Browse content similar to 23/04/2016. Check below for episodes and series from the same categories and more!
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style killings. Fans continue to lawn -- mourn the loss of prints as | :00:00. | :00:00. | |
authorities say there is no reason to believe his death was suicide. | :00:00. | :00:09. | |
And there have been plenty of them rolled out this week for the | :00:10. | :00:44. | |
It is the brainchild of screen legend Robert | :00:45. | :00:47. | |
De Niro, who set it up to | :00:48. | :00:49. | |
revitalise the area following the devastating events of 9/11. | :00:50. | :00:53. | |
And while it may not have the glamour of | :00:54. | :00:55. | |
Cannes or the indie cred of Sundance, | :00:56. | :00:57. | |
Tribeca has led the way in | :00:58. | :00:58. | |
the use of new technology to tell stories. | :00:59. | :01:03. | |
In 2011, the festival included the video game LA Noir, | :01:04. | :01:06. | |
and last year included a section dedicated to virtual reality. | :01:07. | :01:13. | |
Unsurprisingly, the VR section is even bigger this year, and at the | :01:14. | :01:15. | |
heart of it all, the world premiere of a British short made by BBC R | :01:16. | :01:19. | |
It was heaven for our eight-year-old selves. | :01:20. | :01:28. | |
Playing like a child's fairy tale, the intention is to immerse | :01:29. | :01:32. | |
Instead of lifelike visuals, the team behind it are using audio | :01:33. | :01:38. | |
Specifically, sound that sounds like it comes | :01:39. | :01:49. | |
from all around you, just | :01:50. | :01:50. | |
The next few minutes are best listened to through | :01:51. | :01:58. | |
headphones, so go and get them now, and get ready to put them on. | :01:59. | :02:04. | |
If you saw Click's 360 show recently, you | :02:05. | :02:07. | |
may have noticed that while you can look in any direction, the audio | :02:08. | :02:10. | |
The sounds, my voice, for example, didn't come from the | :02:11. | :02:20. | |
And that's because it's incredibly hard to make | :02:21. | :02:24. | |
..hear something going on over there. | :02:25. | :02:34. | |
And that's what the BBC R Department have | :02:35. | :02:36. | |
They are still over there when I turn round. | :02:37. | :02:52. | |
Right, now is the time to plug in those headphones, because a couple | :02:53. | :02:55. | |
of weeks before Tribeca, I got to see The Turning Forest as the team | :02:56. | :02:59. | |
That's interesting, because there is a | :03:00. | :03:01. | |
sound that is coming from over there that | :03:02. | :03:03. | |
makes me want to look in that | :03:04. | :03:05. | |
Which answers one of the questions about virtual reality - | :03:06. | :03:10. | |
how do you get the audience to look in the right direction at the right | :03:11. | :03:13. | |
Of course, you draw their attention to a sound, that's | :03:14. | :03:17. | |
This was created to demonstrate the sound first. | :03:18. | :03:28. | |
Yes, and to see how far 360 sound can go. | :03:29. | :03:34. | |
We wanted to explore what we can do | :03:35. | :03:36. | |
with natural recording and really push the microphone techniques we | :03:37. | :03:38. | |
were using as well to try and get a compelling sense of the forest. | :03:39. | :03:43. | |
After making the multidirectional recording of a real forest, Chris | :03:44. | :03:46. | |
Pike and his team began to add moving 3-D elements over the top. | :03:47. | :03:51. | |
So, every sound on the left-hand side has its own symbol in this, | :03:52. | :03:56. | |
which is a top down view of the scene. | :03:57. | :04:00. | |
And we are watching where those sounds are coming from in 3-D | :04:01. | :04:03. | |
The Turning Forest was originally made | :04:04. | :04:08. | |
for a static listener, and making sounds come from different | :04:09. | :04:11. | |
directions in different speakers is nothing new. | :04:12. | :04:15. | |
But for VR the sounds need to come from just two | :04:16. | :04:18. | |
And the sounds need to stay fixed in space | :04:19. | :04:22. | |
And to check everything is in the right place, | :04:23. | :04:34. | |
the sound mixer has to wear these attractive motion-tracked Princess | :04:35. | :04:37. | |
That is actually really disorientating, you're right. | :04:38. | :04:49. | |
When you've got your eyes closed as well, I | :04:50. | :04:51. | |
That could make one feel quite queasy. | :04:52. | :04:57. | |
You'd be throwing up all over the place. | :04:58. | :05:05. | |
direction the sound needs to come from, doesn't mean that they can | :05:06. | :05:12. | |
