For most of 2022 we were all anxiously awaiting the "coming of the metaverse" and this term really rose in our vernacular to be THE term to encompass everything from virtual reality to augmented reality and to even games like Fortnite and Roblox. However, the metaverse remained super problematic for us as an industry, because it felt like an umbrella or catch-all phrase that wasn't going to stand up to the test of time, mostly because it was hard to define and it was reaching for a far-off future to materialize in the form of a Facebook VR headset and immersive social media experience (Horizon Worlds). This is not the metaverse, nor will it ever be something built by a single company, however, just as we were reaching peak hype (maybe cringe?) with the term metaverse,
OpenAI opened up Pandora's box and suddenly the world would never be the same. This led Emily Olman, Chief Media Officer at Hopscotch Interactive, to invest quite some time exploring the relevance of ChatGPT to the real estate community, and to the integration of AI and natural language systems into things like search and generative AI. It suddenly not only changed the game, but reinvented the entire way that we think about media. So, this is what led to us coming out and stating that 2023 would be the YEAR of AI. You can watch the talk in its entirety here, but it does take some stamina clocking-in at almost 45 minutes of examples and takeaways. Thanks for reading this blog and please get in touch if you would like to chat about any of this, or drop us a note in the comments section! Thanks so much and we hope you have a great New Year!
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Following the 4th Annual AUREA Award, Hopscotch Interactive CEO Emily Olman sat down with Amy Jupiter, a 30 year iMagineer and Executive Creative Producer and Experience Designer in San Francisco to talk about her career, what she's inspired by today, and to learn from Amy how she hacks the limbic system to create the feeling of awe for theme parks and the experiences she's worked on over the years including Virgin Galactic, Avatar's Pandora at Disney World and many more! Full transcript below:
00:00:00:36 - 00:00:20:54
So, hi, I am Emily Olman, and I am here today with my friend Amy Jupiter, and I'm so thrilled to have this fireside chat with Amy, which is sort of a long time coming because Amy and I, we met what like a year, a year and a half ago a year ago.
00:00:21:16 - 00:00:33:07
But I mean, it's been incredible getting to know Amy and to learn more about her work and sort of her legacy and the things that she has been doing, which are so inspiring to so many people, including myself.
00:00:33:07 - 00:00:50:17
So it's wonderful to yeah, and it's great to have a chance to sit down with you, relax and, you know, really kind of dig into some of these philosophical questions that you've been so fortunate to be able to engage in throughout your work.
00:00:50:18 - 00:01:09:29
So, um, so yeah, maybe you can start by telling me a little bit about what is what is inspiring you these days? What is what is the most sort of what is the one of the visions that you have when you think about where, where you're where your work might head, where it's been going?
00:01:09:57 - 00:01:36:56
Well, I really like I really love experience design. I really love large format film. I love attraction making. I really love theme parks. I love. I love the idea of the architecture of reassurance. I love hyper reality. It was really interesting to see Avi Bar-Zeev's talk and have an illustration of what the Metaverse hyper reality could look
00:01:36:56 - 00:01:59:19
like. And that was a little alarming because of the idea of how much information is out there. But I also thought the idea of filtering and it's so interesting as we talk about it sort of being neurotypical and the inability to filter, and that the idea that your glasses or your headset or your heads up display or
00:01:59:29 - 00:02:18:43
will help you filter. I thought that was a really interesting idea because when we do experience design, people ask about like, why, how do you get people to look where you want? And you know, we use their humanity basically as appropriate set of hacker.
00:02:19:32 - 00:02:43:47
We use your limbic response and you pay attention to the thing that is of highest contrast of the brightest value of the the thing that might hurt you. Surprise, people pay attention to things that surprise them. And so I was really interested in some of the ideas of the supportive technologies really helping people to be more comfortable
00:02:43:47 - 00:03:11:53
,more reassured, more targeted in the world. That actually was one of the things that was inspirational about hearing at the last ORAYA awards. The conversations that have been having around the Metaverse and then hardware support of hardware. Yeah, I think that the feeling I had when looking at Ivy's talk again where in that video he was trying
00:03:11:53 - 00:03:30:29
to illustrate what would happen in sort of a future case scenario where we have this hyper reality sort of all of this information, this data is mapped on the real world. He was trying to illustrate that augmented reality obviously can become chaotic if we don't have filters for it.
00:03:30:29 - 00:03:50:14
And if you just layer even one additional layer of somebodies, some map somebody's map somebody's visual field and then you layer more on that, maybe it's advertising. Maybe it's, you know, I don't know what it is, but that that sort of that crash of information together would obviously overwhelm somebody.
00:03:50:34 - 00:04:08:55
And so we have this choice to personally filter. But what if we zoom out a little bit and we say, but if we have no technology, you know, then we don't. We already have filters. And I think that's what gets me thinking about what you're talking about, just the basic human response to a filter of what's happening
00:04:08:55 - 00:04:26:39
in my environment, not the technology, but just the physics. I mean, that's a, well, an ideal. I pedal in the real world and I love the real world. And so that is always the place I start with the real human experience and with my human experience.
00:04:26:56 - 00:04:40:56
Obviously, in a at a design table, I always would like to have multiple points of view. I don't I'm not. I don't represent everybody. And I think that in designing for the, you know, the common person, there really is no common person.
