:00:00. > :00:00.Much to look forward to today on BBC One for the rugby, that is all the
:00:00. > :00:00.sport for now, now it is time for Click.
:00:00. > :00:11.sport for now, now it is time for Click.
:00:12. > :00:12.This week, meet our youngest reporter ever.
:00:13. > :00:18.We give a games legend something to play with.
:00:19. > :00:48.For decades, scientists all around the world have been trying to
:00:49. > :00:52.create a machine that can match our intelligence.
:00:53. > :00:56.And nowadays artificially intelligent algorithms
:00:57. > :00:58.can perform many tasks much better than us.
:00:59. > :01:01.For a long time scientists have been the use in games like
:01:02. > :01:05.chess, drafts and go as a benchmark for testing AI.
:01:06. > :01:07.And that's because all these games have a certain
:01:08. > :01:12.amount of unpredictability built into them.
:01:13. > :01:19.But this week the AI community has been celebrating a big
:01:20. > :01:26.win after a poker playing algorithm called Liberatus defeated four top
:01:27. > :01:30.human players in a 20 day match of heads up no limit Texas hold 'em
:01:31. > :01:33.I've been using poker as a benchmark for 12 years.
:01:34. > :01:36.Now the best AI has surpassed the level of the
:01:37. > :01:37.best humans in the strategic reasoning under imperfect
:01:38. > :01:43.But even at this big win is only a little step towards
:01:44. > :01:46.Intelligence one capable of sophisticated thought across a wide
:01:47. > :01:49.spectrum of areas, and solving problems just as well as a human
:01:50. > :02:00.It's a hard thing to think through, and
:02:01. > :02:11.But it's, I think it's impossible to forecast accurately.
:02:12. > :02:18.Speech has been another big challenge for AI
:02:19. > :02:21.Personal assistants and chat bots are becoming more
:02:22. > :02:24.sophisticated, but they so far can't fool us into thinking that they're
:02:25. > :02:30.But what if you thought you were talking to another person?
:02:31. > :02:39.Would that make you more likely to trust it?
:02:40. > :02:42.Well, two researchers at the London School of
:02:43. > :02:45.economics came up with an experiment to see if we would communicate
:02:46. > :02:48.better with AI if its messages were delivered to us by a human.
:02:49. > :02:50.They call this computer human hybrid the
:02:51. > :03:06.And to explore the concept, Jane Copestick found
:03:07. > :03:07.herself becoming an Echoborg herself.
:03:08. > :03:09.The Echoborg was inspired by research from Stanley Milgram.
:03:10. > :03:18.He is the Professor behind the controversial experiments on
:03:19. > :03:21.obedience in the 1960s, to see if people would deliver
:03:22. > :03:23.electric shocks to others if instructed to buy an
:03:24. > :03:25.Milgram also studied body perception, to
:03:26. > :03:27.determine if we hold preformed opinions
:03:28. > :03:28.of other people based on
:03:29. > :03:31.By using hidden earpieces, people could speak
:03:32. > :03:32.someone else's thoughts through their own body.
:03:33. > :03:34.The Echoborg has updated this research for the 21st
:03:35. > :03:39.century, to see if people will react better to artificial intelligence.
:03:40. > :03:41.Such as the messages from an online chat bot.
:03:42. > :03:44.If they are being delivered by a human.
:03:45. > :03:47.I'm in the first stages of testing this out by
:03:48. > :03:52.I'm starting my speech shadowing practice.
:03:53. > :03:56.The first step in becoming a fully fledged Echoborg.
:03:57. > :03:58.The professors have told me this process
:03:59. > :04:01.will take at least eight hours for me to get any good at it.
:04:02. > :04:03.I'm starting my first practice with JK
:04:04. > :04:04.Rowling's Harvard commencement speech.
:04:05. > :04:07.Members of the Harvard Corporation and the board of
:04:08. > :04:10.By shadowing speech, I should be able to quickly repeat
:04:11. > :04:13.back the messages from a chat bot so people won't realise
:04:14. > :04:18.It may seem something paradox, but there's horses in the
:04:19. > :04:25.I did something and scuttled somewhere.
:04:26. > :04:28.Now, to put it to the test, I'm meeting creator Professor
:04:29. > :04:32.Alex Gillespie at the London School of Economics.
