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Newswatch will be here in around ten minutes, | 0:00:00 | 0:00:02 | |
but first, it's Click. | 0:00:02 | 0:00:04 | |
Projectors have come a long way. | 0:00:28 | 0:00:31 | |
We first meet Team Lab, the 400-strong digital art collective | 0:00:31 | 0:00:34 | |
last year in Japan. | 0:00:34 | 0:00:38 | |
The team of artists programmers, engineers, CG | 0:00:38 | 0:00:40 | |
animators, mathematicians and the like, love to make an impact and | 0:00:40 | 0:00:44 | |
here at the Pace London gallery, they're presenting eight of their | 0:00:45 | 0:00:49 | |
most eye-popping pieces. | 0:00:49 | 0:00:53 | |
As with the work in Tokyo, the idea here | 0:00:53 | 0:00:55 | |
combines motion censors and the projectors, | 0:00:55 | 0:00:59 | |
which means you have a completely interactive piece that | 0:00:59 | 0:01:04 | |
you can touch and change. | 0:01:04 | 0:01:09 | |
The whole room has been fully calibrated so the censors can detect | 0:01:09 | 0:01:12 | |
where everyone in the installation is really, really accurately. | 0:01:13 | 0:01:19 | |
The artwork, the project, the projections, | 0:01:19 | 0:01:22 | |
are calculated live. | 0:01:22 | 0:01:24 | |
This is not prerecorded video. | 0:01:24 | 0:01:27 | |
The pictures really do react to whatever you do | 0:01:27 | 0:01:29 | |
while you're in the room. | 0:01:29 | 0:01:33 | |
So, for example, I can... | 0:01:33 | 0:01:35 | |
THUMP. | 0:01:35 | 0:01:38 | |
..kill a butterfly. | 0:01:38 | 0:01:39 | |
Don't show this at home, kids. | 0:01:39 | 0:01:46 | |
Don't try this at home, kids. | 0:01:46 | 0:01:48 | |
This room is called Flowers Bloom On People. | 0:01:48 | 0:01:50 | |
With no-one in here, it's just a black room but if you sit | 0:01:50 | 0:01:54 | |
around for a few minute, you'll find that nature | 0:01:54 | 0:01:56 | |
starts to grow on you. | 0:01:56 | 0:02:01 | |
Now I would say this is pretty cutting-edge projectector technology | 0:02:01 | 0:02:05 | |
but Marc Cieslak has assured me he can give this | 0:02:05 | 0:02:08 | |
a run for his money. | 0:02:08 | 0:02:11 | |
Go on then, Marc. | 0:02:11 | 0:02:15 | |
This is a home entertainment concept from Razor, a | 0:02:16 | 0:02:19 | |
company most famous for manufacturing gaming PCs, covering | 0:02:19 | 0:02:21 | |
more lights than Blackpool Illuminations. | 0:02:22 | 0:02:26 | |
The concept makes use of coloured lights and projected | 0:02:26 | 0:02:28 | |
image, working together in synchronised harmony. | 0:02:28 | 0:02:35 | |
What we have here is a concept lighting rig, which is key to the | 0:02:35 | 0:02:38 | |
action on-screen. | 0:02:38 | 0:02:40 | |
So the lights in this room will change colour | 0:02:40 | 0:02:42 | |
depending on what's happening but it's only | 0:02:42 | 0:02:44 | |
part of what's going on. | 0:02:44 | 0:02:46 | |
So if I just hit this button here, we get the largest | 0:02:46 | 0:02:49 | |
screen I've ever seen. | 0:02:49 | 0:02:54 | |
And that giant screen size is thanks to a pretty expensive Forke | 0:02:54 | 0:02:59 | |
projector. | 0:02:59 | 0:03:05 | |
The projector is fitted with a 155- degree fish eye lens, | 0:03:05 | 0:03:10 | |
combined with two depth sensing cameras that scans the rooms for | 0:03:10 | 0:03:16 | |
objects and furniture, and the system adjusts | 0:03:16 | 0:03:18 | |
the image to prevent it from becoming distorting. | 0:03:18 | 0:03:24 | |