00:04:40:56 - 00:04:59:56
But there's common humanity and we have basic human responses physically, emotionally and you try to sort of deal with the basic ideas of beauty, things that are a higher quality of life, things that are comforting. Like I said, I really am motivated by.
00:05:00:51 - 00:05:26:52
Reassurance and happiness and wonder and or as my sort of motivating emotional state and inspiration and aspiration and how do you physically communicate those things without words? So those things and I've heard you say this before in other conversations that we've had and talks that you've given where you want to get people to that place beyond words
00:05:27:08 - 00:05:41:26
. That that is an intention that you set to try to get them there. And I wonder also if like if you're trying to have somebody come through an experience and for it to be positive, you know, a we're going to get them to the place beyond words.
00:05:41:41 - 00:05:58:21
But B, we want to create wonder. We want to create and I love how you have also said in previous in previous talks where it's like the physicality of that is looking up is lifting your head is is directing your attention to something that will give you that surprise smile that opens you up.
00:05:58:22 - 00:06:15:24
I mean it when you tip your chin up, your autonomic nervous system, opens your chest, opens your breath. You can't really feel anything when you're not breathing. We like to encourage people to breathe and then we manipulate them when because you really are also manipulating anxiety, right?
00:06:15:24 - 00:06:39:33
When you want people to sort of pay attention, you're pretty much manipulating everything. And so you cultivate and groom anxiety and relief as counterpoint to each other. And posture is one of those things that sort of helps support how people feel, whether they're going forward, the you know, how we want you to feel by the posture we
00:06:39:33 - 00:06:56:36
put you in, especially on a ride attraction. And and we think about that from the beginning. How do you how do we want to make you feel? And oftentimes you're, you know, the mechanics of the ride really dictate some of those the realities of situation and load and unload.
00:06:56:36 - 00:07:11:13
And the practicalities sometimes get in the way. But then you really do. Then what is the next thing that you can really lean people into? What and what does it say to someone when they do lean in? Hmm.
00:07:11:29 - 00:07:29:20
And so you've spent many, many years working as an Imagineer. You started as an intern and you work your way up to a chief creative and executive executive producer. I'm not sure what designer I know. There's a lot of there's a lot of titles and they mean a lot of different things to a lot of different people
00:07:29:20 - 00:07:43:32
. So but I think that the point is that you achieved record, but I don't do everything alone. So it's all like sort of like a little, you know, sort of like an irja and encourager of of creativity and autonomy.
00:07:43:35 - 00:07:58:35
So, yeah, but I think starting also as an intern, you're really doing things. I mean, you were a teenager, you were in your late, late teens or early twenties when he's yeah, OK. So late teens, early twenties. Let's just say that that was a while ago and you were doing it.
00:07:58:37 - 00:08:17:13
No, no, not so. No, but the point is, is that you started sort of, I would say, approaching the world through this lens, through the lens of right starting to I took apart cameras. I learned to take apart like military cameras, that there were special format cameras all over.
00:08:17:44 - 00:08:36:45
We'll call it Wet Enterprises because I'm that old and wild and wild. And what? Author alive? Walter Elias Disney. That's what we said, and that is what what enterprises is. And so circle vision cameras, stereo. 65 cameras, they were all built by the Imagineers.
00:08:36:57 - 00:08:51:29
And at the studio, I just happened to be next door to the camera department and I would just watch this older gentleman take apart the cameras and he just one day looked at me like, You keep looking at me.
00:08:51:30 - 00:09:13:21
Come on over here, kid. And he gave me a camera and and also it was next door to the animation department, the effects department and the matte painting department. So I learned all about gimbal cameras, down shooters, what it was to do special process photography, slit scan photography, backlight animation for effects and the blinky lights.
00:09:13:21 - 00:09:26:01
The gentleman, one of the gentlemen who was one of my mentors, Glen Campbell, was the gentleman who did the Blinky Lights and Blade Runner, and just these double exposures and single exposures and the amazing that painters that were there.
00:09:27:02 - 00:09:43:45
I just was fascinated by and how old Thomas Edison did special process, you know, photography. And really, when you think about the history of use of film, it was in illusion in opera so that people didn't have to hold.
00:09:43:55 - 00:10:15:20
You couldn't afford to have all those sort of supernumerary around and you used it for illusion and illusion. Mean stage play. Latin root of illusion is play and like a stage play. And so. I was always interested in theater and science and light and frequency and connectivity and how people respond to those things just by in their
00:10:15:20 - 00:10:36:24
limbic systems. How you can feel just by color, how you can feel by angle of light. I can feel by darkness, shadow play. Every all of that. So interesting. So can I just ask you this question then, because I know a lot of people would sort of look at the very practical skills that you had disassembling cameras
00:10:37:14 - 00:10:55:20
, learning about all of these very, very much like vocational skills on the job. How does one then go from, OK, I'm going to know all of the mechanical ins and outs. I'm really an engineer and then making the leap from engineer to proprioceptive hacker, an experience designer.
00:10:55:32 - 00:11:06:32
How do you what's the arc for you to to sort of go like when was the moment where it switched from idea to your driver? And then I'm going to Oh, but now I'm going to think about how this ride is going to make people's lives change.
