Browse content similar to 31/12/2011. Check below for episodes and series from the same categories and more!
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in 2012. One in five felt that the eurozone would not continue in its | :00:02. | :00:10. | |
current form. Now on BBC News, time for Click. | :00:10. | :00:14. | |
Gone, 51 programmes done. 51 tapes finished with. Are you ready for | :00:14. | :00:24. | |
:00:24. | :00:41. | ||
This week on the Click, we are giving you a year for, with the | :00:41. | :00:45. | |
best tech of the last 12 months. We will have the world's most | :00:45. | :00:49. | |
realistic flight simulator, getting straight to the heart of the action | :00:49. | :00:53. | |
at the extreme end of the massive gamey. We are copying and printing | :00:53. | :00:58. | |
ourselves at a rapid prototyping lab in London. We have an essential | :00:58. | :01:02. | |
guide to shooting and editing video for the web. A handy guide to | :01:02. | :01:08. | |
buying the right television. And the very best of the best of the | :01:08. | :01:16. | |
web. We start this week on a high. Back | :01:16. | :01:24. | |
in August, we decided to take a lot of flight simulators to a new level, | :01:24. | :01:29. | |
by finding out just how a massive and experience we could get. Never | :01:29. | :01:34. | |
mind pretty graphics or rumbling sound tracks. What we got was the | :01:34. | :01:40. | |
right of our lives. This street looks pretty normal. In fact, it | :01:41. | :01:45. | |
looks like thousands up and down Great Britain. Cars parked outside | :01:45. | :01:49. | |
people's homes, rubbish bins waiting for collection. But inside | :01:49. | :01:54. | |
this particular house, we found something quite unusual. Coventry's | :01:54. | :02:04. | |
:02:04. | :02:10. | ||
very own, suburban, 747. This is John Davies. He has been doing some | :02:10. | :02:15. | |
extreme redecorating. It is a hobby that got totally out of hand. But | :02:15. | :02:19. | |
there are about five computers running it with approximately 30 | :02:19. | :02:21. | |
programmes over the computers running it, interfacing with each | :02:21. | :02:25. | |
other. The main software that runs the fight model and the flight | :02:25. | :02:35. | |
:02:35. | :02:36. | ||
displays that you can see just simulates the Boeing seven for 7. | :02:36. | :02:40. | |
Then I am using Microsoft Flight Simulator for the visuals only. | :02:41. | :02:44. | |
Flight simulators have long been the preserve of desktop pilots | :02:44. | :02:49. | |
using a PC and joystick. But the provision of large projected | :02:49. | :02:54. | |
feature was, as well as aircraft sounds, quickly makes me forget | :02:54. | :03:00. | |
that I'm in a bedroom in Coventry. Convincing as it is, it does not | :03:00. | :03:08. | |
improve my flying. But I wonder how Richard Taylor is getting on? He is | :03:08. | :03:11. | |
at the other end of the country, trying on a slightly different sort | :03:12. | :03:18. | |
of similar to set up. This is the British Airways flight | :03:18. | :03:22. | |
training simulator here at Heathrow Airport. It would be impossible to | :03:22. | :03:25. | |
fit this in a bedroom. This beast is capable of replicating movement, | :03:25. | :03:33. | |
as well as the sights and sounds of pilot experience. Having the motion | :03:33. | :03:37. | |
just reinforces all that training that we used to maximum effect. It | :03:37. | :03:42. | |
is very important indeed. You get the visuals, you look like you are | :03:42. | :03:45. | |
turning, but if your ears do not tell you why turning, you can get | :03:45. | :03:53. | |
that confusion. So, my mission is to land this virtual version of a | :03:53. | :04:03. | |
:04:03. | :04:03. | ||
jumbo jet. This is going to hurt. Brace yourself. We are just about | :04:03. | :04:13. | |
:04:13. | :04:16. | ||
to touch down. Back at Heathrow, after what I think you'll agree was | :04:17. | :04:20. | |
a relatively smooth journey. But if you really want to experience the | :04:20. | :04:24. | |
highs and lows, the thrills and spills of flying, you leave terra | :04:24. | :04:30. | |
firma completely. Which is why we have made this arduous trek to this | :04:30. | :04:34. | |
airfield in southern California. I am feeling the need, the need for | :04:34. | :04:44. | |
