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Now on BBC News, it's Click. | 0:00:00 | 0:00:05 | |
This week: Robot nurses. | 0:00:06 | 0:00:09 | |
Robot rabbits. | 0:00:09 | 0:00:11 | |
And disco-dancing aliens. | 0:00:11 | 0:00:15 | |
It's technology that will put a smile on your face - literally. | 0:00:15 | 0:00:20 | |
Believe it or not, modern nursing as we know it only | 0:00:42 | 0:00:46 | |
dates back to the 1800s, to the time of Florence Nightingale | 0:00:46 | 0:00:48 | |
and other pioneers. | 0:00:48 | 0:00:52 | |
The Royal College of Nursing here in London is now in its 101st year. | 0:00:52 | 0:00:56 | |
For all the life-saving technology that we've seen, | 0:00:56 | 0:01:01 | |
the actual act of nursing itself is one relationship that so far has | 0:01:01 | 0:01:04 | |
remained uniquely human. | 0:01:04 | 0:01:09 | |
But our population is ageing. | 0:01:09 | 0:01:10 | |
20% of Japan is over the age of 60. | 0:01:10 | 0:01:15 | |
And in the UK, a quarter will be over 65 by 2045. | 0:01:15 | 0:01:21 | |
This all means that the pressures on nursing are increasing, | 0:01:21 | 0:01:26 | |
and looking after elderly people is becoming a pressing | 0:01:26 | 0:01:30 | |
issue around the world. | 0:01:30 | 0:01:31 | |
Kat Hawkins travelled to Helsinki, in Finland, to discover whether one | 0:01:31 | 0:01:34 | |
of these could become the new one of these. | 0:01:34 | 0:01:37 | |
I'm here in Helsinki, visiting the home of Marja Roth Sopanen. | 0:01:37 | 0:01:40 | |
I'm here in Helsinki, visiting the home of Marja Roth Sopanen. | 0:01:44 | 0:01:49 | |
Hello! | 0:01:49 | 0:01:50 | |
Hello, how are you? | 0:01:50 | 0:01:53 | |
Nice to meet you! Nice meeting you! | 0:01:53 | 0:01:55 | |
She's an ex-air hostess, who likes to keep active at the age of 73. | 0:01:55 | 0:02:00 | |
Look at the hat as well! That was ages ago! | 0:02:00 | 0:02:03 | |
But after a skiing accident a few years ago, she developed epilepsy. | 0:02:03 | 0:02:07 | |
I fell down, backwards, hit my head. | 0:02:07 | 0:02:09 | |
I was unconscious for a little while, then got up and skied, | 0:02:09 | 0:02:12 | |
and that's when it started. | 0:02:12 | 0:02:15 | |
Her epilepsy means she needs daily medication and that her family, | 0:02:15 | 0:02:18 | |
who live in New York, want to make sure she's OK. | 0:02:18 | 0:02:24 | |
They get this reassurance from her daily nursing visit - | 0:02:24 | 0:02:27 | |
over on the living room table. | 0:02:27 | 0:02:30 | |
Do you think that this is as good as a nursing visit? | 0:02:30 | 0:02:34 | |
It's better because they see, actually physical, see me, | 0:02:34 | 0:02:37 | |
and then I don't have to wait for somebody to come. | 0:02:37 | 0:02:40 | |
They want to check basically that I, ask basically | 0:02:40 | 0:02:42 | |
if I took my pill, and... | 0:02:42 | 0:02:44 | |
And just see how you are? | 0:02:44 | 0:02:45 | |
How I... Yeah. | 0:02:45 | 0:02:47 | |
Face, actually, to see the picture, to see that I'm OK. | 0:02:47 | 0:02:53 | |
At the other end of the line is Tuomo Kuivamaki. | 0:02:53 | 0:02:56 | |
He's one of the nurses here in Helsinki's first | 0:02:56 | 0:02:58 | |
virtual nursing centre. | 0:02:59 | 0:02:59 | |
Here, teams of trained nurses each make up to 50 video calls per day | 0:02:59 | 0:03:03 | |
to people around the city who need support. | 0:03:03 | 0:03:05 | |
So you've still got that kind of real human... | 0:03:05 | 0:03:09 | |
Yeah, yeah. | 0:03:09 | 0:03:10 | |
