Adobe's New Camera App, Jurassic World Shoots on Film, and AWE

0:00In this episode of Denoised, Adobe's new computational photography camera app, Indigo. film is back Jurassic World is shooting on Kodak and what I saw at AWE let's get into it

0:14all right what's up Addy hey welcome back how was your weekend yeah pretty good pretty chill getting warmer here in Southern California but I think I don't think it was as bad as a lot of other spots in the rest of the country we're in a bubble we have no idea and even between us we're in two different bubbles of the ocean west side and the valley. All right. So yeah, first up, interesting update from Adobe. They released a new iPhone app called Project Indigo, and it is a what they're calling a computational photography camera app. So what does that mean is basically taking a bunch of photos when you hit the trigger button and combining all those photos and using computational computing and some AI behind the scenes to create a better image and also give you more options.

0:57So better image, what they're saying, less of the smartphone camera app look, and then also a lot more options. It'll save it as a DNG file. You could either edit it on your phone or bring it into Lightroom. And then it has a couple of AI features built under the hood, like AI denoising. So if you're shooting in low light, better low light photography. Also, if you want to zoom in more than beyond what your camera lens supports, it can enhance the quality there. And then also they have a built-in feature that's from Lightroom using AI called Remove reflections and so it's designed just to remove reflections from windows but it's built into the app so also you can take the pictures and have the reflections removed if you have some in whatever you shot oh that's very cool yeah we generally associate adobe nowadays with firefly and i've been very busy with the generative ai front of course this solution is using ai as well but this is a hard pivot into where google and apple are really doing a lot of work in which is taking, you know, a smart force sensor, which is so tiny, right?

1:53It has its limitations because it's so small, you know, color performance is limited, signal and noise ratio is limited, dynamic range is limited. And of course, not to mention that just the size of it actually gives you a significant disadvantage versus a larger sensor when it comes to depth of field and things like that. So in order to mitigate it, you throw a lot of clever software at it. And now in addition to the clever software, you're adding AI to it to get a far superior result. Yeah. And it also makes me wonder just where the trend of image processing is going and sort of some stuff we've seen before, especially with shooting video on an iPhone, where sort of separating the process of like the image acquisition and then the processing and how there's sort of more processing happening under the hood.

2:39And also, even if you look at like Blackmagic's workflow, where you have the camera, Blackmagic RAW and the sensor, and then a lot of other tools sort of built into Resolve to process that image differently, whether it's noise reduction, stabilization, handling the color. And it seems to kind of continue with that trend of splitting up or finding different ways to merge or reprocess the image that isn't just what you capture is what you get. Totally. Yeah. And this takes me back to just a few years ago. I don't know if you remember, Litro? Was that the device where it had like 20 different little lenses on the back of the camera?

3:12Exactly. Yeah. So the goal was to take an image from, you know, a small sensor like an iPhone, but a bunch of exposures at the same time and then compute a stereoscopic 3D, you know, depth map. And then on top of that, multiple exposures and on top of that, multiple color profiles. And then combine that into something that you generally wouldn't get in a sensor. Wasn't Lytro's big thing, too, was you could refocus what the point of focus was? Yes, that's because they stored the depth map and they had inherent 3D information so they can go back and take stuff out of focus or in focus. Did you ever use one?

3:53I had a friend who bought one and we had a lot of fun with it. It was short lived because they were a little bit too expensive for the sensor at the time. And I believe support and everything else was super limited as well. How long did it take to capture an image? Was it like a regular camera? You just hit the button or did you have to like kind of hold it and let it do something? No, it was just like a regular camera. So I think it was doing something like 20 different exposures at the same time. Like there's a lot going on. Okay. What do you think it would need to take for like just an iPhone, like an iPhone Pro has three lenses, LiDAR to do something similar to what that was doing?

4:33Yeah. So Apple is already doing a lot of the stuff under the hood for your native photo app, And every year, if you hear Marques Brownlee and a lot of the tech YouTubers talk about it, do we even need a Leica or a Canon 5D or professional gear when the iPhone is catching up so rapidly just using software algorithms? So Adobe is in that same lane now where they believe that, you know, just with enough processing, you can actually mimic and perhaps even, you know, surpass the quality of an iPhone sensor. Yeah. And it's interesting, too, that they also it's like there's a lot of paired controls in this with figuring that your workflow is going to be you're acquiring the image, taking the image with the Indigo app and then doing more processing in Lightroom on a computer with more processing power and kind of giving you the options there.