speed. I have got that loving feeling! Air combat pits would be | :04:44. | :04:48. | |
fighter pilots against one another in real aircraft. Thankfully, the | :04:48. | :04:54. | |
combat is simulated. Everything else, however, is real. Two X made | :04:54. | :04:59. | |
the Top Gun pilates, call-sign snails and spartan, will accompany | :04:59. | :05:04. | |
us on a sortie. They will take off and land the aircraft. In order to | :05:04. | :05:07. | |
have passed channel that enough fighter Jock, we got to look the | :05:07. | :05:12. | |
part. Having logged zero hours piloting real aircraft, a pre- | :05:12. | :05:18. | |
flight briefing is in order. We're going to do five dogfights. We are | :05:18. | :05:22. | |
trying to attack somebody from behind the wing line. When you get | :05:22. | :05:26. | |
them in your gun sight, and you shoot them, you'll see smoke come | :05:26. | :05:31. | |
out the back end. Briefing over, we received our parachutes, helmets | :05:31. | :05:38. | |
and pilot call signs. In the air, I will be known as Chisel. And I'll | :05:38. | :05:48. | |
:05:48. | :06:03. | ||
be called Stitch. Looking forward to this! I can see him. Anticipate | :06:03. | :06:13. | |
:06:13. | :06:19. | ||
where he's going. Hard-right! Shoot! Pull the trigger! I've got | :06:19. | :06:29. | |
:06:29. | :06:52. | ||
you, Chisel! Spin, you went into a spin. Shoot him! That is what they | :06:52. | :07:02. | |
:07:02. | :07:05. | ||
call a kilt. -- kill. He tapped me a few more times than I managed to | :07:05. | :07:15. | |
:07:15. | :07:23. | ||
catch him. So Chisel takes it. have to remember, as every good | :07:24. | :07:28. | |
fighter Jock knows, the first kill is the only one that counts. | :07:28. | :07:38. | |
:07:38. | :07:43. | ||
looks like you have lost that loving feeling. | :07:43. | :07:47. | |
They will now forever be known in the Click of this as Chisel and | :07:47. | :07:53. | |
Stage. One of our essential guides from this year, this one that was | :07:53. | :07:57. | |
about how to create urine video masterpiece. Whatever you are | :07:57. | :08:03. | |
shooting with, your raw footage can also -- always used some trimming. | :08:03. | :08:07. | |
You want to create a masterpiece. First rule, before you hit the | :08:07. | :08:11. | |
editing, get your source footage looking tip-top. That means a | :08:11. | :08:16. | |
variety of shot sizes film from different angles, kept steady, and | :08:16. | :08:22. | |
whatever you do not constantly zoom in and out. Footage in hand, you | :08:22. | :08:25. | |
can start editing. The good news is that most of you will already have | :08:25. | :08:30. | |
one of these on hand for absolutely nothing. For basic adepts, Windows | :08:30. | :08:40. | |
:08:40. | :08:42. | ||
users can use movie-maker. The equivalent Mac programme is fine | :08:42. | :08:50. | |
movie. Once you have imported your files, it is time to start work in | :08:50. | :08:56. | |
earnest. The basic principle is to tell the story through pictures. | :08:56. | :09:00. | |
Drag them on to the timeline in the rough order you want and then trim | :09:00. | :09:03. | |
them to size. The variety of available transitions, sound and | :09:03. | :09:07. | |
visual effects will vary from one editing suite to another. But when | :09:07. | :09:12. | |
it comes to transitions, less is definitely more. Loads of head | :09:12. | :09:16. | |
spinning effect and transitions are a sure fire way off instantly | :09:16. | :09:20. | |
giving away your amateur credentials. Editing can be a | :09:20. | :09:23. | |
process heavy job, so if your computer is creaking under the | :09:23. | :09:29. | |
weight, you could try a web-based video editor or mine. J cut is | :09:29. | :09:33. | |
worth exploring, showing lots of features with the free desktop | :09:33. | :09:39. | |
editing tools, and it is not that easy to use. All cloud base to | :09:39. | :09:43. | |
video editors require you to upload or your footage onto the net first, | :09:43. | :09:46. | |
so what you do not need a powerful computer, you will need a fast | :09:46. | :09:53. | |
connection. Even those of us with a blistering download speeds will | :09:53. | :09:57. | |
find that upload speed is pitifully slow. With this in mind, it is no | :09:57. | :10:02. | |
surprise that the maximum limit for each clip his 250 megabytes, so if | :10:02. | :10:05. | |