And especially some of the older customers, that's like a highlight | 0:03:10 | 0:03:13 | |
of the day for them, to have sort of a small chat | 0:03:13 | 0:03:17 | |
with a friendly nurse! | 0:03:17 | 0:03:22 | |
The hope is that this will cut down on the number of home visits that | 0:03:22 | 0:03:27 | |
nurses have to do to people who don't need physical | 0:03:27 | 0:03:29 | |
support, freeing up more time for those that do. | 0:03:29 | 0:03:32 | |
The software itself, called Video Visit, works much | 0:03:32 | 0:03:34 | |
like any video call. | 0:03:34 | 0:03:35 | |
So while the tech isn't that new, Helsinki's unique in how wisely | 0:03:35 | 0:03:38 | |
the government is using it, and that can mean big | 0:03:38 | 0:03:41 | |
savings for them. | 0:03:41 | 0:03:44 | |
An in-person nursing visit can cost around 40 euros, | 0:03:44 | 0:03:47 | |
but this new type of checkup costs as little as five. | 0:03:47 | 0:03:52 | |
And what really comes across watching this call | 0:03:52 | 0:03:54 | |
is that they do have a relationship. | 0:03:54 | 0:03:56 | |
They're chatting away. | 0:03:56 | 0:03:57 | |
And it just shows that that nursing element, | 0:03:57 | 0:03:59 | |
that real human connection, is still there, even though | 0:03:59 | 0:04:01 | |
it's a video call. | 0:04:01 | 0:04:06 | |
People do hesitate at technology, and especially in nursing. | 0:04:06 | 0:04:08 | |
We have virtual home care. | 0:04:08 | 0:04:13 | |
We are actually taking care of people. | 0:04:13 | 0:04:15 | |
It's scary that the robots are coming and taking our jobs. | 0:04:15 | 0:04:18 | |
Actually, the robots are in here already, | 0:04:18 | 0:04:20 | |
but they are easing our job and actually giving us the freedom | 0:04:20 | 0:04:24 | |
to focus on people who actually need our physical help. | 0:04:24 | 0:04:28 | |
Helsinki isn't the only place trying to keep people happy | 0:04:29 | 0:04:31 | |
in their own homes for longer. | 0:04:31 | 0:04:37 | |
At the Bristol Robotics Lab in the UK, a mock house | 0:04:37 | 0:04:40 | |
is being used to predict what social care of the future might look like. | 0:04:40 | 0:04:43 | |
Patients in their homes, but supported by a host | 0:04:43 | 0:04:46 | |
of robots and smart devices. | 0:04:46 | 0:04:47 | |
The fridge is open. | 0:04:47 | 0:04:48 | |
Pepper has automatically recognised that the fridge has now opened. | 0:04:48 | 0:04:51 | |
There's some chicken soup. | 0:04:51 | 0:04:54 | |
You could heat that in the microwave. | 0:04:54 | 0:04:56 | |
There's some chicken soup, I can heat that in the microwave. | 0:04:56 | 0:04:59 | |
As well as recognising certain sensors around the house, | 0:04:59 | 0:05:02 | |
Pepper is designed for other functions, aimed at keeping | 0:05:02 | 0:05:10 | |
people in their own homes, such as physiotherapy exercises. | 0:05:10 | 0:05:12 | |
Critics argue that robots can never replace the human interaction | 0:05:12 | 0:05:15 | |
between carer and patient. | 0:05:15 | 0:05:16 | |
Others point to their ability to go wrong. | 0:05:16 | 0:05:21 | |
But if robots mean that people can live independently | 0:05:21 | 0:05:23 | |
in their own homes for longer, then it might be we see | 0:05:23 | 0:05:26 | |
more of them knocking around our kitchens in the future. | 0:05:26 | 0:05:30 | |
That was Kat. | 0:05:30 | 0:05:31 | |
Now, medical technologies, of course, are improving | 0:05:31 | 0:05:33 | |
across-the-board. | 0:05:33 | 0:05:33 | |
One example is the use of wearable technology | 0:05:33 | 0:05:37 | |
