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This week: waterfalls in Lyons, big screens, and the attack of the | :00:00. | :00:22. | |
Australian box. We first meet Team Lab, | :00:23. | :00:41. | |
the 400-strong digital art The team of artists programmers, | :00:42. | :00:48. | |
engineers, CG animators, mathematicians and the like, | :00:49. | :00:55. | |
love to make an impact and here at the Pace London gallery, | :00:56. | :00:58. | |
they're presenting eight As with the work in Tokyo, | :00:59. | :01:02. | |
the idea here combines motion censors and the projectors, | :01:03. | :01:09. | |
which means you have a completely interactive piece that | :01:10. | :01:12. | |
you can touch and change. The whole room has been fully | :01:13. | :01:22. | |
calibrated so the censors can detect where everyone in the installation | :01:23. | :01:26. | |
is really, really accurately. The artwork, the project, | :01:27. | :01:31. | |
the projections, The pictures really do react | :01:32. | :01:35. | |
to whatever you do while you're This room is called | :01:36. | :01:44. | |
Flowers Bloom On People. With no-one in here, | :01:45. | :02:00. | |
it's just a black room but if you sit around for a few | :02:01. | :02:03. | |
minute, you'll find that nature Now I would say this is pretty | :02:04. | :02:07. | |
cutting-edge projectector technology but Marc Cieslak has assured me | :02:08. | :02:18. | |
he can give this a run This is a home entertainment concept | :02:19. | :02:22. | |
from Razor, a company most famous for manufacturing gaming PCs, | :02:23. | :02:33. | |
covering more lights than Blackpool The concept makes use of coloured | :02:34. | :02:36. | |
lights and projected image, working together in | :02:37. | :02:42. | |
synchronised harmony. What we have here is a concept | :02:43. | :02:46. | |
lighting rig, which is key So the lights in this room | :02:47. | :02:49. | |
will change colour depending on what's happening but it's only | :02:50. | :02:54. | |
part of what's going on. So if I just hit this button here, | :02:55. | :02:57. | |
we get the largest screen And that giant screen size is thanks | :02:58. | :03:01. | |
to a pretty expensive The projector is fitted with a 155- | :03:02. | :03:16. | |
degree fish eye lens, combined with two depth sensing | :03:17. | :03:25. | |
cameras that scans the rooms for objects and furniture, | :03:26. | :03:28. | |
and the system adjusts the image to prevent it from | :03:29. | :03:32. | |
becoming distorting. So the idea is that by having | :03:33. | :03:40. | |
a screen that envelopes, the peripheral vision of the viewer, | :03:41. | :03:43. | |
you really feel like you're thrown inside the action, | :03:44. | :03:46. | |
and it is surprisingly effective. At the moment, this system remains | :03:47. | :03:49. | |
a concept but Razor has hinted it And now robots. One of the big users | :03:50. | :04:16. | |
is to go to places and do work that is not safe for humans. But when | :04:17. | :04:25. | |
Nick wanted to see the situation on a packed ice island in Australia, we | :04:26. | :04:31. | |
completely believed him... But this is his story. Off the coast of | :04:32. | :04:42. | |
Brisbane, Queensland, Serena and beauty. --A Serena beauty. But for | :04:43. | :05:00. | |
over 60 years it was a prison. In 907, -- 19 seven, it was a colony | :05:01. | :05:10. | |
fall leprosy. Hundreds from the mainland was sent here in ex- for a | :05:11. | :05:16. | |
life sentence, with over half dying in isolation. Since closing in the | :05:17. | :05:23. | |
late 50s, many of the unique buildings have fallen into | :05:24. | :05:28. | |
disrepair. It has been tersely eaten by termites. The only thing keeping | :05:29. | :05:37. | |
it up is the roof. The majority of the buildings are death trap, it too | :05:38. | :05:43. | |
dangerous for people to enter. So this group of architectural and | :05:44. | :05:51. | |
robotics expert are developing ways to preserve the building digitally. | :05:52. | :05:57. | |
We are using a lot of different kind of equipment. -- clients. This six | :05:58. | :06:11. | |
leg it best is designed to go into building is too dangerous for | :06:12. | :06:17. | |
humans. With nimble limbs, it should trade -- transfers all sorts of the | :06:18. | :06:29. | |
rain. It is a work in progress. The team are developing ways for it to | :06:30. | :06:35. | |
feel the ground around it and detect for itself if the floor is safe | :06:36. | :06:42. | |
