SHOW, TELL and SELL!

PRESENTER: Welcome. We really appreciate that you made the time at 8 o'clock in the morning in Vegas. That's usually really hard.

So, this session is called Show, Tell, and Sell! And we are three equally-important presenters. Actually, I'll just make the intro. And these two rock stars will show you the product live.

My name [? is Tanja. ?] I am 16 years in Autodesk, usually in product-management roles, so as product manager of Revit, of the 123D line of products, and of ReMake. And with me are Michael and Nop. They are one year in the company, or two years-- next generation, young, kick-ass developers. They've been working on what we're going to show you today, which is Project Play.

So what is Play? It's really a new way to make interactive presentations and experiences for web, mobile, and VR without programming. You've seen all those beautiful configurators on the web and immersive experiences. They usually are hard-coded and very difficult to do.

So, the agenda today is we have 90 minutes. We'll cover-- how did you arrive to Project Play? What is it? What can you do with it? Then, analyze five, six examples that have been done with Play. Then Nop and Michael will dive deep into the project and show you what it is.

We'll talk about workflows with media entertainment files, with Fusion360 files, with Revit files. We'll talk about templates and galleries, how to create VR experiences, and what's next for Play.

If you have been long at AU, you know we always show this slide, a legal disclaimer. Project Play is not yet a product. And for every technology preview, we always say, what the legal language really says is, do not make purchasing decision based on what you see today. We don't commit that is this will be becoming a product the way it looks now. But we definitely are committed to work on this.

OK, so let's get started. We have [INAUDIBLE] a third cable. And are we recording?

PRESENTER: Yes.

PRESENTER: OK, good. So the session is recorded just for those who are taking pictures.

So, how did we start with Play? A couple of years ago, we started the collaboration with the Smithsonian. For those of you who don't know, the Smithsonian are the biggest collection of museums in the world. They have 19 museums, 9 research centers, 1 zoo, and are spread across 100 countries.

The Smithsonian has a collection of 154 million objects. And they're objects made by men, objects coming from nature, beautiful collections. But if you can see from some of these photos, this is not in the museum. This is in the archive under the museum. They simply do not have space to show 99% of their collections. So if you go to a museum, all you see is 1%.

So they realized that, with the rise of the sensors, laser scanning, structured-light sensing, photogrammetry, they can digitizing the collection and be able to get it--

PRESENTER: Let's bring it back. Yup, we need two seconds.

PRESENTER: Oh, no problem. No problem. OK. It's here. [INAUDIBLE]

PRESENTER: OK. OK. I'm good. Thank you.

PRESENTER: OK. This will be hard.

So they realize that by digitizing the museum artifacts, they can put them online and give them to the entire world-- and not only to those who come to museums, but to those who can never make it to New York, or DC, or wherever the museums are. And they started testing with micro-CT scanners, and laser scanners, and structured-light, photogrammetry. At the time when they started, there were not many experts in the world to even ask. So they learned it the hard way. And they finally figured out how to make really high-quality 3D digital replicas.

So then, they came to us and said, you guys have Maya, and Max, and all these phenomenal rendering technologies. Can you help us prepare these artifacts in a way that we can share them with the world? And together we came up with a concept of web tool that requires no installation, that can run from anywhere in the world, from any machine, and that allows anybody to access their collection, and play with it, and interact with it online.

And the project is called Smithsonian X 3D. It is a pilot showing how museums in the future can look like. We picked about 20 iconic objects from as small as a bee to as big as a supernova remnant, objects with different topologies and characteristics for digitization. And we tried to put them in an environment that allows anyone in the world to experience it.

So, here is a preview of Project Play, of Smithsonian X 3D. Basically, we wanted the models to look as beautiful as in real life and not as in Second Life. So you can see it's a high-quality visualization. And it's better on my screen than on the projectors. Unfortunately, they're not very good.

So we try to, number 1, allow users to interact in 3D online, to have split views between orthographic and 3D. To the curators, we gave tools to combine their data of images, and texts, and videos, and audio, and archival materials. To teachers, we gave possibility to teach with, instead of asking the kids to open a book, to open the model from the Smithsonian and say, how tall was the mammoth leg? Or to make some art, as I always say, a sticker for your T-shirt with the mammoth, et cetera.

