Browse content similar to 22/02/2014. Check below for episodes and series from the same categories and more!
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They sat me in the chair for ages. | 0:00:02 | 0:00:03 | |
They said it was all right, but can I at least have a mirror? | 0:00:03 | 0:00:07 | |
Anybody? | 0:00:07 | 0:00:08 | |
If you're feeling a little blue, join the club. | 0:00:24 | 0:00:27 | |
This week, Click dons the Lycra to see how, in the movies, | 0:00:27 | 0:00:31 | |
you really can be anything you want to be. | 0:00:31 | 0:00:34 | |
Yes, with the Oscars just around the corner, we are | 0:00:34 | 0:00:37 | |
celebrating the cool tech that keeps us glued to our seats at the cinema. | 0:00:37 | 0:00:40 | |
We find out how you send Sandra Bullock | 0:00:40 | 0:00:43 | |
and George Clooney into space without an actual rocket, | 0:00:43 | 0:00:46 | |
and we'll put our ears to the speaker and turn up to 11 | 0:00:46 | 0:00:49 | |
for the very latest in sound. | 0:00:49 | 0:00:51 | |
Plus, we have the latest news | 0:00:51 | 0:00:53 | |
and handy apps for any budding Spielbergs in Webscape. | 0:00:53 | 0:00:57 | |
Welcome to Click. | 0:01:01 | 0:01:03 | |
I'm Beppe the blue alien, and if you're not keen on my new look, | 0:01:03 | 0:01:07 | |
let me assure you that my real appearance right now... | 0:01:07 | 0:01:10 | |
is even more disturbing. | 0:01:10 | 0:01:12 | |
If you haven't seen this before, | 0:01:12 | 0:01:14 | |
this is how computer-generated characters in movies and video games | 0:01:14 | 0:01:18 | |
are created. A real actor will wear | 0:01:18 | 0:01:20 | |
a motion-capture - or Mocap - suit like this, | 0:01:20 | 0:01:23 | |
covered in these highly reflective dots. | 0:01:23 | 0:01:26 | |
And it's the movement of these dots around this virtual stage | 0:01:26 | 0:01:30 | |
which is all-important. | 0:01:30 | 0:01:31 | |
There are 66 special cameras around me, | 0:01:32 | 0:01:35 | |
which are registering the movement of the dots, | 0:01:35 | 0:01:37 | |
which become joints and body parts | 0:01:37 | 0:01:40 | |
onto which you can drop any kind of body you fancy - | 0:01:40 | 0:01:43 | |
from a humanoid to a crazy cartoon character. | 0:01:43 | 0:01:46 | |
Today we're at the studios of Audiomotion, just outside Oxford, | 0:01:49 | 0:01:53 | |
and while the set may look rather empty, the tech around it | 0:01:53 | 0:01:57 | |
not only gives the postproduction team complete freedom | 0:01:57 | 0:01:59 | |
over an actor's appearance, but they can even alter their performance | 0:01:59 | 0:02:04 | |
long after the shoot has taken place. | 0:02:04 | 0:02:06 | |
You can start with what happened on the day, | 0:02:06 | 0:02:08 | |
but you can also tweak it a little bit if you want to. | 0:02:08 | 0:02:11 | |
You can embellish it or you can play it down, | 0:02:11 | 0:02:13 | |
you can emphasise certain things or de-emphasise certain things, | 0:02:13 | 0:02:17 | |
and by recreating a shot world inside a computer, that flexibility exists. | 0:02:17 | 0:02:23 | |
Even if the end result is a completely virtual character, | 0:02:24 | 0:02:28 | |
performance capture still needs that human element - | 0:02:28 | 0:02:31 | |
the performance artist wearing the suit. | 0:02:31 | 0:02:33 | |
In fact, it's ushering in a new breed of actor | 0:02:33 | 0:02:36 | |
who is aware of both its possibilities and its restrictions. | 0:02:36 | 0:02:40 | |
You have to make sure the balls don't get cloaked or hidden | 0:02:40 | 0:02:43 | |
from the cameras, so if two actors get close together, | 0:02:43 | 0:02:46 | |
they are going to get hidden, | 0:02:46 | 0:02:48 | |
