0:00:28 > 0:00:33Few things say the future better than robots.
0:00:33 > 0:00:38We seem to be in an era of massive advances at the moment.
0:00:38 > 0:00:42This week, a leaked video from Boston Dynamics shows
0:00:42 > 0:00:45off its latest machine, called Handle, something its founder
0:00:45 > 0:00:51described as "nightmare-inducing".
0:00:51 > 0:00:58Rolling on with the wheel theme, Piaggio, known for its desperate
0:00:58 > 0:01:01Rolling on with the wheel theme, Piaggio, known for its vespa
0:01:01 > 0:01:05motorcycles, has revealed a new robot servant called Gita.
0:01:05 > 0:01:06This robo-suitcase follows its owner's every move,
0:01:06 > 0:01:13using cameras in its body and in the user's belt.
0:01:13 > 0:01:16But sometimes it's good to look at where we've come from.
0:01:16 > 0:01:18The Robots Exhibition at London's Science Museum
0:01:18 > 0:01:22is a 500-year history of humanity's attempts to create robots that
0:01:22 > 0:01:25resemble us and our behaviours.
0:01:25 > 0:01:28There are more than 100 robots here, including some old friends that
0:01:28 > 0:01:33we've met before.
0:01:33 > 0:01:36And this amazing swan, made from silver, is all the more
0:01:36 > 0:01:44incredible because it was made over 200 years ago, in 1773.
0:01:44 > 0:01:45It's incredibly fragile inside.
0:01:45 > 0:01:53One of the issues is, how do you get a machine that
0:01:53 > 0:01:54old to work.
0:01:54 > 0:01:57So we've had two weeks of highly esteemed conservation colleagues
0:01:57 > 0:01:58piecing things back together.
0:01:58 > 0:01:59How does it work?
0:01:59 > 0:01:59What's inside?
0:01:59 > 0:02:02You've got a whole series of these silver rings,
0:02:02 > 0:02:04almost stacked one on top of the other.
0:02:04 > 0:02:07They are designed to move as it moves as well.
0:02:07 > 0:02:09The earliest robots worked in a clockwork fashion.
0:02:09 > 0:02:10Clocks are the earliest self-regulating devices,
0:02:11 > 0:02:14so they are robots, effectively.
0:02:14 > 0:02:17If you accept that these clockwork creations are indeed robots,
0:02:17 > 0:02:25then you can also argue that the earliest robots were clocks.
0:02:25 > 0:02:29It was these mechanical marvels that made the Industrial Revolution
0:02:29 > 0:02:33possible, mobilising hundreds of workers to be at the same place
0:02:33 > 0:02:36at the same time, enabling goods to be transported,
0:02:36 > 0:02:38trains to run accurately, and allowing industry to become
0:02:38 > 0:02:42an efficient machine.
0:02:43 > 0:02:49The Industrial Revolution was also the catalyst for massive social
0:02:49 > 0:02:51change across the world, bringing about the rise
0:02:51 > 0:02:55of the working class, and sparking ideas like capitalism and Marxism.
0:02:55 > 0:03:01Now, in the West, Cuba found itself at the epicentre of this shift.
0:03:01 > 0:03:04It was the poster child for communism in the West,
0:03:04 > 0:03:10right in the back garden of the US, the heart of capitalism.
0:03:10 > 0:03:14Richard Taylor has been to Cuba to see how the island is now moving
0:03:14 > 0:03:17with the times.
0:03:20 > 0:03:23The iconic images are strikingly familiar.
0:03:23 > 0:03:25Cuba today still feels in some ways otherworldly,
0:03:25 > 0:03:31stuck in a 50s time warp.
0:03:33 > 0:03:36Life for most of its 11 million citizens is simple.
0:03:36 > 0:03:40They've been living in a state enforced digital wilderness.
0:03:40 > 0:03:45A decade ago, you needed a permit just to buy a PC.
0:03:45 > 0:03:49Today, if you're lucky enough to own a smartphone,
0:03:49 > 0:03:51chances are it's offline.
