Browse content similar to 31/03/2012. Check below for episodes and series from the same categories and more!
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victory. Now it is time for Click. | :00:14. | :00:24. | |
:00:24. | :00:42. | ||
This week on Click, exciting times. We have decided to find out just | :00:42. | :00:45. | |
how good the video cameras are on smartphones by using one to make a | :00:45. | :00:50. | |
movie. And you can't get more analogue | :00:50. | :00:56. | |
then a night at the theatre, but can you? Be at a show where it is | :00:56. | :01:00. | |
not just the actors doing the projecting. | :01:00. | :01:04. | |
The latest tech news and a great way to bring your desk top to life | :01:04. | :01:09. | |
in Webscape. Welcome to Click. Welcome to | :01:09. | :01:14. | |
Alexandra Palace in London. This was the birthplace of BBC One, the | :01:14. | :01:23. | |
world's first regular high- definition TV service. Although | :01:24. | :01:29. | |
this was higis was higon 1930s style. But these days, you can get | :01:29. | :01:33. | |
higher definition on one of these than at this place ever pumped out. | :01:33. | :01:36. | |
Some film-makers are using smartphones to make professional- | :01:36. | :01:44. | |
looking films. We wondered just how good a movie can -- how good of a | :01:44. | :01:54. | |
:01:54. | :01:54. | ||
mini you can make on a smartphone. We decided to make one. -- a movie. | :01:54. | :02:00. | |
I am at Alexandra Palace now. We had a Tweet saying there was | :02:00. | :02:10. | |
:02:10. | :02:10. | ||
something weird over here. I can't see anything at the moment, but... | :02:11. | :02:20. | |
:02:21. | :02:21. | ||
Apology for the loss of subtitles for 72 seconds | :02:21. | :03:33. | |
Target required. Attack. Attack. Attack. | :03:33. | :03:43. | |
:03:43. | :03:49. | ||
OK. Let's try a bit of droid on Her! Broke Android, thought there | :03:49. | :03:59. | |
:03:59. | :04:04. | ||
would be a nap for that. -- and app. The end. Have you enjoyed that. But | :04:04. | :04:08. | |
if you would like to try making something like that, you will need | :04:08. | :04:18. | |
:04:18. | :04:23. | ||
some extra bit -- bits of kit and a The bar has already been set higher | :04:23. | :04:33. | |
:04:33. | :04:36. | ||
by this movie, Olive, entirely filmed on a Nokia N8 smartphone. | :04:37. | :04:40. | |
Director Hooman Khalili used a host of professional great film lenses, | :04:40. | :04:44. | |
a professional sound engineer to capture audio separately, and a | :04:44. | :04:54. | |
:04:54. | :04:54. | ||
professional at its weight. -- edit suite. For us, the challenge was to | :04:54. | :04:58. | |
capture high-definition video and sound, colour great the resulting | :04:58. | :05:03. | |
footage, and to generate those visual effects using only | :05:03. | :05:09. | |
smartphones and their various attachments. So, which phone to | :05:09. | :05:14. | |
use? Or those Samsung's Galaxy as to ute seemed to sue the best video, | :05:14. | :05:18. | |
most of the hardware attachments and the best post-production apps | :05:18. | :05:27. | |
are currently only made for the iPhone -- iPhone. Location booked, | :05:27. | :05:33. | |
storyboard completed and batteries charged, we headed to Alexandra | :05:33. | :05:43. | |
Palace for a day of fresh air and running about. One of the first | :05:43. | :05:46. | |
problems you will encounter when shooting at smartphone video or is | :05:46. | :05:52. | |
that the phone tries to be too helpful. It constantly changes the | :05:52. | :05:59. | |
focus and exposure as you're filming. In comes FiLMiC Pro, one | :05:59. | :06:02. | |
of the few apps that allows you to lock the camera settings for the | :06:02. | :06:09. | |
duration of a shot. The next problem You will have is a lens, | :06:09. | :06:14. | |
which will be lost if you -- which will need for a decent wide-angle | :06:14. | :06:18. | |
