
for our news partners, especially in certain
countries, using the logo is very problematic because it
looks like it's sponsorship, so we let them
reintroduce it back into the scene with
custom styling. So if you choose
to render it clean, you're going to get the
Google logo as a PNG, and you're also going
to get a text file that contains all of the third party
image providers if applicable. We'll put them in here. So expectation would be
Google Earth and these two for the shot in question. And then you get the
ESP that we saw earlier. But the one that
we're getting now is this JSX, which
is a script file. So I'm going to go
to After Effects. I'm going to go to Script. I'm going to go Run Script. I'm going to my JSX. I'm going to open it. Going to make the scale-- as you see, off
the bat, everything is just huge because everything
is in real world values. So I'm going to make
everything smaller. And so now you see these-- let me play it back for you. So essentially, the track
points that I added, I added in Studio, all
come up as text layers, no objects that I can
essentially animate with. So for the folks familiar in
the room with compositing, this is a really awesome
feature because it saves you from having to
manually track footage to make sure everything is
in line, in perspective. We essentially do that for you. So hypothetically, these
are labels right now, but I could put
an image in there. I could put smoke in there. I could put another
building in there. And it would always be
in the right perspective. AUDIENCE: Including
little video? MIKE TAVENDALE: I could put-- it depends what you want. I can show you an example. AUDIENCE: I remember the
demo you had this morning, there were birds flying
across the screen. MIKE TAVENDALE: Yeah,
they were using-- yeah, exactly. So they basically-- we added
a whole bunch of track points. And then we just
have a flock of birds flying from one to another. But it's using the
same technique. So if I just want to
change any of this, I can change the orientation. I can type whatever I want. But this is basically
right now our way of getting around being
able to label your map. So it's a very powerful
feature, but, of course, for something this
simple, the goal would be to be able to
do that in [? tool. ?] So this is really more of an
advanced technique, really, for compositing purposes. AUDIENCE: Can you talk about
in 360 degrees [INAUDIBLE]?? MIKE TAVENDALE:
Yeah, so right now-- So this is a proof of
concept that we made, and it shows 360 monoscopic, not
stereoscopic, just monoscopic. So this is a linear
camera move just going down Yosemite Valley. And we added these
graphics in the post. But basically the workflow
was, I made the camera move, and then in Earth
Studio, we have a function that, for
every single frame, we can spit out six angles
so that you can stitch to make your [? queue. ?] And so right now we have a
way of for every single frame to give you your
six angles, but we need to run a script
through command line to be able to stitch
them all for you. So the ideal would be,
again, out the box, I make my move just like
how I normally would, hit that checkbox in
my render advance. And then in my zip I
should just get a 360 frame for however many frames. But right now, you get a lot. You get six folders,
each containing the same amount of frames as
the duration of your animation. So it's a lot of-- it's a lot of images. But this is something that-- I mean, this example you saw
here was all brute force. But we're not too far
out being able to have this out of the box. And so this obviously would
work with the YouTube player really well, and you could put
on a headset and view this. And we're also looking
into being able to-- because monoscopic is
awesome, but stereoscopic is really what everyone's
after, adding that second eye. So I'm really able
to kind of see things in the foreground
versus the background. And that's something
that we're hoping to have sometime next year. AUDIENCE: On a
Cardboard [INAUDIBLE]?? MIKE TAVENDALE: Right now you
can view this on Cardboard. The stereoscopic that
I'm referring to, it'd probably be more
for the folks that are more about HTC
Vive, Oculus, really being able to get that true. But this is really
powerful already. For educational
purposes, this is great. I guess-- what would
you guys like now? Would you want to see some
examples of maybe what some other partners
have done, or would-- go ahead. AUDIENCE: Just a quick question. Do you [INAUDIBLE] to use-- plan to use Studio and want
to change the attribution to customize the
attribution, who do you contact in order
to make sure you've done the right [INAUDIBLE]? MIKE TAVENDALE:
You can reach out to me, or through
the Feedback button. Again, if whatever you're
reintroducing in your custom styling, so long as it reads
what it would have read watermarked, you're good to go. And some people-- this is
also like a rule of thumb. So let me show you an example. AUDIENCE: So I guess
if it said something you made with
Google Earth Studio, but if it wasn't showing
throughout the entire shot, would that work as far
as attribution goes? Or it would have to be
showing consistently? MIKE TAVENDALE: So our policy
is on-screen, on-screen attribution. So for however long
our map is on-screen, we would want the
attribution to be visible. But, again, you know, it
really kind of depends, because, some of
our news partners, they're just online,
for instance. They're not TV. So maybe they won't
have it in the video, but it's always
underneath the video. So I don't want to
introduce too many tricks, but the point being is
we try to stick to it. But if you're ever
unsure, just reach out. We have a lot of
tutorials, everything that I went through
today, in greater detail. AUDIENCE: [INAUDIBLE] MIKE TAVENDALE: It's
just under Help. And we're in the process
of localizing this, so it'll be available
in multiple languages. But we purposely try to really
be as detailed as possible. But for the folks that just want
to follow along, I'm included. I'm just more of the-- [VIDEO PLAYBACK] - Hello and welcome to the
Getting Started Tutorial for Earth Studio. I'm John, and I'm
going to be taking you through just a basic overview
of the-- more options under these menus, but we're
going to [INAUDIBLE] for now and just create [INAUDIBLE]. [END PLAYBACK] MIKE TAVENDALE: So
if you go to Open-- what's really nice is
you can set up folders, or if you're really messy and
just everything aggregating, but you can make
folders after the fact. But all of this-- yeah, I definitely recommend. And if you don't save
and you do render it, you will always have
that copy in your zip. But these are documentation-- these tutorials are
definitely worth checking out.