0:03:51 > 0:03:54There's no mobile data, so Cuban apps are designed to work
0:03:55 > 0:03:55without a connection.
0:03:55 > 0:03:58Until recently, even basic internet access could only be found
0:03:58 > 0:04:00at desktop computers inside state communication centres.
0:04:01 > 0:04:04Long queues persist but now people are coming to buy internet
0:04:04 > 0:04:08scratchcards which can finally get them online elsewhere.
0:04:09 > 0:04:11In this Havana park, small gatherings of Cubans
0:04:11 > 0:04:15are all enjoying the internet.
0:04:15 > 0:04:18But getting online is slow, unreliable and,
0:04:18 > 0:04:27perhaps unsurprisingly, censored.
0:04:27 > 0:04:30Luiz Rondon Paz is a self-proclaimed hack-tivist, and as a former
0:04:30 > 0:04:32government IT administrator, he knows the system well.
0:04:32 > 0:04:35Everything in Cuba is restricted, filtered, as the rest of the world.
0:04:36 > 0:04:37Basically, they censor everything that might
0:04:37 > 0:04:41threaten government power.
0:04:41 > 0:04:43It might be porn, gay, or political things.
0:04:43 > 0:04:45Basically, most political things.
0:04:45 > 0:04:48But the biggest barrier for locals - the price.
0:04:48 > 0:04:50A single hour of full web access costs $2,
0:04:50 > 0:04:54three days' salary.
0:04:54 > 0:05:01They don't have the time to see what's the internet,
0:05:01 > 0:05:05really, because of the price of the internet.
0:05:05 > 0:05:08And they push them to do what they need to do,
0:05:08 > 0:05:11which is Facebook, communicate with their families and make
0:05:11 > 0:05:12a free phone call.
0:05:12 > 0:05:17The government says expanding the internet is a priority
0:05:17 > 0:05:20and central Havana is now conducting trials of in-home net access
0:05:20 > 0:05:22for 2000 properties.
0:05:22 > 0:05:25And it boasts of a growing number of public wifi hotspots,
0:05:25 > 0:05:27too, around 300 in total, and growing.
0:05:27 > 0:05:32Still, not exactly blanket coverage for a country 700 miles wide.
0:05:32 > 0:05:36Cuba blames its ageing communications network
0:05:36 > 0:05:40on the six-decade old trade embargo with the US.
0:05:40 > 0:05:43Critics say that's a convenient excuse for a communist state that
0:05:43 > 0:05:47fears losing control over information.
0:05:47 > 0:05:49Relations with America are now at best uncertain
0:05:49 > 0:05:51in the post-Obama era.
0:05:52 > 0:05:55In the aftermath of the President's historic visit here two years ago,
0:05:55 > 0:05:57prospects for American companies doing digital business
0:05:57 > 0:05:59on the island have improved.
0:06:00 > 0:06:02Amongst them, Google, company boss Eric Schmidt inking
0:06:03 > 0:06:06a deal in December that gives Cubans fast access to content from services
0:06:06 > 0:06:11like YouTube and Gmail.
0:06:11 > 0:06:13The thing is, when you are running an internet-based business,
0:06:13 > 0:06:17the last thing you want to do is traipse across town
0:06:17 > 0:06:18to find a connection.
0:06:18 > 0:06:21So some Cubans who are fed up with the government strategy
0:06:21 > 0:06:25on access have come up with inventive solutions.
0:06:25 > 0:06:28The results are found on rooftops in towns and cities
0:06:28 > 0:06:30across the nation in the form of pole-mounted antennae
0:06:30 > 0:06:33which are pointed towards the local communications centre,
0:06:33 > 0:06:36giving them internet access and even wifi.
0:06:36 > 0:06:44The practice isn't exactly legal but as I discovered that minor
0:06:44 > 0:06:47detail doesn't deter Cubans from getting their information fix.
0:06:47 > 0:06:49This is the paquete semanal, literally the weekly packet.
