0:00:02 > 0:00:03They sat me in the chair for ages.
0:00:03 > 0:00:07They said it was all right, but can I at least have a mirror?
0:00:07 > 0:00:08Anybody?
0:00:24 > 0:00:27If you're feeling a little blue, join the club.
0:00:27 > 0:00:31This week, Click dons the Lycra to see how, in the movies,
0:00:31 > 0:00:34you really can be anything you want to be.
0:00:34 > 0:00:37Yes, with the Oscars just around the corner, we are
0:00:37 > 0:00:40celebrating the cool tech that keeps us glued to our seats at the cinema.
0:00:40 > 0:00:43We find out how you send Sandra Bullock
0:00:43 > 0:00:46and George Clooney into space without an actual rocket,
0:00:46 > 0:00:49and we'll put our ears to the speaker and turn up to 11
0:00:49 > 0:00:51for the very latest in sound.
0:00:51 > 0:00:53Plus, we have the latest news
0:00:53 > 0:00:57and handy apps for any budding Spielbergs in Webscape.
0:01:01 > 0:01:03Welcome to Click.
0:01:03 > 0:01:07I'm Beppe the blue alien, and if you're not keen on my new look,
0:01:07 > 0:01:10let me assure you that my real appearance right now...
0:01:10 > 0:01:12is even more disturbing.
0:01:12 > 0:01:14If you haven't seen this before,
0:01:14 > 0:01:18this is how computer-generated characters in movies and video games
0:01:18 > 0:01:20are created. A real actor will wear
0:01:20 > 0:01:23a motion-capture - or Mocap - suit like this,
0:01:23 > 0:01:26covered in these highly reflective dots.
0:01:26 > 0:01:30And it's the movement of these dots around this virtual stage
0:01:30 > 0:01:31which is all-important.
0:01:32 > 0:01:35There are 66 special cameras around me,
0:01:35 > 0:01:37which are registering the movement of the dots,
0:01:37 > 0:01:40which become joints and body parts
0:01:40 > 0:01:43onto which you can drop any kind of body you fancy -
0:01:43 > 0:01:46from a humanoid to a crazy cartoon character.
0:01:49 > 0:01:53Today we're at the studios of Audiomotion, just outside Oxford,
0:01:53 > 0:01:57and while the set may look rather empty, the tech around it
0:01:57 > 0:01:59not only gives the postproduction team complete freedom
0:01:59 > 0:02:04over an actor's appearance, but they can even alter their performance
0:02:04 > 0:02:06long after the shoot has taken place.
0:02:06 > 0:02:08You can start with what happened on the day,
0:02:08 > 0:02:11but you can also tweak it a little bit if you want to.
0:02:11 > 0:02:13You can embellish it or you can play it down,
0:02:13 > 0:02:17you can emphasise certain things or de-emphasise certain things,
0:02:17 > 0:02:23and by recreating a shot world inside a computer, that flexibility exists.
0:02:24 > 0:02:28Even if the end result is a completely virtual character,
0:02:28 > 0:02:31performance capture still needs that human element -
0:02:31 > 0:02:33the performance artist wearing the suit.
0:02:33 > 0:02:36In fact, it's ushering in a new breed of actor
0:02:36 > 0:02:40who is aware of both its possibilities and its restrictions.
0:02:40 > 0:02:43You have to make sure the balls don't get cloaked or hidden
0:02:43 > 0:02:46from the cameras, so if two actors get close together,
0:02:46 > 0:02:48they are going to get hidden,
0:02:48 > 0:02:51so you have to make sure that movements stay far apart,
0:02:51 > 0:02:54but if they are together, then they don't stay that close for very long.
0:02:54 > 0:02:56It enables us, especially on screen,
0:02:56 > 0:03:01to be able to do far more effects and make stunts safer, for instance,
0:03:01 > 0:03:05so it is something that every actor should have on their repertoire.
0:03:05 > 0:03:08These days, it's also possible to see a fairly good version
0:03:08 > 0:03:11of the finished shot on set in real-time,
0:03:11 > 0:03:14rather than having to wait for months of postproduction.