00:11:06:33 - 00:11:25:16
You know, I want to like, I don't understand what I want to know. There was a startup called Digital Domain, and the one of the producers who had worked with me at Imagineering had gone over. They were still in the hallways of Light Storm, and they were commissioned to do a test for T2 3D.
00:11:25:34 - 00:11:45:30
And she said, I don't know anything about stereo cameras, and I had known like that was my sort of entry in and when I had Bert and Muppet Vision 3D with Jim Henson and and they had. This is where I learned about performance capture with a Waldo, how to capture spirit of a human being.
00:11:46:07 - 00:12:02:43
And it is also where I learned about really how much light you needed, how to shoot, what the cinematic vocabulary was, the limitations of stereo photography. And she said, you're going to come and set up a 3D film festival for Jim Cameron, and you're going to help teach him about stereo filmmaking.
00:12:02:57 - 00:12:21:30
And well, and that's what I did. And literally it becomes like that, like, hey, you kid, you know about this or that's how I got to Imagineering, the head of production, Marty Katz, said, You've been on set watching for all these years as a P.A., as an intern.
00:12:21:48 - 00:12:41:05
And we think you should go over to Walt Disney Imagineering because we're going to make theme park films using these celebrities and we need we're going to bring professional filmmakers to Imagineer Imagineering. And you should go to. And I had already had one of my older bosses who was my first boss, who was like she was a
00:12:41:05 - 00:12:58:10
production person. And but really was a fine artist. And she said, You have to come over here, you have to come over here. These are your people. And I had actually been mentored by that. Frank Wells, who gave me to the head of the New Technologies Committee, Bob Lambert.
00:12:58:24 - 00:13:14:16
And he said, someday a kid, it's going to be cool to be a girl and a scientist. And and there you go. It really was. I was nurtured. I really was nurtured. They were super kind to me, and that's how you again.
00:13:14:38 - 00:13:29:34
It was a gift because my people really were imagineers. And I believe, as you know, little I Imagineer is a thing that is accessible to everybody. It's a mindset. It is the way you were born. It is not Walt Disney Imagineering.
00:13:29:45 - 00:13:45:25
It is a way of being. And most of our audience here in the area community are imagineers. They've been making, you know, experiences and products and things that they grab out of thin air for most of their lives.
00:13:45:55 - 00:14:03:28
I think that it is so true to sort of recognize there's a common bond between everybody here in a way that I've always felt that the the VR community is sort of in its best form is in not the one where it's like in a massive hype cycle.
00:14:04:37 - 00:14:17:00
And that's why I actually really liked it. Just as an aside, I really liked it when VR kind of went like down the back side of that hype cycle a couple of years ago, because the best, the best comment was like, Oh, well, look, the tourists are gone.
00:14:17:18 - 00:14:28:01
You know, and it was like, Oh, it's the season for the folks that really care about this. If you really want to, you know, deal with the tourist, you need the tourist or any other revenue, you need all of their energy as well.
00:14:28:18 - 00:14:45:56
But, you know, I think that that's one of the things that drew me to it in the beginning was because I saw, you know, this blue ocean, I saw this potential for just incredible means of communication. Marketing actually was another one of the things that hit me, of course, and as an opportunity.
00:14:45:56 - 00:14:59:06
But yeah, I mean, to see that everybody is sort of inspired by this work. And you mentioned stereo and I kind of wanted to talk about that because I think it's really interesting that, you know, we have been hacking this technology.
00:14:59:41 - 00:15:18:57
Photography, you mentioned Thomas Edison. And, you know, going all the way back to the 1800s and the first stereoscopic images, we were trying to create illusion of being there, of being in a place of being somewhere. And that's always been, you know, a sort of a human endeavor.
00:15:19:58 - 00:15:35:25
Yes, the storytelling, this is what I saw because unless it's research, unless you come back and tell the story, then it becomes exploration. It cannot be. You have to tell the story. And the best way to tell the story is with a picture.
00:15:35:46 - 00:15:52:04
And I think that, you know, or you're describing it or on a on a wall or you're painting it or you're idolizing it. And so, you know, we stand on the shoulders of giants. We come from church. We come from 19th century English landscaping.
00:15:52:18 - 00:16:17:45
You look at many of the Disney iconic architecture and it is derived from historic architecture. When we say iconic, we mean something familiar. There's something that is then hyper realized. And so but you look at things and the inside of flight of passage, the the apotheosis scene is the inside really of Exeter Cathedral.
00:16:18:06 - 00:16:36:50
It is, you know, 16th century gothic art, English architecture. And because it is makes you look up. Everything has sweeping gothic lines. And so when you're doing research, it really is about using. You don't want to invent, you don't have to reinvent.
00:16:37:17 - 00:16:56:40
You just have to quote genius. So the citation of genius, the reference to the people that came before us are our creative ancestors. Absolutely. And you know, this is it's it's really great to hear you talk about it.
00:16:56:40 - 00:17:14:53
And I think in this sort of in your unique wisdom, especially having done this in sort of in a continuous and an evolving way for so many years. And now you're doing when you're working on, for example, this experience of going to space.
00:17:14:54 - 00:17:30:32
Right. And it's and I think that all of these things, they do build upon each other and you're able to take those things. Yes. All right. Just happens to leave the planet. Yeah, right. Well, the planet, right? So I mean, it is definitely an evolution, but it is transformation through adventure.