0:06:49 > 0:06:54It refers to a highly organised service in back streets and front
0:06:54 > 0:06:56rooms across the country, giving locals content downloaded
0:06:56 > 0:06:59often only hours earlier via satellite.
0:06:59 > 0:07:00There's pirated movies, news shows, documentaries,
0:07:00 > 0:07:03dramas, magazines and mobile apps.
0:07:03 > 0:07:07It's hugely popular with customers who can fill their USB drives
0:07:07 > 0:07:09with an entire terabyte, hundreds of hours, for the price
0:07:10 > 0:07:17of a single hour online.
0:07:17 > 0:07:20And the rise of the paquete is the price the Cuban regime itself
0:07:21 > 0:07:23is paying, a reaction to the state dogma of keeping
0:07:23 > 0:07:24its people restricted.
0:07:24 > 0:07:27Cuban authorities should be less afraid of the free flow
0:07:28 > 0:07:35of information because the need for information is a hunger.
0:07:35 > 0:07:37People need information and people will get information,
0:07:37 > 0:07:40no matter if you are going to provide it or not.
0:07:40 > 0:07:42There is a political need to understand differently
0:07:42 > 0:07:43what the internet means.
0:07:43 > 0:07:46Progress is undoubtedly too slow for many Cubans.
0:07:46 > 0:07:49But recent overtures do at least give some people
0:07:49 > 0:07:51here cause for hope.
0:07:53 > 0:07:56Hello and welcome to The Week In Tech.
0:07:56 > 0:08:00It was the week that Samsung's Chinese factory supplying
0:08:00 > 0:08:05batteries for the ill-fated Galaxy Note 7 suffered a blaze.
0:08:05 > 0:08:07Luckily no one was hurt.
0:08:07 > 0:08:10Twitter announced its new anti-abuse policy, which will introduce safe
0:08:10 > 0:08:13search, collapse potentially troubling replies and aims
0:08:13 > 0:08:19to prevent abusive accounts being reopened.
0:08:19 > 0:08:22And YouTube is launching live video streaming from their mobile app
0:08:22 > 0:08:25but only for channels with over 10,000 subscribers.
0:08:25 > 0:08:28Uber have employed a former Nasa engineer and are working
0:08:28 > 0:08:32on a flying car.
0:08:32 > 0:08:38Yes, a flying car, that they say could be ready in five years.
0:08:38 > 0:08:40Although there are a few obstacles to overcome,
0:08:40 > 0:08:42like the authorities allowing them to actually fly.
0:08:42 > 0:08:46We've seen a few ideas of how to take quad copter drones out
0:08:46 > 0:08:49of the sky but here is something for heavier duty drones.
0:08:49 > 0:08:57Project Sidearm has been developed by the Pentagon's research wing.
0:08:57 > 0:09:00It aims to safely grab unmanned aerial vehicles from airspace
0:09:00 > 0:09:01using a crane type setup.
0:09:01 > 0:09:04And finally, there's a new way of finding love,
0:09:04 > 0:09:06by sharing hate.
0:09:06 > 0:09:15New dating app Hater matches users by the things that rile them,
0:09:15 > 0:09:16with topics including bad pavement etiquette,
0:09:17 > 0:09:18rent costs, and even politicians.
0:09:18 > 0:09:22I'm sure that first date will be a laugh a minute.
0:09:25 > 0:09:28There are plenty of friendly faces at the Robots Exhibition
0:09:28 > 0:09:33at London's Science Museum.
0:09:33 > 0:09:37There are some which are different enough to look
0:09:37 > 0:09:38unthreatening and lovable.
0:09:38 > 0:09:42And there are some, well, some really quite unnerving.
0:09:43 > 0:09:47Currently, the European Commission is considering the ethical issues
0:09:47 > 0:09:51that robots raise, including whether they should have a kill
0:09:51 > 0:09:54switch, whether they should have rights, and whether they should be
0:09:54 > 0:09:57considered as electronic persons.