0:03:14 > 0:03:17And that's handy if you're perfecting your Shakespearean remake
0:03:17 > 0:03:19of the Dirty Dancing routine.
0:03:22 > 0:03:25And if you don't have a hunky actor to lift you into the air,
0:03:25 > 0:03:28well, that's no problem either.
0:03:28 > 0:03:32Sometimes it is necessary to be up higher in this virtual space -
0:03:32 > 0:03:35for example, if I need to maintain an eye-line with an actor
0:03:35 > 0:03:39who is down there. They can build you a set of steps,
0:03:39 > 0:03:42you can climb them and then, in post,
0:03:42 > 0:03:46after the event, they can turn this into a virtual balcony, for example.
0:03:46 > 0:03:49Romeo, Romeo, wherefore art thou, Romeo?
0:03:49 > 0:03:51Is this a good look?
0:03:53 > 0:03:55A performance for your consideration there.
0:03:55 > 0:03:58But while my Oscar-dodging act can easily be caught
0:03:58 > 0:04:00by the cameras all around me,
0:04:00 > 0:04:03there is one area of my body that is a lot harder to pinpoint.
0:04:05 > 0:04:08And that's where this beast comes in.
0:04:08 > 0:04:11It's the very latest in facial-capture technology.
0:04:11 > 0:04:15The helmet holds four high-def cameras that sit just outside
0:04:15 > 0:04:16of the wearer's vision.
0:04:16 > 0:04:20Each one records data from dots of make-up that are strategically
0:04:20 > 0:04:25placed on the actor's face, to help capture each tiny muscle movement.
0:04:25 > 0:04:28It is a step forward in accurately recreating an actor's performance,
0:04:28 > 0:04:32but it still does require a little bit of getting used to.
0:04:32 > 0:04:35With motion capture, you have to enhance your expressions
0:04:35 > 0:04:37because you don't have the eyes.
0:04:37 > 0:04:40The eyes come later with the computer geniuses.
0:04:40 > 0:04:44So we have to either frown more if we are sad, smile more if we are happy,
0:04:44 > 0:04:45but not to the extreme,
0:04:45 > 0:04:48like it's a theatrical, over-the-top pantomime performance.
0:04:49 > 0:04:52Yes, so not overdoing it is the key.
0:04:52 > 0:04:56But, as we've learned, even MY moves can now be reined in
0:04:56 > 0:04:59to the precise amount of flailing the director wants to see.
0:05:00 > 0:05:03And if said director really does want to get hands-on,
0:05:03 > 0:05:06they can grab this mobile pseudo-camera
0:05:06 > 0:05:09and see the shot from whatever angle they like.
0:05:10 > 0:05:14That said, no decision needs to be final these days.
0:05:14 > 0:05:18You can recreate the world that was shot on the day inside a computer.
0:05:18 > 0:05:20And you can mess with camera angles after the fact, you can
0:05:20 > 0:05:23tweak performances, you can emphasise or de-emphasise.
0:05:23 > 0:05:27You've got that flexibility to be able to do more work after the shoot,
0:05:27 > 0:05:30but you're also capturing the truth of what happened on the day.
0:05:30 > 0:05:36And with all of the these cameras capturing this virtual space,
0:05:36 > 0:05:40the sky is no longer the limit on where you can place your actors.
0:05:42 > 0:05:46And it is a set-up like this which was used in a movie
0:05:46 > 0:05:49that many critics are calling a game-changer
0:05:49 > 0:05:52in terms of how technology is used in film.
0:05:53 > 0:05:56Houston, this is Mission Specialist Ryan Stone,
0:05:56 > 0:06:00I am off structure and I'm drifting. Do you copy?
0:06:00 > 0:06:02Tipped to win big at the Oscars,
0:06:02 > 0:06:06Gravity may well have you actually believing that they sent
0:06:06 > 0:06:09Sandra Bullock and George Clooney into space.
0:06:09 > 0:06:13Its director, Alfonso Cuaron, originally wanted to make the film
0:06:13 > 0:06:16without using much computer-generated imagery, or CGI.
0:06:16 > 0:06:17That was an idea that wasn't shared
0:06:17 > 0:06:20by the visual effects supervisor Tim Webber
0:06:20 > 0:06:24and the team at the BAFTA-winning effects house, Framestore.