So the idea is that by having a screen that | 0:03:24 | 0:03:27 | |
envelopes, the peripheral vision of the viewer, | 0:03:27 | 0:03:29 | |
you really feel like you're thrown inside the action, | 0:03:29 | 0:03:31 | |
and it is surprisingly effective. | 0:03:31 | 0:03:35 | |
Oh, yeah! | 0:03:35 | 0:03:38 | |
At the moment, this system remains a concept but Razor has hinted it | 0:03:38 | 0:03:42 | |
might one day bring it to market. | 0:03:42 | 0:03:46 | |
Oh, I can see lightings and stuff playing. | 0:03:55 | 0:03:59 | |
I've been discovering some of the the latest ways | 0:03:59 | 0:04:01 | |
that the technology is being used to help the visually | 0:04:01 | 0:04:05 | |
impaired. | 0:04:05 | 0:04:05 | |
It all starts with a spot of virtual reality. | 0:04:05 | 0:04:08 | |
OK. | 0:04:08 | 0:04:10 | |
If you can try it this way. | 0:04:10 | 0:04:12 | |
You pull it over your eyes. | 0:04:12 | 0:04:16 | |
It just made me so, it was happiness but it made me cry and I just | 0:04:16 | 0:04:21 | |
couldn't believe that... | 0:04:21 | 0:04:25 | |
I'd been without full sight for so many years and then | 0:04:25 | 0:04:29 | |
all of a sudden I could see | 0:04:29 | 0:04:31 | |
things that I hadn't seen for 30 years. | 0:04:31 | 0:04:37 | |
Here at the Beacon Centre, a charity supporting | 0:04:37 | 0:04:39 | |
those with sight loss, an interesting trial | 0:04:40 | 0:04:43 | |
is taking place. | 0:04:43 | 0:04:44 | |
I'm going to start the video... | 0:04:44 | 0:04:46 | |
It seems some people can see things in | 0:04:46 | 0:04:48 | |
VR they could never see in the real world or on a screen. | 0:04:48 | 0:04:55 | |
I've lost Paul McCartney, though. You've lost Paul? | 0:04:55 | 0:04:58 | |
Yes. Oh, no, he's there now! | 0:04:58 | 0:05:04 | |
I'd never expected it but when they put the head set on, | 0:05:04 | 0:05:07 | |
I mean there was giraffes, | 0:05:07 | 0:05:09 | |
coming up and looking at me! | 0:05:09 | 0:05:12 | |
What would you say to other people with a similar level of | 0:05:12 | 0:05:16 | |
vision to you about the experience of being able to do this and the | 0:05:16 | 0:05:19 | |
emotional side of it? | 0:05:19 | 0:05:22 | |
Oh, if you've got the chance, you have to have a go. | 0:05:22 | 0:05:26 | |
There is nothing quite like it. | 0:05:26 | 0:05:27 | |
I mean I know it's not full sight, because you've got to wear a | 0:05:27 | 0:05:31 | |
machine, I'm not saying, that but to give you the experience, | 0:05:31 | 0:05:34 | |
it's just absolutely wonderful. | 0:05:34 | 0:05:39 | |
There are a wide range of conditions that cause sight loss. | 0:05:41 | 0:05:44 | |
The nature of which can vary hugely, and even | 0:05:44 | 0:05:46 | |
for those with similar problems, the benefits of the VR have varied. | 0:05:47 | 0:05:50 | |
By along with the University of Wolverhampton, experts are trying to | 0:05:50 | 0:05:53 | |
understand how this is possible at all. | 0:05:53 | 0:05:59 | |
What we found quite quickly is that people who had central loss, | 0:05:59 | 0:06:03 | |
macular type conditions, as they are called, are the ones | 0:06:03 | 0:06:05 | |
who seem to get most benefit. | 0:06:05 | 0:06:07 | |
Where they still had peripheral vision and whether that | 0:06:07 | 0:06:09 | |
peripheral vision is so stimulated as to fill in the gaps, | 0:06:09 | 0:06:12 | |
or, whatever wee don't | 0:06:12 | 0:06:13 | |