5:26And AI denoiser is super interesting here. We talked about AI denoisers before when it came to rendering, right? Like, you know, render passes are inherently noisy because you don't have enough samples. And so denoisers can take out a lot of that grain, a lot of that noise and leave you with a flawless result. Well, iPhone sensors and small mobile phone sensors have the same issue because they're so small. They're just really grainy and noisy. And especially when you zoom in. And this Adobe Indigo project seemed to be able to resolve that with image examples that they show. Yeah, I was looking at how it was defining.

6:01yeah natural look because also it's big thing was like it makes the images uses ai to produce a natural quote slr like look for your photos including special but gentle treatment of subjects and skies yeah well did you know about the the moon thing with samsung phones the moon thing no what's that yeah so you know samsung phones have a moon mode okay so you can uh put it into moon mode, you know, point the camera at the moon and it'll give you a really nice image of the moon because it just knows what's like trained on the moon. OK, yeah. Well, not necessarily trained even maybe just like the signal processing and the exposure levels because you're shooting it at night and it knows roughly what the moon's dynamic range is, you know, whatever.

6:50Turns out that Samsung was actually pasting a picture of the moon on top of the moon. And so I was totally faking the result. You didn't know about this? This sounds vaguely familiar, but no, I did not remember this. Yeah. So, I mean, I just like when it comes to photography, you still have to process what's coming in. You can't just like throw stuff on top of it and completely make it something else, right? Apparently not. Unless you're Samsung. I was thinking before I was thinking like, wow, that's kind of clever because the moon is one of those things where you see, you know, you see a really beautiful you know moon moon rise and you're like man i want to capture that and then you take the picture no matter how you take the iphone picture it always looks like some just weird blob in the sky or some bright dot like you can never capture it never captures the scale it never captures the detail i was like oh that's clever to make a moon mode but um yeah not blunting it with an existing image of the moon so that's what i'm saying like you know we have to be careful with uh processing that you can totally over process into fiction into that category yeah i mean i was thinking over processing it before you sort of just get like more of an uncanny valley where you're like it's not making stuff up but it's just like too processed and it looks weird but yeah that's just straight up fake so there you go the other thing it said too was it would include technology previews um and i'm wondering if they're going to test out their content authenticity program, which was the partnership and program that they talked about a while ago to embed some sort of watermark in images to verify that like these images were genuinely taken, that they're real and that they're not AI generated.

8:34So I'm curious there if that's where they're going to beta test or roll that out. This is also from a business standpoint, it feels like, you know, Adobe is seeing a big shift to Lightroom users doing more stuff with mobile phones rather than professional cameras. So in order for them to capture that market and tie it back into all of the creative suite stuff that they have, Lightroom, Photoshop, you name it, this is like a clever play that kind of extends the ecosystem into iOS, into Android, in order to grab that data back into it. Yeah, yeah, yeah. It's a good ecosystem. And they definitely, well, I mean, they're already doing pretty well.

9:10But I remember they kind of filled that gap to especially when apple killed aperture their photo editing organizing tool that a lot of people liked but yeah they um it was in their pro bucket and that got the axe around the thing around the same time when final cut shifted to x i see uh yeah yeah this was a while ago but yeah lightroom's kind of been the main game in town it's also interesting they still keep around lightroom classic which was their original version so there's two versions of lightroom the original one and then the newer one that's more cloud integrated with the creative cloud yeah i'm guessing all these features are only for the current version not classic i think they kept classic around for people that didn't want to change yeah they want something local and yeah yeah i mean the newer one still works with local stuff yeah i don't know yeah i use lightroom all the time and i have a couple of professional photographer friends who rely on it to make their living so oh yeah i mean yeah if you're doing photos yeah if you're doing photos day in day out it's yeah it's the best one out there yeah yeah because also you can do so much in there you don't need to go to photoshop like you can just do it in lightroom all right yeah and then uh on the opposite end of um ai photo taking got a got another film story yeah it's funny that we cover both ai and film because those are the two complete ends of the media production spectrum Yeah, so I ran across, so now I'm a subscriber of Kodak on YouTube.