so you have to make sure that movements stay far apart, | 0:02:48 | 0:02:51 | |
but if they are together, then they don't stay that close for very long. | 0:02:51 | 0:02:54 | |
It enables us, especially on screen, | 0:02:54 | 0:02:56 | |
to be able to do far more effects and make stunts safer, for instance, | 0:02:56 | 0:03:01 | |
so it is something that every actor should have on their repertoire. | 0:03:01 | 0:03:05 | |
These days, it's also possible to see a fairly good version | 0:03:05 | 0:03:08 | |
of the finished shot on set in real-time, | 0:03:08 | 0:03:11 | |
rather than having to wait for months of postproduction. | 0:03:11 | 0:03:14 | |
And that's handy if you're perfecting your Shakespearean remake | 0:03:14 | 0:03:17 | |
of the Dirty Dancing routine. | 0:03:17 | 0:03:19 | |
And if you don't have a hunky actor to lift you into the air, | 0:03:22 | 0:03:25 | |
well, that's no problem either. | 0:03:25 | 0:03:28 | |
Sometimes it is necessary to be up higher in this virtual space - | 0:03:28 | 0:03:32 | |
for example, if I need to maintain an eye-line with an actor | 0:03:32 | 0:03:35 | |
who is down there. They can build you a set of steps, | 0:03:35 | 0:03:39 | |
you can climb them and then, in post, | 0:03:39 | 0:03:42 | |
after the event, they can turn this into a virtual balcony, for example. | 0:03:42 | 0:03:46 | |
Romeo, Romeo, wherefore art thou, Romeo? | 0:03:46 | 0:03:49 | |
Is this a good look? | 0:03:49 | 0:03:51 | |
A performance for your consideration there. | 0:03:53 | 0:03:55 | |
But while my Oscar-dodging act can easily be caught | 0:03:55 | 0:03:58 | |
by the cameras all around me, | 0:03:58 | 0:04:00 | |
there is one area of my body that is a lot harder to pinpoint. | 0:04:00 | 0:04:03 | |
And that's where this beast comes in. | 0:04:05 | 0:04:08 | |
It's the very latest in facial-capture technology. | 0:04:08 | 0:04:11 | |
The helmet holds four high-def cameras that sit just outside | 0:04:11 | 0:04:15 | |
of the wearer's vision. | 0:04:15 | 0:04:16 | |
Each one records data from dots of make-up that are strategically | 0:04:16 | 0:04:20 | |
placed on the actor's face, to help capture each tiny muscle movement. | 0:04:20 | 0:04:25 | |
It is a step forward in accurately recreating an actor's performance, | 0:04:25 | 0:04:28 | |
but it still does require a little bit of getting used to. | 0:04:28 | 0:04:32 | |
With motion capture, you have to enhance your expressions | 0:04:32 | 0:04:35 | |
because you don't have the eyes. | 0:04:35 | 0:04:37 | |
The eyes come later with the computer geniuses. | 0:04:37 | 0:04:40 | |
So we have to either frown more if we are sad, smile more if we are happy, | 0:04:40 | 0:04:44 | |
but not to the extreme, | 0:04:44 | 0:04:45 | |
like it's a theatrical, over-the-top pantomime performance. | 0:04:45 | 0:04:48 | |
Yes, so not overdoing it is the key. | 0:04:49 | 0:04:52 | |
But, as we've learned, even MY moves can now be reined in | 0:04:52 | 0:04:56 | |
to the precise amount of flailing the director wants to see. | 0:04:56 | 0:04:59 | |
And if said director really does want to get hands-on, | 0:05:00 | 0:05:03 | |
they can grab this mobile pseudo-camera | 0:05:03 | 0:05:06 | |
and see the shot from whatever angle they like. | 0:05:06 | 0:05:09 | |
That said, no decision needs to be final these days. | 0:05:10 | 0:05:14 | |
You can recreate the world that was shot on the day inside a computer. | 0:05:14 | 0:05:18 | |
And you can mess with camera angles after the fact, you can | 0:05:18 | 0:05:20 | |
tweak performances, you can emphasise or de-emphasise. | 0:05:20 | 0:05:23 | |