One other requirement was for the scientists to provide different visual methods for research and then, also, to be able to start sharing with other scientists-- instead of sharing the models, just sharing through hyperlinks and HTML-embed codes of the objects-- but also, to the general public, who can interact and share themselves. And then, we made a bunch of tools that are more specific for the scientists, like slicing and profiling, et cetera.

When we met the curator of the Wrights' Flyer, he spent his entire life on this object. And he had so many materials-- videos, images, photos, drawings. So he wanted to combine them all, and also combine a CAD model with reality-captured plane, and to show them at the same time, and be able to actually look at the machine. We enabled hot-spots and hot-zones that enable additional information to be added to the model.

So, this was a pilot. We looked at higher quality visualization, various visual modes, object comparison, in-browser measurement, slicing, sectioning, profiling, defining hot-zones, hot-spots, and allowing the curators to speak the 21st-century language, which is create interactive tools and share everything that they did.

The success was tremendous. The Smithsonian got so many hits and so many requirements by other museums. We want to have this. What was really interesting, is we got requirements from so many customers, like you-- architects, hotel chains, civil engineers, industrial designers. They were like, we need this. We need this for internal communication. We need to sell our products in a better way, to tell the stories, et cetera.

And, as you know, in our 30-year history, we have been always listening and trying to give you tools to render and to share. At a time when it was only desktop solutions, we were making phenomenal rendering solutions. We were making desktop tools, like 3ds Max, Vis, Maya. And then, we had-- I don't know how many of you have been long with Autodesk, but if the words Autodesk, View, Volo View, DWF TrueView, DWF Composer-- we had over 150 viewers over the years. As technology was improving, we were making new.

And as the cloud became a plausible solution, we started to make online galleries. We made cloud rendering that runs online and cloud-rendering gallery. We make product online galleries, where you can share through the LMV Viewer your projects for experiences. And, as of last year, we have a unified Autodesk gallery because we realized many of you use multiple of our products and want to show in one context on the same project views of different software.

But you always want more. So, even though we have today BIM 360, and the InfraWorks, and LMV, et cetera. We see on the galleries. You're trying to do videos, and add sounds, and this, and that.

You want more. We heard that you're asking for multimedia presentations, for multiple models being interacted with at the same time. You want beautiful presentations. It doesn't matter if it's Media & Entertainment, Fusion, Revit, et cetera.

Then, often you need to connect to databases from your marketing team or from other databases that you have. You want to personalize the experience. Not to look the same, but you want your logo, et cetera. And then, as of recently, everybody is crazy about VR experiences. But they are always difficult to make.

So, listening to all of this and seeing the success of what we did with the Smithsonian, we continued developing that platform. And that is what we call today Project Play. So, Project Play is web-native in browser tool, or editor. It's node-based. It allows you to put any type of digital media in it, and combine it, mix it, and create interactive experiences-- all without programming. The experiences that you make are immediately available on mobile, on the web, and for VR.

So, what can you do with Play? The screen's a little bit chopped off. You can do web art or data visualization. You can do product showcase, a Kickstarter campaign. You can show reality-captured models and even compare them simultaneously in browser, or even superimposed over each other. You can make configurators for products, product experiences for buildings, et cetera, and manuals and instructions.

So this is how it works. Play is online. It's in the cloud. There is no installation. You go on a website. And you arrive in Play.

And it allows you to drag and drop, or load, different type of digital media. Then you can start placing it and arranging it in a scene. Then start defining relationships and interactions between those models-- or it can be 2D, not just 3D, audio, video, 2D, et cetera. And then, you can publish and share online.

From the type of data that we support, you can import audios, videos, drawings, photos, 3D models, panorama images, and scans. And then, that is static input.

And then, we have dynamic input. You can actually connect with external events from a website. So, this is not just a view in which everything happens in the view. You can drive what happens in the view from your website. And we will show you examples. You can connect with web APIs, like Google Weather, or Google Maps, or any API that is available on the web, and with reactive data streams with Google Docs, Excel spreadsheets on the web, Microsoft, et cetera.

And all of that, once you create it, you both author it real-time. So you immediately see what the others will see. And with one click, it's publishable immediately, and experienceable on mobile, on browser, and on VR.

