Hollywood’s Biggest AI Debut? Las Vegas Sphere’s ‘Wizard of Oz’
Las Vegas: When the “Oz Wizard in Sphere” opened the Las Vegas Strip on 28 August, the audience will experience the 1939 film classic in a way that its creators are probably not thinking.
Approximately 18,000 people will find themselves in the eyes of the hurricane who removed themselves from Dorothy’s anchoring of Kansas farm house and damaging Munchkinland. The film was developed to fill a 160,000 square meter LED panel wall covering the three football fields, surrounding the audience and reaching a 22 -fold height, because the winds and wrecks to simulate 750 horsepower fans.
104 dollars per seat or more than the eye. “Oz Wizard” points to one of the most important partnerships between a studio and technology company to use artificial intelligence to create a new media experience.
Reuters spoke to nine people, including the directors and senior entertainment industry experts, directly involved in the project that tells the story behind a project that some industrial veterans sees Hollywood’s AI vehicles as a potential basin.
“Certainly Ai-Human creative cooperation represents a really meaningful milestone in Creator.” He said. “I think it will create a precedent about how we revive the culturally important media.”
Dorothy and The Wicked witch brought to a global-shaped entertainment venue with advanced technology, lasted for two years, and its creative team Warner Bros Discovery executives, Google’s Deepmind researchers, academicians, visual effects artists brought more than 2,000 people together.
Development occurred during AI’s influence on Hollywood jobs and a intense concern about the desire to protect human creativity. Some visual effects companies started to work on the project initially because they were not allowed to work with AI at that time.
‘Toast!’
He received the blessing of David Zaslav, CEO of his studio chiefs and lawyers who set instructions to come here and use the instructions. “Oz Wizard”, set plans, shooting lists, promotional photos and film works, including archival materials, and 60 research articles to help make the film in the decision representing tenfold recovery compared to previous studies.
“We had to redesign the cinematography, we had to redesign the editing, and we had to do all this without changing the experience,” Oscar -winning Ben Grossmann, who controls the visual effects of the project. He said. “Because if you touch something about this sacred cinema, you are toast!”
Instead of exploiting artificial intelligence to cut things, they tried to use it to take a new breath to a classic story and create new experiences with current intellectual property.
“Hollywood embraces the new technology and not everyone can wait to use it, Buz He said. “The Wizard of Oz ‘gives us the first opportunity for us,’ Oh my God, this is not what I think will be AI. ‘ ‘
In 2023, the project began by discussing which project of the sphere managers will force the technological boundaries of the venue that hosts U2 and Darren Aronofsky’s “postcard”.
“Oz Wizard” quickly filled the list as a familiar, popular film for the enormous canvas of the sphere, Carolyn Blackwood, President of Sphere Studios, said. The classic offered the opportunity to re -introduce a new generation to place it in the world of L. Frank Baum.
Symbolically, he chose a classic film with a technical wonder of the team time. Although not the first film to use Technicolor, the dramatic transition from the sepia tones to the hyper -saturated color of the “Oz’s sorcerer” marked a cinematic milestone.
Jame Rosenthal, CEO of Sphere Entertainment, CEO of James Dolan and Creative Partner Jane Rosenthal, founding partner and noted filmmaker Jane Rosenthal, envisaged a more ambitious project than a digital rearrangement of a classic. Rosenthal touched Hays to bring Google as a technical partner.
Ai ‘Quarantine Region’
Dolan suggested that Zaslav, CEO of Warner Bros Discovery, a friend and partner of the cable TV from the first days of cable TV, to bring “Oz” to the sphere. “I just went to the sphere with a friend and really flew,” said Zaslav, Dolan and Rosenthal won the studio chiefs, “The idea loves the idea. An example of the wonderful IP we have in Warner Bros.”
Warner Bros set strict basic rules before turning one of the most important entertainment properties in the world. Google can train productive AI models in each large actor to recreate their performance, but data will remain the property of the studio. None of the “OZ” training data will be included in Google’s general AI models.
“One of the critical things to start this project was to create a safe place for the experiment,” Grossmann said. He said. “Warner Brothers and Google and Globe, ‘We don’t know how to end, but we will create a small quarantine area here’ created an environment.”
The Visual Effect team initially tried to enlarge images using CGI, which will create photogeristic animated versions of the characters. This approach has been rejected because it will violate the integrity of original performances.
Los Angeles Studio Magnopus, Disney’s “King of Lion” such as the “King of Lion”, working on such photographic-real animation films Grossmann, “AI was effectively last remedy, because we could not really do in any other way,” he said.
AI developed the resolution of small celluloid frames from 1939 to high -definition images. He restored details such as freckles on the face of Dorothy, hidden in Technicolor’s process, or the sack cloth texture on the face of Scarecrow. AI also helped to “leave behind” images on the screen to fill the gaps created by camera cuts or framing, cut a gate of the tin man with a ax to release Dorothy and complete the image of Woodman.
In order to offer clear images with the 16K “super” resolution of the sphere, the consumer class received for months to raise the AI vehicles.
The musicians re -recorded the whole film score on the original sound scene to take advantage of the 167,000 speakers of the place. The vocal performances of Judy Garland and other actors remain unchanged.
Flying monkeys
Despite authenticity, the project has criticized some of the cinephils who objected to changing the popular film. Entertainment writer Joshua Rivera said, “An insult to art and nature.”
“None of these people criticized the film or did not understand what we were doing.” He said.
Grossmann took a look at what would happen in a special midnight scan for Reuters.
Neighbor Almira Gulch Toto demanded some changes while uncle Henry standing at the front door. AI returns to the frame by combining a wider appearance to fill the sphere of the sphere of the sphere.
Other changes aim to realize the vision of filmmakers in ways that were not technically possible 86 years ago. As Dorothy and friends encounter the magician in the Emerald throne room, a green head of a 200 -meter green head explodes on a bench, eyes and sound, and creates a more imposing description than the original image of a actor in the green makeup reflected on the smoke.
“When we made a change when we made a change, we wanted the audience to experience Dorothy directly lived,” Grossmann said. “We completed something that filmmakers planned to do, but we were limited to the vehicles of 1939.
Coordinated physical effects add another dimension. Flying monkeys will enter the sphere by drone operators, one of the many four D effects, as a 16 -meter helium -filled Simians.
Conclusion is a cinema, live production and experienced VR combination. “I think these people will change the way these people think about entertainment and experience.” He said.