0:06:24 > 0:06:26I think Tim Webber was less naive than me.
0:06:26 > 0:06:30From the get-go, he was saying, "This is not going to work like this."
0:06:30 > 0:06:32It was, "Yes, we can do it!"
0:06:32 > 0:06:35I really thought that we were going to be mostly practical -
0:06:35 > 0:06:38meaning a more conventional way in which you build sets
0:06:38 > 0:06:42and you have your actors with their suits and you have wires and stuff.
0:06:42 > 0:06:46Zero gravity is incredibly hard to achieve on a film,
0:06:46 > 0:06:49and what then, in this film,
0:06:49 > 0:06:52takes it a massive leap forward - I was going to say "step" -
0:06:52 > 0:06:55a missive leap forward is Alfonso's style,
0:06:55 > 0:06:58which he was pushing further than he had before,
0:06:58 > 0:07:02of the very long shots and the immersive shots
0:07:02 > 0:07:04with a roaming camera.
0:07:04 > 0:07:07Tim was very sceptical - he kept saying,
0:07:07 > 0:07:10"Let's do all of these digitally."
0:07:10 > 0:07:13I was sceptical about the digital result,
0:07:13 > 0:07:17so, um, then the dance began.
0:07:18 > 0:07:23That digital dance resulted in a film that is about 80% CGI.
0:07:23 > 0:07:25In fact, sometimes the only real things on the screen
0:07:25 > 0:07:27are the actors' faces.
0:07:27 > 0:07:31Even their spacesuits were created on a computer,
0:07:31 > 0:07:34which overcame the problem of making the actors weightless.
0:07:34 > 0:07:38In fact, the entire movie was created in a low-resolution
0:07:38 > 0:07:40so-called pre-visualisation form first,
0:07:40 > 0:07:43before the actors stepped on set.
0:07:43 > 0:07:46It was used to calculate the movements of the robotic camera
0:07:46 > 0:07:49and also shown on the inside of this thing.
0:07:49 > 0:07:52Because this IS the set.
0:07:53 > 0:07:56The light box was invented for this movie,
0:07:56 > 0:07:59and it's made of almost two million LEDs.
0:07:59 > 0:08:03It was used to simulate the correct lighting on the actors' faces
0:08:03 > 0:08:04and give them a frame of reference
0:08:04 > 0:08:07for everything that would be digitally added later.
0:08:07 > 0:08:09The International Space Station, for example,
0:08:09 > 0:08:13took ten modellers working for about a year to create,
0:08:13 > 0:08:17and such was the complexity of the finished shot
0:08:17 > 0:08:22that each single frame would take about 50 hours to render fully.
0:08:22 > 0:08:26And the render was achieved by using the grunt processing power
0:08:26 > 0:08:29of about 15,000 CPUs.
0:08:29 > 0:08:33It's estimated that if the job had been done on a single core computer,
0:08:33 > 0:08:37it would have taken about 7,000 years.
0:08:37 > 0:08:41But even after the comparatively moderate five years of work,
0:08:41 > 0:08:44with the film ready to be delivered to the studio,
0:08:44 > 0:08:46the process wasn't quite done.
0:08:46 > 0:08:48We have to go, go, go!
0:08:48 > 0:08:52We had finished and we were just hanging, chilling out,
0:08:52 > 0:08:56talking about just general things,
0:08:56 > 0:09:00and the visual effects producer next to Tim - Charles - said,
0:09:00 > 0:09:02"You know, the cool thing about this film
0:09:02 > 0:09:04"is you can watch it in any position."
0:09:04 > 0:09:08He took the computer and flopped the whole thing.
0:09:10 > 0:09:13And that is when I realised, "Wow, we screwed it -
0:09:13 > 0:09:14"it should have been like that."
0:09:14 > 0:09:19So, you were pretty much finished with Gravity
0:09:19 > 0:09:22and then Alfonso sees the first scene
0:09:22 > 0:09:25and he asks you to make quite a major change, doesn't he?
0:09:25 > 0:09:27To make a simple change,
0:09:27 > 0:09:30like flip the first two-and-a-half minutes upside-down,
0:09:30 > 0:09:32took a couple of months.