For that, the R team needed to adapt a | :05:13. | :05:17. | |
technique that's been around for more than a century. | :05:18. | :05:21. | |
It's called binaural sound, and it is | :05:22. | :05:23. | |
Trust me, if you haven't put your headphones on yet, now is | :05:24. | :05:28. | |
Now you are listening in binaural sound, which is all about | :05:29. | :05:35. | |
making you feel like you're really there. | :05:36. | :05:39. | |
And it's so much more than | :05:40. | :05:41. | |
just putting certain sounds into one ear and certain sounds into another. | :05:42. | :05:44. | |
Right now, it should really feel like I'm walking closer | :05:45. | :05:46. | |
to you around the left side of your | :05:47. | :05:48. | |
It gets better, because I can walk behind you and it really sounds | :05:49. | :05:53. | |
(Whispers) ..is when I come right up next to you and | :05:54. | :06:00. | |
Now you are sufficiently creeped out, you may be wondering how you | :06:01. | :06:51. | |
The secret is in the sound recordist himself, | :06:52. | :06:54. | |
Ed has two microphones hidden inside his very | :06:55. | :06:58. | |
human-looking ears on the sides of his very | :06:59. | :07:00. | |
human-looking ahead, and | :07:01. | :07:03. | |
that means that he captures sound in exactly the same way that your head | :07:04. | :07:07. | |
If something happens off to one side, the sound will be quieter | :07:08. | :07:13. | |
in the opposite ear, and it will get there slightly later. | :07:14. | :07:16. | |
It will also have been blocked by your skull, | :07:17. | :07:18. | |
bounced around the room, and ricocheted around the cartilage on | :07:19. | :07:21. | |
Because he looks like a head, he hears like a head. | :07:22. | :07:27. | |
But so far, binaural sound has only really worked if your head | :07:28. | :07:36. | |
In VR, however, you get to turn your head in all directions. | :07:37. | :07:45. | |
And that's what Chris and the team have sussed. | :07:46. | :07:48. | |
In their many-speakered sound room, they slowly rotated Ed while playing | :07:49. | :07:52. | |
sounds coming from different directions and then researched how | :07:53. | :07:55. | |
Now they could combine that intimate experience of binaural sound with | :07:56. | :08:06. | |
the free head movement of VR to create something Chris calls | :08:07. | :08:08. | |
One of the team's main missions is to devise a | :08:09. | :08:15. | |
standard way of storing all the 3-D audio information so that it can | :08:16. | :08:19. | |
sound best on whatever sound system it's played on. | :08:20. | :08:22. | |
You can adapt to the system a person is listening on, so | :08:23. | :08:25. | |
if they are using headphones with a racker in a VR system, they can | :08:26. | :08:31. | |
if they are using headphones with a tracker in a VR system, they can | :08:32. | :08:35. | |
If they have a 3-D system in a big home theatre, you can give them | :08:36. | :08:39. | |
a surround sound with height experience, but we also need to be | :08:40. | :08:42. | |
able to replay on a stereo and surround. | :08:43. | :08:45. | |
This includes a standard for dynamic binaural sound in web | :08:46. | :08:47. | |
browsers to better serve the growing library of 360 video we can now | :08:48. | :08:51. | |
stream on our computers, phones and headsets. | :08:52. | :08:54. | |
In fact, just this week, YouTube launched support for live | :08:55. | :08:57. | |
streaming VR and support for basic dynamic binaural sound. | :08:58. | :09:05. | |
But The Turning Forest wasn't the only | :09:06. | :09:10. | |
project experimenting with binaural sound and VR at Tribeca. | :09:11. | :09:16. | |
headset hair and take a look around at some | :09:17. | :09:19. | |
of the virtual reality on | :09:20. | :09:20. | |
Virtual reality may have come a long way in the last two years, | :09:21. | :09:24. | |
but for many, it's still seen as a bit of a gimmick. | :09:25. | :09:27. | |
But with content growing and the hope that both | :09:28. | :09:30. | |
prices and headset size will reduce, film-makers here are trying | :09:31. | :09:33. | |
to use the medium to tell stories in new ways. | :09:34. | :09:38. | |
One of the things that's really interesting about VR is the | :09:39. | :09:43. | |
It's so different to traditional film, | :09:44. | :09:48. | |
and I can't help thinking that is going to have | :09:49. | :09:51. | |
One of the hits of the festival was Allumette, a 20 | :09:52. | :09:55. | |
minute experience based on Hans Christian Andersen's the Little | :09:56. | :09:58. | |
Its makers, Penrose Studios, have already been hailed as | :09:59. | :10:03. | |