00:17:30:50 - 00:17:49:26
It is adventure travel. It is for good. You want to go up to look down to see how delicate our planet is so that you come back and do good. And so space for the curious it is. We have been curious about what is up there for most of our existence.
00:17:49:42 - 00:18:06:50
And so we are just really talking about broadening the the audience, broadening the history, putting it in a bigger context because it is a bigger context. It's not just about Mercury, Gemini and Apollo. It isn't. They can't be that there's cosmology up there.
00:18:06:50 - 00:18:27:02
There's so much, there's so much up there. That is our history of curiosity and storytelling. And I always think about, you know, campfire. That's a dome. That's a perfect dome show campfire. And it goes into the darkness. And as you get closer to it, you know, there's there's more story there.
00:18:27:16 - 00:18:45:10
So I think that I'm drawn to like humanism of basic human existence and how we really understand the universe. I mean, it's it is it is infinite, right? So in that way that this work can also be infinite.
00:18:45:11 - 00:19:01:48
I feel like, you know, the thing that's interesting as well as being able to do it in such a focused way, like I have this this project, and I think that's why I'm when I look at these experiences, such as a theme park ride and I realize, how do you even start that because you have to get
00:19:01:48 - 00:19:17:51
all of these people together to agree it's going to look like this or it's going to follow this path? And then the outcome is this is a business case complicated. How yeah, maybe the business case, there's always a bit there's always a business case that starts this conversation.
00:19:18:09 - 00:19:29:20
But you know, again, if you're putting it into Disney's Animal Kingdom as a great, you know, and and you have the basic keys of Animal Kingdom, people are like, but there's no animals in Pandora and you're like, Of course there's banshees.
00:19:29:21 - 00:19:52:32
It's a keystone species. It's what tells the health of the planet. The restoration of Pandora is based on the restoration of this keystone species of the banshee of the Quran. And if you look at sort of that after the RDA, this is post-conflict and you have eco tourism and you have the restoration of environment from being a
00:19:52:32 - 00:20:09:38
Superfund site. And so you have the same values that are happening that are happening everywhere outside in. Disease, animal kingdom, so the sanctity of nature, the and the transformation through adventure. And you have these themes that you then have to express, how would I know I was?
00:20:09:38 - 00:20:21:48
I'm Pandora, because everything else in Disney's Animal Kingdom is is on is on Earth. And how would you know we were had gone to Pandora while floating mountains are the only thing that tells you don't have the same kind of gravity?
00:20:22:05 - 00:20:34:44
Well, that's a really expensive proposition. And so how do you do that? How do you do that in a financially responsible way? And then, you know, we're on Pandora. There are no signs, right? So what is intuitive navigation?
00:20:34:44 - 00:20:48:45
How would I know that's the banshee ride? How would I know that that's the, you know, the Navy River journey? How would I know all of these things and intuitive navigation portals bridges water a lot of water. It's alive.
00:20:49:35 - 00:21:03:52
And so you really do usually start with a set of core ideas, thematics, and then you have to use the word as expressed by. I always talk about that. I learned that from Joe Rhodey, who is my mentor.
00:21:04:12 - 00:21:20:23
And it is a it is a craft and you need to be able to sort of know things intuitively without words. I should not. IP is really makes things much harder. So how do you fit it into Animal Kingdom that has its own IP?
00:21:20:24 - 00:21:35:30
How do you put Pandora? It's very hard, but if you work hard enough to find the keys, you actually really do find a perfect intersection in the films. And Jim Cameron and and Disney's Animal Kingdom, they go perfectly together.
00:21:35:53 - 00:21:58:12
There's a, you know, so that's how you and you use that as the organizing structure creatively so that your team starts very small, but you use these words as expressed by and usually give the team autonomy and everybody solves all designers solve within those the definition of those keys.
00:21:58:29 - 00:22:10:21
And it's amazing how you can get more and more people all the way out to craftspeople that were not in those rooms. And they're making the same decisions because they understand the expression of those thematic values. They just do.
00:22:10:22 - 00:22:20:39
They can choose a doorknob by themselves. Autonomy is super important because you can't go fast if you have to go back to your roadie and ask the question all the time, Hey, what door knob? What should we use?
00:22:20:44 - 00:22:36:06
They should know what door knob they should just intrinsically know it from there, from the value set from like at a place that where you know where nature is as the the boss. And would you choose a stainless steel doorknob or would you choose a pound and brass door knob?
00:22:36:26 - 00:22:48:43
So we can't go back to the boss and we can't ask them. We have to just know it ourselves, absolutely understand it intrinsically that there's there's ah, maybe not a right answer and a wrong answer, but there's a direction.
00:22:48:44 - 00:23:06:26
So there's an answer that falls within and you have project managers who come back and said, you know, we just poured that concrete. It's not right. I've heard you speak about this and it is smooth and it's a disease animal kingdom or and Pandora, and we need to report it again.
00:23:06:26 - 00:23:20:46
And you're like, what? And they're like, Yeah, because it doesn't fit and absolutely everybody. And again, it is a good financial decision because though that note's going to come back from somebody and it is always right now, right?
00:23:20:51 - 00:23:37:56
No, no, actually, it's a limitation of, yes, we really try to lead by a limitation of yes, because I think that no is the end of, you know, is the end of the conversation. And really the person that is giving the note should know by the time they ask again, they'll know when to stop asking.