0:09:32 > 0:09:36It's a big number because you have to very slowly rotate the camera
0:09:36 > 0:09:39during this one continuous shot to get back to the right way up
0:09:39 > 0:09:43for the rest of the scene, which meant reanimating, re-rendering...
0:09:43 > 0:09:47Something simple like that was a significant thing to do.
0:09:47 > 0:09:49Do it now!
0:09:50 > 0:09:54Houston, I've lost visual on Dr Stone!
0:09:58 > 0:10:01OK, next up, a look at this week's tech news.
0:10:01 > 0:10:02Oh, no, hat hair.
0:10:02 > 0:10:06There's been a backlash from users of the messaging service WhatsApp,
0:10:06 > 0:10:09after Facebook bought it in the biggest internet deal
0:10:09 > 0:10:13in over a decade, worth £11 billion.
0:10:13 > 0:10:15Many of the comments you have sent to us
0:10:15 > 0:10:18focus on worries over privacy and the introduction of ads.
0:10:18 > 0:10:22WhatsApp says it has more than 450 million active users
0:10:22 > 0:10:25and is adding one million every day.
0:10:25 > 0:10:28Facebook boss Mark Zuckerberg said there were no plans to place ads
0:10:28 > 0:10:31on the service, and that WhatsApp would continue
0:10:31 > 0:10:34to operate independently. Watch this space.
0:10:34 > 0:10:38Europe could soon be offering its own cordoned-off portion
0:10:38 > 0:10:42of the internet, if proposals by German Chancellor Angela Merkel
0:10:42 > 0:10:44wins support among fellow European leaders.
0:10:44 > 0:10:47Motivated by the recent NSA revelations,
0:10:47 > 0:10:51her plans for the European communications network would see
0:10:51 > 0:10:55no e-mails or other data passing through US data centres.
0:10:55 > 0:10:58But critics say the design of the Internet makes it hard
0:10:58 > 0:11:01to restrict data traffic to geographic regions.
0:11:02 > 0:11:05And what happens when thousands of people
0:11:05 > 0:11:07try to play a video game simultaneously?
0:11:07 > 0:11:12Social gaming site Twitch is hosting a multiplayer version
0:11:12 > 0:11:14of the Gameboy classic Pokemon.
0:11:14 > 0:11:17By typing one of eight commands in the video's chat,
0:11:17 > 0:11:21players can control the game one move at a time.
0:11:21 > 0:11:24But with hundreds of thousands of Pokemaniacs
0:11:24 > 0:11:25wrestling over the controls,
0:11:25 > 0:11:29they may have bitten off more than they can Pikachu.
0:11:33 > 0:11:37Now, not everyone has a Hollywood budget or a Hollywood crew
0:11:37 > 0:11:39to make their dream project.
0:11:39 > 0:11:42And that's why we asked David Reid to go to Paris to meet
0:11:42 > 0:11:47the film-makers who are making movies not with traditional cameras,
0:11:47 > 0:11:49but with these - smartphones.
0:11:49 > 0:11:53PIANO PLAYS, CAMERA WHIRRS
0:11:53 > 0:11:56INAUDIBLE
0:12:05 > 0:12:09The rules of France's Mobile Film Festival are simple -
0:12:09 > 0:12:12entrants have one minute to make their mark with judges,
0:12:12 > 0:12:16like the leading French director Jean-Pierre Jeunet.
0:12:16 > 0:12:21He was 17 when he forked out a small fortune for his first camera.
0:12:22 > 0:12:24It was expensive.
0:12:24 > 0:12:28You had to buy some pellicule, some print from Kodak.
0:12:28 > 0:12:30It was very difficult.
0:12:30 > 0:12:31You needed a lot of money.
0:12:36 > 0:12:39You might think that all you need now is a mobile,
0:12:39 > 0:12:43but not so fast. It's still tough to get to do this for a living.
0:12:43 > 0:12:47For those who win, the festival offers connections and cash -
0:12:47 > 0:12:5315,000 euros - to nudge budding directors into full bloom.
0:12:57 > 0:13:02The major problem is the financial problem, the means.