:04:33. > :04:36.And Kevin Corti, who called in on Skype.
:04:37. > :04:46.Kevin is using a chat bot called Rose, which is not preprogrammed.
:04:47. > :04:49.The most noticeable problem in becoming a convincing AI are the
:04:50. > :04:55.delays while Rose thinks of a response to the question.
:04:56. > :05:19.I thought for a moment you might be a
:05:20. > :05:22.Republic of Ireland and Croatia and France.
:05:23. > :05:26.A magical place full of rain and crazy people.
:05:27. > :05:40.What you notice, they tend to be quite
:05:41. > :05:43.It takes each sentence as a stand-alone sentence.
:05:44. > :05:45.Some of them will speak like they are
:05:46. > :05:48.artificial intelligence, and some of them will pretend not to be.
:05:49. > :05:51.But although last time I spoke to which
:05:52. > :05:53.it said it was artificial intelligence.
:05:54. > :06:00.Our final test for the Echoborg was to
:06:01. > :06:04.bring it on stage in front of an audience of 700 people at the BBC
:06:05. > :06:07.What a lot of humans find difficult...
:06:08. > :06:41.How do I know you are human, how do you know I'm human?
:06:42. > :06:52.In fact, some of the audience members
:06:53. > :06:56.One thought it was a real conversation with a human, not
:06:57. > :07:02.Some people thought you didn't want to talk about
:07:03. > :07:07.That you were trying to avoid the question,
:07:08. > :07:10.they really thought you were trying to avoid the questions.
:07:11. > :07:12.Someone even said, had it been a man would it
:07:13. > :07:19.Without becoming fully fledged Echoborgs, we are already
:07:20. > :07:21.giving a voice to artificial intelligence everyday.
:07:22. > :07:22.Through the algorithms guiding our news
:07:23. > :07:24.consumption, to our shopping habits and online searches.
:07:25. > :07:29.We're bringing AI to life more and more.
:07:30. > :07:31.Projects like the Echoborg let us reflect on
:07:32. > :07:34.what this means for our AI future and perhaps even what it means to be
:07:35. > :07:47.Hello and welcome to The Week in Tech.
:07:48. > :07:52.It was the week that Facebook lost $500 million in a lawsuit.
:07:53. > :08:02.The case centres around the creation of
:08:03. > :08:03.the oculus rift virtual reality headset.
:08:04. > :08:06.The US Court ordered the payment after a jury found Facebook
:08:07. > :08:08.owned VR outfit Oculus used computer code belonging to ZeniMax, a media
:08:09. > :08:11.company which has a subsidiary which produces the video game Doom.
:08:12. > :08:17.They say you shouldn't cry over spilt milk.
:08:18. > :08:22.Online supermarket Ocado is testing a robot hand that can pack
:08:23. > :08:24.fruits and vegetables without damaging them.
:08:25. > :08:31.At the moment, human beings pack more fragile items, like
:08:32. > :08:38.But it's not just fragile foodstuffs feeling the pinch
:08:39. > :08:42.Researchers at MIT have created a claw made from
:08:43. > :08:45.hydrogel, that can pick up a live fish without causing it any harm.
:08:46. > :08:49.Sunday the team hopes the eellike robot can be used to help with
:08:50. > :08:58.Next, forget the selfie stick, so 2015, it's all about the
:08:59. > :09:05.Currently being crowd funded, the air selfie
:09:06. > :09:08.is a portable flying camera built into a mobile phone cover.
:09:09. > :09:12.And, as it's carried around with your mobile
:09:13. > :09:25.phone, never miss an opportunity for Internet narcissism ever again.
:09:26. > :09:28.If you're a fan of Metal Gear Solid, you might also be
:09:29. > :09:32.Considered the father of the stealth game genre.
:09:33. > :09:34.The Metal Gear franchise was a success at
:09:35. > :09:36.least in part thanks to his leadership.
:09:37. > :09:42.But now he's working on a new game called Death Stranding,
:09:43. > :09:48.which he showed to the world at the E3 video games
:09:49. > :09:59.We sent Stefan Powell, ace radio one news beat reporter,
:10:00. > :10:01.to meet Hideo Kojima in Japan and get an exclusive tour
:10:02. > :10:09.We're on our way to the studio now and
:10:10. > :10:12.it's been just over a year since he left Konami
:10:13. > :10:18.And we don't really know what he's been doing in that time.