00:23:38:02 - 00:23:49:38
They will. They'll know when they give a note again that they're like, Yeah, that was something that's done right. I can let that go. Yes, no. And no one's going to notice. And if they're noticing it and then you haven't done the rest of your job.
00:23:49:42 - 00:24:07:11
Yeah. So a limitation of yeses is always, I think, a more effective way of managing creative folks. It is, and I think just one maybe last parting sort of thought you have this quote that you love so much from Alan was that you have used at the you used it at the Arena Awards.
00:24:07:31 - 00:24:19:11
I know that you love it. It is. I wonder, I wonder, I wonder what you would do if you had the power to dream anything you wanted to do. Yes, I mean, Walt Disney said, if you can dream it, you can do it.
00:24:19:13 - 00:24:37:19
I think that I'm a dreamer, I'm a dreamer, and I am a person who puts together things that, you know, the people ask, What's the Disney difference? And I just think that there's no just Disney difference. There's a people who will take a lot of off the shelf things and use them in ways they were never meant
00:24:37:19 - 00:24:57:01
to be used. And you know, when you have the resources, good design is inexpensive. It really is, I think, and speed is the thing that makes things really inexpensive. But I think that the ability to have the luxury of putting things together that should not go together and the time to integrate them imagineers that our core competency
00:24:57:01 - 00:25:16:28
really is integration and. And again, it's a wonder to watch real Imagineers, people who just think outside of a normal train of thought going, Oh. Yeah, let's go try that. You know, and and that it's a really a luxury to be able to go try that.
00:25:16:42 - 00:25:35:24
Hmm. Absolutely. I mean, it's great. And again, so inspiring. So. Amy, thank you for chatting with me again. I feel like I learn something every time I chat with you and hear something that I feel like is another hook for another conversation for another.
00:25:35:29 - 00:25:55:19
You know, deep dove. I want to do with you, and I know that folks who will see this and want to, you know, get in touch with you and follow your work are absolutely, you know, feeling the same way I am, which is like, you know, thank you and so grateful for you to take your time to
00:25:55:21 - 00:26:06:18
share your thoughts and to tell folks what it's been like and you know how you've been able to do this because I think it's it is a huge inspiration. So thank you so much. Yeah. Thank you so much, Amy.
00:26:06:18 - 00:26:20:51
So so yeah. Wrapping up with Amy Jupyter. Thank you so much for watching. Amy has so much to share with all of us, and it's been a pleasure to chat with you today. Thank you. Thanks, Amy. Bye!
Our CEO Emily Olman was a keynote speaker at the PMRE conference in Las Vegas, NV in November 2022. Take a look behind the scenes at the world's best conference for real estate media professionals. The full talk will hopefully be shared on YouTube or outside of the PMRE archives in the near future, so we will definitely share that as soon as it sees the light of day and can be shared with all of our fans.
Metaverse, NFTs, and Virtual Real Estate (and AI) - What every Real Estate photographer needs to know
From November 8-10, the real estate photography industry will convene in Las Vegas, NV for what we could now call our annual conference. To accompany her keynote talk on the Metaverse for Real Estate Photographers, and what this all means to you, Hopscotch Interactive CEO and Chief Media Officer Emily Olman created both a YouTube Playlist with over 30 videos pertaining to topics she references in her talk, as well as source material for her presentation.
To view/listen to the curated playlist click here
Here are also the links for dozens of articles on the Metaverse and all subjects here, as well a link to the list's original document which is here in view only format.
Will Gen Z Embrace Working in the Metaverse?
Facebook doesn’t know what to do with the new $1,500 Meta Quest Prohttps://www.pcworld.com/article/1348335/meta-doesnt-know-what-to-do-with-its-new-1500-meta-quest-pro.html
I Tried the $1,500 Quest Pro and Saw the Best of the Metaverse
It’s not what Mark Zuckerberg promises.
AR Will Spark the Next Big Tech Platform—Call It MirrorworldWe are building a 1-to-1 map of almost unimaginable scope. When it's complete, our physical reality will merge with the digital universe.
Quest Store Surpasses $1.5 Billion in Content Revenue, Showing Continued Growthhttps://www.roadtovr.com/oculus-quest-store-revenue-1-billion-milestone-growth-meta/
Meta investors reportedly 'got more disgusted' with Mark Zuckerberg's metaverse plans after he doubled down in the company's earningshttps://www.businessinsider.com/meta-investors-disgusted-mark-zuckerbergs-
Demystifying the so called “The Next Big Thing: Metaverse”
COMMERCIAL REAL ESTATE
How can the commercial real estate sector use the metaverse?July 25, 2022 9 Minute Read
The Metaverse in Commercial Real Estatehttps://www.cbre.co.uk/insights/metaverse
THE NEXT FRONTIER: CRE AND THE METAVERSEhttps://www.cushmanwakefield.com/en/insights/the-edge/the-next-frontier-commercial-real-estate-and-the-metaverse
METAVERSE AND COMMERCIAL REAL ESTATE (CRE)https://www.cushmanwakefield.com/en/vietnam/news/2022/08/metaverse-and-commercial-real-estate-cre
Bisnow Survey Shows Many In CRE Already Investing In The Metaverse, Dystopia Fears Be Damnedhttps://www.bisnow.com/national/news/technology/the-metaverse-an-exciting-wave-of-the-future-or-a-bouncing-baby-dystopia-112005
Can the metaverse enhance the benefits of digital twins and real estate?October 5, 2022 4 Minute Read
By Davinder Jhamat
VIRTUAL REAL ESTATE
18 Second Life Facts in 2022: What It Means to Live in a Virtual Worldhttps://webtribunal.net/blog/second-life-facts/#gref
Billions Being Spent in Metaverse Land Grab
Buying Land in the Metaverse
Metaverse real estate sales could pass $1 billion in 2022https://www.newsnationnow.com/business/tech/metaverse-real-estate-sales-exploding/
The ‘metaverse’ bet: Crypto-rich investors snap up virtual real estatehttps://www.theglobeandmail.com/investing/investment-ideas/article-the-metaverse-bet-crypto-rich-investors-snap-up-virtual-real-estate/
10/7/2022 It's Lonely in the Metaverse: Decentraland’s 38 Daily Active Users in a $1.3B Ecosystem While metaverse platforms Decentraland and The Sandbox both have below 1,000 daily active users, they each have over $1 billion in valuation. So who's actually using the metaverse right now?
