Browse content similar to 18/02/2012. Check below for episodes and series from the same categories and more!
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bbc.co.uk/news and click on the link. Those are the headlines. Now | :00:05. | :00:15. | |
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That way. Get away from me. Yes! Away from me and just through | :00:19. | :00:29. | |
:00:29. | :00:45. | ||
This week Click looks at the brand new PlayStation Vita and asked | :00:45. | :00:53. | |
whether the rise of the smartphone means it's game over or game-on | :00:53. | :00:56. | |
dedicated portables. We look at how to control a mouse or anything | :00:57. | :01:02. | |
other than your good bod erk. Is this talent for the tiny, or can | :01:02. | :01:07. | |
the mobile movie make it big? We take a look at Paris's Mobile Film | :01:08. | :01:12. | |
Festival. We have an app that will not leave | :01:12. | :01:22. | |
you in the dark in Web Scape. Welcome to Click. I'm Spencer Kelly. | :01:22. | :01:26. | |
You can play video games on anything these days, on home | :01:26. | :01:33. | |
consoles, PCs and out and about on portable devises. Mobile phones and | :01:33. | :01:39. | |
tab lets have started to muscle in on this part of the industry, | :01:39. | :01:43. | |
leaving some to suggest that the smartphone has done for the | :01:43. | :01:51. | |
portable games console. Mark Cieslak tore himself away from | :01:51. | :01:55. | |
playing games at home to play some games on the move. | :01:55. | :02:04. | |
The launch of any new games devise is cause for much hoo-ha and | :02:04. | :02:09. | |
hullabaloo. Each new devise claims to be the most powerful. -- - | :02:09. | :02:13. | |
device claims to be the most powerful. The goal is to create so | :02:14. | :02:18. | |
much buzz that the gamers can not feel they can live without the | :02:18. | :02:22. | |
latest console. Things change when it hits the shops. The marketing | :02:23. | :02:32. | |
:02:33. | :02:33. | ||
onslaught does not always work. Last year Nintendo launched the 3DS. | :02:33. | :02:39. | |
I cannot wait for you to try this. The 3DS is a handheld with cameras | :02:39. | :02:45. | |
front and rear. The screen allows the player to see the action in 3D, | :02:45. | :02:51. | |
without the need for 3D glasses. Initially it sold well, shifting | :02:51. | :02:55. | |
374,000 units in the first week of sale. Those sales soon started to | :02:55. | :03:03. | |
plummet. The 3DS launch portfolio was not | :03:03. | :03:09. | |
that great. There was pent-up demand from consumers that | :03:09. | :03:17. | |
tkwipbldled away relatively quickly. -- dwindled away relatively quickly. | :03:17. | :03:25. | |
Nintendo slashed the price and launched a host of crowd pleasing | :03:25. | :03:29. | |
games, such as Super Mario Land 3D and Mario Kart 7. It reversed the | :03:29. | :03:35. | |
fortunes of the new device. In December last year, Sony unleashed | :03:35. | :03:43. | |
its latest handheld, the PlayStation Vita. It has been | :03:43. | :03:49. | |
described by some as a harcore machine. Front and rear touch | :03:49. | :03:57. | |
screens and front and rear cameras. It has a pin-sharp OLED screen and | :03:57. | :04:00. | |
powerful for a handheld quad-core ARM processor running the show. | :04:00. | :04:07. | |
Like the 3DS, initially the Vita, in Japan, sold well. Second and | :04:07. | :04:13. | |
third week sales, well they were nothing to write home about. | :04:13. | :04:17. | |
announced sales of 500,000 units in Japan after what is really a short | :04:17. | :04:23. | |
period of time. That's figure we're comfortable with. We measured the | :04:23. | :04:28. | |
life of our platforms in units of years. Typically we looked to | :04:29. | :04:36. | |
thrive and prosper over a ten-year cycle. Nintendo was forced to slash | :04:36. | :04:42. | |
the price of the 3DS handheld not long after the launch. Will Sony | :04:42. | :04:49. | |
consider that with the Vita. It is not on our -- in our minds at the | :04:49. | :04:54. | |
moment. We are in the middle of a vibrant order campaign. The demand | :04:54. | :04:58. | |
is strong. A price-cut, to be honest, is the last thing on our | :04:58. | :05:02. | |
minds right now. Now the Vita is preparing to launch in the rest of | :05:02. | :05:10. | |
the world. It's a really solid package. Its five-inch display | :05:10. | :05:15. | |
delivered bright visuals. While it cannot match the home consoles, it | :05:15. | :05:20. | |
does have a quad-core ARM processor, which means it is capable of | :05:20. | :05:25. | |