understand yet, is it because it's so close? | 0:06:14 | 0:06:16 | |
Is it because there are still sight receptive cells in the | 0:06:16 | 0:06:19 | |
centre of the vision, so that when they're | 0:06:19 | 0:06:21 | |
stimulated enough, that they | 0:06:21 | 0:06:22 | |
will fire and therefore create the vision? | 0:06:22 | 0:06:25 | |
Is it the curvature of the lens? | 0:06:25 | 0:06:26 | |
There's a whole host of things we're still trying to explore to | 0:06:26 | 0:06:30 | |
understand how it works. | 0:06:30 | 0:06:34 | |
If I could use that when my daughter's doing her school plays or | 0:06:35 | 0:06:39 | |
she's singing in the choir, I could never pick out | 0:06:39 | 0:06:42 | |
who she was or what she was doing, or be able to see | 0:06:42 | 0:06:45 | |
what you are seeing and that could really be quite life changing. | 0:06:45 | 0:06:51 | |
But, however clear the virtual world may seem, finding ways to ease | 0:06:53 | 0:06:56 | |
day-to-day tasks is a real priority. | 0:06:56 | 0:07:01 | |
Diversion to the left. | 0:07:01 | 0:07:02 | |
Temporary footway in road. | 0:07:03 | 0:07:05 | |
Five to 10 metres. | 0:07:05 | 0:07:06 | |
There are eye beacons built in here that connect this to the mobile | 0:07:06 | 0:07:10 | |
app, so if somebody is approaching and they | 0:07:10 | 0:07:12 | |
have the app installed in their phone, they will receive | 0:07:12 | 0:07:17 | |
an alert to let them know about the roadworks and how best | 0:07:17 | 0:07:20 | |
to approach them. | 0:07:20 | 0:07:21 | |
And for someone like Louise with two young kids, this smart | 0:07:21 | 0:07:24 | |
street furniture could make all the difference. | 0:07:24 | 0:07:27 | |
Because it tells you which way to go, so it can still in my pocket | 0:07:27 | 0:07:31 | |
I can have their hands, one in each, and I can | 0:07:31 | 0:07:34 | |
hear the voiceover, so it will say something | 0:07:34 | 0:07:38 | |
like the pedestrian crossing is coming on the left. | 0:07:38 | 0:07:41 | |
It's there for three days or however long. | 0:07:41 | 0:07:43 | |
So if I do the school run the same day, I know exactly | 0:07:43 | 0:07:46 | |
where it's going to be, I have done that walk yesterday. | 0:07:47 | 0:07:49 | |
Also this week, big claims from a company that say their smart | 0:07:50 | 0:07:53 | |
glasses can give the legally blind 20/20 vision. | 0:07:53 | 0:07:58 | |
As well as being able to stream content, they've captured the | 0:07:58 | 0:08:01 | |
user's surroundings, converting them into a form, | 0:08:01 | 0:08:03 | |
they say, is easier to identify for those | 0:08:03 | 0:08:05 | |
with limited vision. | 0:08:05 | 0:08:08 | |
Sadly we couldn't put a pair to the test just yet, and it's early | 0:08:08 | 0:08:11 | |
days for much of what is being trialled here but the possibilities | 0:08:12 | 0:08:15 | |
are certainly looking good. | 0:08:15 | 0:08:19 | |
That was Lara. | 0:08:23 | 0:08:25 | |
Now, virtual reality has been grabbing all the headlines | 0:08:25 | 0:08:30 | |
in recent years but don't forget augmented reality. | 0:08:30 | 0:08:34 | |
Now this is the idea of projecting computer | 0:08:34 | 0:08:36 | |
generated images on top of the real world. | 0:08:36 | 0:08:39 | |
A bit like this but in a pair of glasses. | 0:08:39 | 0:08:45 | |
Well a small band of augmented reality pioneers have | 0:08:45 | 0:08:47 | |
been really pushing the technology. | 0:08:47 | 0:08:50 | |
