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You're up to date with the headlines. | :00:00. | :00:00. | |
It's digital art, but art that seems to follow you around the room. | :00:00. | :00:40. | |
A collection of exhibits at London's Whitechapel Gallery that date from | :00:41. | :00:44. | |
1966 right up until the present day. | :00:45. | :00:47. | |
Everything here has some sort of relationship with technology, | :00:48. | :00:51. | |
from CCTV chandeliers to karaoke performed with lyrics taken | :00:52. | :00:53. | |
# Though this medium has been greatly abused | :00:54. | :01:02. | |
# I choose to reach you through it. # | :01:03. | :01:08. | |
Moving swiftly on, this exhibition goes by the name | :01:09. | :01:11. | |
That term was coined all the way back in 1974 | :01:12. | :01:20. | |
by the father of video art, Nam June Paik, from South Korea, | :01:21. | :01:25. | |
who was really excited about the potential | :01:26. | :01:27. | |
This is one of his pieces from 20 years later, from 1994. | :01:28. | :01:35. | |
Go further back in time and you get to this, | :01:36. | :01:40. | |
the history of moving images, which is all blips and blogs | :01:41. | :01:46. | |
until you move a bit further away from the screen. | :01:47. | :01:54. | |
Videogames feature too and it's weird watching games in this | :01:55. | :01:56. | |
gallery setting, as you do start to appreciate the artistry that goes | :01:57. | :02:01. | |
into their creation when viewed in this context. | :02:02. | :02:03. | |
Look at me, I'll be hosting an art programme next! | :02:04. | :02:09. | |
The games in this work are some of the most expansive in history | :02:10. | :02:13. | |
and indeed also some of the most expensive in history to develop, | :02:14. | :02:16. | |
But there's one videogame on the horizon | :02:17. | :02:20. | |
which promises to dwarf everything and it's been funded by the fans. | :02:21. | :02:23. | |
We entered the universe of Star Citizen. | :02:24. | :02:34. | |
It blew away its initial crowdfunding goals, | :02:35. | :02:40. | |
making videogame Star Citizen the most successful | :02:41. | :02:50. | |
It's an ambitious game for PC, featuring a gigantic explorable | :02:51. | :02:53. | |
universe, with tons of spaceships to pilot | :02:54. | :02:58. | |
All online and massively multiplayer. | :02:59. | :03:01. | |
It's the brainchild of Chris Roberts. | :03:02. | :03:05. | |
In the 1990s he created the successful Wing Commander | :03:06. | :03:07. | |
Star Citizen is going to be an absolutely massive game. | :03:08. | :03:16. | |
So big, in fact, that the company behind it, Cloud Imperium, have got | :03:17. | :03:19. | |
four different studios in three different countries. | :03:20. | :03:26. | |
This is the Los Angeles studio, currently being made ready | :03:27. | :03:28. | |
for all of the developers and designers to move in here. | :03:29. | :03:31. | |
There are a lot of different activities going on in the studio. | :03:32. | :03:34. | |
but ships can be purchased with real world money | :03:35. | :03:38. | |
and played with in limited, pre-release tasters of tiny | :03:39. | :03:40. | |
It's been a difficult campaign, but we're winning this thing. | :03:41. | :03:56. | |
As well as in the US, developers Cloud Imperium have studios in | :03:57. | :04:00. | |
Just outside Manchester is where I caught up with Chris Roberts. | :04:01. | :04:07. | |
He first announced the game back in 2012. | :04:08. | :04:09. | |
It was supposed to be released two years later. | :04:10. | :04:11. | |
It's still in development now, which means Star Citizen is late. | :04:12. | :04:17. | |
One of the oxymorons of crowdfunding is that | :04:18. | :04:19. | |
you're asking for money to make this game. | :04:20. | :04:28. | |
You don't know how much you will get. | :04:29. | :04:30. | |
Unless you want to pocket the rest of the money, | :04:31. | :04:33. | |
I want to make the best game possible, | :04:34. | :04:36. | |
so if you give me $100 million I'll give you a $100 million game. | :04:37. | :04:40. | |
If you give me $10 million, I'm making you a $10 million game. | :04:41. | :04:43. | |
Of course there are big scales between those things, but you don't | :04:44. | :04:46. | |
know upfront that you will get $100 million. | :04:47. | :04:48. | |
But the time it is taking to recognise the grand vision of this | :04:49. | :04:51. | |
If you are in the game business, games get cancelled all the time, | :04:52. | :04:56. | |
By the time you hear about the game it's probably been in development | :04:57. | :05:00. | |
for three years and already had a bunch of delays. | :05:01. | :05:03. | |
But that, I guarantee you, isn't the first time we got | :05:04. | :05:06. | |
pushed back, you just didn't know about it. | :05:07. | :05:07. | |
So there's a whole bunch of stuff that I know, from when I was an EA | :05:08. | :05:12. | |
or working with Microsoft making games, | :05:13. | :05:13. | |
where loads of games got cancelled, loads got pushed back. | :05:14. | :05:15. | |
Things always took much longer than they thought, | :05:16. | :05:17. | |
but the general public isn't aware of that. | :05:18. | :05:20. | |
I think maybe on the crowdfunding side we can all do a better job. | :05:21. | :05:23. | |
If I was crowd funding again I would, like, spell this out more. | :05:24. | :05:34. | |
