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