for tracking facial muscles. | 0:05:37 | 0:05:38 | |
Now, this can be transformative for people with conditions | 0:05:38 | 0:05:41 | |
like facial palsy, Parkinson's and autism - allowing them | 0:05:41 | 0:05:43 | |
to control devices remotely, or even just smile naturally. | 0:05:43 | 0:05:46 | |
We asked three volunteers to try out some of the latest tech on offer. | 0:05:46 | 0:05:54 | |
My name is Bethan Robertson-Smith and I'm doing my daily routine. | 0:06:00 | 0:06:04 | |
It's a series of exercises to flex the muscles in my face. | 0:06:04 | 0:06:10 | |
In 2008, when I was at university studying to be a veterinary nurse, | 0:06:10 | 0:06:14 | |
I had a serious car accident. | 0:06:14 | 0:06:17 | |
I had a fractured skull, an acquired brain injury, | 0:06:17 | 0:06:20 | |
and I was left with facial palsy - also known as facial paralysis. | 0:06:20 | 0:06:25 | |
It meant that every one of the 40 muscles that gave expression | 0:06:25 | 0:06:28 | |
in my face had been paralysed. | 0:06:28 | 0:06:33 | |
Years later, I had an operation that allowed me to smile | 0:06:33 | 0:06:36 | |
like a Mona Lisa, using just two of the chewing muscles that | 0:06:36 | 0:06:41 | |
were unaffected by the accident. | 0:06:41 | 0:06:47 | |
It's very hard to know exactly what muscles I need | 0:06:47 | 0:06:49 | |
to move to help me smile. | 0:06:49 | 0:06:52 | |
I came down to Brighton today to try out a new piece of technology that's | 0:06:52 | 0:07:00 | |
gonna help people like myself, who've got facial palsy. | 0:07:00 | 0:07:02 | |
One of the surgeons who operated on me is part of a team of experts | 0:07:02 | 0:07:07 | |
developing technologies with sensors to read the muscle activities | 0:07:07 | 0:07:09 | |
of people with facial paralysis. | 0:07:09 | 0:07:13 | |
So, when you were first diagnosed, you had an examination | 0:07:13 | 0:07:16 | |
called the needle EMG, where the needle was put | 0:07:16 | 0:07:18 | |
into the skin, into the muscles, to read the tiny electrical signals | 0:07:18 | 0:07:22 | |
that the muscles emanate. | 0:07:22 | 0:07:23 | |
With this technology, what we're using is these sensors | 0:07:23 | 0:07:25 | |
that are noninvasive. | 0:07:25 | 0:07:26 | |
So the same kind of reading, but without the pain, | 0:07:27 | 0:07:29 | |
like none of the...? | 0:07:29 | 0:07:32 | |
That's right. | 0:07:32 | 0:07:32 | |
You have some degree of crossover between the muscles and that's why | 0:07:32 | 0:07:39 | |
you need the machine learning and the Artificial Intelligence | 0:07:39 | 0:07:41 | |
to interpret which muscle is activating. | 0:07:42 | 0:07:43 | |
I'm Sarah Healey and, 30 years ago, I had a brain tumour. | 0:07:43 | 0:07:47 | |
Try to raise both eyebrows symmetrically. | 0:07:47 | 0:07:48 | |
Raise them both together. | 0:07:48 | 0:07:49 | |
Together... | 0:07:49 | 0:07:49 | |
And relax. | 0:07:49 | 0:07:53 | |
The operation to take it out left me with paralysis | 0:07:53 | 0:07:55 | |
on the right-hand side of my face. | 0:07:55 | 0:07:57 | |
OK. Now smile with lips together. | 0:07:57 | 0:07:59 | |
I'm certainly not alone, as there are about 100,000 people | 0:07:59 | 0:08:02 | |
in the UK who have had facial paralysis for years. | 0:08:02 | 0:08:08 | |
So each one of these dots represents the position on your face. | 0:08:09 | 0:08:12 | |
OK. | 0:08:12 | 0:08:13 | |
And so, for example, if you were to try and do | 0:08:13 | 0:08:17 | |
a left-sided smile... | 0:08:17 | 0:08:17 | |