enough to walk on. In the meantime, this has been built from the bottom | :06:43. | :06:50. | |
up. It is all modular. We can we design as we go. We should be able | :06:51. | :06:57. | |
to generate a real-time map as the robot drives through. Depending on | :06:58. | :07:07. | |
what kind of image you want, for example if you have another system, | :07:08. | :07:13. | |
depending on the conditions, you could add things. And, of course, | :07:14. | :07:24. | |
they have a drone, equipped with her sense to scan the island from above. | :07:25. | :07:31. | |
Covering is this a clearing in 14 minutes and that will have all of | :07:32. | :07:35. | |
this area mapped from above to walk it and capture all the low staff. | :07:36. | :07:41. | |
You're looking at half an hour, 40 minutes. Technology really allow us | :07:42. | :07:49. | |
to capture the changing, fragile, remote and degrading site really | :07:50. | :07:54. | |
quickly which is incredibly important because it is falling | :07:55. | :07:59. | |
apart before our very eyes. It is an incredible example of inbuilt racism | :08:00. | :08:06. | |
in architecture. This was the only example of segregation and it is | :08:07. | :08:12. | |
important to understand the story and acknowledge it is part of our | :08:13. | :08:15. | |
history. You cannot imagine sitting around here for 30 years, trapped on | :08:16. | :08:26. | |
an island. Walking around here is really quite eerie to see how people | :08:27. | :08:32. | |
were forced to live in these conditions against their will. You | :08:33. | :08:36. | |
can see that inequality straightaway between how the whites lived and | :08:37. | :08:44. | |
their purpose-built houses and nice patio and a lovely sea view and how | :08:45. | :08:49. | |
everyone else, the nonwhites had to sleep. Sometimes four or five to | :08:50. | :09:01. | |
just the shed. Galvanised iron. The government did not take too much | :09:02. | :09:07. | |
notice of the aborigines. We need to look down into the ground and | :09:08. | :09:13. | |
cemeteries for ground penetrating technology, because we do not know | :09:14. | :09:19. | |
how many people are buried. We do not know who they are that it would | :09:20. | :09:24. | |
be nice to note just how many and where they are also full of leaving | :09:25. | :09:28. | |
the island I feel I have little of what it was like to live there. The | :09:29. | :09:32. | |
team want to share that experience with others. They want to present | :09:33. | :09:37. | |
their findings in virtual reality to educate new generation is about this | :09:38. | :09:43. | |
part of Australia's past. The hope is that what they learn here will | :09:44. | :09:52. | |
also help future technology and perhaps one day it could save lives. | :09:53. | :10:04. | |
Hello and welcome to the week in Tech. Facebook announced its app to | :10:05. | :10:13. | |
play videos on your TV. A new C five was born. And a newly opened it | :10:14. | :10:21. | |
cybersecurity Centre, the idea slammed off using long complicated | :10:22. | :10:25. | |
passwords. And talking of remembering numbers... Remember | :10:26. | :10:33. | |
Nokia? Let them help you with the remake of an old model. Exclusive | :10:34. | :10:40. | |
rights to the brand will launch in March. It is famed for great battery | :10:41. | :10:50. | |
life, easy usage. Phones in Holland could be a step closer after the | :10:51. | :10:59. | |
Dutch improve traffic lights. . Some would rather chance of death and | :11:00. | :11:06. | |
look up. This time, more news for your hair. The unseen says this is | :11:07. | :11:13. | |
the first air dye that changes colour depending on the temperature. | :11:14. | :11:19. | |
Remarkably, that semi- permanent pigment is still looking for | :11:20. | :11:27. | |
commercial partners. In Dubai, passenger journeys for this summer. | :11:28. | :11:31. | |
This automatically flies to destinations depending on one person | :11:32. | :11:37. | |
and depending on weight, their bag and swell. Now, we have often talked | :11:38. | :11:45. | |
about virtual reality and self driving cars on the show but this | :11:46. | :11:51. | |
week, we take a trip to see how some are put to impressive purposes. | :11:52. | :11:55. | |
Oh, I can see lightings and stuff playing. | :11:56. | :11:57. | |
I've been discovering some of the the latest ways | :11:58. | :12:00. | |
that the technology is being used to help the visually impaired. | :12:01. | :12:03. | |