you are trying to edit footage coming from a high-quality video | :10:05. | :10:13. | |
camera, this is not the place for you. Those of a social persuasion | :10:13. | :10:16. | |
may like to collaboratively added a beer with their friends and | :10:16. | :10:23. | |
publisher directly on to social the -- social networks. Most of us have | :10:23. | :10:27. | |
already publish stuff to YouTube without a care or edit in the world. | :10:27. | :10:31. | |
Fortunately, YouTube now has a basic video editor, allowing you to | :10:31. | :10:36. | |
make some slips and add some music, and recently it has added the | :10:36. | :10:40. | |
ability to stabilise your apparently drunken camera work. | :10:40. | :10:43. | |
Finally, some interesting developments are on the horizon. | :10:43. | :10:47. | |
Some programmes claim to be able to automatically choose the best bits | :10:47. | :10:51. | |
of your footage for you. It seems to do a reasonable job in choosing | :10:51. | :10:54. | |
good shots, but still lacks that human touch when it comes to | :10:54. | :11:00. | |
cutting and the right place. If you only want to pack up your mobile | :11:00. | :11:03. | |
phone footage then you can do away with the computer altogether. | :11:03. | :11:09. | |
Splice is a free video editing up for the iPhone. You can add | :11:09. | :11:16. | |
transitions, titles and music. It | :11:16. | :11:21. | |
even on the iPhone back four is a bit of a struggle. | :11:21. | :11:25. | |
There has been an awful lot of talk about 3D in the past year, but not | :11:25. | :11:30. | |
all that has been about 3D TV. Take this next report, from July, which | :11:30. | :11:36. | |
left me feeling rather small. I am having my head scan so that it | :11:36. | :11:40. | |
can be duplicated. Not so the BBC has a spare in case of any | :11:40. | :11:44. | |
accidents, but because my head is going to be reproduced by that | :11:44. | :11:53. | |
machine over there. A 3D Printer. Preedy printing is essentially | :11:53. | :11:59. | |
exactly what it sounds like. -- 3D printing. Producing a 3D object by | :11:59. | :12:03. | |
printing to layer by layer. It is now catching on with those trying | :12:03. | :12:08. | |
to create 3D models quickly and cheaply. Designers to need to test | :12:08. | :12:13. | |
the look and feel of that prototypes and CommSec devices in | :12:13. | :12:19. | |
the real world. Artists wanting to bring out to reduce desires to life. | :12:19. | :12:22. | |
An architect to be to create precision scale models of their | :12:22. | :12:26. | |
building plan. There is even talk that in the future, buildings | :12:27. | :12:33. | |
themselves will be printed. Section by section. Recently the technology | :12:33. | :12:37. | |
has become cheap enough to go mainstream. You can design guru and | :12:37. | :12:41. | |
models online, and then get them printed, packaged and posted | :12:41. | :12:46. | |
straight to you. It is even possible to print in colour. The | :12:46. | :12:49. | |
machines are not so different to traditional printers, except that | :12:49. | :12:53. | |
instead of flat layers of ink, these nozzles dispense thin layers | :12:53. | :12:59. | |
of plastic, resin or even food. One on top of the other, until you work | :12:59. | :13:05. | |
of art is complete. The process starts with the scan and the | :13:05. | :13:12. | |
scanner. What you have a two lenses at atwhich are taking tens | :13:12. | :13:16. | |
of photos every second. At the bottom you have a projector which | :13:16. | :13:20. | |
is projecting agreed on to the subject. Abul show you what it | :13:20. | :13:25. | |
looks like on the screen. -- I will show you. The Grid collects | :13:25. | :13:31. | |
geometric data about the subject, which has been scanned. All that | :13:31. | :13:34. | |
data is then fed into this piece of software which essentially stitches | :13:34. | :13:39. | |
all those photos together. It uses the geometric data to form a 3D | :13:39. | :13:45. | |
model of my head. Which you can see on the screen here. It does need to | :13:45. | :13:50. | |
be a human touch, this operator is going to tidy up all the extra bits | :13:50. | :13:54. | |
of noise, dots that have crept into the stand, and also fill in a hole | :13:55. | :13:59. | |
in my face. Once he has done that, he has the texture and the colour | :13:59. | :14:02. | |