Just smile. | 0:08:17 | 0:08:19 | |
And relax. | 0:08:19 | 0:08:21 | |
And the darker the red, the bigger the signal. | 0:08:21 | 0:08:24 | |
So because my left side is better and stronger... | 0:08:24 | 0:08:26 | |
That's right. | 0:08:26 | 0:08:27 | |
..it's showing up as stronger on the screen. | 0:08:27 | 0:08:29 | |
That's right. | 0:08:29 | 0:08:31 | |
This is great because for the first time, I'm getting accurate | 0:08:32 | 0:08:34 | |
information about what is going on with my face. | 0:08:35 | 0:08:40 | |
I tend to overwork this side of my face, so this really | 0:08:40 | 0:08:43 | |
is giving me feedback that I have to dampen down the movements I don't | 0:08:43 | 0:08:48 | |
want, and this is just so good at doing that. | 0:08:48 | 0:08:51 | |
I sort of try and practise in front of a mirror. | 0:08:51 | 0:08:54 | |
It's not quite as subtle as this, is it? | 0:08:54 | 0:08:56 | |
And also, I'm not that keen on looking in mirrors, | 0:08:57 | 0:08:59 | |
to be quite honest. | 0:08:59 | 0:09:06 | |
But it doesn't end there. | 0:09:06 | 0:09:07 | |
This headset takes all the information from sensors - | 0:09:07 | 0:09:09 | |
just like in the goggles - but now translates it into real-time | 0:09:10 | 0:09:13 | |
expressions on a 3-D cartoon. | 0:09:13 | 0:09:14 | |
Yeah, so I'm trying really hard to make her do a full smile... | 0:09:14 | 0:09:29 | |
Yes. | 0:09:29 | 0:09:30 | |
But it feels funny on my face. | 0:09:30 | 0:09:32 | |
Doing it to a mirror, you kind of tell yourself what it looks like. | 0:09:32 | 0:09:35 | |
Whereas she is like, oh, no, that's not what it looks like. | 0:09:35 | 0:09:39 | |
My name's George Dowell, I'm the owner of Worthing Football Club. | 0:09:39 | 0:09:41 | |
A lot on my day-to-day work involves using a computer and it can often be | 0:09:41 | 0:09:46 | |
quite time consuming. | 0:09:46 | 0:09:46 | |
Before I had my car accident, in 2010, I was a player | 0:09:47 | 0:09:50 | |
for the club and on my way up. | 0:09:50 | 0:09:52 | |
The accident left me with a broken spine and ten months in hospital. | 0:09:52 | 0:09:55 | |
It was obviously a very tough time for me, but after a lot of rehab, | 0:09:56 | 0:09:59 | |
I decided I wasn't gonna give up on football and I used my | 0:09:59 | 0:10:03 | |
compensation pay-off from the accident to buy the club | 0:10:03 | 0:10:05 | |
I used to play for. | 0:10:05 | 0:10:07 | |
How are you doing, you all right? | 0:10:07 | 0:10:09 | |
Nice to see you. And you. | 0:10:09 | 0:10:10 | |
So there are quite a few companies now looking to see whether they can | 0:10:10 | 0:10:14 | |
use VR as a new work space. Yeah. | 0:10:14 | 0:10:16 | |
So by using this type of technology to sort of allow you to type | 0:10:16 | 0:10:20 | |
much faster and interact with other people. | 0:10:20 | 0:10:22 | |
If you thought it was quite funny, you can give it an eye wink. | 0:10:22 | 0:10:26 | |
Or if you didn't like it, you can now do a frown | 0:10:26 | 0:10:29 | |
and it'll do a frowny face. | 0:10:29 | 0:10:31 | |
There you go. | 0:10:31 | 0:10:32 | |
He looks grumpy, doesn't he? | 0:10:32 | 0:10:33 | |
With this new headset, I should be able to control | 0:10:33 | 0:10:36 | |
the keyboard and options using a wink or a frown, which will | 0:10:36 | 0:10:39 | |
open up a whole new world for me. | 0:10:39 | 0:10:41 | |
Yeah, it's very responsive. | 0:10:41 | 0:10:42 | |
You're really slick on that now! | 0:10:42 | 0:10:44 | |
It might sound strange to say, but for the first time | 0:10:44 | 0:10:47 | |