0:09:57 > 0:10:03And what about those ethical, or even life or death decisions?
0:10:03 > 0:10:06This is a representation of an experiment in which one robot
0:10:06 > 0:10:09was programmed to save one of two smaller bots from falling
0:10:09 > 0:10:12down a hole.
0:10:12 > 0:10:16If one was in more danger than the other, their big brother
0:10:16 > 0:10:17would save it.
0:10:17 > 0:10:21However, if both smaller robots were equally in danger,
0:10:21 > 0:10:24big bro would often freeze with indecision.
0:10:24 > 0:10:26In that split second where the robot is going,
0:10:26 > 0:10:29"Oh, no, there is an equal chance of both dying,
0:10:29 > 0:10:31I don't know what to do", something kicks in,
0:10:31 > 0:10:32in the human brain.
0:10:32 > 0:10:35We are drawing on our attachment to the things that
0:10:35 > 0:10:39might need saving.
0:10:39 > 0:10:42We're drawing on maybe a set of moral beliefs or values.
0:10:42 > 0:10:46We're not entirely sure what is going on in there but we can
0:10:46 > 0:10:48do what feels right in that moment.
0:10:48 > 0:10:54So, for now, robot ethics raise more questions than they answer.
0:10:54 > 0:10:58But while robots are learning how to avoid causing real harm,
0:10:58 > 0:11:01some humans seem way ahead in causing virtual harm.
0:11:01 > 0:11:07In video games at least.
0:11:07 > 0:11:10Sword fighting game For Honour is an unusual medieval mash up
0:11:10 > 0:11:12which pits knights, Vikings and samurais against one another.
0:11:12 > 0:11:30This is Bodiam Castle.
0:11:30 > 0:11:33What better place to come and get hands-on with a video game
0:11:33 > 0:11:34all about swordplay than here?
0:11:34 > 0:11:42There's just one thing preventing that from happening, though.
0:11:42 > 0:11:45At 6ft nine, and weighing nearly 30st, Icelandic strongman Thor
0:11:45 > 0:11:47is this closest thing the game creators could find
0:11:47 > 0:11:48to a Viking warrior.
0:11:48 > 0:11:52Fans of Game of Thrones will be familiar with him as Sir Gregor,
0:11:52 > 0:11:55better known as the Mountain.
0:11:59 > 0:12:02In order to play the game, it's going to be a case of Mark
0:12:02 > 0:12:04versus the Mountain in a series of challenges.
0:12:05 > 0:12:08The game allows players to assume the role of a range of different
0:12:08 > 0:12:10characters, from heavy hitting, muscle-bound warriors,
0:12:10 > 0:12:11to nimble lightweight assassin-type characters.
0:12:11 > 0:12:14But in the real world, how important is brute strength?
0:12:14 > 0:12:16Well, if a warrior can't even lift their weapon,
0:12:16 > 0:12:18how are they going to fight with it?
0:12:19 > 0:12:21So a test of strength against a guy who competes
0:12:21 > 0:12:22in the World's Strongest Man.
0:12:22 > 0:12:24Sure, I can do that. All right.
0:12:24 > 0:12:27Hold on. I've got to hold it here, yeah?
0:12:27 > 0:12:28Right, get into position. Fantastic.
0:12:28 > 0:12:30Like this. Hold it as long as possible.
0:12:30 > 0:12:33OK, I think I'm doing all right. Straighten your arm.
0:12:33 > 0:12:34Straight. Oh, my word.
0:12:34 > 0:12:36That is really... Straighten your arm.
0:12:36 > 0:12:37Come on! Hold it.
0:12:37 > 0:12:37It's gone.
0:12:37 > 0:12:40Excuse me while I go and have a lie down.
0:12:40 > 0:12:42I think I've pulled something.
0:12:42 > 0:12:52Oh, my word. You captured zone A.
0:12:55 > 0:12:58You captured zone A.
0:12:58 > 0:12:59Next up, combat.