So let's take a look at some examples. I'll sit down. I will share with you, at the end, the websites and where you need to go to see all of that.

So this is one example. Oops. Let me just refresh the page. This is all live online, so depending on the internet it will be fast or not. I'll try to expand it.

So this is one example done with Play. So, imagine you're a Fusion designer. And you want to, online, on your Kickstarter campaign, explain why your product is good, how it works, what's so specific about it, and let people buy it. So this is the 3D model. If your model was articulated in CAD, you can articulate it here. You can show how it works, add some sounds.

It's searching for radio stations. So you can actually really connect to APIs of radios and find radio stations. You can simulate however it works.

And then, for example, you can build these simple UIs where you say, oh, I want the customers to be able to change the color. Or I want them to discover how did I do it. Maybe it was made out of recycled materials, et cetera. So you can create these tags.

And then, for example, you can personalize. This is, let's say, for our AU friends. So whatever your product does, you can basically simulate that.

And finally, let's say, you've persuaded everybody to buy it. They want to buy it. You say, I want to buy it, but I want to buy the white version. And as you can see, it updated an extra price for the white version because it's so special. So basically, you can do this without programming, without being a web developer, et cetera.

Let's take a look at other examples. The next example is our friend Adam Chin and I were thinking of the next-generation Polaroid cameras that, of course, doesn't exist. This is our Kickstarter campaign. And in this one, we wanted to create a Polaroid camera that actually allows you to take--

OK, let me just close. One thing, when you test, do not open many things at the same time, especially not when the internet is not in a great shape. Maybe I should not expand them. I'll try to expand them so you can see more, but it seems like the internet is not going to like it. OK. Sorry? I tried to refresh it.

PRESENTER: [INAUDIBLE].

PRESENTER: This one? OK. Yeah. OK. This is pure internet-connection stuff. So this is our ingenious Polaroid camera that can take a Polaroid picture, or a Polaroid video, or a Polaroid [INAUDIBLE]. So this is, let's say, you are a Kickstarter campaign. By the way, if you articulated your model, you can show how it works here, as well.

And then, same thing-- you can add tags, in which you describe something. These can be linking to something else. We have also found the node manuals. So, for example, if you click this target, you can go to the vintage user manual, et cetera. And finally, you can preorder again. So these are just a couple of examples-- change to the golden edition because that's the very special one, and some different color choices, et cetera.

Moving to other examples, let's move to this one. This is a building that was captured with photogrammetry and laser scanning, using Autodesk ReMake and Autodesk ReCap. And you can simply use this tool to experience the space. As you can imagine, if this is in VR, you can just walk around it.

The next example, I mentioned we can connect with APIs on the web. This simple example connects with the Google Weather and Google Maps. So let's say, I type Paris. It will find where Paris is. It will check the weather in Paris. And it will visualize the data of the weather in Paris at that time.

I mentioned that we also made the template for comparing two models in browser. This came as a requirement by many scientists that we worked with. But as it happens, industrial designers we're also excited to have this.

Basically, when you want to compare two models in browser, you usually have to put two views next to each other. And then, when you zoom in the one, the other one doesn't zoom in. When you rotate the one, the other one doesn't rotate. We make this template where not only that is possible, but you can also change to different visualization modes.

And let's say, like this. And then, superimpose them, and then compare over each other at the same time. And I will show you later how to do that actually yourself.

Also mentioned that this is not about having one view on your website. This Play viewer, or explorer, allows you to interact with the data from your website. So let me just explain then this one.

So let's say this is some design that you've made. Again, there are tags that you've added, et cetera. But here, from the website, I can change the seats in the car. I can add the spoiler-- the front spoiler, the back spoiler-- and change, for example, the color of the car from the website, from an external event that you are doing as a user, which many users find very exciting.

There are many more examples. So I'll just stop on this one. For those of you who are in architecture or are using Revit, often you would like to share the experiences. And your users or owners do not own Revit.