You've got that flexibility to be able to do more work after the shoot, | 0:05:23 | 0:05:27 | |
but you're also capturing the truth of what happened on the day. | 0:05:27 | 0:05:30 | |
And with all of the these cameras capturing this virtual space, | 0:05:30 | 0:05:36 | |
the sky is no longer the limit on where you can place your actors. | 0:05:36 | 0:05:40 | |
And it is a set-up like this which was used in a movie | 0:05:42 | 0:05:46 | |
that many critics are calling a game-changer | 0:05:46 | 0:05:49 | |
in terms of how technology is used in film. | 0:05:49 | 0:05:52 | |
Houston, this is Mission Specialist Ryan Stone, | 0:05:53 | 0:05:56 | |
I am off structure and I'm drifting. Do you copy? | 0:05:56 | 0:06:00 | |
Tipped to win big at the Oscars, | 0:06:00 | 0:06:02 | |
Gravity may well have you actually believing that they sent | 0:06:02 | 0:06:06 | |
Sandra Bullock and George Clooney into space. | 0:06:06 | 0:06:09 | |
Its director, Alfonso Cuaron, originally wanted to make the film | 0:06:09 | 0:06:13 | |
without using much computer-generated imagery, or CGI. | 0:06:13 | 0:06:16 | |
That was an idea that wasn't shared | 0:06:16 | 0:06:17 | |
by the visual effects supervisor Tim Webber | 0:06:17 | 0:06:20 | |
and the team at the BAFTA-winning effects house, Framestore. | 0:06:20 | 0:06:24 | |
I think Tim Webber was less naive than me. | 0:06:24 | 0:06:26 | |
From the get-go, he was saying, "This is not going to work like this." | 0:06:26 | 0:06:30 | |
It was, "Yes, we can do it!" | 0:06:30 | 0:06:32 | |
I really thought that we were going to be mostly practical - | 0:06:32 | 0:06:35 | |
meaning a more conventional way in which you build sets | 0:06:35 | 0:06:38 | |
and you have your actors with their suits and you have wires and stuff. | 0:06:38 | 0:06:42 | |
Zero gravity is incredibly hard to achieve on a film, | 0:06:42 | 0:06:46 | |
and what then, in this film, | 0:06:46 | 0:06:49 | |
takes it a massive leap forward - I was going to say "step" - | 0:06:49 | 0:06:52 | |
a missive leap forward is Alfonso's style, | 0:06:52 | 0:06:55 | |
which he was pushing further than he had before, | 0:06:55 | 0:06:58 | |
of the very long shots and the immersive shots | 0:06:58 | 0:07:02 | |
with a roaming camera. | 0:07:02 | 0:07:04 | |
Tim was very sceptical - he kept saying, | 0:07:04 | 0:07:07 | |
"Let's do all of these digitally." | 0:07:07 | 0:07:10 | |
I was sceptical about the digital result, | 0:07:10 | 0:07:13 | |
so, um, then the dance began. | 0:07:13 | 0:07:17 | |
That digital dance resulted in a film that is about 80% CGI. | 0:07:18 | 0:07:23 | |
In fact, sometimes the only real things on the screen | 0:07:23 | 0:07:25 | |
are the actors' faces. | 0:07:25 | 0:07:27 | |
Even their spacesuits were created on a computer, | 0:07:27 | 0:07:31 | |
which overcame the problem of making the actors weightless. | 0:07:31 | 0:07:34 | |
In fact, the entire movie was created in a low-resolution | 0:07:34 | 0:07:38 | |
so-called pre-visualisation form first, | 0:07:38 | 0:07:40 | |
before the actors stepped on set. | 0:07:40 | 0:07:43 | |
It was used to calculate the movements of the robotic camera | 0:07:43 | 0:07:46 | |
and also shown on the inside of this thing. | 0:07:46 | 0:07:49 | |
Because this IS the set. | 0:07:49 | 0:07:52 | |
The light box was invented for this movie, | 0:07:53 | 0:07:56 | |
and it's made of almost two million LEDs. | 0:07:56 | 0:07:59 | |
It was used to simulate the correct lighting on the actors' faces | 0:07:59 | 0:08:03 | |
and give them a frame of reference | 0:08:03 | 0:08:04 | |