10:35Kodak's having a YouTube moment after the Sinners video. For sure, yeah. And they just released a wonderful video that we'll link to here about Jurassic World being shot on Kodak Film. And they had Gareth Edwards, the director on it, the cinematographer on it. And they all talk about sort of the benefits of film and why, you know. they talked to us like we have no idea that film existed like did you know did you know more saturated did you know you can like film something and then when you play the dailies back it looks good yeah if you do it right so that's that's exactly what they said in the video is like when you're playing the dailies you realize how beautiful the imagery that you shot you know versus opposed to like the cinema cameras which have to be graded you know in days before a director or DPCs it and that generally probably doesn't happen.

11:28Yeah, I mean, my dailies experience with stuff shot on film is really kind of limited to film school. So they never looked really that great. And I'm wondering, I mean, it also it's not like color grading is a new thing just for digital like this existed for film as well. So I'm also wondering like how accurate that is. Yeah. That film dailies look so great out of the box to compare to film. I don't know. It's almost like they got paid to say this stuff the vfx suit for jurassic world was also on the video and you know he talked about how careful and considerate they have to be to put digital elements on top of the film plates because you know film plates are going to have natural chromatic aberration heavy vignetting around the edges um all you know anamorphic aspect ratios and stuff like that And the most obvious one being film grain, film texture.

12:21And the VFX has to land on top of that and blend right in, which is quite the challenge. Yeah. I mean, how much, obviously Jurassic World is a very VFX heavy film. So how much more complicated does it make things shooting on film to composite versus shooting on digital? Yeah, I think the one thing that they're not really talking about in any of these Kodak videos is the film stock scan to an existing VFX pipeline, right? Like, you still have to go frame by frame, scan all that stuff, get it into something like EXR format, and then that goes into your VFX pipeline. Like that takes a lot of time.

13:00That takes a lot of money. And they're not sort of talking about like the added cost of all of this, the film lab, the film scans on top of what is already an expensive VFX process. Yeah. I mean, I'm curious, too, if they're if they're going to do any film prints going back out like centers. that was a process too because i mean they shot in 70 millimeter but they're also going to project in 70 millimeter but they still had to shoot scan digitally acquire everything edit effects and then print it back out to film for the limited imax runs but then also the other variety of 70 millimeter prints and stuff they did so i'm curious if they're doing anything uh similar with uh jurassic world yeah and if you just look at the two movies sinners being a far simpler movie on the vfx side i mean it's still very vfx heavy you know michael rollo was the vfx soup and um you know you had two of the main characters they were twins so there's a lot of vfx associated with just putting two of the same characters on screen obviously the vampires and everything but then you look at jurassic world and it's like almost like every shot needs vfx because you have dinosaurs right full cg characters yeah right so i think it's a much heavier lift and it honestly didn't make sense for me to shoot a movie like Jurassic World in film, but here they are.

14:20They did it. So let's see what the results are. Also, it's really funny and ironic that this is Gareth Edwards, who shot the creator, which everyone loves to talk about how the creator was shot on the Sony FX3, a prosumer camera. And yeah, now they've gone to complete opposite, not only shot on film, but also shot on Pandavision cameras, which were featured in the behind the scenes video. Yeah, I mean, Jurassic World is a tentpole franchise for NBC Universal. So they're going to spend everything they have at this movie. And this is obviously going to be a massive hit, regardless of how well it plays out.

14:53You know, people are still going to flock to the theaters because of the IP and the weight of the IP. Yeah, I'm guessing also like is a, you know, the film kind of tries to throw back and capture the nostalgia of the first movie. You know, obviously shot on film back in the 90s. Yeah, 97. I think 97. Yeah. Yeah. 96, 97. That sounds about right. I'm sorry. It's before that 94, I believe. Oh, okay. Yeah. Yeah. We'll go for it. But I'll tell you what, Joey, like shooting on film is not going to save you from a bad movie, right? Like, no, of course not. So that's the part that I think we need to remember out of all this.

15:29I mean, Jurassic three was probably shot on film. Not a great, not a great Jurassic park, but it's encouraging to see a shift into film. I think, you know, we talked about VistaVision and IMAX and now Kodak. I think you mentioned that Leica is also introducing new film stock. Yeah, I did see that too. Yeah. Leica, the camera manufacturer is introducing their own film stock targeted at still photography, but a 35 millimeter film stock, I believe it's an 800T film stock. And I cannot remember offhand, but I remember seeing a couple other companies, maybe not getting into the film game, but introducing new film stocks as well.