:10:19. > :10:20.We know a little bit about his new project,
:10:21. > :10:24.Death Stranding, that's coming to the PlayStation
:10:25. > :10:35.Hopefully we get to find out a little bit
:10:36. > :10:40.glimpse into the future and what's come as well.
:10:41. > :10:42.Before that, though, there's the traditional gift
:10:43. > :10:54.I mean, what are you supposed to get a man
:10:55. > :10:56.who stood in front of a cabinet full of lifetime achievement awards?
:10:57. > :11:05.And I hear you are a bit of a Lego fan.
:11:06. > :11:09.Kojima isn't your average game designer.
:11:10. > :11:10.And this isn't your average office, either.
:11:11. > :11:15.Or your average company mascot, for that
:11:16. > :11:22.The man credited with changing the way many people approached game
:11:23. > :11:28.design is not taking his new venture lightly.
:11:29. > :11:31.He wants his next step is to be just as successful as his
:11:32. > :11:36.Clearing his mind of some of the negativity of recent years.
:11:37. > :11:41.Focusing instead on the future, new titles, new projects, and new ideas.
:11:42. > :11:43.TRANSLATION: I worked at my previous company
:11:44. > :11:45.for 30 years, and gained a
:11:46. > :11:49.But technology improves, the games market and the
:11:50. > :11:56.But what I do best, making games, does not really
:11:57. > :12:00.change, so I'm not worried about embarking on this new journey.
:12:01. > :12:02.The studio itself is pretty small, but
:12:03. > :12:05.has everything Kojima and his team need to crack on with the first
:12:06. > :12:13.The PlayStation 4 exclusive, Death Stranding.
:12:14. > :12:15.Details about which are still top secret.
:12:16. > :12:18.But whatever it turned out to be, he's
:12:19. > :12:26.TRANSLATION: We want this game to be something
:12:27. > :12:32.people can get into easily, but after they play for an hour or two
:12:33. > :12:37.they start to notice something a little different.
:12:38. > :12:39.It's something they haven't played before.
:12:40. > :12:40.Whenever I create something new, some people
:12:41. > :12:45.For example, when I first created a stealth game some people really
:12:46. > :12:49.wanted to just fight, so they didn't really like it.
:12:50. > :12:51.I want to create an experience that has the same effect
:12:52. > :12:55.The building up of his own studio is also a source of
:12:56. > :12:59.A journey that has been far more difficult than many would
:13:00. > :13:07.This tiny room was Kojima production's first office.
:13:08. > :13:09.Here he spent time not only designing Death
:13:10. > :13:15.Stranding, but refining his next big idea to change gaming as we know it.
:13:16. > :13:18.TRANSLATION: The way I see the future of
:13:19. > :13:20.gaming, think of it as
:13:21. > :13:23.All meshed together to create one type of
:13:24. > :13:28.The whistle-stop tour of Tokyo continues.
:13:29. > :13:32.Seeing the places that came between that first
:13:33. > :13:37.tiny room and the shiny new studio housing Kojima Productions today.
:13:38. > :13:40.It's a vision that has grown from a long love of technology.
:13:41. > :13:45.His association with Sony so important
:13:46. > :13:48.to the future of his new company is not something new, though.
:13:49. > :13:51.Here at their big tech exhibition in downtown Tokyo, he explains how
:13:52. > :13:54.technology of the past has had such a big impact on him.
:13:55. > :14:03.He says the first Metal Gear was made on this device.
:14:04. > :14:05.Looking back over the past raises questions of
:14:06. > :14:17.VR is often said to be the next big thing in gaming.
:14:18. > :14:19.Now this isn't VR like we know it now.
:14:20. > :14:22.But for Kojima, it's not so clear-cut.
:14:23. > :14:25.Do you think the games out there for VR at the moment are good
:14:26. > :14:29.enough to really sort of get the audience excited?
:14:30. > :14:32.TRANSLATION: It's easy in VR to try and do something
:14:33. > :14:43.scary, something from a high place, something erotic.
:14:44. > :14:45.But I think there's something beyond that.