since my accident, I'm able to see what my smile actually looks like. | 0:10:47 | 0:10:50 | |
Not to make it sound like, I dunno, a strange way, | 0:10:50 | 0:10:53 | |
but you're kind of doing it with somebody else. | 0:10:53 | 0:10:57 | |
Yes. And it's not such a lonely thing. | 0:10:57 | 0:11:01 | |
My biggest aim for this would be to be able to help me | 0:11:01 | 0:11:05 | |
smile symmetrically. | 0:11:05 | 0:11:05 | |
That's been one of my aims for the last 30 years. | 0:11:05 | 0:11:12 | |
Welcome to the 'Week In Tech'. | 0:11:15 | 0:11:17 | |
It was the week Instagram admitted a flaw in its systems revealed | 0:11:17 | 0:11:22 | |
a number of celebrities' phone numbers and email addresses | 0:11:22 | 0:11:25 | |
to cyber attackers. | 0:11:25 | 0:11:26 | |
Nasa announced a replacement for the Space Shuttle could be one | 0:11:26 | 0:11:29 | |
step closer to happening. | 0:11:29 | 0:11:30 | |
It's called Dream Chaser and it's being developed | 0:11:30 | 0:11:33 | |
by a private company. | 0:11:33 | 0:11:34 | |
And pizza-delivery drivers could be out of a job if Domino's and Ford's | 0:11:34 | 0:11:37 | |
autonomous car delivery service trials take off in the USA. | 0:11:37 | 0:11:42 | |
A German university has scooped top prize SpaceX's Hyperloop Pod design | 0:11:42 | 0:11:50 | |
competition, with a pod that reached a top speed of 201 mph. | 0:11:50 | 0:11:53 | |
But their trial has been topped by Elon Musk's Tesla pod, | 0:11:53 | 0:11:56 | |
which has been used to give the students' efforts a push-start, | 0:11:56 | 0:11:59 | |
recording a speed of 220 mph. | 0:11:59 | 0:12:02 | |
And Uber took steps to change its public image | 0:12:02 | 0:12:04 | |
with the arrival of a new CEO, Dara Khosrowshahi. | 0:12:04 | 0:12:07 | |
The firm's made a U-turn on its policy allowing it to track | 0:12:07 | 0:12:10 | |
users for five minutes after finishing a ride. | 0:12:10 | 0:12:14 | |
The update, due to be rolled out this week, | 0:12:14 | 0:12:16 | |
means tracking ends immediately once a ride is finished. | 0:12:16 | 0:12:19 | |
And finally, Google announced it would replace its Augmented Reality | 0:12:19 | 0:12:22 | |
effort Tango with one called ARCore. | 0:12:22 | 0:12:25 | |
The technology will first be available on the Samsung Galaxy S8 | 0:12:25 | 0:12:28 | |
and Google Pixel phone. | 0:12:28 | 0:12:33 | |
Not to be outdone, Apple gathered developers together to show off some | 0:12:33 | 0:12:36 | |
of the new apps soon to be available thanks to its new AR kit - | 0:12:36 | 0:12:40 | |
from IKEA's app that lets you place furniture virtually in your home, | 0:12:40 | 0:12:43 | |
all the way to one very hungry caterpillar. | 0:12:43 | 0:12:48 | |
We've now seen robots doing many things, but the idea of them | 0:12:55 | 0:12:58 | |
keeping us company is, for many, still quite hard | 0:12:58 | 0:13:00 | |
to comprehend, but that's something a few companies | 0:13:01 | 0:13:03 | |
are hoping to overcome. | 0:13:03 | 0:13:14 | |
Meet MiRo. | 0:13:14 | 0:13:15 | |
Whilst the hardware is finished, the software is still being worked | 0:13:15 | 0:13:18 | |
on, but the aim is to create a cute companion for the elderly | 0:13:18 | 0:13:21 | |
which will also be able to provide some practical functions. | 0:13:21 | 0:13:24 | |
Now, they're all made possible by a host of sensors | 0:13:24 | 0:13:27 | |
which are built in here. | 0:13:27 | 0:13:31 | |
We've got two directional microphones, so we can tell | 0:13:31 | 0:13:33 | |