for everything that would be digitally added later. | 0:08:04 | 0:08:07 | |
The International Space Station, for example, | 0:08:07 | 0:08:09 | |
took ten modellers working for about a year to create, | 0:08:09 | 0:08:13 | |
and such was the complexity of the finished shot | 0:08:13 | 0:08:17 | |
that each single frame would take about 50 hours to render fully. | 0:08:17 | 0:08:22 | |
And the render was achieved by using the grunt processing power | 0:08:22 | 0:08:26 | |
of about 15,000 CPUs. | 0:08:26 | 0:08:29 | |
It's estimated that if the job had been done on a single core computer, | 0:08:29 | 0:08:33 | |
it would have taken about 7,000 years. | 0:08:33 | 0:08:37 | |
But even after the comparatively moderate five years of work, | 0:08:37 | 0:08:41 | |
with the film ready to be delivered to the studio, | 0:08:41 | 0:08:44 | |
the process wasn't quite done. | 0:08:44 | 0:08:46 | |
We have to go, go, go! | 0:08:46 | 0:08:48 | |
We had finished and we were just hanging, chilling out, | 0:08:48 | 0:08:52 | |
talking about just general things, | 0:08:52 | 0:08:56 | |
and the visual effects producer next to Tim - Charles - said, | 0:08:56 | 0:09:00 | |
"You know, the cool thing about this film | 0:09:00 | 0:09:02 | |
"is you can watch it in any position." | 0:09:02 | 0:09:04 | |
He took the computer and flopped the whole thing. | 0:09:04 | 0:09:08 | |
And that is when I realised, "Wow, we screwed it - | 0:09:10 | 0:09:13 | |
"it should have been like that." | 0:09:13 | 0:09:14 | |
So, you were pretty much finished with Gravity | 0:09:14 | 0:09:19 | |
and then Alfonso sees the first scene | 0:09:19 | 0:09:22 | |
and he asks you to make quite a major change, doesn't he? | 0:09:22 | 0:09:25 | |
To make a simple change, | 0:09:25 | 0:09:27 | |
like flip the first two-and-a-half minutes upside-down, | 0:09:27 | 0:09:30 | |
took a couple of months. | 0:09:30 | 0:09:32 | |
It's a big number because you have to very slowly rotate the camera | 0:09:32 | 0:09:36 | |
during this one continuous shot to get back to the right way up | 0:09:36 | 0:09:39 | |
for the rest of the scene, which meant reanimating, re-rendering... | 0:09:39 | 0:09:43 | |
Something simple like that was a significant thing to do. | 0:09:43 | 0:09:47 | |
Do it now! | 0:09:47 | 0:09:49 | |
Houston, I've lost visual on Dr Stone! | 0:09:50 | 0:09:54 | |
OK, next up, a look at this week's tech news. | 0:09:58 | 0:10:01 | |
Oh, no, hat hair. | 0:10:01 | 0:10:02 | |
There's been a backlash from users of the messaging service WhatsApp, | 0:10:02 | 0:10:06 | |
after Facebook bought it in the biggest internet deal | 0:10:06 | 0:10:09 | |
in over a decade, worth £11 billion. | 0:10:09 | 0:10:13 | |
Many of the comments you have sent to us | 0:10:13 | 0:10:15 | |
focus on worries over privacy and the introduction of ads. | 0:10:15 | 0:10:18 | |
WhatsApp says it has more than 450 million active users | 0:10:18 | 0:10:22 | |
and is adding one million every day. | 0:10:22 | 0:10:25 | |
Facebook boss Mark Zuckerberg said there were no plans to place ads | 0:10:25 | 0:10:28 | |
on the service, and that WhatsApp would continue | 0:10:28 | 0:10:31 | |
to operate independently. Watch this space. | 0:10:31 | 0:10:34 | |
Europe could soon be offering its own cordoned-off portion | 0:10:34 | 0:10:38 | |
of the internet, if proposals by German Chancellor Angela Merkel | 0:10:38 | 0:10:42 | |
wins support among fellow European leaders. | 0:10:42 | 0:10:44 | |
Motivated by the recent NSA revelations, | 0:10:44 | 0:10:47 | |
her plans for the European communications network would see | 0:10:47 | 0:10:51 | |
no e-mails or other data passing through US data centres. | 0:10:51 | 0:10:55 | |