shot. But there are a number of attachments which will give you a | :06:18. | :06:23. | |
variety of looks. A Siddle wide- angle lens but to capture even more | :06:23. | :06:30. | |
of the scene. This fisheye lens gives you that warped effect for | :06:30. | :06:34. | |
the Android's point of view. And a telephoto lens can give any shot a | :06:34. | :06:40. | |
more professional look. It can give you close-up shots and throws the | :06:40. | :06:48. | |
background out of focus, which looks really cooler. -- cooler. | :06:48. | :06:52. | |
This attachment let you screw your phone onto any attached -- tripod | :06:52. | :07:00. | |
you like. And that tracking shot at the start of the movie will require | :07:00. | :07:10. | |
:07:10. | :07:14. | ||
something like this. And a steady hand. It needs to be would ever is | :07:14. | :07:20. | |
more comfortable. If you need to capture the action at a run or a | :07:20. | :07:23. | |
walk, a steadicam attachment will counteract a camera operator's | :07:23. | :07:32. | |
natural bounce. We also used it to seem -- simulate the Android's | :07:32. | :07:39. | |
steady glide. A counterweight is underneath to keep the phone a | :07:39. | :07:46. | |
level as you twist and turn. It is fiddly to set up. You have to get | :07:46. | :07:56. | |
:07:56. | :07:57. | ||
the balance just right before you start, but the results are smooth. | :07:57. | :08:04. | |
As well as getting good looking to forget the sound. In a phone and | :08:04. | :08:08. | |
microphones are notoriously bad at capturing good quality audio. If we | :08:08. | :08:14. | |
wanted to record a lot of dialogue, we would have needed this 350 pound | :08:14. | :08:21. | |
tie line attachment to connect to our professional -- hour in a phone | :08:21. | :08:31. | |
:08:31. | :08:32. | ||
and microphone. The kung-fu moves are optional but they did allow | :08:32. | :08:42. | |
:08:42. | :08:44. | ||
them to maintain a steady shot. The sound is possible as long as it is | :08:44. | :08:49. | |
an old close to the mouth during the shot. Even the voice of the | :08:49. | :08:56. | |
Android was done in the phone in using a free voice changer. To | :08:57. | :09:03. | |
those visual effects shot, both were created using Action Movie. | :09:03. | :09:08. | |
Just a place the target we were the action, record a few seconds of | :09:08. | :09:13. | |
video and decider at which point you want the effect to begin. -- | :09:13. | :09:19. | |
decider. It is a little hit and miss and you have to create the | :09:19. | :09:22. | |
final effects shot in the phone before you can have another go, but | :09:22. | :09:32. | |
:09:32. | :09:32. | ||
for a free app, the brick -- results are pretty cool. It is | :09:32. | :09:36. | |
impressive stuff but there are some serious technical drawbacks to | :09:36. | :09:40. | |
shooting high-definition video. The most pressing is the fact that it | :09:40. | :09:50. | |
:09:50. | :09:51. | ||
will seriously train your phone's precious resources. FiLMiC Pro | :09:51. | :09:55. | |
chewed through the eye for an's battery. High-quality video fills | :09:55. | :09:59. | |
your phone's memory to bursting. Three minutes of video takes around | :09:59. | :10:08. | |
one gigabyte of space. After 40 minutes of filming, our brand new | :10:08. | :10:18. | |
:10:18. | :10:20. | ||
16 Keig phone was out a space. -- Keig. -- gigabyte. We found | :10:20. | :10:25. | |
ourselves regularly dumping of footage to a laptop and recharging | :10:25. | :10:34. | |
it with this. Want to have recorded your raw | :10:34. | :10:39. | |
footage, you may want to give it more of a cinematic feel. There are | :10:39. | :10:43. | |
many felt that apps which will process your pictures. We used one | :10:43. | :10:47. | |
for the overall colour grading and used thank you different apps on | :10:47. | :10:57. | |
:10:57. | :10:57. | ||