So, the idea is that you can build these interactive experiences where you can make hot-spots to move you from one zone to another in the model. And you will experience this actually on your VR sets. You can set up change options, like changing color, or we had, for example, a possibility to change seatings. Or as I clicked on those different hot-spots, it just teleports me to that. In this case, I can also switch from seating with [INAUDIBLE] to seating with chairs. These are design options that have been done in Revit and then visualized here.

This example is very interesting because actually here, as you will see later, we are using cloud-rendered panoramas for the space. So you don't load the entire Revit model. But we can combine 3D model with the panorama in order to create that experience.

To go back to the examples, just to wrap up, so, what is specific to Play is that it is native to the web. There is no installation, no download, no plugin, no compiling. You create in real time. And it's experienced in real time. It allows multimedia aggregation and authoring. It's node-based. It allows for third-party server APIs to be connected too, through reactive data streams and external events from the website.

At this point, I will switch to Nop, who will now go through-- to Michael, actually-- who will show the basic-- or to you? OK. The core principles of Play the editor. And this you will see later, the editor is just one way that we offer the tool. There are templates that we offer to wrap up the experiences.

And just one last disclaimer-- this is not yet a product. It's not learnable in 10 minutes. Those of you who know node-based programming will pick it up very quickly. Those who don't will require a little bit of time to get in. But that's why we make the templates to make it easier for you. OK.

NOP JIARATHANAKUL: OK. Everybody hear me OK? Higher. Is this better? Yeah. OK. [INAUDIBLE] Good. So my name's Nop. I will be showing you the first [INAUDIBLE] sneak peak at [INAUDIBLE]. And I tend to speak a little bit fast, in the interest of time. But [? Tanja ?] will try and slow me down.

PRESENTER: Yes. He knows so much that sometimes people lose him when he explains. So we will be very interactive here. And you will have time to ask questions, but if you desperately need to ask question, why we're showing something, feel free. It's just because it's recorded for others that [INAUDIBLE]

NOP JIARATHANAKUL: Yes. OK, so again, keep in mind that Project Play, it is all web-based in the browser. So no application needs to be downloaded. All you have to do is go to a link-- play.autodesk.com. Of

And that is really one of our core strengths. It's born in the cloud. The editing is done in a cloud. And when you're viewing it, it's all on the web. So any of your clients that you're communicating with, all they need is just a link. Open in on their phone, their tablet, everything will work, anywhere, everywhere, whenever you want it.

So here's the landing page. All you need to do is hit Launch. And you will be entered into the editor, as you can see here.

So, just to break a few things down, what are we seeing? First we have the assets. Imagine this is like your folders, your Windows Explorer, where all your files are being stored on our servers. So anything that you want to use in our system, you need to drag and drop and upload into our servers. So this is kind of like all of your stuff is here.

Secondly, let's see. Let's go here first. So the blue circles you're seeing here is the hierarchy of the scene. So this is the structure of your scene that you're seeing. These are labeled in blue. Blue nodes you can think of as anything that is physical in the 3D world. So, we can start with the view port. And we have the camera, some objects, the background, et cetera.

And then you look over on the right side, we have the brown nodes. And these guys provide behavior to the blue nodes. So if you want it to have any material properties or any animation, you would need to have a brown node that will talk to the blue node and give it more behavior. We'll go into that in a second, how all that works.

As I click a node, you will see that its properties are popped up in this panel here. And these are real-time, live. As you edit the properties, you will actually affect what you're seeing in the scene that you're seeing live, here.

So this is not an editor. What you're seeing is not in editor view. It is actually the live view that your audience will see. So, what you see is what you get. We were planning to build an editor view later. But right now, we just have a single view. So there's no confusion. So, whatever you're seeing in this panel is what you are delivering.

So, I can come in here and, for example, change the scale to one. And you can see that it's now stretching live, in real time. And I can actually drag up and down like this. And it affects it immediately.

OK. There's a couple of more buttons up here. But some of the more important ones are this icon, which will show you all the projects that you have. I have prepared already a project for this demo. So I will go in here. And it will load up a new project with new sets of assets. I already have two scenes and some assets already loaded.

So let's actually start from scratch and see how we can make something super simple with a model that I've created. So, keep in mind, again, that we're not ever creating any content, per se, in Play. We're always bringing in content into Play and combining them in a way that tells your story. So you're never actually modeling or drawing anything in Play. So keep that in mind.