producing visuals which are unmatched by any other handheld | :05:25. | :05:33. | |
device. The analogue sticks ensure precise control. It feels familiar | :05:33. | :05:38. | |
to hardened gamers. It is not that far off playing on a home son sole. | :05:39. | :05:42. | |
The big selling point is the touch screens, one at the front and one | :05:42. | :05:48. | |
at the back. The back touch screen is a good idea. It ensures the | :05:48. | :05:51. | |
player's fingers do not obscure the action when the screen itself is | :05:51. | :05:56. | |
being used. There's a strong line-up of launch | :05:56. | :06:02. | |
titles including Wipeouts 2048 and third-person adventure, Uncharted: | :06:02. | :06:06. | |
The Golden Abyss, a game which goes to great lengths to show off the | :06:06. | :06:10. | |
different ways the player can interact with it. It makes use of | :06:10. | :06:15. | |
both the touch screens. At some point the player has to physically | :06:15. | :06:19. | |
move the device. Sure, all these different methods of controlling | :06:19. | :06:23. | |
games are interesting. They have the potential to be used in some | :06:23. | :06:29. | |
really fun ways. At the moment they are more of a curiousty rather than | :06:29. | :06:35. | |
a must-have. Sony has done away with spinning drives and the Vita | :06:35. | :06:42. | |
can download games from the store or use visible, bespoke memory | :06:42. | :06:45. | |
cards, which are plugged into the top of the device. It can play | :06:45. | :06:50. | |
music and video. There is a web browser. All nice features, but | :06:50. | :06:55. | |
things which you can presently do on a device you might already own, | :06:55. | :07:02. | |
namely one of these or one of these. Smartphones and tablets are | :07:02. | :07:09. | |
becoming more popular as games devices, with app stores chobg ka | :07:09. | :07:15. | |
block with new titles. Many of these titles appeal to | :07:15. | :07:21. | |
casual or main-stream consumers. Is the Vita a handheld with a limited | :07:21. | :07:27. | |
market? Will it only appeal to harcore gamers? That demographic is | :07:27. | :07:31. | |
in the millions across Europe. We know how to go after that | :07:31. | :07:40. | |
demographic. We know how to appeal to them. We will, quite subtlety, | :07:40. | :07:45. | |
but steadily broaden the demographic, bring in the more | :07:45. | :07:49. | |
casual consumer, hopefully the female consumer and grow that | :07:49. | :07:53. | |
potential target available to us. It a east not necessarily a huge | :07:53. | :07:58. | |
audience, but it is a -- it's not necessarily a huge audience, but it | :07:58. | :08:04. | |
is an audience which spends a lot of money. It is a little unfair to | :08:04. | :08:09. | |
conpair it to smartphones, what this was designed fosh, playing | :08:09. | :08:16. | |
games, it does -- for, playing game, it does very well indeed. It does | :08:16. | :08:20. | |
not look like the smartphone has conquered the world of gaming just | :08:20. | :08:26. | |
yet. Your thoughts would be very welcome. E-mail us or Tweet us. | :08:26. | :08:34. | |
Next up, a look at this week's news. This week, millions of Iranian | :08:34. | :08:40. | |
Netizens, have lost G mail, Facebook and popular foreign nuls | :08:40. | :08:44. | |
pages. It appears to be intermittent. Many are concerned | :08:44. | :08:49. | |
the Government may reveal its Internet system, effectively giving | :08:49. | :08:55. | |
the authorities total control on their on-line activities. Apple has | :08:55. | :09:03. | |
responded to pressure over a lop hope which allows apps to get | :09:03. | :09:06. | |
addresses without permission. It comes after the revelation earlier | :09:06. | :09:11. | |
this month that the path photo sharing app was uploading entire | :09:11. | :09:18. | |
address books to its servers. It transpired that Facebook and | :09:18. | :09:24. | |
Foursquare engage in similar practises. Apple's iPad is facing a | :09:24. | :09:31. | |
legal battle in China. Pro-view claim it owns the name and is | :09:31. | :09:36. | |
asking customs to ban the import and export of all products. It | :09:36. | :09:40. | |
could be a threat to their sales as China is a main base for the | :09:40. | :09:45. | |
company. Many have confiscated iPads from | :09:46. | :09:50. | |
retailers. And finally, in a separate | :09:50. | :09:56. | |
development, Amazon is seeking out talents to develop originalal TV | :09:56. | :10:00. | |
content for its on-demand TV streaming service. All on-line | :10:00. | :10:05. | |