where the sound's coming from, two cameras here in the eyes that | 0:13:33 | 0:13:36 | |
are going to be tracking emotions, a sonar sensor here in the nose, | 0:13:36 | 0:13:40 | |
which should stop the creature from bumping into anything. | 0:13:40 | 0:13:42 | |
There are also cliff sensors here, so it shouldn't fall off | 0:13:42 | 0:13:45 | |
the edge of anything. | 0:13:45 | 0:13:54 | |
And light sensors all around can tell whether it's night or day, | 0:13:54 | 0:13:58 | |
so it'll act appropriately - because if you give it a stroke, | 0:13:58 | 0:14:01 | |
you can see just how excited it can actually get. | 0:14:01 | 0:14:04 | |
The bot is already available to developers, with a consumer unit | 0:14:04 | 0:14:07 | |
expected later this year. | 0:14:07 | 0:14:08 | |
The aim is that by then, it'll feature facial recognition, | 0:14:08 | 0:14:10 | |
voice control, CO2 smoke and temperature sensors | 0:14:10 | 0:14:12 | |
and a constant record function. | 0:14:12 | 0:14:20 | |
Long-term, the hope is it'll become a therapy robot for those | 0:14:20 | 0:14:23 | |
with a variety of conditions, including autism and dementia. | 0:14:23 | 0:14:25 | |
So whilst the dog, rabbit - or is it a cow? | 0:14:25 | 0:14:28 | |
- keeps an eye on you, it's also gonna be synching up | 0:14:28 | 0:14:32 | |
to its companion app and also this bracelet, which can sense falls. | 0:14:32 | 0:14:35 | |
Now, it'll keep track of all that data and if anything | 0:14:35 | 0:14:38 | |
is out of the ordinary, if a user was to break | 0:14:38 | 0:14:41 | |
their routine, then it could make chosen relatives or friends aware. | 0:14:41 | 0:14:48 | |
But whilst part of its role is caring, it's also intended | 0:14:48 | 0:14:51 | |
to provide emotional engagement. | 0:14:51 | 0:14:52 | |
It's definitely watching. | 0:14:52 | 0:14:58 | |
A huge amount of effort has gone into the body language - | 0:14:58 | 0:15:02 | |
the blinking, the way the head moves and the tail moves, | 0:15:02 | 0:15:05 | |
and the things like that. | 0:15:05 | 0:15:06 | |
And that is really as important as the other functionality. | 0:15:06 | 0:15:09 | |
And the trouble is with a lot of these humanoid robots, they're not. | 0:15:09 | 0:15:12 | |
And, you know, they can't behave like a human. | 0:15:12 | 0:15:22 | |
They can sort of wave their arms around in a mechanical manner, | 0:15:22 | 0:15:25 | |
but they don't have that what the Japanese call | 0:15:26 | 0:15:28 | |
kawaii, or cuteness. | 0:15:28 | 0:15:29 | |
And when I started working in robotics, I realised | 0:15:29 | 0:15:31 | |
that there was a real opportunity to make, you know, mechanical | 0:15:31 | 0:15:34 | |
devices emotionally engaging. | 0:15:34 | 0:15:41 | |
This isn't the only device in this space. | 0:15:41 | 0:15:44 | |
Parihug has just completed a successful Crowdfunding | 0:15:44 | 0:15:45 | |
campaign and aims to provide long-distance cuddles. | 0:15:45 | 0:15:47 | |
Yes, long-distance cuddles! | 0:15:47 | 0:15:54 | |
The idea is that the wi-fi connected toy can give a hug via another | 0:15:54 | 0:15:57 | |
of the creatures to loved-ones you miss - especially | 0:15:57 | 0:16:00 | |
parents away from kids. | 0:16:00 | 0:16:01 | |
Of course, none of this is about robots replacing the need | 0:16:01 | 0:16:04 | |
for real pets or human company, but if they could offer a little bit | 0:16:04 | 0:16:08 | |
of support when it's needed, then how can we really think | 0:16:08 | 0:16:11 | |