Importing a Matterport Model into AltSpace
Getty Images bans AI-generated content over fears of legal challengeshttps://www.theverge.com/2022/9/21/23364696/getty-images-ai-ban-generated-artwork-illustration-copyright
Photographer Creates AI Girlfriend to Stave Off Nosy Relativeshttps://petapixel.com/2022/10/14/photographer-creates-ai-girlfriend-to-stave-off-nosy-relatives/
The Metaverse and How it will Revolutionize Everything by Matthew Ball
Metaversed: See Beyond the Hype (Preorder) by Samantha Wolfe
How Immersive Technologies can Transform your Business by Jeremy Dalton
Snow Crash - Neal Stephenson
Analyst briefings and reports on all things Metaverse and XR by Mike Boland and the AR Insider team
8th Wall Web - WebAR (no app required)
Tony Parisi’s 7 Rules of the Metaverse
Binance Academy (Great Resource)
The Future of Digital Fashion - ROBLOX / Parsons New School 2022 Full Report
The History of Stereoscopy and 3D Images
Nasa/James Webb images - Full Res Downloads
Russell Kirsch Washington Post Obituary
History of The First Digital Camera
Why Russell Kirsch Apologized for his Pixel Technology
If you are just starting out in real estate media, then it is quite likely that you may be unfamiliar with several terms that can really be the downfall of good communication with your client, or they can build trust in your competency as a services provider. Although these terms may be interchangeably used in different regions with local lingo, for the most part these terms and their definitions are going to help you communicate more effectively with your clients whether they are commercial, residential, or even retail clients. In fact, retail clients have another entirely different vocabulary that you may encounter on any creative brief from a client, so check out these few terms and start saving them to memory...
Going live is the date that your client hopes to have the listing show-up in the MLS and across all third-party websites if they are trying to reach the widest audience possible. It's the date that the sale price and the details will all be revealed and the clock starts ticking for the realtor. This date is the number one thing you should be asking your client about when you are booking a residential real estate shoot. Everything works backwards from the going live date. By going live this means that the property has been entered into the MLS, get's "launched", and then will be syndicated out to all of the places that a listing might show-up. This would be the MLS itself, and then of course across multiple media outlets such as Redfin, Zillow, Trulia, and Realtor.com to name a few.
If your client wants to go live by, let's say, Wednesday, then you would want to schedule them for a Monday or Tuesday shoot so you have time to get photos processed in enough time for them to have everything uploaded in time to make the schedule for that week's Broker's Open/Tour.
Some Realtors don't input the data into the MLS themselves and have admins for this, so they may need media the day before the property is going to go live. You should also know and gauge your client's technical aptitude at this point as well, because a) they may need their brokerage to help them and those admins can get backed up or b) they don't know how to upload the media themselves. I have had many clients over the years that really struggle with images and "Print" vs "MLS" sizes, and so they will need extra time to make the deadlines that they have set for themselves. Working backwards from the going-live date, or "launch" date, will help you both communicate better about expectations. It can also help you prioritize which media to work on first, because maybe the thing you thought was a 24-hour turnaround might not be needed for 3-4 days, so that's really helpful information to have (especially if you're not sure if media is needed back the next day and it's late on a Friday night and you don't want to bother your client to get the answer to a question to which you should have already had the answer).
Apart from the going live date, and the dates of the first open houses, the next most important date is to know when broker's opens happen in the cities where you do your most shoots. A Broker's Open also known as the Broker's Tour, is about a half a day when the new listings are available for Realtors to tour before they hit the market. This is when a new listing will either make or get cut from the short-list, and the more brokers that show-up for a tour, typically the more likely it is that there will be high demand for that property once it has its open house and is going to be ready to take offers. For example, in Berkeley, CA the Broker's Open happen on Thursdays, whereas in neighboring Oakland, they take place Mondays, but on Tuesdays in Alameda. This means that the stress level of your client in wanting to have at least a single photo back by the night before the broker open (so they can show-up to realtors as "coming soon", is going to be extremely high! You can anticipate this, and even be a great ally to them, by providing a single image the night before a broker's open, even if you won't have media back until the next day after the tours. And you can anticipate when they might need that media if you think about where the listing is located an how that will be impacting them. You can even check out the whole list of what's "On Tour" by reviewing what's happening at your local Association of Realtors website like this one for the BridgeMLS.