16:06It wasn't, but it wasn't, it wasn't Kodak. Maybe it was Fuji. i don't think it was it wasn't one of the main companies it was like another company was thrown into the uh the the 35 millimeter film game um yeah i mean i think that probably also ties more into the consumer interest and gen z interest in you know everything is cyclical so like just looping back and be like oh hey like you can take a photo and you don't have to see it right away and you can have this magic of like waiting to see what it looks like and it already like looks funky and cool yeah uh you know that comes full circle yeah you know what what else peaked as well as film technology is uh space uh space rocket so rocket technology and film they both peaked in the 60s and 70s right i don't think from a pure chemistry standpoint film technology is any better today than it was you know 50 years ago yeah i mean just because we stopped of like innovating on it or just like it is what i think it's sort of just it is um so i'll be surprised to know if like if there is any film uh stock out there that has even higher you know dynamic range or higher color performance than that one from i don't know the exact dates but i mean we did get faster film stocks i mean compared to the 60s like we got like 500t and we got stocks that can shoot pretty well in different lighting environments.

17:32And I want to say those were developed in the 80s. I am blanking on his name, but he was on in the old version of the podcast. He's a professor at RIT and was also involved in Synapse Studio. Or he was a he's part of the RIT virtual production program. David Long. Yeah, I think so. Yes. Yeah, he was. He used to work at Kodak Novella. it was worked on the team that did the 500t um and the color science behind that uh so i will say that yeah that's the only innovation that stands out in between now and the 60s sure yeah and and and film innovation you know if it helps sort of bring the moviegoer back into the theater because of you know a film to film projection and just like a natural intrinsic boost and quality in the cinematic movie going experience then i'm all for it yeah i mean i think the tiny portion of audience that won't care and we'll get them back in the theater because they're shot on film is uh is very minuscule um but if it looks cool yeah i mean also if it like you know looks more vibrant and colorful because i feel like that is something that keeps popping up on like twitter and online discourse and stuff of just like why do films look flatter and less saturated today than they did 20 30 40 years ago yeah i think we brought this up before right though because your point was vfx you have to light conservatively flat and then uh typically the relighting is supposed to happen on vfx and you're supposed to add all the contours and the contrast back in a lot of times because of iterations and deadlines it doesn't happen um so you just kind going to ship what you have.

19:18It's unfortunate because, you know, even though the acquisition technology is far superior, like we can get more dynamic range out of our cameras, we can get far superior resolution. The actual artistic quality has sort of suffered a little bit because of our heavy reliance on doing everything in post. Yeah, not being able to see. There is a value of being able to just kind of see what you get as you're filming it. Absolutely. All right. And then last story uh so the other week i went down to long beach and checked out awe the augmented world expo which is sort of built as the largest augmented and virtual reality conference a bunch of companies and panels and talks and stuff around uh what's happening with the future of ar and vr this year sort of the big company that was everywhere was snap snapchat uh with their snapchat glasses which i think have an actual official name that i'm blanking on yeah so the snap the spectacles uh so i did get to try them on and these were sort of the first this is the first time i did try them so the current version the and you might have seen they look like kind of funky like old school thick 3d glasses you might have gotten a 3d movie yeah yeah and so they're they're saying like the current version that's out was more targeted for developers for people, for developers to build and figure out and develop apps for it.

20:43So that next year, which they did announce when they officially start rolling out the new version, which is going to be targeted at consumers, they'll be a little bit lighter, more streamlined. The version or what I got to play around with, it felt like very smooth and like kind of like a low five version of the Apple Vision Pro, but obviously like way more comfortable and augmented reality. So like you can see the real world outside of it. And then it has a display inside that overlays. It can map out surfaces and stuff. So it can project onto the real world, which is sort of like what augmented reality should be doing.

21:19And it can also track your hands. And so your hands, you can pinch and point and flip up your palm and pull up menus with your palm. But I mean, the nice thing is like it was pretty comfortable to wear it. You did have to like measure your face with an app and then they would give you spectacles. Oh, the interocular distance, I think. Yeah, or sort of fit to your face. but no cables like the battery everything was self-contained i don't know what the battery life is but it's just a it's just a glasses you put on your face so like sort of the ideal of what ar needs to be to kind of work well glasses that fit on your face the projecting screen projection screen i will say it was sort of a bit more of a narrow field field of view so whatever it was projecting was maybe like in my center field of view like a big tv screen but if the video game or whatever was happening, stuff started moving out like towards my peripheral, I would have to like move my head to keep seeing what was happening.

