25/02/2017 Click - Short Edition


25/02/2017

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In about ten minutes we will have Newswatch. Now it is time for Click.

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From blue screen jungles test -- the strange explorations of time, we've

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been exploring all. Things and this week is no exception.

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Directed by Gareth Edwards, the visual genius behind Monsters

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and Godzilla, Rogue One has earned over $1 billion at the worldwide box

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office and has, unsurprisingly, been nominated

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Edwards worked with the team at Industrial Lights and Magic

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to recreate that galaxy far, far away and, as we found out

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when we visited their London office, they provided some

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very cool kit to help facilitate his unique directing style.

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He likes to walk around his sets and physically pick up the camera

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himself and walk around and find interesting angles that might not

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have occurred to him when he was planning out

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Our vision effects supervisor was keen that he could apply

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the same style of filming to the synthetic cameras,

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so we used a real-time virtual reality system,

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and therefore he can show us rather than explain to us.

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And this is it? This is it.

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This is what we call our VCam Renderer.

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Can I just point out, it's an iPad with a Vive controller

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And we can set it up relatively easily and quickly.

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And is this where he did these scenes, in this room?

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This is where he shot his virtual camera work.

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So this is a scene that was actually set up

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for the trailer, the first trailer for Rogue One.

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You have this scene running and he would just walk around

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and decide on his best angles and then after that you would tidy

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The idea wasn't that he would be getting perfectly smooth,

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composed camera moves, but he was able to sort of show

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to us, the beginning of the shot, I want it here, the end of the shot,

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We could then publish this through our pipeline software,

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and then it could be immediately picked up by animators

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We shot this with Gareth in London, we then pushed it into our pipeline,

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it was then picked up by people in San Francisco and the take

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was ready for him to review the next morning.

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May I have a go? Absolutely.

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So the animation in this scene is the dish of the Death Star.

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Oh, look, you can see behind the dish!

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So I can get a different shot to Gareth if I want it?

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If I find a better shot, do I get a job?

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It's the dish going to the Death Star.

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So, here, we're following X-Wing as it makes its approach run

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We can just move around and frame up on camera moves and follow the ship

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This film is set near minutes before the very first film,

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and so getting these computer generated models to look exactly

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like the physical models from 1977 was, I guess,

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Our friends and colleagues in San Francisco took digital scans

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of the original models from the art department,

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and they had lots of texture references, and thankfully just

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recreated them so that there wouldn't be any

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jarring differences between these ships and the ships in New Hope.

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We have teams of people who are responsible for laying out

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camera moves, we have teams of people who are building digital

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We've got a fantastic team of animators and then we've got

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a great team of compositors, who take all of the renders

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that we generate and put it all together with the footage

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and integrate it into hopefully photorealistic results.

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So this model here, of Jedha, is that completely full detail,

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so you can move the camera to anywhere?

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We had a camera that rotated around on its own axis and we moved it

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randomly around the city and ended up with hundreds of views.

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So many of them were just fascinating in what they ended up

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Because typically, if you're given a shot to lay out,

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you'll start dressing everything to the camera.

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So you'll start laying out buildings that stack away from the camera and,

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typically with lighting, you would start with back lighting

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at three quarters, from one direction.

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But what we found was that, because none of those considerations

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have been taken, you just end up with occasionally finding views

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that are so natural, so the lighting might just

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be illuminating one half of a wall in the background,

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for example, or none of the roads are perpendicular to the camera

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and they're all going off at weird angles.

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So that was really successful and we ended up using a lot of those

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views as the background in a lot of our blue screen shoots.

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Hello and welcome to the Week In Tech.

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It was the week that Uber found itself under fire after a former

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employee accused the company of sexual harassment in a blog post.

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Uber responded, saying it would conduct an urgent

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investigation into the claims which it called abhorrent

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and against everything Uber stands for and believes in.

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It was also the week that YouTube announced it would get rid

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Scientists at MIT showed off a special coating making it easier

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And astronomers have detected seven Earth-sized planets orbiting

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And, yes, before you ask, three of them may have conditions

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And finally, researchers at Brigham Young University have

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shown off an origami-inspired light weight bullet-proof shield.

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The barrier is made up of 12 layers of bullet-proof Kevlar and weighs

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How many faces can you see in this picture?

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This is a persistence of vision display.

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You can only see it when your eyes, or in our case the camera,

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We've slowed right down so you can really feast on...

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So, a persistence of vision display is predicated upon the persistence

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of vision phenomenon, which is an effect in the human eye.

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And it's the effect where when you look at any bright light

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and you look away you see a ghost of that bright light for a moment.

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So what happens is our display takes a standard two-dimensional image

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and it breaks it up into vertical columns of pixel data.

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This single vertical line of light blinks out each column sequentially,

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so column one, two, three, until it gets to the end

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So as your eye looks away from the display,

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it prints each column in your retina in a different location

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and the whole image is reassembled in your eye.

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Moving strips of super fast flashing LEDs have painted pictures or text

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in the air for a couple of decades now, but Lightvert relies

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on our eyes to do the moving instead.

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Something they are naturally doing all the time.

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We've created a new type of projection technique for creating

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persistence of vision displays and we patented that globally

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and what that lets us do is scale up the size

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So, with LEDs and other light sources, it becomes challenging

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to create a display that's more than say three metres tall.

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But with our Echo technology we can create a display that's up to 200

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metres tall, effectively turning entire skyscrapers into the world's

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And that's why if you've been walking down a particular street

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in Berlin last Monday, you might have seen my face out

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Do you think this is too distracting for drivers, for example?

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It's very important that we introduce it in the right

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way and it's not going to be for every location.

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I certainly wouldn't want to introduce this medium next

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We need people to understand it and, much like when LED billboards first

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came into the public realm, they were very distracting

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and there was legislation instantly put in place in order to prevent

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We're going to have to travel a similar path.

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And that's not the only eye-catching projection I've seen this week.

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Ahead of next week's Mobile World Congress in Barcelona,

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I've also managed to get a sneak preview of the future

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It's the latest version of Sony's Xperia projector.

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It's an android-based device that throws a touch sensitive display

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It has all the touchscreen functionality of a tablet,

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including pinch and zoom, with your finger's positions

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being watched by a camera under the projector and a row of infrared

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sensors at table level to detect when you've actually

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We are heading towards a world where our devices will be so small

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that we won't want a screen or a keyboard or any kind of input

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device attached to them and I see this

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You just have a display when you want it, on whatever

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That's it for the shortcut of Click this week. Full version of the

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iPlayer right now and we also live on Twitter. Thanks for watching and

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see you soon. -- the full version is on iPlayer.

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