It all starts with a spot of virtual reality. | :12:04. | :12:06. | |
It just made me so, it was happiness but it made me cry and I just | :12:07. | :12:19. | |
I'd been without full sight for so many years and then | :12:20. | :12:26. | |
all of a sudden I could see things that I hadn't seen for 30 years. | :12:27. | :12:34. | |
Here at the Beacon Centre, a charity supporting those | :12:35. | :12:39. | |
with sight loss, an interesting trial is taking place. | :12:40. | :12:42. | |
It seems some people can see things in VR they could never see | :12:43. | :12:47. | |
Yes. Oh, no, he's there now! | :12:48. | :12:59. | |
I'd never expected it but when they put the head set on, | :13:00. | :13:05. | |
I mean there was giraffes, coming up and looking at me! | :13:06. | :13:10. | |
What would you say to other people with a similar level of vision | :13:11. | :13:14. | |
to you about the experience of being able to do this | :13:15. | :13:17. | |
Oh, if you've got the chance, you have to have a go. | :13:18. | :13:22. | |
I mean I know it's not full sight, because you've got to wear | :13:23. | :13:28. | |
a machine, I'm not saying, that but to give you the experience, | :13:29. | :13:31. | |
There are a wide range of conditions that cause sight loss. | :13:32. | :13:42. | |
The nature of which can vary hugely, and even for those with similar | :13:43. | :13:45. | |
problems, the benefits of the VR have varied. | :13:46. | :13:50. | |
By along with the University of Wolverhampton, experts are trying | :13:51. | :13:53. | |
to understand how this is possible at all. | :13:54. | :13:57. | |
What we found quite quickly is that people who had central loss, | :13:58. | :14:00. | |
macular type conditions, as they are called, are the ones | :14:01. | :14:03. | |
Where they still had peripheral vision and whether that peripheral | :14:04. | :14:08. | |
vision is so stimulated as to fill in the gaps, | :14:09. | :14:10. | |
or, whatever wee don't understand yet, is it because it's so close? | :14:11. | :14:14. | |
Is it because there are still sight receptive cells in the centre | :14:15. | :14:18. | |
of the vision, so that when they're stimulated enough, | :14:19. | :14:20. | |
that they will fire and therefore create the vision? | :14:21. | :14:23. | |
There's a whole host of things we're still trying to explore | :14:24. | :14:27. | |
If I could use that when my daughter's doing her school plays | :14:28. | :14:37. | |
or she's singing in the choir, I could never pick out | :14:38. | :14:40. | |
who she was or what she was doing, or be able to see what you are | :14:41. | :14:44. | |
seeing and that could really be quite life changing. | :14:45. | :14:50. | |
But however clear the virtual world may seem, finding ways to ease | :14:51. | :14:53. | |
Temporary footway in road. Five to 10 metres. | :14:54. | :15:03. | |
There are eye beacons built in here that connect this | :15:04. | :15:09. | |
to the mobile app, so if somebody is approaching and they have the app | :15:10. | :15:13. | |
installed in their phone, they will receive an alert to let | :15:14. | :15:16. | |
them know about the roadworks and how best to approach them. | :15:17. | :15:20. | |
And for someone like Louise with two young kids, | :15:21. | :15:23. | |
this smart street furniture could make all the difference. | :15:24. | :15:25. | |
Because it tells you which way to go, so it can still in my pocket | :15:26. | :15:31. | |
I can have their hands, one in each, and I can hear the voiceover, | :15:32. | :15:34. | |
so it will say something like the pedestrian crossing | :15:35. | :15:37. | |
It's there for three days or however long. | :15:38. | :15:42. | |
So if I do the school run the same day, I know exactly where it's | :15:43. | :15:47. | |
going to be, I have done that walk yesterday. | :15:48. | :15:49. | |
Also this week, big claims from a company that say their smart | :15:50. | :15:52. | |
glasses can give the legally blind 20/20 vision. | :15:53. | :15:56. | |
As well as being able to stream content, they've captured the user's | :15:57. | :16:00. | |
surroundings, converting them into a form, they say, | :16:01. | :16:02. | |
is easier to identify for those with limited vision. | :16:03. | :16:05. | |
Sadly we couldn't put a pair to the test just yet, | :16:06. | :16:11. | |
and it's early days for much of what is being trialled | :16:12. | :16:14. | |
here but the possibilities are certainly looking good. | :16:15. | :16:21. | |