PRESENTER: We do have primitive images that you can create, [INAUDIBLE] et cetera. But [INAUDIBLE]

NOP JIARATHANAKUL: OK. So let's start by creating a new scene in my folder, called scenes. Call it scene1. And you are greeted with a simple scene that already has some nodes for you to start with. A simple plane. Again, I can always affect this plane, change its position or the size.

And let's put something into this scene. So the first thing-- we need to bring in something, like an OBJ file, is we need a model node. And to do that, you can go to the library here. This is something I haven't shown yet. So these are all the nodes that are available to you. This collection is constantly growing and evolving.

We try to document it on our website, but there is really a lot. And the best way to learn about them is to actually use them. And if you hover over, there is some text that helps you.

So I will need to find a model node. And that's under the geometry category. And that's right here.

So what I do, is I click and drag and place it in the blue side, which is the structure of the scene. The blue node can only go on the blue side. It cannot go on the brown side. If I place it, it will go away. It should give me an X icon, too. But again, if it's a blue node, it belongs in this world, in any of these spots. So if I put it below here, it will be a sibling of this rectangle at the same level.

This side is, if you've used any 3D [INAUDIBLE] before, this is like that tree that you see on the sidebar. Kind of like if you use Maya, this is what that reflects, basically. Just to put things in perspective.

So, now I have a model node. Nothing happened yet because I haven't loaded the model. So let's try a simple OBJ, I would just simply drag and drop this file into this node. And something should show up. That should not show up.

[LAUGHTER]

Right, OK. Well, it worked anyway, so, which is good news. [INAUDIBLE] No, that goes-- yeah. I've never seen that either. OK.

PRESENTER: So it's not part of [INAUDIBLE]

NOP JIARATHANAKUL: So, this is all a bit too large. So I can scale it down a little bit here and move this plane down slightly. OK, so now we have a Forge symbol, for the newer Autodesk Forge. And the cool thing about this guy, is that he is a optical illusion. So if you start spinning him, it will look like he's actually animating.

So, how do we do that? So, what I want to do is rotating this object around the y-axis. And you can see that it's already spiraling. But I want to do this constantly, right. Right now, I'm affecting it's just manually by dragging it. So I need something to change this number over time.

And this is a core principle of Play I am demonstrating here. So every node has a series of inputs and outputs. So this is an input that is node for the rotation. So I need something that has an output that can affect that input.

So I will find a node called Oscillator. So what I have just brought up is a shortcut. So you can hit space bar and search for anything I need. I showed you that you can also go back here to actually look for your node.

So what I want is the Oscillator, which I can never find in here. So the easiest way is to actually search for it-- but that is, if you know you're looking for. So there is an oscillator right there. So I can drag it in from here. Or I can open this up and type in "oscillator" and do it this way, as well.

So the oscillator, what it does, it's only job is to actually output one number that is constantly changing. Now, how that changes over time, I can have full control over all the parameters. But we don't have to go into that. You can play with it yourself.

So I will connect the output of the oscillator into the rotation. Or let's just try the position first. So I put it in the X, so now it's moving from 0 to 1. And I know that because I specified that here.

So, for something to spin all the way around, I need to go from 0 to 360. And now it will zoom all the way out because it's going from 0 to 360. So I would want to break this connection-- reset the position back to 0, so we can see it again. And then instead, hook this up to the rotation around the y-axis.

So now we have a node here, called the oscillator, which is outputting a value of 0 to 360 over time, always. And it's driving this input here, that you can see. So everything that is changing you can actually inspect.

AUDIENCE: How do you slow it down?

NOP JIARATHANAKUL: You can slow it down, just some of the parameters here. So it's doing 0 to 360 over two seconds. And to slow it down, I just do it over 10 seconds instead. How all the parameters are listed vary from node to node, so you really have to kind of explore and play with it.

PRESENTER: And if we have time, I will show, we have animation editor that is much more sophisticated. But these are really basic principles to use oscillator node whenever you want something to be animated.

NOP JIARATHANAKUL: OK, and now I can change some of the materials here. So I can search for material. And there is a whole lot of materials, different types of shading.