0:12:59 > 0:13:02Medieval warriors didn't have to worry about health and safety.
0:13:02 > 0:13:04We do, so plastic goggles are on.
0:13:04 > 0:13:06Fortunately, my opponent is made of straw.
0:13:06 > 0:13:10My task is to do as much damage to this dummy with this sword
0:13:10 > 0:13:15as I possibly can.
0:13:15 > 0:13:20En guard!
0:13:20 > 0:13:23That's not bad.
0:13:23 > 0:13:25No good.
0:13:25 > 0:13:28I'll show you how it's done.
0:13:35 > 0:13:39So the second round belongs to Thor, but I think the tide may
0:13:39 > 0:13:40turn in round three.
0:13:40 > 0:13:44Thor has bested me in a test of strength and in martial skills.
0:13:44 > 0:13:46However, this is my arena.
0:13:46 > 0:13:51Welcome to my dojo.
0:13:51 > 0:13:53So we're going to have a one-on-one duel.
0:13:53 > 0:13:55His character is, of course, a Viking.
0:13:55 > 0:13:58Mine is a medieval knight.
0:13:58 > 0:14:01The match will be best of five.
0:14:01 > 0:14:04When it comes to getting hands-on with the game,
0:14:04 > 0:14:08there's not a chance that the big fella is going to beat me.
0:14:08 > 0:14:13Or is there?
0:14:13 > 0:14:15This is not filling me with confidence here.
0:14:15 > 0:14:16Game face.
0:14:16 > 0:14:19Game face on.
0:14:19 > 0:14:20Here we go.
0:14:20 > 0:14:27This is a bit more like it.
0:14:27 > 0:14:30The thing about this game is you can't just button bash.
0:14:30 > 0:14:32You won't get very far at all.
0:14:32 > 0:14:38It's got a very fluid combat system.
0:14:39 > 0:14:42At the heart of it is matching the stance of your opponent
0:14:42 > 0:14:45and countering it.
0:14:45 > 0:14:47You have to think a little bit more tactically.
0:14:47 > 0:14:50How do you like the taste of them apples?
0:14:50 > 0:15:02Bring it.
0:15:02 > 0:15:03Flipping heck.
0:15:03 > 0:15:07He did me in about two hits.
0:15:07 > 0:15:10I've got the upper hand, I've got the upper hand!
0:15:10 > 0:15:16I actually won.
0:15:16 > 0:15:21I will see you, sir, in Valhalla!
0:15:21 > 0:15:23Thank you, Thor, that was a very challenging game indeed.
0:15:23 > 0:15:27We are in the middle of nowhere and if I could ask you for one
0:15:27 > 0:15:29favour, that would be great.
0:15:29 > 0:15:32Can I get a lift back to London?
0:15:32 > 0:15:33Sure, why not?
0:15:33 > 0:15:39Come on, jump on.
0:15:39 > 0:15:42I had thought of a slightly different sort of lift,
0:15:42 > 0:15:48but there you go.
0:16:00 > 0:16:11Ever wondered what cats get up to when no one's there?
0:16:11 > 0:16:14Meet Roxy and Zara, who seemed agreeable to taking part
0:16:14 > 0:16:20in some gadget testing.
0:16:21 > 0:16:23Sorry.
0:16:23 > 0:16:26If you've ever wanted to watch, talk to or even play with your cats
0:16:26 > 0:16:29when you're not with them, then this could help.
0:16:29 > 0:16:32Once the device is connected to your home wifi, you can
0:16:32 > 0:16:36login anywhere you can get your phone online.
0:16:36 > 0:16:39There's a laser game to play, snacks at the tap of an icon,
0:16:39 > 0:16:47and a function to proudly make and share videos and cat snaps.
0:16:47 > 0:16:56This rather unusual looking setup works in quite a similar way.
0:16:56 > 0:16:59There's a camera so you can see the cats remotely.
0:16:59 > 0:17:01Also the ability to give them food wherever you are.