So the MLS is still a bit of a mystery, because there are so many different MLS providers all over the country, and real estate media professionals usually don't have any access to them other than deep links to specific content, but MLS stands for multiple listing service - and it may be named differently in different regions. The local ones here are the mostly defined by county, but with places like San Francisco having their own (San Francisco Association of Realtors), and the East Bay is represented by the BridgeMLS - which spans Alameda and Contra Costa Counties. Within those counties there are yet further distinctions between the different associations of Realtors depending on your address. The BridgeMLS has a great infographic and map of California showing the different MLS regions that helps to make sense of it all. For example, Hopscotch Interactive is headquartered in Contra Costa County, so we are an Affiliate Member of the Contra Costa Association of Realtors, but our clients are spread out between Marin County, San Francisco County, Contra Costa County, Alameda County, and beyond and so we get questions a lot about how to add something to the MLS as if there is only one way and we always say we aren't quite sure, because things are configured differently everywhere. This is also where the backend infrastructure can really hold people back (especially innovative media providers!), because the MLS may only have 1-2 fields for links and so this really limits the cool things we can showcase when a listing goes live through the normal channels. This is an area ripe for disruption from technology, but it would seem that the switching costs are still quite high, because from the outside looking in, it seems that the majority of the innovation comes from the 3rd party providers who simply try to do more with what the MLS makes available.
When a listing goes live on the MLS it will normally be syndicated to a variety of other media outlets and platforms such as Zillow, Redfin, etc. The National Association of Realtors defines syndication as a marketing term as follows: "Syndication commonly refers to an agreement between a broker and a third-party to advertise the broker’s listings on non-MLS websites. The syndication agreement's scope determines how the broker’s listings will be displayed on the Internet and where the listings will be displayed by the third-party." In other words, it's where the listing is broadcast to and where it will show-up outside of the MLS itself. When media is added to the MLS, this is typically what happens to it, depending on the settings that get specified. You will get the question from clients who want to know when something will show-up on Zillow, and to know what they have to do to get their media on there, and usually the answer is just wait about 15 minutes - 1 hour. Unless they did not allow syndication, then the APIs (integrations) between these providers and the MLS will then share that data and it will be pulled directly from the MLS into Zillow. A hot tip is to always "favorite" your properties before they hit the market, because that way you'll get a notification and can revel in the awesomeness of your media, can track and see how a property does and if it sells for a lot over asking, or you can also see if something doesn't look quite right and it can be a great way to do additional quality control over your media delivery. We had this situation this week where we delivered a floor plan and noticed it wasn't added, so we asked the realtor and they had been too busy to tell us, but they actually weren't using it, because it had too much detail of the exteriors and they wanted it simplified. Sometimes you can use the syndication to your benefit by using it as a quality assurance and quality check.
"BRANDED" vs "UNBRANDED"
You may be confused about this, and why this question comes up, and why you feel like you're doing double the work sometimes to deliver branded vs. unbranded media to a client, but the MLS has really strict rules about realtors promoting themselves and if they are caught in violation of this it can actually result in a fine - I have heard of a realtor being fined $1500 by not abiding by the unbranded requirements from their MLS - so it's serious - and you will want to make sure that you understand what media needs to be branded, and what media doesn't need to be branded for your clients like social media reels/shorts and Instagram stories.
Branded is usually what it sounds like - it includes the Realtor and brokerage logo and contact information, and it also will include the realtor themselves. The sky is the limit, but some brokerages have their own style guides that you will want to follow, but typically this is where the Realtor gets to show off in an awesome video and with all of their personalization in the media. That is the same for tours and websites - branded will include the brands and additional info and text. Unbranded is exactly the opposite, it's the same content normally, but with all of the logos, text, and even sometimes the realtor themselves, redacted from all content.
On the MLS there is usually a link for a branded vs. unbranded website or content, so you will want to always make sure and deliver it with that distinction if it's a website, Matterport link/tour, or video. In fact, some clients have the same kinds of rules about unbranded content, because they can then use it to rebrand everything and get the media out to an even wider audience. For some high-profile properties they may be looking to push the media to big news outlets like the New York Times, Wall Street Journal, etc. You'll want to make sure you're ready for your client to have all of that media at their fingertips and to make sure that they have all of the chances to get the biggest marketing push for their content! You can easily distinguish between an MLS friendly and unfriendly link by always reading the links closely. However, not all of them are foolproof. Here's an example of the difference between a URL for a website and then a URL from a Matterport model that is ready for the MLS - the URL parameters read really differently, so you'll want to familiarize yourself with the meanings so you can quickly tell the difference and troubleshoot something that may wrong with your delivery. For most people &MLS=1 would not really mean that much, but to someone who has looked at a lot of URL parameters, they would know that it means that it is set for the MLS as opposed to &MLS=0, which would be the same as branded.
Unbranded for MLS:
Unbranded for MLS:
So these are some of the very basic concepts for you to be able to navigate the deadlines, lingo, and differences between some of the media that we work with every day in real estate marketing. Hopefully this will help you understand why your clients may have a particular date in mind, and also why they may seem immovable about the dates that you will be shooting for them.