For example, I will try the X-ray. And all I have to do is just link the material to the model. And now this has some kind of X-ray look to it. I can just delete this and it will return to the default.

The recommended material is called the realistic material. And what that is, in technical terms, is PBR, so photorealistic rendering, which you see in a lot of applications these days. So this is the recommended and the default material.

So when I hook it up, nothing would change because it's the default material already. What I can do is come in here, and now I can change all the parameters. So you have the color. So let's try to make something like a--

PRESENTER: By the way, [INAUDIBLE], that little square at the end is the color button. It doesn't look like a button. So if you wondered what he clicked-- can you should do it again, Nop?

NOP JIARATHANAKUL: Yes. I just click--

PRESENTER: That little thing there, and usually it's gray. So you will not notice. We have not yet started designing this, the UX and stuff. We're still working on the technical aspect of this.

NOP JIARATHANAKUL: Right. So I can change the RGB directly. Or I can use a color picker. That's all. That's the difference.

So I make it yellow. I can increase the metalness, so then if something that's shiny. Make it something like gold color of the actual logo. And we can actually change the color of the floor to go along with that complementary colors.

So this one actually has a checkerboard on it because I have applied texture to it. Now the texture is not there. So there's nothing for you to see.

So I need a texture, which I actually haven't uploaded. So we can see this happening, live. So I'm going to go into my finder. And we'll try to find some textures that I already have. Let's see-- 3D assets, we have a bunch of textures. Here.

OK, so this stone texture looks good. So all I have to do is drag and drop into our folder. And you can see that it's uploading and then converting. And after a while, it should be done. I think it's already done.

So I can just hit refresh. And once the status goes away, it's ready to be used. So you see the texture node right here, and all I had to do was drag and drop. And it should change the texture now, to that stone texture.

I will reset this back to the gray. And now we have a different texture. So that's how easy it is to use your own assets. OK.

PRESENTER: So, Nop, you mentioned when you dragged here, in the model node, that obviously it could be dragged and dropped anywhere. But depending on where he dropped the node, it is a sister, or at the same level with the other models in this scene, or dependent on it. Can you maybe talk about that, about the dependency here?

NOP JIARATHANAKUL: Oh, here-- yes. So, yeah, this is similar to, again, something like you will see in Maya or Fusion, with all the hierarchy. So, just to demonstrate a point in that, I will grab a transform. A transform is how you locate a 3D object in space. So again, it just gives you parameters, position, rotation, things like that. But what you can do with the transform, is you can group two objects-- or more than one object-- under it.

So now I have put the model and the rectangle together. And now I can move them as one. So that's just a simple concept. If you've used 3D software before, this is very natural to you.

PRESENTER: So, depending on where you place it on the hierarchy tree, you can either impact that one object, or if you wanted a couple of objects to be impacted at the same time, in scale, in position, then you organize the tree like that. It's simple drag-and-drop, and you can always reorganize later.

NOP JIARATHANAKUL: OK, again, Play is interactive 3D software. So let's just see some of that, as well. So, right now I can't interact with the scene except for rotating the camera. And that's being driven by the orbit controller.

We don't have to worry too much about it, except that it takes care of the camera positions as you interact with the mouse. And you can see these numbers are changing. And that's what's driving the camera.

So let's do something with this object as I click it. So how do I make that happen? So, as I click this object, first of all, I have to make it clickable-- or we call it here, "pickable." So before, if it's not true here, nothing happened as I click it. I'm clicking it now.

If I turn it to true, you can see something is actually happening. So what you're seeing is that there are events that are firing as I click on it. So this is mouse down. It says by begin. This is equivalent to mouse down. And then I mouse up. So that's the end, so that you can have different interactions. And also active turns to true and false.

So, what can we do with this? So I have another oscillator lying around here. So we can just say, how about if whenever I click on this, it will grow and shrink, just to show a simple concept.

So let me first get that animation correct. So I will hook this value up to scaling. So now it just keeps growing constantly. We don't want that to happen.

So let's go from 1-- oh, I had it at half, maybe. I don't remember. So it's going from-- let's just make it 0.2. OK, and also we want it to run once, only. So now we-- repetition is 1. So now, it's staying there.

Actually we want to grow, and grow up, and then grow back down. So we do alternate. And we actually need two times. So every time now when we start, it should go up and then it should go back down.