But critics say the design of the Internet makes it hard | 0:10:55 | 0:10:58 | |
to restrict data traffic to geographic regions. | 0:10:58 | 0:11:01 | |
And what happens when thousands of people | 0:11:02 | 0:11:05 | |
try to play a video game simultaneously? | 0:11:05 | 0:11:07 | |
Social gaming site Twitch is hosting a multiplayer version | 0:11:07 | 0:11:12 | |
of the Gameboy classic Pokemon. | 0:11:12 | 0:11:14 | |
By typing one of eight commands in the video's chat, | 0:11:14 | 0:11:17 | |
players can control the game one move at a time. | 0:11:17 | 0:11:21 | |
But with hundreds of thousands of Pokemaniacs | 0:11:21 | 0:11:24 | |
wrestling over the controls, | 0:11:24 | 0:11:25 | |
they may have bitten off more than they can Pikachu. | 0:11:25 | 0:11:29 | |
Now, not everyone has a Hollywood budget or a Hollywood crew | 0:11:33 | 0:11:37 | |
to make their dream project. | 0:11:37 | 0:11:39 | |
And that's why we asked David Reid to go to Paris to meet | 0:11:39 | 0:11:42 | |
the film-makers who are making movies not with traditional cameras, | 0:11:42 | 0:11:47 | |
but with these - smartphones. | 0:11:47 | 0:11:49 | |
PIANO PLAYS, CAMERA WHIRRS | 0:11:49 | 0:11:53 | |
INAUDIBLE | 0:11:53 | 0:11:56 | |
The rules of France's Mobile Film Festival are simple - | 0:12:05 | 0:12:09 | |
entrants have one minute to make their mark with judges, | 0:12:09 | 0:12:12 | |
like the leading French director Jean-Pierre Jeunet. | 0:12:12 | 0:12:16 | |
He was 17 when he forked out a small fortune for his first camera. | 0:12:16 | 0:12:21 | |
It was expensive. | 0:12:22 | 0:12:24 | |
You had to buy some pellicule, some print from Kodak. | 0:12:24 | 0:12:28 | |
It was very difficult. | 0:12:28 | 0:12:30 | |
You needed a lot of money. | 0:12:30 | 0:12:31 | |
You might think that all you need now is a mobile, | 0:12:36 | 0:12:39 | |
but not so fast. It's still tough to get to do this for a living. | 0:12:39 | 0:12:43 | |
For those who win, the festival offers connections and cash - | 0:12:43 | 0:12:47 | |
15,000 euros - to nudge budding directors into full bloom. | 0:12:47 | 0:12:53 | |
The major problem is the financial problem, the means. | 0:12:57 | 0:13:02 | |
This moving industry, how you get in. | 0:13:02 | 0:13:04 | |
Find some friends, write a good story, have energy, | 0:13:04 | 0:13:08 | |
be creative, and we will give you the means to go further. | 0:13:08 | 0:13:13 | |
Mobile films have a familiar feel. | 0:13:17 | 0:13:20 | |
The nouvelle vague of the '50s and '60s had directors | 0:13:20 | 0:13:24 | |
shooting in natural light, in real homes, using jump cuts. | 0:13:24 | 0:13:30 | |
And stories left unresolved. | 0:13:31 | 0:13:34 | |
I give up. I'm having Marmite. | 0:13:34 | 0:13:36 | |
Mobile movies do something similar, giving us | 0:13:37 | 0:13:40 | |
a glimpse behind the closed doors of aspiring film-makers. | 0:13:40 | 0:13:44 | |
Bathrooms, balconies, kitchens, car parks. | 0:13:44 | 0:13:47 | |
So does this have the makings of a new genre? | 0:13:47 | 0:13:51 | |
-TRANSLATION: -The films that win | 0:13:53 | 0:13:55 | |
strangely, or maybe not so strangely, | 0:13:55 | 0:13:57 | |
are the films that have that little flavour of being home-made, | 0:13:57 | 0:14:01 | |
but are a bit, shall we say, rough and ready. | 0:14:01 | 0:14:04 | |
Sylvain should know - this year he won with The Vicious Circle - | 0:14:07 | 0:14:11 | |
a cautionary tale of our times. | 0:14:11 | 0:14:13 | |
Girl meets boy, boy proliferates intimacies of girl online, | 0:14:13 | 0:14:17 | |
dire consequences ensue. | 0:14:17 | 0:14:19 | |