While the team in America continue to work on Star Citizen's persistent | :05:35. | :05:37. | |
universe, in the UK they work on the single player story driven | :05:38. | :05:40. | |
element of the game, called Squadron 42. | :05:41. | :05:42. | |
Roberts has assembled a starry cast, including Mark Hamill, | :05:43. | :05:46. | |
We shot last year at Ealing Studios in London. | :05:47. | :05:56. | |
We shot for about three and a half months and did this | :05:57. | :05:59. | |
which was the longest shoot I've done for any movie. | :06:00. | :06:08. | |
The next year? The year after that? | :06:09. | :06:13. | |
We are starting to layer on additional game features and | :06:14. | :06:15. | |
We'll flesh out the star system and then towards the end of the year | :06:16. | :06:22. | |
we will open it up so you can visit some other star systems and that's | :06:23. | :06:25. | |
And, in parallel, we are working on Squadron 42. | :06:26. | :06:29. | |
We we're aiming to have that done by the end of this year. | :06:30. | :06:32. | |
Back to talk of gaming and in the heart of picturesque | :06:33. | :06:57. | |
Amsterdam, it is not just about beautiful canals, museums, | :06:58. | :06:59. | |
a lot of bikes, and a vibrant nightlife but also a hotel that is | :07:00. | :07:02. | |
It is a work in progress and not one for those lusting | :07:03. | :07:09. | |
after a spa but when all levels are complete, every room here should | :07:10. | :07:12. | |
With devices old and new and a library loaded with games to | :07:13. | :07:21. | |
choose from, this is hoped to become a destination | :07:22. | :07:24. | |
It is still early days for this project but it is clearly | :07:25. | :07:34. | |
But this doesn't mean game over for sightseeing, | :07:35. | :07:47. | |
it is just a little something extra to take or leave as you desire. | :07:48. | :07:57. | |
Just before Christmas there was an awakening in the force. | :07:58. | :08:00. | |
Well, obviously a whole lot of us did because Star Wars: The Force | :08:01. | :08:04. | |
Awakens has earned almost ?1.4 billion in the worldwide box office. | :08:05. | :08:09. | |
The film has earned praise from diehard fans | :08:10. | :08:11. | |
for its combination of practical and computer-generated effects | :08:12. | :08:14. | |
and it has even been nominated for a visual effects Oscar. | :08:15. | :08:18. | |
Over 400 shots for the film were put together here | :08:19. | :08:20. | |
in the new London office of Industrial Light and Magic. | :08:21. | :08:28. | |
A large portion of time was spent working on this | :08:29. | :08:30. | |
character, a bar owner, played by Oscar winner Lupita Nyong'o. | :08:31. | :08:33. | |
And I was lucky enough to peek behind the curtain and get | :08:34. | :08:38. | |
an exclusive break down of one of the film's most complex scenes. | :08:39. | :08:41. | |
This is the entrance into the castle. | :08:42. | :08:45. | |
It is a technically tricky shot because it is joining three | :08:46. | :08:48. | |
We go into the studio set further inside the bar and we have to join | :08:49. | :08:56. | |
As she turns around, you can see that her face is covered in dots | :08:57. | :09:03. | |
and it looks like every possible muscle they could have tracked. | :09:04. | :09:11. | |
They are evenly distributed across her face. | :09:12. | :09:13. | |
We will take those markers and track those, and work out where | :09:14. | :09:16. | |
they are so we will be able to rebuild a 3-D representation | :09:17. | :09:19. | |
Then we can analyse that and work out what expression she was making. | :09:20. | :09:31. | |
Then transfer that into the CGI person. | :09:32. | :09:39. | |
So the cap gives us a block version of the actor's performance, but the | :09:40. | :09:42. | |
animation layer on top really brings the character to life | :09:43. | :09:45. | |
and captures all the subtleties of the performance. | :09:46. | :09:47. | |
Simple things like how much of the whites of the eyes you can see. | :09:48. | :09:51. | |
Things like that that helps to transmit the performance. | :09:52. | :09:54. | |
And the genius about this kind of motion capture is she can be | :09:55. | :09:57. | |
on set with other actors, so there is a proper interaction. | :09:58. | :10:03. | |
Yes, it's super important that whoever | :10:04. | :10:04. | |
is performing is onset, not just for the performer who we are taking | :10:05. | :10:07. | |
data from but also for the other actors, so they can see the person | :10:08. | :10:11. | |
Give us an idea of how long a scene like this would | :10:12. | :10:18. | |
It was one of the first shots sent over to us and it was pretty much | :10:19. | :10:25. | |
Because of the complexity of the camera moves but also it had to | :10:26. | :10:36. | |
In terms of rendering, we will do it in different passes | :10:37. | :10:52. | |
You have the castle and the flags, we will split all of that up to keep | :10:53. | :10:57. | |
At the end of the day, it was something we got going | :10:58. | :11:10. | |
To render a file, we'd process it overnight and we | :11:11. | :11:14. | |
We wish the team all the best of luck at the Oscars at the end | :11:15. | :11:20. | |
That's it for the short version. Don't forget to follow us online. | :11:21. | :11:35. | |
Thanks for watching AMCU scene. -- and see you soon. | :11:36. | :11:37. |