0:13:02 > 0:13:04This moving industry, how you get in.
0:13:04 > 0:13:08Find some friends, write a good story, have energy,
0:13:08 > 0:13:13be creative, and we will give you the means to go further.
0:13:17 > 0:13:20Mobile films have a familiar feel.
0:13:20 > 0:13:24The nouvelle vague of the '50s and '60s had directors
0:13:24 > 0:13:30shooting in natural light, in real homes, using jump cuts.
0:13:31 > 0:13:34And stories left unresolved.
0:13:34 > 0:13:36I give up. I'm having Marmite.
0:13:37 > 0:13:40Mobile movies do something similar, giving us
0:13:40 > 0:13:44a glimpse behind the closed doors of aspiring film-makers.
0:13:44 > 0:13:47Bathrooms, balconies, kitchens, car parks.
0:13:47 > 0:13:51So does this have the makings of a new genre?
0:13:53 > 0:13:55- TRANSLATION:- The films that win
0:13:55 > 0:13:57strangely, or maybe not so strangely,
0:13:57 > 0:14:01are the films that have that little flavour of being home-made,
0:14:01 > 0:14:04but are a bit, shall we say, rough and ready.
0:14:07 > 0:14:11Sylvain should know - this year he won with The Vicious Circle -
0:14:11 > 0:14:13a cautionary tale of our times.
0:14:13 > 0:14:17Girl meets boy, boy proliferates intimacies of girl online,
0:14:17 > 0:14:19dire consequences ensue.
0:14:22 > 0:14:26Here he's taking some shots on the hoof, but this is him fully armed -
0:14:26 > 0:14:30tripod, digital audio gear and a fancy LED light.
0:14:34 > 0:14:37So what do you need to make a good movie?
0:14:37 > 0:14:39An idea, script, good actors - sure.
0:14:39 > 0:14:43But surprisingly, which camera is largely irrelevant.
0:14:47 > 0:14:51We don't care about if it's internet, computers,
0:14:51 > 0:14:54camera with "brrr" - we don't care.
0:14:54 > 0:14:57Just find good ideas and tell good stories.
0:14:59 > 0:15:04David Reid on a subject that has got our cameraman Mike very worried.
0:15:04 > 0:15:07Don't worry, Mikey, we will keep you on, I promise.
0:15:07 > 0:15:09That tea won't make itself, you know.
0:15:09 > 0:15:13Anyway, film isn't just about the visuals, of course.
0:15:13 > 0:15:16You only have to experience Hitchcock's Psycho
0:15:16 > 0:15:18to hear how important sound can be.
0:15:18 > 0:15:20After years of being afraid to go into the shower,
0:15:20 > 0:15:23Mark Cieslak is about to pull back the curtain on the audio
0:15:23 > 0:15:26that could be coming to a cinema near you, soon.
0:15:33 > 0:15:36Smart movie-makers understand that sound matters.
0:15:38 > 0:15:41Based on a true story, and starring Mark Wahlberg as a US Navy SEAL
0:15:41 > 0:15:45in Afghanistan, the film Lone Survivor has found itself
0:15:45 > 0:15:49Oscar-nominated for both sound mixing and sound editing.
0:15:49 > 0:15:51Go, guys, go!
0:15:52 > 0:15:57We had a great sound department who understood that we wanted
0:15:57 > 0:16:01realism to put the audience into the sounds of war.
0:16:01 > 0:16:05War is loud and deafening and confusing
0:16:05 > 0:16:08and disorienting, from just a sonic standpoint,
0:16:08 > 0:16:12and we wanted to try and capture that kind of audio experience.
0:16:17 > 0:16:21But to fully realise a movie-maker's audio ambitions,
0:16:21 > 0:16:25cinemas and audiophiles had had to invest in dedicated sound set-ups.
0:16:25 > 0:16:30From mono to stereo, surround 5.1 and 7.1,
0:16:30 > 0:16:32the story of sound in cinema
0:16:32 > 0:16:35hasn't just been written by advances in technology
0:16:35 > 0:16:39which affect the quality of audio that's being reproduced.
0:16:39 > 0:16:42A big part is played by the number of speakers and channels
0:16:42 > 0:16:47that surround an audience and, most importantly, how they are used.