By getting ahead of the conversation with them and asking about what is needed (branded vs. unbranded) and figuring out what their go-live date is, you will save yourself a lot of grief when booking, producing, and delivering media to your clients!
Good luck and let us know your thoughts in the comments below. We know there are many more definitions and nuances to the above, but we hope this will help you understand the few key phrases that you will probably hear over and over again in your business as a real estate media producer. And if you liked these insights, please head over to our YouTube Channel (and subscribe) where we share lots of other valuable tips and insights, and you might find a video or two that helps answer a question that you have about your business. And you can always follow us as well on Instagram @HopscotchInteractive. Thanks and have a great day!
Neighborhood Stories is a new project and initiative by the team at Hopscotch Interactive to document some of the most iconic imagery from the Bay Area. With Neighborhood Stories, our film crew will be spending time throughout the year building an archive of video footage that can be used to augmented our video portfolio, and can also be used to help tell better stories about the "hyperlocal" communities in the Bay Area.
It's common for our realtor clients to ask us to provide local "location" amenity shots, such as the great shops or public transportation in their area. In our first collection of stories, we will be showcasing video from Marin County, including Belvedere, Tiburon, Mill Valley, and Sausalito.
This collection will be ever-expanding and will be available to our clients to license, or for us to reach to and weave together more interesting content and videos whether for listing, social media, and beyond. All locations will have a combination of aerial drone video and photography/videography images. This gives us a lot of playing room since the Bay Area has so many small neighborhoods and communities that are feature-worthy. The project continue through 2022 and beyond.
View the first footage from Neighborhood Stories here on our YouTube channel and don't forget to like, subscribe, and comment!
CUBICASA GUEST BLOG POST by EMILY OLMAN "A Look forward to 2022 with our Real Estate imaging Experts"
Emily shared her thoughts in this guest blog post for Cubicasa this week, on last year, things she's learned, and the new year ahead! Read the full blog post at the Cubi.casa website here.
As we tick things off the holiday wish-list and are looking at the items we most want as real estate photographers, I decided to put together this list of all of the gear that I can personally say is great and useful to real estate photographers, as well as a higher-end wishlist of sorts for those looking to invest in a bigger upgrade in 2022. I'll put it into a few categories, mostly catalogued by the gear that my team can't live without, and then a few things we think that are worth the expense if you can afford them. Also, please bear in mind we are Canon photographers, but are really agnostic when it comes to gear. We have our preferences, but if you are a Sony person and there's only mirrorless for you, then this list may not satisfy you! But, for years we have used Canon gear for our professional photography and have never been let down. These are workhorse cameras and we think you'll agree after trying them!
Still Photography: The basic essentials
These essentials will cover you for almost every kind of real estate photography that you'll be doing. The choice between the f/2.8 and the f/4.0 is really a question of how much other photography you'll want to use the lens for besides real estate. The bokeh produced by the 4.0 is essentially totally sufficient for 99% of our shoots, but if you want that extra bokeh go for the upgrade and the speed of that lens.
Still Photography: Upgrades!
If you can afford to upgrade to a mirrorless camera we recommend the EOS R6, it's basically the EOS 6D Mark II in mirrorless, but with a lot of other fancy settings. Also, it will be easier for you to monitor the clarity and focus on those manual lenses such as the TS-E 24mm or the TS-E 17mm. If you don't have a telephoto lens, then investing in the 70-200mm will help you get those really far away shots in crystal clear fidelity. We love the 70-200mm for the ability for us to capture key views with excellent results.
Always carry the accessories with you! Especially if you're going to be shooting twilights we recommend both the reflective collapsible cones, and the high visibility vest. You'll also be happy to have a full lens/sensor cleaning kit with you at all times in case the unexpected happens!
Virtual Tour Essentials
If you're just getting started, look no further than the Z1 for almost all major virtual tour software compatibility. We do not recommend the Ricoh Theta V, it's just not professional enough in terms of the image quality and so the Z1 is worth investing in. You can use the Z1 for Matterport, Zillow 3D Home Tours, and also it can be added to an iGuide System (must be purchased from iGuide). If you want to have a great little device for vlogging or for creating Pivo Tours, then the Pivo Pod Black (business) is a good device to keep in your set. Consider their tripod which is not expensive, and is very stable, it just needs additional weight to keep it from tipping over as an extra precaution so we recommend using at the very least, a pair of Ankle weights to wrap around the center column! And, many of you know us for our expertise in Matterport, so we have added the Matterport Pro2 here...which is available on their website and if you can login as a business account on Amazon sometimes you can get GREAT deals like a Pro2 with a case included for less than regular retail pricing, crazy!
Virtual Tour Upgrades (Experience in VR!)
We consider this essential, especially for Metaverse pioneers!
What do you think? Do you feel inspired by the list? What else would you like to see on it? Good luck with all of your photography in 2022 and let us know your thoughts below!!
In November Hopscotch Interactive CEO Emily Olman had the chance to speak at the PFRE Conference in Las Vegas, NV to over 300 members of the real estate photography community. In addition to the panel talk on the conference last day, she also worked on a new presentation that dives into 3D, 360° and Spatial or "Metaverse" marketing for Real Estate. This is the first video of the series, which will be continuing in 2022, more specifically for real estate photographers, but we will also be producing additional content in the New Year for realtors and brokers on Metaverse marketing for real estate.