top of that to create the finished effect. Don't forget that despite | :10:57. | :11:02. | |
what Steve Jobs may have told you, this is a phone, not a | :11:02. | :11:07. | |
supercomputer. It takes about 20 minutes to apply affects up to one | :11:07. | :11:11. | |
minute of video, so keep your phone charging and go get yourself a cup | :11:11. | :11:21. | |
:11:21. | :11:23. | ||
of tea. And go for a nice walk. Once everything is done, it is time | :11:23. | :11:29. | |
to edit it all together. Even here, it is possible to do it on a mobile | :11:29. | :11:34. | |
device, although on a small screen, this is very painful. If you prefer | :11:34. | :11:39. | |
to use a PC, YouTube allows you to perform simple and it's and music | :11:39. | :11:45. | |
mixes and both Mac and Windows come with video editing software also. | :11:45. | :11:52. | |
So, it turns out it is possible to make a respectable-looking creation, | :11:53. | :11:58. | |
shot, special effects, and all using a smartphone. The results | :11:58. | :12:05. | |
seem to be good enough for the web and a standard definition TV. As | :12:05. | :12:10. | |
soon as you try to do anything vaguely complicated, he will need a | :12:10. | :12:14. | |
tonne of patients and the sheer stubbornness to refuse to spend a | :12:14. | :12:24. | |
:12:24. | :12:24. | ||
relatively small amount on a proper Some of you may have made your own | :12:24. | :12:31. | |
smartphone movies. You can send us a link. Our e-mail address is | :12:31. | :12:39. | |
click@BBC .co.uk. Next is Tech News. What many see as rip-off data | :12:39. | :12:44. | |
charges for using your phone abroad is to end in Europe. European | :12:44. | :12:48. | |
Parliament has voted to cap data charges for European users when | :12:48. | :12:54. | |
travelling within the EU to 59p per megabyte. The changes come into | :12:54. | :12:59. | |
effect in July and the maximum cost for making or receiving calls and | :12:59. | :13:03. | |
texts will fall by about 20%. Next year, they will fall further and | :13:03. | :13:06. | |
customers will be given the option of signing with a different | :13:06. | :13:11. | |
operator while retaining their own number while travelling in the EU. | :13:11. | :13:14. | |
Two American senators are asking for an investigation into whether | :13:14. | :13:18. | |
employers asking for Facebook passwords with in job interviews | :13:18. | :13:21. | |
are violating the law. Facebook says it has seen an alarming | :13:21. | :13:27. | |
increase in reports of employers trying to gain access to Facebook | :13:27. | :13:30. | |
profiles. Internet users should have an easy | :13:30. | :13:34. | |
to use do not track me feature at their fingertips. The | :13:34. | :13:37. | |
recommendation by the Federal Trade Commission in the US will prevent | :13:37. | :13:41. | |
online companies from recording use of's behaviour without permission. | :13:41. | :13:46. | |
They said companies needed to be more transparent but senators may | :13:46. | :13:53. | |
be too busy to consider this before the election. | :13:53. | :13:58. | |
We have looked at how some of the latest consumer tape can be used to | :13:58. | :14:01. | |
make half decent movies. Now it is time to give another of the | :14:01. | :14:06. | |
creative arts a mate Clover. LJ Rich has been behind the seats of | :14:06. | :14:13. | |
hi-tech theatre. -- pain make over. Nobody pushes scenery on and off | :14:13. | :14:17. | |
this stage. It is a south London theatre that has been kitted out | :14:17. | :14:23. | |
and run by computers. Computers that create crops. That can hide | :14:23. | :14:32. | |
the stage. -- props. Or create a character's worst enemy. Here, you | :14:32. | :14:38. | |
can see the virtual set mac back on to the real said. If you look at | :14:38. | :14:43. | |
the bright white light, these are a series of projects as that are | :14:43. | :14:47. | |