0:16:48 > 0:16:52But Dolby's engineers have created a system they have dubbed Atmos.
0:16:52 > 0:16:55They think that by adding speakers to an area which has previously been
0:16:55 > 0:16:58a speaker-free zone, they'll help to create
0:16:58 > 0:17:00a more immersive sense of surround sound.
0:17:00 > 0:17:02They've popped them in the ceiling.
0:17:05 > 0:17:08It's not just about adding speakers, though.
0:17:08 > 0:17:10Audio can literally be moved around the room
0:17:10 > 0:17:13and placed in specific locations and speakers.
0:17:13 > 0:17:16The effect at times can be quite eerie,
0:17:16 > 0:17:19particularly if an object is supposed to be moving around you.
0:17:19 > 0:17:22Don't you hate it when you get buzzed
0:17:22 > 0:17:24by a computer-generated version of the 9th Air Cavalry?
0:17:26 > 0:17:30It's an object-based system, so we are taking audio items
0:17:30 > 0:17:33and making them objects that the sign designer or director
0:17:33 > 0:17:36can move around within a big soundscape,
0:17:36 > 0:17:38and we can reproduce that in the cinema, and it gives you
0:17:38 > 0:17:43a much more immersive, more dynamic reproduction of the soundscape.
0:17:43 > 0:17:46Dolby is hoping to roll-out the system in cinemas around the world,
0:17:46 > 0:17:49and believes that it will future-proof cinema owners
0:17:49 > 0:17:52from further advances in audio technology.
0:17:52 > 0:17:55So, any cinema has a calibrated sound system.
0:17:55 > 0:17:57Once the system has been installed,
0:17:57 > 0:17:59it will be calibrated by a qualified engineer,
0:17:59 > 0:18:01so you're getting essentially the same playback
0:18:01 > 0:18:04that the director heard in the mix studio where he mixed the movie.
0:18:04 > 0:18:08You're getting that in your local cinema or local multiplex.
0:18:08 > 0:18:10Atmos takes that a little stage further on.
0:18:10 > 0:18:13The room design is programmed into the processor that replays
0:18:13 > 0:18:15the sound in the cinema.
0:18:15 > 0:18:18So the processor essentially knows where all the loudspeakers are,
0:18:18 > 0:18:20what their power-handling capabilities are,
0:18:20 > 0:18:23and then it gets this map of audio of objects
0:18:23 > 0:18:26that it then has to re-render into the space.
0:18:26 > 0:18:29It's difficult to convey to you, the viewers at home,
0:18:29 > 0:18:31the difference this sort of audio set-up
0:18:31 > 0:18:33makes to the cinema experience.
0:18:33 > 0:18:38Sounds seem to move around the viewer in an uncannily realistic fashion.
0:18:38 > 0:18:42If anything, systems like this prove that for movies,
0:18:42 > 0:18:45sound is just as important as visual.
0:18:49 > 0:18:53Mark Cieslak, a man you can usually hear before you can see.
0:18:53 > 0:18:56OK, now it's over to our very own leading lady.
0:18:56 > 0:18:58Here comes Kate Russell with Webscape.
0:19:01 > 0:19:04Having peeked behind the cinema screen,
0:19:04 > 0:19:08you might be feeling inspired to get creative yourself.
0:19:08 > 0:19:10But you don't need a ticket to Hollywood,
0:19:10 > 0:19:13just point your browser at crowd-sourcing collaboration platform
0:19:13 > 0:19:15Wreckamovie.
0:19:15 > 0:19:18There are loads of projects or you can start one yourself,
0:19:18 > 0:19:20ranging from short films and animations
0:19:20 > 0:19:22to full-length feature films.
0:19:22 > 0:19:25Everyone is welcome, both amateur and professional.
0:19:25 > 0:19:29Just take a look at the tasks for a project
0:19:29 > 0:19:31and let them know what you can do.
0:19:31 > 0:19:33We come in peace!
0:19:33 > 0:19:35Far from looking amateurish,
0:19:35 > 0:19:39this community has already produced some truly impressive movies,
0:19:39 > 0:19:44complete with rich cinematography and stunning special effects.