0:17:01 > 0:17:04Plus this toy, which is apparently something that cats
0:17:04 > 0:17:11might like to play with.
0:17:11 > 0:17:13Zara and Roxy were possibly slightly intimidated by the jolting
0:17:14 > 0:17:16of the feathery thing, and the app was extremely
0:17:16 > 0:17:25temperamental, making setup a rather tedious experience.
0:17:25 > 0:17:29But when it came to the cat reactions, maybe us being there
0:17:29 > 0:17:32was a distraction for them, so there's a chance the devices
0:17:32 > 0:17:39could have fared better if they were home alone.
0:17:39 > 0:17:41I think the food dispenser, if they'd been hungry,
0:17:41 > 0:17:42might have attracted more interest.
0:17:42 > 0:17:46They found the whole thing a little bit unsettling.
0:17:46 > 0:17:49This smart collar has been around a little while now
0:17:49 > 0:17:57and is available for cats and dogs.
0:17:57 > 0:17:59It allows owners to keep an eye on temperature,
0:17:59 > 0:18:01pulse, breathing rate, heart rate variability and even
0:18:02 > 0:18:04the positions a pet is in, so could be particularly beneficial
0:18:05 > 0:18:08if there are health concerns or an injury to keep an eye on.
0:18:08 > 0:18:15Don't worry, it's OK.
0:18:15 > 0:18:19I know my friend's cats are not willing to wear any sort of collar
0:18:19 > 0:18:21and I have to say this one is pretty large.
0:18:21 > 0:18:25Look how much bigger than a cat I am, and my activity
0:18:25 > 0:18:28tracker is only this size, so I can see it could be
0:18:28 > 0:18:38a little bit intimidating.
0:18:38 > 0:18:41Meanwhile, there seems to be a game of cat and mouse
0:18:41 > 0:18:44going on here, the latter played by a remote control rodent.
0:18:44 > 0:18:46Although it actually consists of the cat being chased
0:18:46 > 0:18:50by the mouse, which probably says it all about my day's filming.
0:18:50 > 0:18:53That was Lara, and this is Maria, the first blockbuster robot
0:18:53 > 0:18:56from the ground-breaking 1927 film Metropolis.
0:18:56 > 0:18:59The visual effects in that movie were absolutely stunning,
0:18:59 > 0:19:01given that it is actually 90 years old.
0:19:01 > 0:19:04Next, we are going to continue our look at some
0:19:04 > 0:19:12of the visual effects behind the latest blockbuster movies.
0:19:12 > 0:19:15We have Adam Valdes, BAFTA and Oscar nominee,
0:19:15 > 0:19:18to tell us more about the visual effects he used to bring back
0:19:18 > 0:19:28to life The Jungle Book.
0:19:28 > 0:19:31A lot of people have asked me, "Why would you do a movie
0:19:31 > 0:19:35in the jungle and not just go to the jungle, or some jungle,
0:19:35 > 0:19:37some set that plays for a jungle"?
0:19:37 > 0:19:40And I think the real answer is, you can't find the place
0:19:40 > 0:19:42in reality that we've made, you know.
0:19:42 > 0:20:01We made something special.
0:20:01 > 0:20:03Every time you see the world in Jungle Book, someone
0:20:04 > 0:20:06has fabricated plants, trees, the dead twigs and leaves
0:20:06 > 0:20:07on the floor, all of it.
0:20:07 > 0:20:11And it's only really when this around around him makes him feel
0:20:11 > 0:20:14present within it that the magic trick comes off, that you believe
0:20:14 > 0:20:18that this is just a photograph, that we went somewhere and shot it.
0:20:18 > 0:20:22So we take a shot like Mowgli saying goodbye to his mother and we say,
0:20:22 > 0:20:24John really wants some sort of physical contact.
0:20:24 > 0:20:27It needs to be an intimate moment, their eyes need to be
0:20:27 > 0:20:36locked onto each other.