Here he's taking some shots on the hoof, but this is him fully armed - | 0:14:22 | 0:14:26 | |
tripod, digital audio gear and a fancy LED light. | 0:14:26 | 0:14:30 | |
So what do you need to make a good movie? | 0:14:34 | 0:14:37 | |
An idea, script, good actors - sure. | 0:14:37 | 0:14:39 | |
But surprisingly, which camera is largely irrelevant. | 0:14:39 | 0:14:43 | |
We don't care about if it's internet, computers, | 0:14:47 | 0:14:51 | |
camera with "brrr" - we don't care. | 0:14:51 | 0:14:54 | |
Just find good ideas and tell good stories. | 0:14:54 | 0:14:57 | |
David Reid on a subject that has got our cameraman Mike very worried. | 0:14:59 | 0:15:04 | |
Don't worry, Mikey, we will keep you on, I promise. | 0:15:04 | 0:15:07 | |
That tea won't make itself, you know. | 0:15:07 | 0:15:09 | |
Anyway, film isn't just about the visuals, of course. | 0:15:09 | 0:15:13 | |
You only have to experience Hitchcock's Psycho | 0:15:13 | 0:15:16 | |
to hear how important sound can be. | 0:15:16 | 0:15:18 | |
After years of being afraid to go into the shower, | 0:15:18 | 0:15:20 | |
Mark Cieslak is about to pull back the curtain on the audio | 0:15:20 | 0:15:23 | |
that could be coming to a cinema near you, soon. | 0:15:23 | 0:15:26 | |
Smart movie-makers understand that sound matters. | 0:15:33 | 0:15:36 | |
Based on a true story, and starring Mark Wahlberg as a US Navy SEAL | 0:15:38 | 0:15:41 | |
in Afghanistan, the film Lone Survivor has found itself | 0:15:41 | 0:15:45 | |
Oscar-nominated for both sound mixing and sound editing. | 0:15:45 | 0:15:49 | |
Go, guys, go! | 0:15:49 | 0:15:51 | |
We had a great sound department who understood that we wanted | 0:15:52 | 0:15:57 | |
realism to put the audience into the sounds of war. | 0:15:57 | 0:16:01 | |
War is loud and deafening and confusing | 0:16:01 | 0:16:05 | |
and disorienting, from just a sonic standpoint, | 0:16:05 | 0:16:08 | |
and we wanted to try and capture that kind of audio experience. | 0:16:08 | 0:16:12 | |
But to fully realise a movie-maker's audio ambitions, | 0:16:17 | 0:16:21 | |
cinemas and audiophiles had had to invest in dedicated sound set-ups. | 0:16:21 | 0:16:25 | |
From mono to stereo, surround 5.1 and 7.1, | 0:16:25 | 0:16:30 | |
the story of sound in cinema | 0:16:30 | 0:16:32 | |
hasn't just been written by advances in technology | 0:16:32 | 0:16:35 | |
which affect the quality of audio that's being reproduced. | 0:16:35 | 0:16:39 | |
A big part is played by the number of speakers and channels | 0:16:39 | 0:16:42 | |
that surround an audience and, most importantly, how they are used. | 0:16:42 | 0:16:47 | |
But Dolby's engineers have created a system they have dubbed Atmos. | 0:16:48 | 0:16:52 | |
They think that by adding speakers to an area which has previously been | 0:16:52 | 0:16:55 | |
a speaker-free zone, they'll help to create | 0:16:55 | 0:16:58 | |
a more immersive sense of surround sound. | 0:16:58 | 0:17:00 | |
They've popped them in the ceiling. | 0:17:00 | 0:17:02 | |
It's not just about adding speakers, though. | 0:17:05 | 0:17:08 | |
Audio can literally be moved around the room | 0:17:08 | 0:17:10 | |
and placed in specific locations and speakers. | 0:17:10 | 0:17:13 | |
The effect at times can be quite eerie, | 0:17:13 | 0:17:16 | |
particularly if an object is supposed to be moving around you. | 0:17:16 | 0:17:19 | |
Don't you hate it when you get buzzed | 0:17:19 | 0:17:22 | |
by a computer-generated version of the 9th Air Cavalry? | 0:17:22 | 0:17:24 | |
It's an object-based system, so we are taking audio items | 0:17:26 | 0:17:30 | |