0:19:44 > 0:19:48You'd be hard pushed to pick out films like this, Iron Sky,
0:19:48 > 0:19:51which was made by the Wreckamovie crowd
0:19:51 > 0:19:53on a budget of 7.5 million euros,
0:19:53 > 0:19:58against a Hollywood sci-fi production costing ten times that, or more.
0:19:58 > 0:20:03You could get involved in graphics, script writing, promotion,
0:20:03 > 0:20:06design, or as a music composer.
0:20:06 > 0:20:08It's surprising how many roles there are,
0:20:08 > 0:20:11when you get down to the nuts and bolts of producing a film.
0:20:11 > 0:20:13So sign up and get involved.
0:20:20 > 0:20:25Smartphone cameras produce a pretty good-quality picture these days.
0:20:25 > 0:20:27But it's all academic
0:20:27 > 0:20:30if the person holding the camera doesn't know what they're doing.
0:20:30 > 0:20:31Or is it?
0:20:31 > 0:20:36Horizon is a brand-new app that rotates and resizes your shot,
0:20:36 > 0:20:39no matter what orientation you hold it at,
0:20:39 > 0:20:43producing amazing results from even the shakiest camerawork.
0:20:43 > 0:20:46# Any way that you want me... #
0:20:46 > 0:20:50This is one of those apps that will make you go, "Wow!"
0:20:50 > 0:20:55It uses the phone's gyroscope to recognise how you're holding
0:20:55 > 0:20:58the handset, and adjust the rotation and scale of the shot
0:20:58 > 0:21:01to produce a seamless horizontal clip.
0:21:01 > 0:21:05Sadly, it's only available on current Apple mobile devices -
0:21:05 > 0:21:09the 4S and up for your phone, for example - but the developers
0:21:09 > 0:21:13told me they are considering an Android version in the future.
0:21:13 > 0:21:17It supports a range of aspect ratios and quality settings,
0:21:17 > 0:21:19although one potential downside here
0:21:19 > 0:21:21is the loss of resolution you will get
0:21:21 > 0:21:23when a video's cropped and zoomed.
0:21:23 > 0:21:25This should only really be noticeable, though,
0:21:25 > 0:21:28when displaying the film on a large screen.
0:21:30 > 0:21:33# I've been watching you. #
0:21:35 > 0:21:38The bestselling Star Wars games series in history...
0:21:40 > 0:21:43If you're just not the creative type, there are plenty of other ways
0:21:43 > 0:21:47to enjoy the world of cinema online, and on your smartphone too.
0:21:47 > 0:21:51..just got bigger!
0:21:51 > 0:21:55LEGO Star Wars is the perfect example of a Hollywood franchise
0:21:55 > 0:21:59that's been exploited in many forms for your general entertainment.
0:21:59 > 0:22:04Check out these great online games, desktop wallpaper downloads,
0:22:04 > 0:22:06cute little films,
0:22:06 > 0:22:10and a slew of entertaining apps mainly for iPhone and Android.
0:22:10 > 0:22:14May the force be with you, young padawan.
0:22:14 > 0:22:16Rescue mission I must launch!
0:22:19 > 0:22:21Oh! A trap it is!
0:22:23 > 0:22:26There are a lot of initiatives around right now,
0:22:26 > 0:22:28encouraging children to learn to code,
0:22:28 > 0:22:31and this week's video of the week picks up on that baton
0:22:31 > 0:22:34and gives it a movie-style shake-up,
0:22:34 > 0:22:38with Bill Gates explaining the principles of computer programming
0:22:38 > 0:22:42using zombies, courtesy of code.org.
0:22:42 > 0:22:45You can see that if we do that, if we are taking a turn to the left
0:22:45 > 0:22:49and otherwise moving forward, we'll achieve our goal.
0:22:49 > 0:22:52Thanks, Kate. Kate's links are all online if you need them...
0:22:55 > 0:22:58And if you'd like to get in touch, you can. We're on e-mail.
0:22:58 > 0:23:02We're also knocking about Twitter, Google+ and Facebook too.
0:23:02 > 0:23:04That's it for now, though.
0:23:04 > 0:23:07Thank you for watching. We'll see you next time.