that's an issue? | 0:16:11 | 0:16:12 | |
Night-night! | 0:16:12 | 0:16:20 | |
Huh... | 0:16:26 | 0:16:27 | |
Hey, how you doing? | 0:16:27 | 0:16:27 | |
You all right? | 0:16:28 | 0:16:28 | |
Yeah, man, I'll join you in a bit. | 0:16:28 | 0:16:31 | |
Have you heard the one about the alien who walks | 0:16:31 | 0:16:34 | |
into a bar and says... | 0:16:34 | 0:16:35 | |
Mmm, I'll have a blue milk. | 0:16:35 | 0:16:37 | |
Hmm... | 0:16:37 | 0:16:37 | |
Put it in a glass... | 0:16:37 | 0:16:39 | |
Now, as impressive as this bizarre setup looks, | 0:16:39 | 0:16:41 | |
these motion-capture suits and stages are actually the standard | 0:16:41 | 0:16:43 | |
way that Industrial Light Magic uses actors to give realistic | 0:16:43 | 0:16:46 | |
movements to computer-generated principal characters. | 0:16:46 | 0:16:48 | |
Thank you very much. | 0:16:48 | 0:16:57 | |
No worries! | 0:16:57 | 0:16:58 | |
You were very frightening. | 0:16:58 | 0:16:59 | |
Ah, good. | 0:16:59 | 0:16:59 | |
I mean, he's a nice dad, I think, Jalien. | 0:17:00 | 0:17:02 | |
Even the fact that Jalien here is being rendered in real time | 0:17:02 | 0:17:05 | |
for the director to see during the performance | 0:17:05 | 0:17:07 | |
is not in itself new. | 0:17:07 | 0:17:09 | |
I remember back in, I think it was 2007, | 0:17:09 | 0:17:11 | |
I went to ILM in San Francisco. | 0:17:11 | 0:17:18 | |
I wore the ball suit and they turned me into a green alien, | 0:17:18 | 0:17:22 | |
live right there in the studio, and I was absolutely | 0:17:22 | 0:17:24 | |
blown away by it. | 0:17:24 | 0:17:26 | |
Ten years on, just look at this guy! | 0:17:26 | 0:17:28 | |
Hey, check me out! | 0:17:28 | 0:17:29 | |
Hi, man. | 0:17:29 | 0:17:31 | |
Hey. | 0:17:31 | 0:17:32 | |
What is brand-new here is the live rendering | 0:17:32 | 0:17:34 | |
of Jethro's facial expressions. | 0:17:34 | 0:17:38 | |
Now, although facial capture has been a thing for a few years, | 0:17:38 | 0:17:42 | |
so far, the director hasn't been able to see the results | 0:17:42 | 0:17:44 | |
on the character's face during the recording. | 0:17:45 | 0:17:51 | |
You know, our big focus was around the face and being able to capture | 0:17:52 | 0:17:55 | |
the face at the same time as the body. | 0:17:55 | 0:17:58 | |
And we can determine what expressions are happening each | 0:17:58 | 0:18:00 | |
frame, and then directors can see that live and make decisions | 0:18:00 | 0:18:03 | |
on if the character is working as a character, | 0:18:03 | 0:18:06 | |
whether his expressions need to change in terms of the model. | 0:18:06 | 0:18:10 | |
In order to process an actor's expressions quickly enough, | 0:18:10 | 0:18:12 | |
only one face cam and a few Mo-cap dots are used. | 0:18:12 | 0:18:15 | |
This simplified live data is then compared to a higher resolution 3-D | 0:18:15 | 0:18:19 | |
capture of the actor's face that's taken beforehand on a rig called... | 0:18:19 | 0:18:22 | |
The Medusa. | 0:18:22 | 0:18:29 | |
Now, unlike other facial-capture systems we've seen which take | 0:18:29 | 0:18:32 | |
still images of the actor's face, here they're shooting | 0:18:32 | 0:18:34 | |
video of my face moving into and out of each emotion. | 0:18:34 | 0:18:37 | |
That means that the facial recreation and the animations | 0:18:37 | 0:18:39 | |
will look a lot more natural. | 0:18:39 | 0:18:41 | |
The live, high-quality rendering of both face and body can also | 0:18:41 | 0:18:44 | |
become a magic mirror on sets to help the actor | 0:18:44 | 0:18:47 | |