video services are fighting to get a slice of what might become a very | :10:05. | :10:13. | |
big pie. Netflix, YouTube and hu lu are developing exclusive shows for | :10:13. | :10:18. | |
their platforms. OK, time to throw away your remote | :10:18. | :10:22. | |
control now, because for the next part of the programme you will not | :10:22. | :10:28. | |
need it. This week and for the next couple, we look at interfaces - new | :10:28. | :10:38. | |
:10:38. | :10:46. | ||
ways of interacting with new technology. This week, ges-tureE | :10:46. | :10:56. | |
:10:56. | :11:02. | ||
The way it works is it measured how light is reflected back from | :11:02. | :11:12. | |
objects. Based on that it can re create the object. | :11:12. | :11:16. | |
One of the more practical uses is natural interruption over your TV. | :11:16. | :11:22. | |
Everybody is talking about over the top, smart TVs on-line programming. | :11:23. | :11:26. | |
Everybody forgets that people are lazy and they want to sit down and | :11:26. | :11:36. | |
:11:36. | :11:40. | ||
You stand there. You get scanned. You will see your body on the | :11:41. | :11:45. | |
screen. Then the clothes will be mapped to your body. Actually you | :11:45. | :11:48. | |
are working fabric come positions as well. It is precise. For the | :11:49. | :11:54. | |
purpose of this, the guessures you make are with your hands and body, | :11:54. | :11:59. | |
so you can see how the garment looks at different angles. Use your | :11:59. | :12:06. | |
hands to pick the garments on the screen. | :12:06. | :12:11. | |
With women, particularly, there are problems with vanity sizing now. A | :12:11. | :12:15. | |
lot of brands are giving you sizes so you feel you are thinner than | :12:15. | :12:20. | |
you are. That does not help you shopping at home. It is a maze. | :12:20. | :12:23. | |
That is what it is helping with. You look at the clothes as they are | :12:23. | :12:33. | |
:12:33. | :12:42. | ||
and not what they are telling you In our case we are using infra-red, | :12:42. | :12:46. | |
to kuen kait between the marker and the base. -- communicate between | :12:46. | :12:53. | |
the marker and the base. We have a link which carries audio from the | :12:53. | :12:58. | |
marker. That way, if you are far away and want a good audio link, we | :12:58. | :13:03. | |
have a microphone in there. there you go. Your hand is now a | :13:03. | :13:08. | |
controller. Next week, in our look at interfaces, we will look at how | :13:08. | :13:15. | |
your eyes and brain can be left to do the work for you. | :13:15. | :13:21. | |
Mobile phones and the images shot on them have already revolutionised | :13:21. | :13:25. | |
revolution. Their potential as tools for news-gathering is | :13:25. | :13:31. | |
undeniable. Can the mobile ever be used as a creative tool of artistic | :13:31. | :13:37. | |
expression? Can a mobile movie or cell phone cinema ever be as good | :13:37. | :13:47. | |
:13:47. | :13:48. | ||
as, well filmed film? We went to Paris's Mobile Film Festival, in | :13:48. | :13:56. | |
search fof a BlackBerry Besson or an iPhone Fellini. | :13:57. | :14:01. | |
This is the seventh time France has held its Mobile Film Festival. | :14:01. | :14:06. | |
Although the films are only one minute long and the cameras tiny, | :14:06. | :14:16. | |
:14:16. | :14:17. | ||
Organisers have received more entries than ever. 380 films have | :14:17. | :14:22. | |
been submitted by producers vying for prize money. And a unique | :14:22. | :14:26. | |
chance to work with a professional production company putting together | :14:26. | :14:32. | |
a short film that will go out on French television. So, why mobiles | :14:32. | :14:39. | |
and why just one minute? We decided two things. You shoot with a moat - | :14:39. | :14:44. | |
- mobile so everybody is equal, almost, and it is one minute long. | :14:44. | :14:49. | |
This one minute is very important because it to make a good one | :14:49. | :14:53. | |
minute film you have to think of it very well, you have to write the | :14:53. | :14:59. | |
story, you have to write the dialogue potentially, to make it as | :14:59. | :15:09. | |
:15:09. | :15:11. | ||
Lives can turn on one minute, or one minute can reveal the lifetime | :15:11. | :15:21. | |
:15:21. | :15:26. | ||
Last year, Une Longue Tristesse won Best Film, which for a brief | :15:26. | :15:31. | |
exchange between a man and a woman gives us a glimpse of a couple in | :15:31. | :15:41. | |
:15:41. | :15:41. | ||
He believes the technical limitations of shooting with a | :15:41. | :15:51. | |
:15:51. | :15:54. | ||