22:12It was a bit narrower field of view than if you're, yeah, then if you're used to like an Apple Vision Pro or something like an immersive headset where you can kind of see a full 180. But yeah, a lot of the stuff they had as test was like games and things and it just, the tracking works really well. The, you know, you could, stuff is kind of planted in the physical world and as you move and walk around with your head, it stays planted and then you can kind of see or walk around it. hand tracking worked really well and yeah just pretty pretty smooth and impressive experience for a early ar heads up did they showcase any killer apps or it was just mostly games it was mostly games yeah i wouldn't say there was any like killer app display how about snapchat the platform was that integrated into the classes and uh oh like the actual app not that they demoed not that they really talked about a lot of the demo was games and they like give you the headset Then they have a guy walk you through like what you should pull up.

23:06And it was pretty much it was games. Yeah. I mean, yeah. I think there are some cameras integrated where you can't like similar to the Ray-Ban, the meta Ray-Ban glasses. Take photos or videos. But that wasn't demo probably because you'd have to link it to your account or something. And it would be too complicated for a test run. But yeah, I mean, definitely. I feel like that also ties into Snap in general, where it's a bit more fun and games and not like what Meta has been trying to do or Apple of like being a work device. Sure, yeah. But, I mean, the potential is there. Every major tech company has sort of one tentacle in the augmented wearables game, right?

23:43And, you know, you have obviously AVP, you have Meta with their AR glasses, you have Snaps been working on this for a long time, I think 10 plus years now. And it always feels like it's still just like a couple of years away every year. You know, it all comes down to miniaturization. And the fact is that I'll say, you know, perhaps all these glasses are powered by the Qualcomm Snapdragon chip. So that's like a system on chip. So basically GPU, CPU, memory, everything in one single chip. And every year that Qualcomm introduces a new Snapdragon, I think we're at Snapdragon 7 or something like that, you'll see a significant level up in all of the wearables.

24:29so like there's just what they're able to do dependency on what qualcomm can put onto silicon and then that dictates what these big tech companies can do with their devices yeah and how much power they take or if they're more power efficient so they can run more on a smaller battery built into the headset exactly yeah it's just a really difficult problem to solve because you know your weight constrained your battery constrained your performance constrained and yet as consumers we expect stuff to be as good as like you know playstation 5 graphics or something like that Right. Yeah. Yeah. So yeah, give me the Apple Vision Pro experience, but with a pair of glasses.

25:03Exactly. It's a hard problem to solve for sure. But I mean, yeah, it's interesting to see how it's getting there. And I feel like Snap, you know, at least for me, because I don't use the actual app, like I forget where it's like, yeah, they were one of the original AR filters, like really good at tracking faces, really good at changing how people look sort of the original deep fake ish in a way of just real time tracking a face and changing to something else. Yeah, a good friend of mine was on the Snap team for a long time, and they had computer vision scientists and researchers and, you know, even AI researchers doing stuff long before this stuff was cool.

25:36So they have continued to invest in future forward technology. So I think a lot of the stuff that Snap is working on now, we won't see for a couple more years. Yeah. But yeah, I mean, it'd be interesting to see what happens next year when like now these glasses roll out targeted at consumers and, you know, what adoption is like and what, you know, if there's if there are any killer apps or killer features or if it's sort of in the same early adopter bucket as like the meta Ray-Bans, you know, where it's like just true, true early adopters get it. And, you know, maybe it sort of hovers there for another few years.

26:08Speaking of meta, I think you mentioned that they now have a browser for spatial computing. No, it is not meta. It is a metaverse browser. Okay. Yes. Explain that. See, look, meta changed the word, and now you're just thinking everything metaverse is meta. That was the intent, and they succeeded. Yeah, so there's another interesting company I saw. So they're called RP1, and so they built what they're calling the first metaverse browser for the spatial internet. and they have a lot of ideas going on here, but it was interesting. The main one is something that we've talked about before with when we're talking about Roblox, we're talking about Fortnite and these ideas of the metaverse, but they're all sort of these self-contained metaverses, which sort of does not really a metaverse because the whole point of the metaverse is to be like a complete open virtual universe that like everything kind of can talk and connect to.

