:00:00. > :00:31.In about ten minutes we will have Newswatch. Now it is time for Click.
:00:32. > :00:40.From blue screen jungles test -- the strange explorations of time, we've
:00:41. > :00:44.been exploring all. Things and this week is no exception.
:00:45. > :00:46.Directed by Gareth Edwards, the visual genius behind Monsters
:00:47. > :00:50.and Godzilla, Rogue One has earned over $1 billion at the worldwide box
:00:51. > :00:51.office and has, unsurprisingly, been nominated
:00:52. > :00:58.Edwards worked with the team at Industrial Lights and Magic
:00:59. > :01:01.to recreate that galaxy far, far away and, as we found out
:01:02. > :01:03.when we visited their London office, they provided some
:01:04. > :01:10.very cool kit to help facilitate his unique directing style.
:01:11. > :01:17.He likes to walk around his sets and physically pick up the camera
:01:18. > :01:20.himself and walk around and find interesting angles that might not
:01:21. > :01:22.have occurred to him when he was planning out
:01:23. > :01:33.Our vision effects supervisor was keen that he could apply
:01:34. > :01:36.the same style of filming to the synthetic cameras,
:01:37. > :01:42.so we used a real-time virtual reality system,
:01:43. > :01:45.and therefore he can show us rather than explain to us.
:01:46. > :01:47.And this is it? This is it.
:01:48. > :01:49.This is what we call our VCam Renderer.
:01:50. > :01:52.Can I just point out, it's an iPad with a Vive controller
:01:53. > :01:58.And we can set it up relatively easily and quickly.
:01:59. > :02:01.And is this where he did these scenes, in this room?
:02:02. > :02:03.This is where he shot his virtual camera work.
:02:04. > :02:06.So this is a scene that was actually set up
:02:07. > :02:12.for the trailer, the first trailer for Rogue One.
:02:13. > :02:15.You have this scene running and he would just walk around
:02:16. > :02:18.and decide on his best angles and then after that you would tidy
:02:19. > :02:24.The idea wasn't that he would be getting perfectly smooth,
:02:25. > :02:28.composed camera moves, but he was able to sort of show
:02:29. > :02:32.to us, the beginning of the shot, I want it here, the end of the shot,
:02:33. > :02:37.We could then publish this through our pipeline software,
:02:38. > :02:40.and then it could be immediately picked up by animators
:02:41. > :02:45.We shot this with Gareth in London, we then pushed it into our pipeline,
:02:46. > :02:48.it was then picked up by people in San Francisco and the take
:02:49. > :02:51.was ready for him to review the next morning.
:02:52. > :02:53.May I have a go? Absolutely.
:02:54. > :03:00.So the animation in this scene is the dish of the Death Star.
:03:01. > :03:02.Oh, look, you can see behind the dish!
:03:03. > :03:06.So I can get a different shot to Gareth if I want it?
:03:07. > :03:10.If I find a better shot, do I get a job?
:03:11. > :03:32.It's the dish going to the Death Star.
:03:33. > :03:35.So, here, we're following X-Wing as it makes its approach run
:03:36. > :03:41.We can just move around and frame up on camera moves and follow the ship
:03:42. > :03:56.This film is set near minutes before the very first film,
:03:57. > :03:59.and so getting these computer generated models to look exactly
:04:00. > :04:01.like the physical models from 1977 was, I guess,
:04:02. > :04:09.Our friends and colleagues in San Francisco took digital scans
:04:10. > :04:17.of the original models from the art department,
:04:18. > :04:20.and they had lots of texture references, and thankfully just
:04:21. > :04:24.recreated them so that there wouldn't be any
:04:25. > :04:32.jarring differences between these ships and the ships in New Hope.
:04:33. > :04:36.We have teams of people who are responsible for laying out
:04:37. > :04:42.camera moves, we have teams of people who are building digital
:04:43. > :04:46.We've got a fantastic team of animators and then we've got
:04:47. > :04:49.a great team of compositors, who take all of the renders
:04:50. > :04:52.that we generate and put it all together with the footage
:04:53. > :04:56.and integrate it into hopefully photorealistic results.
:04:57. > :05:04.So this model here, of Jedha, is that completely full detail,
:05:05. > :05:06.so you can move the camera to anywhere?
:05:07. > :05:11.We had a camera that rotated around on its own axis and we moved it
:05:12. > :05:15.randomly around the city and ended up with hundreds of views.
:05:16. > :05:19.So many of them were just fascinating in what they ended up
:05:20. > :05:22.Because typically, if you're given a shot to lay out,
:05:23. > :05:23.you'll start dressing everything to the camera.
:05:24. > :05:27.So you'll start laying out buildings that stack away from the camera and,
:05:28. > :05:29.typically with lighting, you would start with back lighting
:05:30. > :05:31.at three quarters, from one direction.
:05:32. > :05:35.But what we found was that, because none of those considerations
:05:36. > :05:40.have been taken, you just end up with occasionally finding views
:05:41. > :05:43.that are so natural, so the lighting might just
:05:44. > :05:46.be illuminating one half of a wall in the background,
:05:47. > :05:49.for example, or none of the roads are perpendicular to the camera
:05:50. > :05:51.and they're all going off at weird angles.