mobile means film-makers Une Longue Tristesse was a minute | :15:54. | :15:59. | |
that changed his life. He went on to direct a short film which went | :15:59. | :16:03. | |
out on France's Canal Plus. The British actor Jason Wilcox appeared | :16:03. | :16:07. | |
in both. What is extraordinary in this business, you get cynical | :16:07. | :16:10. | |
people say you have made a movie with a mobile phone, what is that | :16:10. | :16:15. | |
about? And a year later, having made a film where the budget is | :16:15. | :16:18. | |
150,000 euros, a fair amount of money, now they are running down | :16:18. | :16:28. | |
:16:28. | :16:36. | ||
the hill saying this is a great The film industry is notoriously | :16:36. | :16:40. | |
difficult to get into but the incredible array of inventiveness | :16:40. | :16:44. | |
on show at the Mobile Film Festival reveals the industry could do a lot | :16:44. | :16:51. | |
worse than tapping into this scene of emerging talent. Consumer | :16:51. | :16:56. | |
camcorders and mobile phones mean this new generation has filmed and | :16:56. | :17:01. | |
been filled more than any other in history but is that enough to make | :17:01. | :17:08. | |
good film-makers? You know how to make a video of a cat, or the dog, | :17:08. | :17:13. | |
anything that has no interest, but you are not a film maker. Film- | :17:13. | :17:19. | |
making is knowledge, and experience, a technique, an art, and that is | :17:19. | :17:24. | |
why we don't want to have this point of view of OK, you have a | :17:24. | :17:28. | |
mobile, you can be a film-maker, no, you have to make this film | :17:28. | :17:35. | |
qualities. That said there is something the professionals can | :17:35. | :17:39. | |
take from the amateurs. The mobile phone is a particular type of | :17:39. | :17:44. | |
camera was a split personality. On the one hand we associate it was | :17:44. | :17:47. | |
cities and journalism and on the other hand it can be a family | :17:47. | :17:54. | |
camera used to record intimacies between friends and relations. This | :17:54. | :17:58. | |
second use was employed to great effect by the winner of this year's | :17:58. | :18:03. | |
Festival, who came up with the perfect vehicle of a SEN -- still | :18:03. | :18:13. | |
:18:13. | :18:17. | ||
contained love story lasting just TRANSLATION: I already had an idea | :18:17. | :18:22. | |
of a lift with two people inside. I said maybe I could try to make | :18:22. | :18:25. | |
everything happen in one minute and then I said, why can't this girl | :18:25. | :18:29. | |
tell a story in one minute and during filming that was the issue, | :18:29. | :18:32. | |
how did time the journey in the lift Sir Mick was one minute and | :18:32. | :18:40. | |
choose the right for. -- so it was one minute. Only in Paris could you | :18:40. | :18:44. | |
fall in love at the start of an elevated journey, only to split-up | :18:44. | :18:54. | |
:18:54. | :18:59. | ||
Some might prefer to take the stairs. It would be interesting to | :18:59. | :19:02. | |
see what other countries would come up with, faced with a similar set | :19:02. | :19:07. | |
of rules, one mobile, one minute, one film. And we might get the | :19:07. | :19:11. | |
chance. The organisers are exploring taking the Mobile Film | :19:11. | :19:19. | |
Festival to London. Maybe we should try filming an | :19:19. | :19:24. | |
entire episode of Click on a mobile phone one of these days. Someone on | :19:24. | :19:29. | |
the team clearly disagrees. Moving on. Time for our weekly foray into | :19:29. | :19:32. | |
the world of the Web as Kate Russell gets ready to shine a light | :19:32. | :19:38. | |
on everything that is worth looking at the online in Webscape. It has | :19:38. | :19:43. | |
all gone dark. Kate! Don't worry, I think I see the | :19:43. | :19:48. | |
problem. I think you have popped up bored with your animal magnetism. | :19:48. | :19:52. | |
Luckily I have my BlackBerry on hand to come to the rescue. The one | :19:52. | :19:57. | |
thing most people always have close at hand is their mobile phone, so | :19:57. | :20:02. | |
if you are ever caught in the dark and needed emergency torch | :20:02. | :20:09. | |
flashlight two 41 app could be an absolute life-saver. Once installed | :20:09. | :20:15. | |
you will see two new launch items - - icons in your application list, | :20:15. | :20:19. | |
one for the back flashlight which gives you the torchlight and then | :20:19. | :20:25. | |
there is also the front flashlight, which gives you were softer, more | :20:25. | :20:28. | |