:14:46. > :14:47.You can give people emotions that they haven't
:14:48. > :14:50.And can you tell us any of your ideas?
:14:51. > :14:52.So it looks like a Kojima virtual reality
:14:53. > :14:56.experience is not so far away, even if he will chair
:14:57. > :14:59.experience is not so far away, even if he won't share
:15:00. > :15:03.More proof that his appetite for making things is not on the
:15:04. > :15:07.The most revealing thing I've found during my
:15:08. > :15:08.time with Hideo Kojima is that still really
:15:09. > :15:11.time with Hideo Kojima is that he's still really
:15:12. > :15:12.passionate and enthusiastic about tech and gaming.
:15:13. > :15:15.He's got no plans to retire any time soon.
:15:16. > :15:16.In fact, he set himself a big challenge.
:15:17. > :15:20.He's changed gaming once, and now he plans doing it
:15:21. > :15:34.Playtime was never like this in my day.
:15:35. > :15:38.I've been taking a look at some of the latest toys hoping to light
:15:39. > :15:44.up the faces of children and grown-ups.
:15:45. > :15:46.And, inevitably, a few of them could be found at London's toy
:15:47. > :15:55.This looks like a drone in a cage and that's because it is.
:15:56. > :15:58.It's also a proof of concept for a toy
:15:59. > :16:01.that's going to be available later this year.
:16:02. > :16:03.Its inventor here is wearing this glove, which means you
:16:04. > :16:23.It all looks pretty simple, but I know
:16:24. > :16:24.you've been studying robotics for 15 years,
:16:25. > :16:27.so there's quite a bit more to this than meets the eye, isn't
:16:28. > :16:31.Once the science of gestures has been
:16:32. > :16:33.codified, and that's what we've been able to do,
:16:34. > :16:34.as you can imagine, we
:16:35. > :16:37.can bring all sorts of robotic toys out, and consumer devices.
:16:38. > :16:41.The brain itself is in the glove, in the
:16:42. > :16:43.And the algorithms embedded in the glove.
:16:44. > :16:46.The drone is merely a conduit for the gestures being
:16:47. > :16:50.There was also a clear trend towards giving kids a deeper level
:16:51. > :16:56.of control when it comes to toy gadgets.
:16:57. > :17:02.This is a robot that aims to help kids learn to code.
:17:03. > :17:08.They can operate it manually through the App,
:17:09. > :17:11.or set up sequences of the functions they'd like it to carry out.
:17:12. > :17:13.It looks pretty raw when you've got all
:17:14. > :17:23.these leads and buttons, so it really is giving kids a chance to
:17:24. > :17:26.I also recently got my hands on a drone that kids can
:17:27. > :17:29.programme, spending time tweaking code at a computer or using drag and
:17:30. > :17:33.I had a play around with some of the drone's functions.
:17:34. > :17:35.So maybe that shows who the real kid is.
:17:36. > :17:38.First of all I press W, which should get the drone up and running.
:17:39. > :17:41.This is a spot of that well-known activity, drone bowling.
:17:42. > :17:56.Yes, the skittles are down here on the floor.
:17:57. > :18:00.It's not just about flying, though, you
:18:01. > :18:04.To do that, you swap the wings for wheels.
:18:05. > :18:07.Last year we learned quite how much of an appetite there was
:18:08. > :18:26.And give the big kids a chance for some
:18:27. > :18:47.This gaming robot, much like virtual avatars,
:18:48. > :18:53.It's also customisable and upgradable, with the ability to add
:18:54. > :18:57.wheels or even take on another robot in the room.
:18:58. > :18:59.Or if you want to get yourself moving, how about a personal
:19:00. > :19:20.This prototype has limited functionality, but still
:19:21. > :19:32.Not that it fought too hard when I decided I'd had enough.
:19:33. > :19:34.Now, if you're a Cinefile, you know we
:19:35. > :19:38.have officially entered awards season.
:19:39. > :19:42.Yes, the red carpets, the speeches and the campaigning have
:19:43. > :19:50.Well, this year at Click, we've decided to give those
:19:51. > :19:52.wonderful magicians behind the camera, namely the visual
:19:53. > :19:53.effects artists, their proper due with a
:19:54. > :19:56.series of exclusive features on some of the most
:19:57. > :19:57.memorable films from the
:19:58. > :20:01.First up, a return to the wizarding world with BAFTA nominee
:20:02. > :20:05.Fantastic Beasts and Where to Find Them.