Here's Marc again with some pretty classy eyewear. | 0:08:50 | 0:08:55 | |
These augmented reality glasses are basically | 0:08:58 | 0:09:00 | |
a wearable computer. | 0:09:00 | 0:09:01 | |
For the last couple of years, augmented reality | 0:09:01 | 0:09:07 | |
specs have been used primarily in an industrial setting | 0:09:07 | 0:09:09 | |
or in the workplace. | 0:09:09 | 0:09:10 | |
These have been competed by a company called ODG, and they've | 0:09:10 | 0:09:13 | |
been designed far more with the consumer in mind. | 0:09:13 | 0:09:17 | |
They feel a lot closer to normal glasses, | 0:09:17 | 0:09:20 | |
so to get the best out of them, I want to move around. | 0:09:20 | 0:09:25 | |
So, I stand up, at the moment, there's a 360-degree video playing. | 0:09:25 | 0:09:31 | |
If I look around, I get a different viewpoint here. | 0:09:31 | 0:09:38 | |
I see a robot in front of me and what looks like some kind | 0:09:38 | 0:09:42 | |
of futuristic hospital, and there's a guy over here, | 0:09:42 | 0:09:44 | |
who seems very unhappy and another guy who looks seems | 0:09:44 | 0:09:47 | |
to be shooting at him. | 0:09:47 | 0:09:49 | |
The images move seemlessly with my head. | 0:09:49 | 0:09:50 | |
If I look around I can see planet earth in front of me. | 0:09:51 | 0:09:54 | |
But this is the cool bit, it moves. | 0:09:54 | 0:09:56 | |
I can walk inside it and see from outside of the planet, and | 0:09:56 | 0:10:00 | |
appreciate it from this angle, and if I stand here, yep, a Space | 0:10:00 | 0:10:03 | |
Station that's orbiting the earth as well. | 0:10:03 | 0:10:10 | |
Now, the glasses know where they are, spacially, as there are a | 0:10:10 | 0:10:13 | |
couple of cameras on front of them. | 0:10:13 | 0:10:15 | |
All of the processing is happening on the head set itself. | 0:10:15 | 0:10:20 | |
The ODGR-8 glasses will cost around ?800 | 0:10:20 | 0:10:24 | |
but they are basically a wearable computer there. | 0:10:24 | 0:10:28 | |
Are some cheaper, lower tech AR options out there, though. | 0:10:28 | 0:10:34 | |
There are lots of low-cost virtual reality headsets that make use of | 0:10:34 | 0:10:37 | |
smartphones. | 0:10:37 | 0:10:38 | |
This is a low-cost augmented reality headset that uses a phone. | 0:10:38 | 0:10:42 | |
Phones slot inside it here. | 0:10:42 | 0:10:45 | |
Put an AR app in it and the images on the screen | 0:10:46 | 0:10:49 | |
is reflected right here. | 0:10:49 | 0:10:51 | |
So, let's give it a go. | 0:10:51 | 0:10:58 | |
So, when the headset's on, I can look down the screen | 0:10:58 | 0:11:02 | |
and I scan see graphics reflected from the phone | 0:11:02 | 0:11:04 | |
just in the headset. | 0:11:04 | 0:11:06 | |
Now, it has another trick up its sleeve as well. | 0:11:06 | 0:11:08 | |
You can attach peripherals on to it. | 0:11:08 | 0:11:10 | |
I can see my hands in front of me and use them to cast flames. | 0:11:10 | 0:11:14 | |
Take that, Mr Crocodile. | 0:11:14 | 0:11:17 | |
That's it for the short cut of Click for this | 0:11:18 | 0:11:21 | |
week from Transcending Boundaries at the Pace London gallery. | 0:11:21 | 0:11:26 | |
The full lengths of the programme is up on | 0:11:26 | 0:11:28 | |
iPlayer for you to you watch now and there's loads of photos from all | 0:11:28 | 0:11:32 | |
of this week's items on BBC Click. | 0:11:32 | 0:11:34 | |
Thanks for watching. | 0:11:34 | 0:11:35 | |
See you soon. | 0:11:35 | 0:11:38 |