and making them objects that the sign designer or director | 0:17:30 | 0:17:33 | |
can move around within a big soundscape, | 0:17:33 | 0:17:36 | |
and we can reproduce that in the cinema, and it gives you | 0:17:36 | 0:17:38 | |
a much more immersive, more dynamic reproduction of the soundscape. | 0:17:38 | 0:17:43 | |
Dolby is hoping to roll-out the system in cinemas around the world, | 0:17:43 | 0:17:46 | |
and believes that it will future-proof cinema owners | 0:17:46 | 0:17:49 | |
from further advances in audio technology. | 0:17:49 | 0:17:52 | |
So, any cinema has a calibrated sound system. | 0:17:52 | 0:17:55 | |
Once the system has been installed, | 0:17:55 | 0:17:57 | |
it will be calibrated by a qualified engineer, | 0:17:57 | 0:17:59 | |
so you're getting essentially the same playback | 0:17:59 | 0:18:01 | |
that the director heard in the mix studio where he mixed the movie. | 0:18:01 | 0:18:04 | |
You're getting that in your local cinema or local multiplex. | 0:18:04 | 0:18:08 | |
Atmos takes that a little stage further on. | 0:18:08 | 0:18:10 | |
The room design is programmed into the processor that replays | 0:18:10 | 0:18:13 | |
the sound in the cinema. | 0:18:13 | 0:18:15 | |
So the processor essentially knows where all the loudspeakers are, | 0:18:15 | 0:18:18 | |
what their power-handling capabilities are, | 0:18:18 | 0:18:20 | |
and then it gets this map of audio of objects | 0:18:20 | 0:18:23 | |
that it then has to re-render into the space. | 0:18:23 | 0:18:26 | |
It's difficult to convey to you, the viewers at home, | 0:18:26 | 0:18:29 | |
the difference this sort of audio set-up | 0:18:29 | 0:18:31 | |
makes to the cinema experience. | 0:18:31 | 0:18:33 | |
Sounds seem to move around the viewer in an uncannily realistic fashion. | 0:18:33 | 0:18:38 | |
If anything, systems like this prove that for movies, | 0:18:38 | 0:18:42 | |
sound is just as important as visual. | 0:18:42 | 0:18:45 | |
Mark Cieslak, a man you can usually hear before you can see. | 0:18:49 | 0:18:53 | |
OK, now it's over to our very own leading lady. | 0:18:53 | 0:18:56 | |
Here comes Kate Russell with Webscape. | 0:18:56 | 0:18:58 | |
Having peeked behind the cinema screen, | 0:19:01 | 0:19:04 | |
you might be feeling inspired to get creative yourself. | 0:19:04 | 0:19:08 | |
But you don't need a ticket to Hollywood, | 0:19:08 | 0:19:10 | |
just point your browser at crowd-sourcing collaboration platform | 0:19:10 | 0:19:13 | |
Wreckamovie. | 0:19:13 | 0:19:15 | |
There are loads of projects or you can start one yourself, | 0:19:15 | 0:19:18 | |
ranging from short films and animations | 0:19:18 | 0:19:20 | |
to full-length feature films. | 0:19:20 | 0:19:22 | |
Everyone is welcome, both amateur and professional. | 0:19:22 | 0:19:25 | |
Just take a look at the tasks for a project | 0:19:25 | 0:19:29 | |
and let them know what you can do. | 0:19:29 | 0:19:31 | |
We come in peace! | 0:19:31 | 0:19:33 | |
Far from looking amateurish, | 0:19:33 | 0:19:35 | |
this community has already produced some truly impressive movies, | 0:19:35 | 0:19:39 | |
complete with rich cinematography and stunning special effects. | 0:19:39 | 0:19:44 | |
You'd be hard pushed to pick out films like this, Iron Sky, | 0:19:44 | 0:19:48 | |
which was made by the Wreckamovie crowd | 0:19:48 | 0:19:51 | |
on a budget of 7.5 million euros, | 0:19:51 | 0:19:53 | |
against a Hollywood sci-fi production costing ten times that, or more. | 0:19:53 | 0:19:58 | |
You could get involved in graphics, script writing, promotion, | 0:19:58 | 0:20:03 | |
design, or as a music composer. | 0:20:03 | 0:20:06 | |