:20:06. > :20:07.Mr Scamander, do you know anything about the wizarding
:20:08. > :20:15.The earliest Potter film I worked on was the second
:20:16. > :20:20.Then went on to work on subsequent films for production.
:20:21. > :20:22.The big difference, I would say, now,
:20:23. > :20:26.doing Fantastic Beasts, for instance, was we were doing creature
:20:27. > :20:28.design in the computer from day one.
:20:29. > :20:32.We were animating creatures, showing David what they looked like.
:20:33. > :20:40.And getting into a developmental study through
:20:41. > :20:44.Just something we could never have done before so
:20:45. > :20:48.When we decided we didn't like it we could modify it and
:20:49. > :20:50.change it very quickly on the computer.
:20:51. > :20:55.We would model something up, in ZBrush, then very quickly
:20:56. > :20:57.think, that looks cool, let's stick a rig in it.
:20:58. > :21:00.So, sticking essentially the bones in to be able
:21:01. > :21:07.And we had quite worked up animation studies of
:21:08. > :21:09.a lot of stuff that just didn't make the film.
:21:10. > :21:12.We made simple models of the creatures, then brought in some
:21:13. > :21:18.Some of them were actually, the team who did
:21:19. > :21:20.Warhorse for instance, then we had a full-size erumpent puppet,
:21:21. > :21:27.And they were able to use that onset.
:21:28. > :21:30.And our guide was always what we've done in
:21:31. > :21:33.the computer in terms of the animated previews.
:21:34. > :21:35.It meant we could put something on set for Eddie
:21:36. > :21:38.Redmayne to react to or perform against.
:21:39. > :21:42.So the erumpent, 17 foot tall, 20 foot long, was able to be
:21:43. > :21:44.onset, and everybody could see how big it
:21:45. > :21:46.was and where she was on the
:21:47. > :21:49.set, then we could frame the camera for her and Eddie could play against
:21:50. > :21:54.One of the key things about this film was that you believe the
:21:55. > :21:58.If you believe the actor, and you believe the
:21:59. > :21:59.creature's there, that's what makes it work.
:22:00. > :22:02.When you see an actor and the eyeline isn't right, and
:22:03. > :22:05.the creature doesn't seem to be responding to them, you know there
:22:06. > :22:09.The niffler, ultimately, was a fairly tough
:22:10. > :22:16.A lot more close-up, I guess, than you would have done, for
:22:17. > :22:19.a lot longer than you would have done a few years ago.
:22:20. > :22:21.You look at the niffler and what makes him so
:22:22. > :22:24.animalistic and real is all that small breathing, all the secondary
:22:25. > :22:26.stuff, it is in the overall performance, it is all that
:22:27. > :22:30.That we put loads of work into, that you
:22:31. > :22:31.kind of think, God, really, do you notice?
:22:32. > :22:34.And it's like, no, you don't notice directly, but you do notice
:22:35. > :22:37.because we all look at human beings all the time.
:22:38. > :22:51.You've got a pretty big price on your head, Mr
:22:52. > :23:00.Gnarlak, our goblin, was, you know, a really
:23:01. > :23:06.Probably the most advanced digital humanoid type character I think
:23:07. > :23:12.I think Ron was fantastic to work with, he wore a
:23:13. > :23:14.performance patch, a headset, so he had
:23:15. > :23:16.17 facial markers on, doing the
:23:17. > :23:21.facial capture meant in our post-stage we were able to deliver
:23:22. > :23:24.That was just the pure capture applied to
:23:25. > :23:32.It was a massive leap in shading and the technology driving
:23:33. > :23:35.Whilst there is the animation, there are also all the
:23:36. > :23:37.systems we've created to help drive muscles, skin,
:23:38. > :23:46.All of that stuff's working up and up.
:23:47. > :23:50.Every film, we're pushing evermore, trying to get to that
:23:51. > :23:56.More Oscar hopefuls and special perfect
:23:57. > :24:02.Follow us on Twitter throughout the week.
:24:03. > :24:17.Thanks for watching and we'll see you soon.