the Pixar of VR for their focus on story and the ability to make you | :10:04. | :10:07. | |
Perhaps the most interesting example of | :10:08. | :10:12. | |
virtual reality here has been its use in highlighting various social | :10:13. | :10:15. | |
Notes On Blindness is designed to give you a | :10:16. | :10:25. | |
sense of what it might be like to be blind. | :10:26. | :10:29. | |
This is a story about a man who lost his sight. | :10:30. | :10:34. | |
It says he began keeping a diary on audio cassette, | :10:35. | :10:37. | |
Like The Turning Forest, it also uses | :10:38. | :10:41. | |
binaural sound to situate you in the VR world, | :10:42. | :10:45. | |
a process that the creative team found uniquely | :10:46. | :10:47. | |
How to represent with visuals a blind perception of the | :10:48. | :10:53. | |
So we used a sort of metaphorical element in 3-D | :10:54. | :11:00. | |
real-time, and we used also a lot of binaural | :11:01. | :11:02. | |
recording and synthesis to | :11:03. | :11:05. | |
It is amazing - the audio really gets | :11:06. | :11:17. | |
It's quite unique that we now have games and | :11:18. | :11:24. | |
experiences that are allowing you to feel | :11:25. | :11:26. | |
other people, to feel the | :11:27. | :11:27. | |
thoughts and experiences of people like that. | :11:28. | :11:31. | |
That's one of the things that VR will be used for in the | :11:32. | :11:34. | |
Several of the exhibitions here do just that. | :11:35. | :11:39. | |
a nine minute piece from the Guardian showcasing the | :11:40. | :11:44. | |
psychological effects of solitary confinement | :11:45. | :11:47. | |
on prison inmates in the | :11:48. | :11:48. | |
There is a very small table and seat area, just | :11:49. | :12:04. | |
a tiny sliver of light coming through. | :12:05. | :12:07. | |
While I found it deliberately claustrophobic, the | :12:08. | :12:10. | |
film proved painfully real for one former inmate. | :12:11. | :12:14. | |
As a person who spent a total of three years in solitary | :12:15. | :12:17. | |
confinement, I can tell you that the experience is very real. | :12:18. | :12:21. | |
It actually made me remember some of the things | :12:22. | :12:24. | |
that I went through when I was in solitary myself. | :12:25. | :12:28. | |
Feelings of anger, frustration, hopelessness in a lot | :12:29. | :12:30. | |
of ways, endless, internal sadness of just being in a space where you | :12:31. | :12:36. | |
have no one to talk to, nobody to come in contact with. | :12:37. | :12:41. | |
It kind of really brought me back there | :12:42. | :12:43. | |
But not everyone here wants to put you in the shoes | :12:44. | :12:48. | |
The Ark is a VR film about the world's most endangered | :12:49. | :12:52. | |
Its makers aim to give you an almost God's-eye view of the species. | :12:53. | :13:03. | |
We focused on the idea that you are a | :13:04. | :13:06. | |
floating brain or a spirit that's doing a thing | :13:07. | :13:08. | |
We put you in two places simultaneously. | :13:09. | :13:27. | |
You look to the front of experience, you are in | :13:28. | :13:29. | |
Kenya, to the back you are in San Diego, | :13:30. | :13:31. | |
which are the two places where the genetic rescue effort is | :13:32. | :13:34. | |
What is clear from these and other films shown at Tribeca is | :13:35. | :13:38. | |
that VR is still very much in its infancy. | :13:39. | :13:40. | |
Cinema has had over 100 years to get where it is now, and | :13:41. | :13:43. | |
there is a sense that VR film-makers are only | :13:44. | :13:45. | |
beginning to work out and | :13:46. | :13:46. | |
develop the grammar for the way they tell their stories. | :13:47. | :13:49. | |
Who knows, in a hundred years our cinemas experience | :13:50. | :13:53. | |
may be a bit more like this than what we're used to. | :13:54. | :14:05. | |
The supersecret and relatively mysterious company Magic Leap | :14:06. | :14:09. | |
Demos show how to check e-mail and undertake a school project | :14:10. | :14:16. | |
The company say it was shot directly through its system with no use | :14:17. | :14:23. | |
But what they haven't told people is how it works and when we might | :14:24. | :14:28. | |
And if those flying jellyfish don't worry you, | :14:29. | :14:31. | |
Police have opened up an investigation | :14:32. | :14:36. | |
after a plane travelling from Geneva to Heathrow was believed to have | :14:37. | :14:39. | |
been hit by a drone some 1700 feet above west London. | :14:40. | :14:42. | |
The incident was reported by the pilot | :14:43. | :14:45. | |