So that's a little bit too large. So let's do 5.5. So then it should expand, and then it would shrink back. So that's what we want to happen.

But right now, I'm hitting the start button to trigger the animation. But I want to hit the actual model to trigger that animation. So I will grab the output that activates as I click. So I can just do begin, which is related to mouse down. And I will drag it here into the start.

So now it established another connection, and you can right click to examine that. And it says, pointer begin goes to the start. And now, whenever I click it, it will send that event to the Start button that I just hooked it to. And now it will grow and shrink.

The animation here is a little bit boring. So I can try to speed it up and use a different curve. We have tons of different curves we can use here. So let's try exponential. So now we have some smoother animation. And it's just as easy as that.

So now we have some interactivity. We're looking at a 3D scene. And now we can also interact with that scene.

PRESENTER: So when Nop talked about real time, everything that he was doing was updating automatically. And at any point, if you click [INAUDIBLE] Publish, this is exactly what the customers will see on the web.

NOP JIARATHANAKUL: And we can try that now.

PRESENTER: Yeah.

NOP JIARATHANAKUL: So, trying to publish, I hit this Share button. The Publish dialog box popped up here. And it knows that it needs the scene, the object, and this image that we have on the bottom. So I will call this AU--

PRESENTER: Sorry screen is chopped off a little bit.

NOP JIARATHANAKUL: --2016-demo1 So, and I hit Publish. And it's doing all the magic that needs to happen. And you see it's captured the screen, and it gives us a link. So I can just click on this. And it opens a scene that we just saw. And we can interact with it like we did.

And just to make a point about this, I'm going right now on my phone to prove that this is immediately live, anywhere to the public, and can be used anywhere.

PRESENTER: Can you go back to Play, show the dialogue box?

NOP JIARATHANAKUL: Yup.

PRESENTER: Yeah. So you can see here in the dialogue, we have hyperlink that you can send to anyone on a phone, via email, and they can experience it-- or embed code, HTML for IFrame, so that you can put it on your website or blog or something. It's that simple. You just need that one link.

NOP JIARATHANAKUL: So, just, if everyone can see, I just loaded it up on my phone. Or you guys can actually try it. I see some people are punching that in. So, the name that I just put there-- AU2016-demo1-- is the name of your link. So you can customize however you want.

And now I have it open on my phone. And it works just fine on Touch. And I can click it to make that animation happen that we just did.

[SPARSE APPLAUSE]

[LAUGHS] Thank you. All right, so can we try some more complicated models?

PRESENTER: Yes, maybe you can talk a little bit about how to put a sphere or a surrounding?

NOP JIARATHANAKUL: Oh, yeah. So, for the background?

PRESENTER: Yeah.

NOP JIARATHANAKUL: OK.

PRESENTER: We will then move to different file formats, imports--

NOP JIARATHANAKUL: Yeah, OK.

PRESENTER: --explain what works to today, with doesn't, Revit, VR.

NOP JIARATHANAKUL: And is the pace that we're going OK? We're trying to explain things very slowly, but there is so much that we can do. And let us know if you'd rather us move slow or move much faster. Because I can move really fast.

PRESENTER: I will not let you.

[LAUGHTER]

NOP JIARATHANAKUL: Yeah. But there is so much to show here.

PRESENTER: This is not a training session. It's not easy to train you in one and a half hour on this. We want to excite you for what's coming. We have beautiful materials online, lots of videos, tutorials. Get started. We'll help you get going.

NOP JIARATHANAKUL: OK, so let's just quickly put a background to this scene because black is very boring.

PRESENTER: Can you stop it from moving? It's nauseating.

[LAUGHTER]

NOP JIARATHANAKUL: Oh, stop this? [LAUGHS] OK.

All right, so what I just did now is I want a box. So I can go to geometry, as well. So these are all the things that you can actually add to your scene now. So if I just scooch it to the side, I can add any-- so again, we said you should create most of your stuff outside of Play and then bring them in. Well we do have some geometry here to help you, just basic geometry shapes.

So what I need, I want to put an environment background to this whole scene. So I will put in a box first. So I have a box.