back onto the head, presses go, and it sends all that information to | :14:03. | :14:11. | |
At this point you have three different types of three- | :14:11. | :14:17. | |
er will process the data it receives | :14:17. | :14:21. | |
in a different way. The sprinter for example only needs the model to | :14:21. | :14:26. | |
be broken up into cros into cros but a reason printer needs extra | :14:26. | :14:33. | |
information such as where to put in the right shape before reason | :14:34. | :14:39. | |
sets. One more thing to do, and that is to introduce you to my head. | :14:39. | :14:45. | |
That is the result of the powder three-dimensional Printer. Not bad, | :14:45. | :14:50. | |
is it? If your old television set has | :14:50. | :14:54. | |
given up the ghost and you have ve | :14:54. | :15:01. | |
an awful lot to consider. Earlier in the year, our reporter created | :15:01. | :15:05. | |
this guide to buying and the television. | :15:05. | :15:10. | |
What is left to know about how to buy a television? Not much, if you | :15:10. | :15:15. | |
enjoy sifting through technical magazines. But if you would rather | :15:15. | :15:20. | |
watch television and then trawl through jargon, keep watching. | :15:20. | :15:25. | |
ut, si sieverythingeverythingl | :15:25. | :15:29. | |
know, when it comes tot comes ton and if you get three-dimensional | :15:29. | :15:34. | |
television, you may miss out on quality. For example, televisions | :15:34. | :15:44. | |
:15:44. | :15:47. | ||
in stores may be set up differently then how youen how youe it at home. | :15:47. | :15:52. | |
But get your new television home and what you are watching through | :15:52. | :15:56. | |
your set will complete the picture. The way a television manipulate | :15:56. | :16:00. | |
standard definition pictures tell see a lot about the processor | :16:00. | :16:05. | |
inside so gets you -- get yourself a taste of what you want by | :16:05. | :16:10. | |
watching something in standard definition. | :16:10. | :16:18. | |
fantastic vibrant colours in stores, whereas a football match shows | :16:18. | :16:23. | |
fast-moving action so you should watch someone like that to see if | :16:23. | :16:27. | |
you can -- if you will get a judder across the screen. | :16:27. | :16:34. | |
You need to stay away from a few others. It is still worth | :16:34. | :16:37. | |
inspecting your television from different angles to see how this | :16:37. | :16:44. | |
green deals with reflective light. One thing is easily forgotten is | :16:44. | :16:48. | |
sound. If you are not planning to play again a home theatre surround- | :16:48. | :16:54. | |
sound set, test the speakers on your television set. Check the | :16:54. | :17:00. | |
volume at low and high levels. Make sure you do not get distortion at | :17:00. | :17:06. | |
higher levels of volume. Smaller things that should help now | :17:06. | :17:10. | |
read your choice is how many inputs do you have at the back. And can | :17:10. | :17:15. | |
you use the remote control easily? Design is often not at the | :17:15. | :17:19. | |
forefront of a television so people are often confused by complicated | :17:19. | :17:25. | |
controls and cannot get a grip with any new systems. One thinks -- one | :17:25. | :17:28. | |
thing that manufacturers can improve is how usable some | :17:28. | :17:35. | |
televisions are and to make TV's accessible. | :17:35. | :17:39. | |
It is a game on as manufacturers engage viewers with newer, three- | :17:39. | :17:44. | |
dimensional capable sets emerging onto the market. You will pay a | :17:44. | :17:48. | |
significant premium while they are still in their infancy. Other | :17:48. | :17:53. | |
notable features include built-in Internet connections, wired or | :17:53. | :17:57. | |
wireless. But you do not need to get a new television set to update | :17:57. | :18:01. | |
your viewing experience. Some devices work with your existing | :18:01. | :18:05. | |
television set to give you a limited internet access on the | :18:05. | :18:10. | |
television. Some can string a media files on your home network or from | :18:10. | :18:14. | |
YouTube. Some gaining boxes also allow access to the internet. | :18:15. | :18:18. | |
Televisions are like pets. Think about what you want because once | :18:18. | :18:25. | |
you have decided, you will have it for a long time. | :18:25. | :18:30. | |