ambient light for things like reading underneath the covers at | :20:28. | :20:33. | |
night. Just don't tell your mum I told you that. It is really easy to | :20:33. | :20:38. | |
set up. Though I did wonder why a flashlight needs permission to | :20:38. | :20:42. | |
access my personal information. This is explained satisfactorily on | :20:42. | :20:49. | |
the wiki website though. Once you have shed light on the world around | :20:49. | :20:53. | |
you you can start making sense of your desktop with Screencast-o- | :20:53. | :20:57. | |
matic, a three Screen recorder that lets you take video and audio as | :20:57. | :21:02. | |
well, and published direct to YouTube without having to register. | :21:02. | :21:07. | |
Hang on, one second. If you have got any friends or relatives who | :21:07. | :21:11. | |
are not that good with computers there is a fairly good chance you | :21:11. | :21:16. | |
become their unofficial text support and by unofficial I mean | :21:16. | :21:21. | |
unpaid. Well, you can save yourself huge amount of stress and troubled | :21:21. | :21:26. | |
by just recording a simple step-by- step of what you want them to do | :21:26. | :21:33. | |
rather than trying to explain it on the telephone. Yes, no, controlled, | :21:33. | :21:41. | |
control... It runs on a Java applet that you will have to accept and | :21:41. | :21:45. | |
just click to begin recording. It is a great little screen recorder | :21:45. | :21:55. | |
and really easy to use. Social book marking tools are excellent for | :21:55. | :21:57. | |
collecting on Lancashire's but you do have to remember to interact | :21:57. | :22:03. | |
with them and actually book mark that page you're excited about -- | :22:03. | :22:12. | |
online treasures. Faveous .com takes that responsibility out of | :22:12. | :22:18. | |
your hands as it links to sites and says anything you interact with. | :22:18. | :22:23. | |
There is a plug-in or extension to cover most prototypes just in case | :22:23. | :22:26. | |
you want to clip an entire page. Whether that impressive list of | :22:26. | :22:32. | |
social hookups will make you want to jump ship from sites like | :22:32. | :22:36. | |
Delicious and Instapaper, only you can decide. If you are teetering on | :22:36. | :22:40. | |
the edge of indecision, unable to quite give up all the work you have | :22:40. | :22:45. | |
put into those two particular sites, Faveous does have some nice little | :22:45. | :22:49. | |
import tools to make things a little easier. You can set your | :22:49. | :22:53. | |
collection as public or private, the default setting his public. You | :22:53. | :22:57. | |
can set your own address to make chairing straightforward. Once nice | :22:57. | :23:00. | |
touch is the option to or to delete your Twitter favourites after they | :23:00. | :23:04. | |
have been saved to Faveous, so you can keep your favourites list | :23:04. | :23:12. | |
private if you want. When you shop for clothes getting | :23:12. | :23:16. | |
the right size can be tricky, as all the band seemed to work to | :23:16. | :23:20. | |
their own standards. So a fashion mad computer programmer has | :23:20. | :23:25. | |
launched a website this week loaded up with all the size data and | :23:25. | :23:29. | |
statistics from the major UK and US retailers. Pentti Knorr | :23:29. | :23:34. | |
measurements, choose a shop and a website will tell you which size | :23:34. | :23:38. | |
will fit best -- enter your measurements. A fantastic accessory | :23:38. | :23:48. | |
:23:48. | :23:49. | ||
for when you are not going to try Swan who let the dogs out #. A Los | :23:49. | :23:53. | |
Angeles photographer has become an overnight that success when his | :23:53. | :23:57. | |
photographs of underwater dogs when viral this week. The struggling new | :23:57. | :24:00. | |
business owner splashed out on a waterproof camera case and after | :24:00. | :24:05. | |
being posted to Reddit the collection quickly became a social | :24:05. | :24:10. | |
web favourite, clocking up 30,000 Facebook likes and boosting food | :24:10. | :24:16. | |
for his website to 200 to 100,000 hits a day and that, my friends, is | :24:16. | :24:21. | |
a perfect example of the power of the social web. | :24:21. | :24:24. | |
That was Kate Russell. Her links are available as usual at our | :24:24. | :24:30. | |
website. Along with all of our recent reports and extra staff as | :24:31. | :24:37. | |
well, in video and text form, and you will find a link to the radio | :24:37. | :24:41. | |
programme them as well. Getting touch on e-mail, on Twitter, if | :24:41. | :24:45. |