It's surprising how many roles there are, | 0:20:06 | 0:20:08 | |
when you get down to the nuts and bolts of producing a film. | 0:20:08 | 0:20:11 | |
So sign up and get involved. | 0:20:11 | 0:20:13 | |
Smartphone cameras produce a pretty good-quality picture these days. | 0:20:20 | 0:20:25 | |
But it's all academic | 0:20:25 | 0:20:27 | |
if the person holding the camera doesn't know what they're doing. | 0:20:27 | 0:20:30 | |
Or is it? | 0:20:30 | 0:20:31 | |
Horizon is a brand-new app that rotates and resizes your shot, | 0:20:31 | 0:20:36 | |
no matter what orientation you hold it at, | 0:20:36 | 0:20:39 | |
producing amazing results from even the shakiest camerawork. | 0:20:39 | 0:20:43 | |
# Any way that you want me... # | 0:20:43 | 0:20:46 | |
This is one of those apps that will make you go, "Wow!" | 0:20:46 | 0:20:50 | |
It uses the phone's gyroscope to recognise how you're holding | 0:20:50 | 0:20:55 | |
the handset, and adjust the rotation and scale of the shot | 0:20:55 | 0:20:58 | |
to produce a seamless horizontal clip. | 0:20:58 | 0:21:01 | |
Sadly, it's only available on current Apple mobile devices - | 0:21:01 | 0:21:05 | |
the 4S and up for your phone, for example - but the developers | 0:21:05 | 0:21:09 | |
told me they are considering an Android version in the future. | 0:21:09 | 0:21:13 | |
It supports a range of aspect ratios and quality settings, | 0:21:13 | 0:21:17 | |
although one potential downside here | 0:21:17 | 0:21:19 | |
is the loss of resolution you will get | 0:21:19 | 0:21:21 | |
when a video's cropped and zoomed. | 0:21:21 | 0:21:23 | |
This should only really be noticeable, though, | 0:21:23 | 0:21:25 | |
when displaying the film on a large screen. | 0:21:25 | 0:21:28 | |
# I've been watching you. # | 0:21:30 | 0:21:33 | |
The bestselling Star Wars games series in history... | 0:21:35 | 0:21:38 | |
If you're just not the creative type, there are plenty of other ways | 0:21:40 | 0:21:43 | |
to enjoy the world of cinema online, and on your smartphone too. | 0:21:43 | 0:21:47 | |
..just got bigger! | 0:21:47 | 0:21:51 | |
LEGO Star Wars is the perfect example of a Hollywood franchise | 0:21:51 | 0:21:55 | |
that's been exploited in many forms for your general entertainment. | 0:21:55 | 0:21:59 | |
Check out these great online games, desktop wallpaper downloads, | 0:21:59 | 0:22:04 | |
cute little films, | 0:22:04 | 0:22:06 | |
and a slew of entertaining apps mainly for iPhone and Android. | 0:22:06 | 0:22:10 | |
May the force be with you, young padawan. | 0:22:10 | 0:22:14 | |
Rescue mission I must launch! | 0:22:14 | 0:22:16 | |
Oh! A trap it is! | 0:22:19 | 0:22:21 | |
There are a lot of initiatives around right now, | 0:22:23 | 0:22:26 | |
encouraging children to learn to code, | 0:22:26 | 0:22:28 | |
and this week's video of the week picks up on that baton | 0:22:28 | 0:22:31 | |
and gives it a movie-style shake-up, | 0:22:31 | 0:22:34 | |
with Bill Gates explaining the principles of computer programming | 0:22:34 | 0:22:38 | |
using zombies, courtesy of code.org. | 0:22:38 | 0:22:42 | |
You can see that if we do that, if we are taking a turn to the left | 0:22:42 | 0:22:45 | |
and otherwise moving forward, we'll achieve our goal. | 0:22:45 | 0:22:49 | |
Thanks, Kate. Kate's links are all online if you need them... | 0:22:49 | 0:22:52 | |
And if you'd like to get in touch, you can. We're on e-mail. | 0:22:55 | 0:22:58 | |
We're also knocking about Twitter, Google+ and Facebook too. | 0:22:58 | 0:23:02 | |
That's it for now, though. | 0:23:02 | 0:23:04 | |
Thank you for watching. We'll see you next time. | 0:23:04 | 0:23:07 |