It was also the week that Netflix opened the door to viewing content | :14:46. | :14:51. | |
off-line and Microsoft announced its intention to stop making | :14:52. | :14:53. | |
Over ten years since it originally went on sale. | :14:54. | :15:00. | |
And if you have ever sat on a train and wished it would hurry | :15:01. | :15:04. | |
The US Air Force has broken the world's speed record | :15:05. | :15:09. | |
for fastest vehicle travelling by magnetic levitation. | :15:10. | :15:13. | |
It reached a speed of 633 mph along the 2000 metre track, | :15:14. | :15:21. | |
beating a previous record they set themselves only days earlier. | :15:22. | :15:23. | |
Aside from the massive rockets, superconductive magnets are laid | :15:24. | :15:29. | |
It was the morning of the 26th of April 1986 when an uncontrollable | :15:30. | :15:38. | |
power surge in the Chernobyl reactor in northern Ukraine resulted | :15:39. | :15:40. | |
in one of the worst nuclear disasters the world has ever seen. | :15:41. | :15:53. | |
The Soviet Union said today that an accident has damaged an atomic | :15:54. | :15:56. | |
Anger is growing in the west over the way the Russians are | :15:57. | :16:01. | |
The accident sent a plume of radioactive followed | :16:02. | :16:09. | |
The accident sent a plume of radioactive fall-out | :16:10. | :16:11. | |
into the atmosphere, reaching as far away as the United | :16:12. | :16:14. | |
Kingdom and seriously contaminating a huge area around the site. | :16:15. | :16:16. | |
30 years later and very little has changed | :16:17. | :16:18. | |
in the nearby town of Pripyat, which was evacuated just after the | :16:19. | :16:21. | |
Although the radiation has dropped to safer levels in some areas | :16:22. | :16:28. | |
around Chernobyl, it is still understandable | :16:29. | :16:30. | |
Now, thanks to a new virtual reality experience, you can go | :16:31. | :16:38. | |
The Chernobyl VR project is the first of its kind from Polish | :16:39. | :16:45. | |
We wanted to make this tool to interact with it | :16:46. | :16:53. | |
because there is a lot of movies regarding the Chernobyl and Pripyat | :16:54. | :16:57. | |
disaster, so we wanted to create something that would be closer. | :16:58. | :17:04. | |
You are entering the virtual world, you are free to walk to different | :17:05. | :17:07. | |
places and your guide is telling you the story of the places | :17:08. | :17:10. | |
To create the project, the team made multiple trips to Chernobyl | :17:11. | :17:18. | |
The point was to capture thousands of photographs, | :17:19. | :17:25. | |
models and 360 degrees videos in order to accurately capture what | :17:26. | :17:28. | |
We have been recording 360 movies to make a more direct version | :17:29. | :17:42. | |
of the narrative and also to give some noninteractive | :17:43. | :17:44. | |
We have been using drones to film and we have been using special | :17:45. | :17:49. | |
scanners and cameras for the 3-D data. | :17:50. | :17:55. | |
It is incredible to see how much the area has decayed in just 30 years. | :17:56. | :18:00. | |
That is why another point of the project was to try to | :18:01. | :18:03. | |
These places, in the next years, will be fully collapsed. | :18:04. | :18:10. | |
So this is the last moment where you can really explore Chernobyl | :18:11. | :18:13. | |
The project is slated for release in the next few weeks | :18:14. | :18:27. | |
and will be compatible with Samsung's Fear VR | :18:28. | :18:29. | |
and will be compatible with Samsung's Gear VR | :18:30. | :18:40. | |
There came a time a few years ago when it seems that every action | :18:41. | :18:46. | |
sports enthusiasts under the sun felt the need to strap on | :18:47. | :18:49. | |
a Go-Pro camera and film themselves as they hurtled downhill. | :18:50. | :18:51. | |
The problem is that since the company went public nearly | :18:52. | :18:53. | |
two years ago, all of Go-Pro seems to be headed in that direction. | :18:54. | :18:57. | |
After all, how many action sports enthusiasts are there in the world? | :18:58. | :19:01. | |
Richard Taylor has been to Go-Pro in San Francisco to find out how | :19:02. | :19:04. | |
the company is planning to arrest its decline. | :19:05. | :19:12. | |
Over the past year or so Go-Pro has been on a more turbulent ride | :19:13. | :19:15. | |
It's garishly clad founder, Nick Woodman, has had to deal with | :19:16. | :19:20. | |
plummeting share prices, fleeing executives and failing to | :19:21. | :19:24. | |
hit home with new products which have given even ardent Go-Pro | :19:25. | :19:28. | |