And I will actually now put some settings on this box to flip it inside-out. So you know in graphics, back-face calling, when you're inside something, you can't see it. So, a bit technical, but all I'm doing here is flipping that box inside out so that we can be inside it.

So now, I will go to this box and make it really large, 100 size. So now we're in the box. There is a material here call the background material. And all I have to do is just connect that. And it's actually pulling from our environment lighting as the background. So I can go through the view port settings here. And we have just a few already pre-canned environment for the lighting. So if we choose Riverbank, you can see that the background changed, and also the lighting on this changed. So it will correlate with your seeing correctly. We plan that this is also something that you can import. A lot of you here are probably interested in photography, capturing HDR environments. And that can be important here, as well-- in the future.

PRESENTER: But you can map photos. You can map videos. The object could have been cylinder or a sphere. And you can map on it any type of photo or video that you want as a background, resembling 3D.

AUDIENCE: Question [INAUDIBLE] I don't know about the rest of you, but I'm totally convinced. I mean, I love it. How can we move along with you on this and know when it's going to be ready?

PRESENTER: Oh, I will cover that at the end. It's available today on Autodesk Labs. You can play with it today. And it's totally, obviously, free. And after you went through all the materials, you're very welcome to-- we have a forum, as well, and we love to hear from brave people to start using it.

NOP JIARATHANAKUL: OK, so let's actually try-- oh, sorry. Yeah?

AUDIENCE: How flexible are your shaders for adapting them to scale?

NOP JIARATHANAKUL: In terms of performance of large--?

AUDIENCE: [INAUDIBLE] in terms of size. Like, we have [INAUDIBLE] but how flexible are the shaders when you manipulate them in way where they're assigned into a larger object? Could you still tie them to a larger [INAUDIBLE]

NOP JIARATHANAKUL: So the scale of the object should not matter to the shader. The complexity and the amount of geometry might matter. Generally, the engine can handle up to a quarter and half million polygons, easily, with this PBR shader.

AUDIENCE: So if you have a brush shader-- sorry, can a brush shader be like, a scaled brush [INAUDIBLE] texture [INAUDIBLE] for a larger-sized object?

NOP JIARATHANAKUL: You're talking about the size or the texture?

AUDIENCE: Yeah, I have an aluminum brush texture.

NOP JIARATHANAKUL: Right.

AUDIENCE: Would you be able to shrink it down for [INAUDIBLE]

NOP JIARATHANAKUL: Yes. So I can just quickly demonstrate that.

PRESENTER: And by the way, good question about size in general. When you import models, 4K in the texture is a maximum. That's WebGL, really. And for geometry, 150K is recommendable. It can read more. Again, this is not our limitation. It's the web. But it might slow down the scene if you have really heavy geometries.

NOP JIARATHANAKUL: Yeah, and on that point, really, the goal here is to not deliver the highest-quality visual quality possible. Although it looks pretty good already. I can show you a much more complex model. But the point here is showing something that looks really good, but good enough, so that you can show your clients on your phone-- a tiny phone, as well as a large screen projector like this. So, and you're going towards--

PRESENTER: And he's being very modest. The scenes are actually beautiful. You will see, so.

NOP JIARATHANAKUL: Just the size of the texture, quickly-- I just attached a 2D transform to the texture map coordinate. And I can scale this down or up.

PRESENTER: Was that the question?

AUDIENCE: [INAUDIBLE]

PRESENTER: Awesome. By the way, there are chairs free here, if you don't want to stand. OK. Yes?

AUDIENCE: Quick question. Let's say if you have a building, and you have three interior rooms. Do all load at the same time? Or can you, you know, one's for one room, but [INAUDIBLE] and when we go to a different room--?

PRESENTER: We will come to spaces a little bit later. So, we'll come back, yeah.

NOP JIARATHANAKUL: The answer is, you can do both, depending on your needs. The system gives you that flexibility. OK.

PRESENTER: Oh, there is another question.

NOP JIARATHANAKUL: This is great.

AUDIENCE: [INAUDIBLE] Right now, we need [INAUDIBLE] Autodesk, [INAUDIBLE]

PRESENTER: Yes. It's always your one and only Autodesk account. So, once you sign up, we approve it. And then you have access.