Now, virtual reality has been grabbing all the headlines in recent | :16:22. | :16:27. | |
years but don't forget augmented reality. | :16:28. | :16:33. | |
Now, this is the idea of projecting computer generated images on top | :16:34. | :16:37. | |
A bit like this but in a pair of glasses. | :16:38. | :16:43. | |
Well, a small band of augmented reality pioneers have been really | :16:44. | :16:46. | |
Here's Marc again with some pretty classy eyewear. | :16:47. | :16:54. | |
These augmented reality glasses are basically a wearable computer. | :16:55. | :16:58. | |
For the last couple of years, augmented reality specs have been | :16:59. | :17:01. | |
used primarily in an industrial setting or in the workplace. | :17:02. | :17:05. | |
These have been competed by a company called ODG, | :17:06. | :17:08. | |
and they've been designed far more with the consumer in mind. | :17:09. | :17:14. | |
They feel a lot closer to normal glasses, so to get the best out | :17:15. | :17:18. | |
So, I stand up, at the moment, there's a 360-degree video playing. | :17:19. | :17:27. | |
If I look around, I get a different viewpoint here. | :17:28. | :17:32. | |
I see a robot in front of me and what looks like some kind | :17:33. | :17:35. | |
of futuristic hospital, and there's a guy over here, | :17:36. | :17:39. | |
who seems very unhappy and another guy who looks seems to be | :17:40. | :17:42. | |
The images move seemlessly with my head. | :17:43. | :17:47. | |
If I look around I can see planet Earth in front of me. | :17:48. | :17:50. | |
I can walk inside it and see from outside of the planet, | :17:51. | :17:56. | |
and appreciate it from this angle, and if I stand here, | :17:57. | :17:59. | |
yep, a Space Station that's orbiting the earth as well. | :18:00. | :18:07. | |
Now, the glasses know where they are, spacially, | :18:08. | :18:14. | |
because there's a couple of cameras on front of them. | :18:15. | :18:17. | |
And all of the processing is happening on the head set itself. | :18:18. | :18:20. | |
The ODGR-8 glasses will cost around ?800 but they are basically | :18:21. | :18:23. | |
There are some cheaper lower tech AR options | :18:24. | :18:33. | |
There are lots of low-cost virtual reality headsets that make | :18:34. | :18:37. | |
This is a low-cost augmented reality headset that uses a phone. | :18:38. | :18:42. | |
Put an AR app on it and the images on the screen | :18:43. | :18:49. | |
So when the headset's on, I can look down the screen | :18:50. | :19:02. | |
and I scan see graphics reflected from the phone just in the headset. | :19:03. | :19:06. | |
Now, it has another trick up its sleeve as well. | :19:07. | :19:08. | |
I can see my hands in front of me and use them to cast flames. | :19:09. | :19:14. | |
Just a normal day at the office for Marc then. Now, if you're watching | :19:15. | :19:25. | |
the programme last week you would have seen us chatting with the | :19:26. | :19:29. | |
visual effects supervisor for the film the jungle book. Last Sunday | :19:30. | :19:33. | |
the team behind it picked up one of the biggest honours in the film | :19:34. | :19:37. | |
world and won the BAFTA for Best visual effects. Many congratulations | :19:38. | :19:42. | |
to them and of course we'll claim absolutely no credit for their | :19:43. | :19:46. | |
victory. See, we love visual effects! Can't you tell? This week | :19:47. | :19:57. | |
we're continuing the buildup to buildup to the Academy Awards by | :19:58. | :20:00. | |
looking at another movie that's been nominated in the Best visual effects | :20:01. | :20:03. | |
category, this time it's Marvel's Doctor strange. Now, we got | :20:04. | :20:06. | |
exclusive access to industrial like magic in London, they worked on the | :20:07. | :20:10. | |
breathtaking final scene in the film set in Hong Kong. Warning, if you | :20:11. | :20:13. | |
haven't seen the movie yet, this next set contains spoilers. I | :20:14. | :20:17. | |
repeat, it contains spoilers. Still with us? Good. I spent so many years | :20:18. | :20:29. | |
peering through time. Looking for you. The idea of reversing the | :20:30. | :20:35. | |
traditional end to any kind of superhero movie where it gets bigger | :20:36. | :20:39. | |
and bigger and the city gets destroyed and the superhero saves | :20:40. | :20:43. | |
the day, but there's a big old destruction going on. This is the | :20:44. | :20:46. | |
opposite, there's a big old destruction going on and it gets | :20:47. | :20:51. | |
reversed, by the end the city is pristine, nobody knows they hero | :20:52. | :20:54. | |