Critics say it is losing its edge in delivering eye-catching | :19:29. | :19:34. | |
innovation, while rivals are fast making up ground with | :19:35. | :19:40. | |
Another challenge it has faced is competition from these things. | :19:41. | :19:48. | |
Smartphone cameras are arguably better, more versatile | :19:49. | :19:50. | |
and appealing to a mainstream audience than a standalone Go-Pro. | :19:51. | :19:52. | |
That is something the action-cam pioneer is keen to address. | :19:53. | :19:55. | |
So, Go-Pro in hand, I can survey a new landscape with | :19:56. | :20:02. | |
Accessories, some tie-ups with the big boys and | :20:03. | :20:16. | |
Witness this integrated playpen housing to capture | :20:17. | :20:19. | |
Other hardware allows creative remote control and access | :20:20. | :20:23. | |
It is essentially a remote control in the palm of your hands. | :20:24. | :20:28. | |
It will sync directly to your Go-Pro products and by doing that, | :20:29. | :20:31. | |
you can use gestures to control functionality on your Go-Pro camera. | :20:32. | :20:37. | |
I will tap my thumb to my finger and it will start by recording. | :20:38. | :20:41. | |
Different touch points do different things. | :20:42. | :20:44. | |
I will switch camera modes by touching this. | :20:45. | :20:46. | |
Really, what we're trying to do is solve one of | :20:47. | :20:51. | |
the biggest problems that you often hear when you are out on the side | :20:52. | :20:54. | |
In terms of its developer programme, automated editing of multiple | :20:55. | :21:11. | |
cameras through to overlaying info on top of your Go-Pro's intro are | :21:12. | :21:14. | |
They're also pushing into new territory, | :21:15. | :21:17. | |
this weekend they launched a virtual reality production | :21:18. | :21:19. | |
platform with cameras, rig and software costing a cool $5,000. | :21:20. | :21:21. | |
VR production is still niche, begging the question of | :21:22. | :21:24. | |
whether Go-Pro can find other products to entice more audiences. | :21:25. | :21:31. | |
The last product launch didn't really hit home with consumers. | :21:32. | :21:36. | |
What can you say to us in terms of innovation for the Hero Five or the | :21:37. | :21:39. | |
I can't talk you much specifically about those products, | :21:40. | :21:45. | |
but I can say we learned a lot from the last product release. | :21:46. | :21:48. | |
Perhaps the pricing was the thing that caught us | :21:49. | :21:51. | |
a little off guard and we didn't double down with advertising. | :21:52. | :21:53. | |
We know now we need more developers to help our ecosystem | :21:54. | :21:58. | |
and we're very focused on that, but most importantly, | :21:59. | :22:00. | |
we just need to make it that much easier to reach a broader audience. | :22:01. | :22:06. | |
Go-Pro does sport a very large fan base, but it has become clear | :22:07. | :22:09. | |
Maintaining that elevated status is quite another. | :22:10. | :22:19. | |
And just before we do go, there is one more thing we want to | :22:20. | :22:22. | |
It is a film put together by Canadian Guy Maddin, | :22:23. | :22:27. | |
but it is not a film in the traditional sense of the word. | :22:28. | :22:36. | |
These lost film adaptations were updated into a programme | :22:37. | :22:45. | |
and the programme then fragments this ectoplasmic matter of unhappy, | :22:46. | :22:50. | |
lost film spirits and the programme really recombines | :22:51. | :22:54. | |
It will generate a new movie, a new 1-of-a-kind movie out | :22:55. | :23:03. | |
With over 500 billion possible outcomes, the resulting film | :23:04. | :23:09. | |
And when the film has played out, it is then destroyed with | :23:10. | :23:16. | |
its name placed on the list of film obituaries alongside many classics | :23:17. | :23:25. | |
And the one major advantage of creating a film with the help of a | :23:26. | :23:36. | |
computer programme is that it does render you fairly critic-proof. | :23:37. | :23:42. | |
There are all kinds of possibilities facing the viewer and | :23:43. | :23:45. | |
you just have to trust luck and the inevitability of the fact that... | :23:46. | :23:49. | |
I don't know, I don't even know if I trust anything anymore. | :23:50. | :24:01. | |
On that triumphant note, we will leave you. | :24:02. | :24:05. | |
We are on Twitter should you need us throughout the week. | :24:06. | :24:08. | |
Just time to bring you up-to-date with how we see things panning out | :24:09. | :24:42. | |
across the British Isles this weekend and in the next few days. | :24:43. | :24:44. | |
Quite | :24:45. | :24:46. |