hitting the walls. When using the project this in conjunction with | :14:47. | :14:53. | |
the rest of the lighting rig, the idea is it brings together. | :14:53. | :14:56. | |
seamless whole is actually five Quicktime video files playing in | :14:56. | :15:02. | |
sync. Each screen overlaps. That is called Edge blending. It allows | :15:03. | :15:08. | |
actors to interact with all be out staged by the scenery. One of the | :15:08. | :15:13. | |
highlights is where the hero fights a Samurai. It is a virtual Samurai. | :15:13. | :15:19. | |
They are going to let me have a go. The principle is the same as | :15:19. | :15:23. | |
traditional shadow theatre and helps the drought every team in | :15:23. | :15:31. | |
advance. I did not. -- figure out a routine in advance. Behind the | :15:31. | :15:36. | |
screens of the production company's studio, our mystery swordsman is a | :15:36. | :15:42. | |
person in a motion -- motion capture suit. They build a stage | :15:42. | :15:46. | |
model to get a feel of the space. This is made into a virtual model | :15:46. | :15:54. | |
using CAD. Now, the creative design process starts in earnest. We are | :15:54. | :16:00. | |
looking at my it - 3D animation software. We brought the virtual 3D | :16:00. | :16:07. | |
model into my ear. We used virtual three-dimensional objects in a | :16:07. | :16:16. | |
virtual space. -- my her. That is then used and projected back on to | :16:16. | :16:20. | |
the scenery. Despite the hi-tech feel of projected scenery, it is | :16:20. | :16:25. | |
still down to trial and error to get the virtual and real to match | :16:25. | :16:29. | |
up. Even future projects like these need tweeting before it is suitable | :16:29. | :16:34. | |
for the theatre. -- tweaking. This is smart Class that goes opaque | :16:34. | :16:39. | |
when a current runs through it. The theory is to create quick scene | :16:39. | :16:43. | |
changes while somebody is acting in front of it. But the actor in front | :16:43. | :16:46. | |
is currently covered by the projection, assuming this can be | :16:46. | :16:51. | |
ironed out by projection from behind, it will still cost upwards | :16:51. | :16:56. | |
of �30,000 to fit this through -- to an average side stage. Team also | :16:56. | :17:00. | |
showed me another project. Will time voter manipulation, made | :17:00. | :17:06. | |
especially for an upcoming play about photography. -- photo. It is | :17:06. | :17:10. | |
a novel idea to use a MIDI music controller to change how pixelated | :17:10. | :17:17. | |
the images. And what prototype room would be complete without this? The | :17:17. | :17:21. | |
ex pop -- a Xbox controller that follows a movement is following a | :17:21. | :17:26. | |
virtual keyboard. But this demo is more about how to configure the get | :17:26. | :17:31. | |
censored. Actors can effectively direct themselves. They can change | :17:31. | :17:35. | |
of music used by walking through a specific area which may mean a | :17:35. | :17:41. | |
longer wait in the wings for everybody else. | :17:41. | :17:46. | |
Now, a change is as good as a breast, is what they say. I go on | :17:46. | :17:53. | |
holiday, come back feeling refreshed. -- rest. But then I come | :17:53. | :17:58. | |
back and I am staring at the same wallpaper. Fortunately, Kate | :17:58. | :18:03. | |
Russell is not that slack. Here comes Webscape. | :18:03. | :18:09. | |
For according to Tolstoy, true life is lived when tiny changes occur. | :18:09. | :18:16. | |
Bring your desktop to life at cover .com. The free desktop at can be | :18:16. | :18:20. | |
downloaded through PC or Mac and delivers an ever-changing landscape | :18:20. | :18:25. | |
of desktop wallpapers, designed by some of the world's best artists | :18:25. | :18:32. | |
and illustrators. Like most people, I rarely get around to changing my | :18:32. | :18:36. | |