0:20:37 > 0:20:40We can't have a feeling that he's acting to a tennis ball,
0:20:40 > 0:20:41a stick or some marker.
0:20:41 > 0:20:43We really need to feel the scene emotionally.
0:20:43 > 0:20:46You can locate the positions of his hands, the puppet
0:20:46 > 0:20:47for the mother wolf.
0:20:47 > 0:20:50And we can track it really carefully in three dimensions
0:20:50 > 0:20:51with our computer software.
0:20:51 > 0:20:53That way we make sure the contact is correct,
0:20:53 > 0:20:56and then we simulate the fur on the mother's neck.
0:20:56 > 0:20:59And we actually replace the better part of his hand
0:20:59 > 0:21:03with the digital double of his hand, so that the CG hand and the CG fur
0:21:03 > 0:21:06of the mother wolf are actually in the computer together,
0:21:06 > 0:21:09and when we put our lighting on that and create the final images,
0:21:09 > 0:21:21they really look connected.
0:21:21 > 0:21:24The magic trick is blending the hand into his arm.
0:21:24 > 0:21:28It's easy to focus on the fact that we pulled off two main things,
0:21:28 > 0:21:31these talking animals that people felt emotions from and this complete
0:21:31 > 0:21:343D world we had to create, and that those two things
0:21:34 > 0:21:35are really major accomplishments.
0:21:35 > 0:21:37Starting off, I did not know if either of them
0:21:37 > 0:21:38were going to work.
0:21:38 > 0:21:41The very first time I combined photography of Mowgli
0:21:41 > 0:21:43with a digital background, the background was grey,
0:21:43 > 0:21:52not even photo realistic.
0:21:52 > 0:21:54But it was just seeing an image come together
0:21:54 > 0:21:58where we had planned a shot, filmed it, brought it home, put it
0:21:58 > 0:21:59together with the digital world.
0:21:59 > 0:22:01The kid was walking along this curvy branch.
0:22:01 > 0:22:03And he looked like he was there.
0:22:03 > 0:22:06And I thought to myself, "OK, maybe this is going to work".
0:22:07 > 0:22:09You know, "Maybe he's really going to look
0:22:09 > 0:22:14like he's in this world".
0:22:14 > 0:22:16The render power required to generate a movie like this,
0:22:16 > 0:22:20I think it was 240 million renderer hours, or something like that.
0:22:20 > 0:22:23Which means if it was one computer it would have taken 3000 years,
0:22:23 > 0:22:25some number like that.
0:22:25 > 0:22:28These individual frames that you see can be 40, 50,
0:22:28 > 0:22:3460 hours on a computer just rendering one frame.
0:22:34 > 0:22:38The difference between a video game and our imagery is that the video
0:22:38 > 0:22:41game uses hardware on your computer to generate in real-time an image.
0:22:41 > 0:22:43And they are amazing, what they are doing.
0:22:43 > 0:22:46To go from there, however, to complete fool your brain,
0:22:46 > 0:22:48fool your eye realism, requires quite a lot more
0:22:48 > 0:22:50computation, because you're simulating the behaviour
0:22:50 > 0:23:02of materials and light.
0:23:02 > 0:23:04And that has come so far in the last five years.
0:23:04 > 0:23:08I think we'll see more and more imagery where we really start to not
0:23:08 > 0:23:11be able to tell the difference between something that's
0:23:11 > 0:23:18computer-generated and real.
0:23:18 > 0:23:21And that can be a little spooky in one sense,
0:23:21 > 0:23:26but it's pretty fascinating for creative people.
0:23:36 > 0:23:39That was Adam Valdes on the magic behind the Jungle Book.
0:23:39 > 0:23:41And that's it from Robots at the London Science Museum.
0:23:41 > 0:23:45I'll put a load of photos up on Twitter for you to browse
0:23:45 > 0:23:47through at BBC Click.
0:23:47 > 0:23:48Thanks for watching and, yeah...
0:23:49 > 0:24:18We'll be back.
0:24:18 > 0:24:18Hi there.