saves the day because he made time go backwards. One of the challenges | :20:55. | :20:59. | |
was constantly selling backwards time, every shot is stuffed with | :21:00. | :21:08. | |
things falling upwards, explosions happening, puddles splashing, people | :21:09. | :21:11. | |
not falling over and these things so we mixed together some footage of | :21:12. | :21:14. | |
people going forwards in time, that's one of the things in the | :21:15. | :21:18. | |
movie, Doctor Strange and his friend are going forward in time but they | :21:19. | :21:21. | |
exist in an environment going back in time. Mixing those two things | :21:22. | :21:24. | |
together is quite challenging. There are some digital humans in there but | :21:25. | :21:28. | |
there's also a lot of play photography as well so one of the | :21:29. | :21:32. | |
big challenges was how do you have convincing footage of people moving | :21:33. | :21:35. | |
forwards and backwards but with the camera moving? One of the solutions | :21:36. | :21:38. | |
was using something called motion control, a computer-controlled | :21:39. | :21:43. | |
camera so we could film Benedict Cumberbatch as Doctor Strange and | :21:44. | :21:46. | |
the camera moving around, record the move and reversed the same move and | :21:47. | :21:50. | |
have the extras running through the frame. When you reversed the | :21:51. | :21:55. | |
footage, the camera move goes back to the original movement but | :21:56. | :21:58. | |
everyone in the frame by virtue of reversing the footage is running | :21:59. | :22:02. | |
backwards. Now you're mixing together people running forwards and | :22:03. | :22:05. | |
people running backwards in the same footage. But once you get beyond | :22:06. | :22:09. | |
that, of course, every frame is full of explosions and fire and smoke so | :22:10. | :22:13. | |
the key thing again is blending those things together and making | :22:14. | :22:16. | |
sure people aren't running through places where there's meant to be an | :22:17. | :22:19. | |
explosion or Doctor Strange hasn't got someone running through his cape | :22:20. | :22:30. | |
because lots of careful planning has to go into making sure there's no | :22:31. | :22:33. | |
interceptions of the action so that can be achieved by having markers on | :22:34. | :22:37. | |
the floor, saying Doctor Strange will be here, people do forget those | :22:38. | :22:40. | |
things, though, and people run straight through. Or it can be a | :22:41. | :22:44. | |
case of doing something called body tracking, so we might look at Doctor | :22:45. | :22:48. | |
Strange, we might point out his arm or shoulder is here in 3-D space by | :22:49. | :22:51. | |
measuring the distance on a computer and having something bounce off his | :22:52. | :22:55. | |
shoulder, so it sells he's in the played by emphasising the | :22:56. | :22:58. | |
physicality of the area so we can put in some 3-D generated degree so | :22:59. | :23:02. | |
it can bounce off him and go in a different ways of there's a variety | :23:03. | :23:05. | |
of ways you can approach these things together. This is a breakdown | :23:06. | :23:10. | |
of one of the shots we did, it gives you an idea of some of the layers of | :23:11. | :23:14. | |
material that go into something like this. That's the plate photography, | :23:15. | :23:17. | |
this was all shot at longshot studios, a set built along the | :23:18. | :23:20. | |
bottom and the top of everything is digital and all the flying debris is | :23:21. | :23:26. | |
digital. You can see there's a mixture of actors running forwards | :23:27. | :23:29. | |
and Doctor Strange in there as well, a shot of different plates are mixed | :23:30. | :23:43. | |
together. So much you don't know. Teach me! | :23:44. | :23:50. | |
Yet, Benedict Cumberbatch giving Doctor Who a run for his money in | :23:51. | :23:56. | |
the tiny whiny nurse of it all. That's it from us, this is at the | :23:57. | :24:01. | |
gallery until the end of March and you can see a few more photos from | :24:02. | :24:07. | |
this and all the other things on Twitter and @BBCclick is where we | :24:08. | :24:11. | |
live. Thanks for watching and see you soon. | :24:12. | :24:37. | |
No great dramas expected weatherwise through this weekend. | :24:38. | :24:39. | |
Certainly no cold weather in prospect. | :24:40. | :24:40. | |
A relatively mild weekend coming up and a lot of dry weather too. | :24:41. | :24:45. |