We could not say goodbye to 2011 without a look back at some of our | :18:30. | :18:36. | |
favourite websites. When I asked people on Twitter to | :18:36. | :18:40. | |
suggest their favourite websites, there was one surprisingly popular | :18:40. | :18:47. | |
choice. He knew so many of you were a karaoke fans? Because that is why | :18:47. | :18:57. | |
:18:57. | :19:09. | ||
you chose puresolo.com. Hands up if you ever secretly | :19:09. | :19:17. | |
wished you had the guts to go on X Factor. This website is your chance | :19:17. | :19:22. | |
to show off your singing voice, a kind of online karaoke with a | :19:22. | :19:28. | |
social place where you record songs and other people compete with you. | :19:28. | :19:33. | |
If you are at a budding Jimi Hendrix, you can also showcase your | :19:33. | :19:43. | |
:19:43. | :19:45. | ||
talent at playing guitar. If you are feeling very brave, you | :19:45. | :19:50. | |
can also add video. Looking at the quality of contributions of other | :19:50. | :19:55. | |
uses, it is not something I am prepared to do, especially not on a | :19:55. | :19:59. | |
global television. I know for a fact that some of you have managed | :19:59. | :20:03. | |
to do it justice. There is the chance to share your | :20:03. | :20:07. | |
tracks and you get your own page like Facebook where fans can gather | :20:07. | :20:13. | |
to shower you with compliments or in my case, tell me to please shut | :20:13. | :20:19. | |
up as I am making the dog howl. There is at a new craze hitting the | :20:19. | :20:27. | |
internet. This website does not have a catchy name but it does not | :20:27. | :20:31. | |
make it any less of a demon when it comes to getting things done. | :20:31. | :20:36. | |
It is all explained clearly on the home page. What it boiled down to | :20:36. | :20:45. | |
it is creating basic tasks. This could be if I am tired -- tags and | :20:45. | :20:50. | |
a photograph on Facebook, of the action this website suggests is t e | :20:50. | :20:57. | |
mail me and let me know. It is all made Super easy by | :20:57. | :21:01. | |
channels that they have created, giving you access that most of the | :21:01. | :21:06. | |
average internet Tyler will use and pre-set links to most of the things | :21:06. | :21:11. | |
people will want to use them for. Choose your trigger and a resulting | :21:11. | :21:16. | |
action and your task is up and running. The seed using computers | :21:16. | :21:21. | |
was complicated? -- who said. | :21:21. | :21:26. | |
Computer monitors are set up to look good in daytime, when the | :21:26. | :21:29. | |
screen is competing with sunlight but you may not realise the strain | :21:30. | :21:36. | |
you are putting on your eyes at night. So says the creator of Flux, | :21:36. | :21:42. | |
a friendly device that makes your screen been to make things more | :21:42. | :21:49. | |
internet -- internet in the evening. I do not know if there is any | :21:49. | :21:55. | |
official evidence to support the theory, but after installing this | :21:55. | :21:59. | |
application, I hardly noticed the screen at night, not until I turned | :21:59. | :22:03. | |
around to my second screen to check something and I was almost blinded | :22:03. | :22:08. | |
by the glare. Once installed, you set your | :22:08. | :22:12. | |
location and specify how warm you want your screen to be in the | :22:12. | :22:16. | |
evening and then just leave your software to gently transition from | :22:16. | :22:24. | |
day to night. When creativity strikes, you need | :22:25. | :22:34. | |
:22:35. | :22:38. | ||
the right tools to take advantage of it and at aviary.com you will | :22:38. | :22:46. | |
find a whole flock of tools to help you with your pictures. | :22:46. | :22:52. | |
This is a great sweep of tools for anybody in a creative business he | :22:52. | :22:56. | |
wants to share and collaborate online. The applications are look | :22:56. | :23:00. | |
good and are very easy to use with a great range of features to make | :23:00. | :23:05. | |
something pretty beautiful. The only slight downside is the time it | :23:05. | :23:08. | |
takes to save large files but that is what happens when you work | :23:08. | :23:14. | |
online. Talking of the internet, do not | :23:14. | :23:20. | |
forget that we live online. On Twitter we also have a feed. | :23:21. | :23:28. |