26:57We're still far away from that. Yeah, so RP1 is trying to kind of be the first step into that. So they built a metaverse browser, and there's sort of two levels to it of like how they're interpreting it. So one is mapping Earth or mapping the real world one to one to this virtual metaverse world. So replicating whatever is on planet Earth to a metaverse equivalent. So like if it is a the idea of this is to tie it into AR technology. So like if there was a Costco or Walmart in the real world. It's tied one-to-one to the metaverse version on their platform. And the company could claim the location and then add inventory or add deals or something.

27:39So if you had your AR glasses, and then you're synced up with their spatial metaverse, you go into the real world. And then it can overlay, hey, where's the cleaning supplies or whatever. And it has this one-to-one understanding of you're in the real world in this metaverse world. Then the other version is just like you go off world or off earth. And then that's the digital metaverse and sort of like the Oasis, you know, from Ready Player One, where you could just build whatever you want to claim whatever you want. Infinite space, infinite size. That's the digital metaverse. That's sort of what I remember from there talking to them in a nutshell.

28:14But it's all sort of browser based. So, you know, it's an app that you can access on any device right now. So it's not really device dependent. That's sort of the idea behind it. So it's a more open platform. You also don't need a headset. You could access it on your phone or web browser. And you just have to navigate with traditional keyboard. So yeah, it's cool to see they're trying to just be the first to just build a open platform. And one of these problems and ideas that we had talked about with the metaverse of just being this device platform agnostic literal metaverse. So yeah, cool to see them building that and what they're launching.

28:47Curious to see. Yeah, it feels like every year there's like some incremental sort of step into us getting closer and closer to the metaverse and you know it's not to say that you know people are not on the metaverse already if you're on fortnight if you're on roblox you know you're certainly on the metaverse already we're still waiting for like the general public the rest of us to get on for a specific need and a specific reason yeah there needs to be a reason to do that and i think also going back to like what we're just talking about with snap and the spectacles you know there's a hardware limitation too so it's like yeah that idea i just kind of described of going into a walmart and your glasses can tell you where the cleaning supplies or where the bedding is or where the food is you know paint arrows on the floor like until you know the hardware is more uh adopted and easier to use that's you know that's like a hard sell for the benefit because like the hardware is not there yet to actually support doing that um i mean even this reminds me even at the uh convention they did have a, I forgot the company name, but they were demoing there.

29:52But then also around the entire convention floor, they had these QR code stickers all over the floor. And so it was like, navigate to wherever you're like convention map or navigate to where you want to go. And so you could scan with your phone, but then it was like an app had to load up and they had to like install the app. And then it did eventually once it worked, it would paint out arrow, you'd be like, I want to go to this booth. And then based on that QR code, it knew where you were, and then draw out arrows throughout the convention floor and, you know, navigate you with your iPhone camera to the booth that you're going to.

30:21So that's like a rudimentary version of took a lot of steps to do this. And I probably figured it out faster just looking at a map. But yeah, if it was on your glass, if it was like in my glasses, on my face, and then it just kind of can figure out where I'm at. And I'm just like, I need to go to this booth. And then it just starts drawing arrows. That would be the useful, beneficial future that I think more people would. Yeah, it goes back to how to get entertainment and value out of it. If you combine that with Pokemon Go or something like that, then perhaps there's a way to just get a ton of people to use stuff like this.

30:57I think Pokemon Go is where society peaked. We all came together to look for Pokemons and we're having fun. That was a good moment. The highlight of it.

31:11yeah uh yeah and then um yeah those were the two standouts uh i am bummed because last year they had i went to aw for the first time last year and they had a history of ar vr gallery which was sort of like every headset like ever that they had sort of collected and was like a walkthrough that you could um check out and explore and it was fun to see that uh they did not have that this year so i kind of bummed that they didn't have that again because it was um ginormous and clunky yeah like that the original yeah that's super clunky ones from the 60s they had like the original that nintendo red headset uh from like super nintendo that integrated with it they had a giant one that was from disney quest which was like disney's early attempt at like a interactive arcade thing it was at downtown disney and disney world in like the 90s so like i'm curious everyone else remembers that it was cool ish but they had an aladdin magic carpet ride that was an early version of like virtual reality and the headset for that was like it was like yeah you said it had like a tether on it i think they suspended it from the ceiling to take the weight off your head um and they would just pull it down and put it on you like a motion sickness nightmare probably yeah i get really awful motion sickness in these things oh yeah i did see one demo where I posted a short video of it where it was like a bungee jump simulator.