wallpaper. This app has brightened up my desktop. It is like somebody | :18:36. | :18:41. | |
sneaking in in the middle of the night and hanging a piece of art on | :18:41. | :18:44. | |
the wall. Lovely! If you do not like surprises, you can register | :18:44. | :18:48. | |
and browse the archive of stunning wallpapers online. Building a play | :18:48. | :18:52. | |
list of favourites to streamed your desktop automatically. There is a | :18:52. | :18:58. | |
Twitter at as well and a company -- companies say they are full steam | :18:58. | :19:04. | |
ahead developing for the rest of the market. The video you can | :19:04. | :19:07. | |
record on an iPhone is pretty decent quality these days, | :19:07. | :19:11. | |
especially with the apps and extras you can get to enhance the picture, | :19:11. | :19:16. | |
as we saw in today's show. But what are you supposed to do with the | :19:17. | :19:21. | |
random snippets of BDO if you have no time? Make them beautiful, of | :19:21. | :19:27. | |
course, with this excellent free app, Magisto. -- video. You can | :19:27. | :19:31. | |
shoot a video or upload from your camera roll. The case soundtrack | :19:31. | :19:41. | |
and sit and wait for the magic to happen. -- Pick a soundtrack. You | :19:41. | :19:45. | |
do not have to sit there watching this green. It took me a few | :19:45. | :19:51. | |
minutes to work that out the first time. -- this screen. Prices in | :19:51. | :19:55. | |
takes a few minutes so have a cup of tea. This works like Flixtime | :19:55. | :20:00. | |
and Animoto. A couple of browser based services that do this. Having | :20:00. | :20:06. | |
it parcelled up as an up with building links -- built in links | :20:06. | :20:11. | |
makes this thinner than other ways. One and loins is you cannot we mix | :20:11. | :20:17. | |
a collection. It comes out the same every time. -- won an audience. But | :20:17. | :20:24. | |
this is a welcome addition to video sharing. | :20:24. | :20:30. | |
Time to keep out narrowness style with this app built by the makers | :20:30. | :20:39. | |
of Plane Finder. ShipFinder.co. It tracks and displays shipping. | :20:39. | :20:44. | |
Zooming can be jerky due to the sheer volume of load of data. There | :20:44. | :20:50. | |
is detailed information about where each ship is going and what is its | :20:50. | :20:55. | |
business. You could in effect track the delivery of a shiny new car you | :20:55. | :20:59. | |
ordered from overseas or perhaps follow the progress of a cruise | :20:59. | :21:02. | |
ship will grandparents are holidaying on. You can even sit | :21:02. | :21:06. | |
there and what the ship move across the map frame-by-frame if you have | :21:06. | :21:09. | |
a lot of patience. Not quite like being there in person though, is | :21:10. | :21:14. | |
it? Luckily, the site lets you fast-forward through history so you | :21:14. | :21:23. | |
can see the ships go sailing by. Or jump aboard yourself with the Sail | :21:23. | :21:28. | |
Me button which opens the ship's route in Google Earth 4 U2 s -- | :21:28. | :21:38. | |
:21:38. | :21:38. | ||
explore some more. Now, I want to turn things upside down. Yes, it | :21:38. | :21:42. | |
hurts my brain as well. FirstPersonTetris .com is a new | :21:42. | :21:46. | |
twist on an old classic but is pretty hard to get your head around. | :21:46. | :21:56. | |
:21:56. | :21:58. | ||
It is fun to try, though. Finally, finger painting paid off for the | :21:58. | :22:01. | |
creators of chart-topping Draw Something. Again on android and | :22:02. | :22:07. | |
iPhone that beat you against other players in a Pictionary like draw- | :22:08. | :22:17. | |
:22:18. | :22:19. | ||
off. This may not be a Salvador Dali but the price tag is in line | :22:19. | :22:24. | |
with the great masters. It was revealed this week that the makers, | :22:24. | :22:31. | |
Zinga, are prepared to pay $180 million for it. | :22:31. | :22:35. |