:05:52. > :05:55.So that was really successful and we ended up using a lot of those
:05:56. > :06:03.views as the background in a lot of our blue screen shoots.
:06:04. > :06:17.Hello and welcome to the Week In Tech.
:06:18. > :06:20.It was the week that Uber found itself under fire after a former
:06:21. > :06:23.employee accused the company of sexual harassment in a blog post.
:06:24. > :06:25.Uber responded, saying it would conduct an urgent
:06:26. > :06:28.investigation into the claims which it called abhorrent
:06:29. > :06:30.and against everything Uber stands for and believes in.
:06:31. > :06:33.It was also the week that YouTube announced it would get rid
:06:34. > :06:42.Scientists at MIT showed off a special coating making it easier
:06:43. > :06:48.And astronomers have detected seven Earth-sized planets orbiting
:06:49. > :06:53.And, yes, before you ask, three of them may have conditions
:06:54. > :07:07.And finally, researchers at Brigham Young University have
:07:08. > :07:09.shown off an origami-inspired light weight bullet-proof shield.
:07:10. > :07:13.The barrier is made up of 12 layers of bullet-proof Kevlar and weighs
:07:14. > :07:26.How many faces can you see in this picture?
:07:27. > :07:39.This is a persistence of vision display.
:07:40. > :07:43.You can only see it when your eyes, or in our case the camera,
:07:44. > :07:47.We've slowed right down so you can really feast on...
:07:48. > :07:54.So, a persistence of vision display is predicated upon the persistence
:07:55. > :07:59.of vision phenomenon, which is an effect in the human eye.
:08:00. > :08:02.And it's the effect where when you look at any bright light
:08:03. > :08:07.and you look away you see a ghost of that bright light for a moment.
:08:08. > :08:10.So what happens is our display takes a standard two-dimensional image
:08:11. > :08:12.and it breaks it up into vertical columns of pixel data.
:08:13. > :08:16.This single vertical line of light blinks out each column sequentially,
:08:17. > :08:19.so column one, two, three, until it gets to the end
:08:20. > :08:23.So as your eye looks away from the display,
:08:24. > :08:26.it prints each column in your retina in a different location
:08:27. > :08:29.and the whole image is reassembled in your eye.
:08:30. > :08:32.Moving strips of super fast flashing LEDs have painted pictures or text
:08:33. > :08:35.in the air for a couple of decades now, but Lightvert relies
:08:36. > :08:38.on our eyes to do the moving instead.
:08:39. > :08:44.Something they are naturally doing all the time.
:08:45. > :08:54.We've created a new type of projection technique for creating
:08:55. > :08:59.persistence of vision displays and we patented that globally
:09:00. > :09:02.and what that lets us do is scale up the size
:09:03. > :09:08.So, with LEDs and other light sources, it becomes challenging
:09:09. > :09:11.to create a display that's more than say three metres tall.
:09:12. > :09:15.But with our Echo technology we can create a display that's up to 200
:09:16. > :09:17.metres tall, effectively turning entire skyscrapers into the world's
:09:18. > :09:21.And that's why if you've been walking down a particular street
:09:22. > :09:24.in Berlin last Monday, you might have seen my face out
:09:25. > :09:35.Do you think this is too distracting for drivers, for example?
:09:36. > :09:38.It's very important that we introduce it in the right
:09:39. > :09:41.way and it's not going to be for every location.
:09:42. > :09:44.I certainly wouldn't want to introduce this medium next
:09:45. > :09:49.We need people to understand it and, much like when LED billboards first
:09:50. > :09:53.came into the public realm, they were very distracting
:09:54. > :09:56.and there was legislation instantly put in place in order to prevent
:09:57. > :10:03.We're going to have to travel a similar path.
:10:04. > :10:09.And that's not the only eye-catching projection I've seen this week.
:10:10. > :10:16.Ahead of next week's Mobile World Congress in Barcelona,
:10:17. > :10:19.I've also managed to get a sneak preview of the future
:10:20. > :10:23.It's the latest version of Sony's Xperia projector.
:10:24. > :10:26.It's an android-based device that throws a touch sensitive display
:10:27. > :10:31.It has all the touchscreen functionality of a tablet,
:10:32. > :10:35.including pinch and zoom, with your finger's positions
:10:36. > :10:39.being watched by a camera under the projector and a row of infrared
:10:40. > :10:42.sensors at table level to detect when you've actually
:10:43. > :10:49.We are heading towards a world where our devices will be so small
:10:50. > :10:52.that we won't want a screen or a keyboard or any kind of input
:10:53. > :10:55.device attached to them and I see this
:10:56. > :11:02.You just have a display when you want it, on whatever
:11:03. > :11:19.That's it for the shortcut of Click this week. Full version of the
:11:20. > :11:24.iPlayer right now and we also live on Twitter. Thanks for watching and
:11:25. > :11:36.see you soon. -- the full version is on iPlayer.