to get into the part. | 0:18:47 | 0:18:57 | |
So I feel like this is how I get to know who I am, | 0:18:57 | 0:19:01 | |
what my limitations are, what my body is, what my girth is, | 0:19:01 | 0:19:04 | |
how it moves, how it sort of doesn't move. | 0:19:04 | 0:19:07 | |
You see I have a nice heavy arm. | 0:19:07 | 0:19:09 | |
Whether I have to consider that weight. | 0:19:09 | 0:19:11 | |
And I guess it really does make you move differently when you're | 0:19:11 | 0:19:14 | |
on set, if you're playing a half-tonne alien, | 0:19:14 | 0:19:16 | |
to you being a svelte young man. | 0:19:16 | 0:19:18 | |
It totally does, as long as I engage my imagination. | 0:19:18 | 0:19:21 | |
Because if you can see, I'm totally beautifully... | 0:19:21 | 0:19:23 | |
HE LAUGHS. | 0:19:23 | 0:19:27 | |
You know, in a way that Jalien can't, my wet suit moves in a way | 0:19:27 | 0:19:31 | |
that maybe that arm and that outfit doesn't move. | 0:19:31 | 0:19:34 | |
It's good showing you my, er, my stuff. | 0:19:34 | 0:19:44 | |
So here, they're bringing digital characters to life for the director | 0:19:44 | 0:19:47 | |
and the performers to work with, but there are ways to bring digital | 0:19:47 | 0:19:51 | |
characters to entire audiences live on stage. | 0:19:51 | 0:19:53 | |
In fact, it's something we tried out on our Click Live show | 0:19:53 | 0:19:56 | |
at the end of last year. | 0:19:56 | 0:20:01 | |
So when we heard that the Nederlands Dans Theater was dabbling | 0:20:01 | 0:20:03 | |
in this kind of stuff too, we sent Nick Kwek - | 0:20:03 | 0:20:07 | |
Click's finest ballet dancer - to investigate. | 0:20:07 | 0:20:16 | |
Welcome to the world of modern dance - conservative, | 0:20:16 | 0:20:18 | |
traditional, disciplined. | 0:20:18 | 0:20:19 | |
But at the same time, innovative, rebellious, | 0:20:19 | 0:20:21 | |
perpetually striving to push the envelope. | 0:20:21 | 0:20:22 | |
Today, choreographers and dancers of NDT are working with a new medium | 0:20:22 | 0:20:25 | |
for artistic expression. | 0:20:25 | 0:20:26 | |
They're taking two excerpts from their show called | 0:20:26 | 0:20:28 | |
Stop Motion and adapting it to include holographic projections. | 0:20:28 | 0:20:44 | |
It's almost an IMAX-type experience, without the need | 0:20:44 | 0:20:46 | |
for glasses, you know? | 0:20:47 | 0:20:53 | |
Every detail has been carefully crafted. | 0:20:53 | 0:20:54 | |
They're projecting a falling white giant and dust | 0:20:54 | 0:20:56 | |
onto a black backdrop, playing with the themes of light | 0:20:56 | 0:20:59 | |
and dark and destruction. | 0:20:59 | 0:21:06 | |
Technology needs to embrace the art, but not with sticking | 0:21:06 | 0:21:09 | |
out all by itself. | 0:21:09 | 0:21:10 | |
It needs to help. | 0:21:10 | 0:21:11 | |
It's like a glove to the art, to the expression. | 0:21:11 | 0:21:16 | |
The holographic illusion is created with the help of two very high-end | 0:21:16 | 0:21:19 | |
projectors and a special lightweight mesh screen. | 0:21:19 | 0:21:21 | |
By playing out videos on the front mesh and back wall, | 0:21:21 | 0:21:24 | |
it creates an optical illusion of 3-D depth. | 0:21:24 | 0:21:26 | |
For the performers, it's actually a really good rig to work | 0:21:26 | 0:21:29 | |
with because they can see the projections on this side whilst | 0:21:30 | 0:21:33 | |
they're on stage performing. | 0:21:33 | 0:21:44 | |
With other systems, you don't really get that same wall... | 0:21:44 | 0:21:47 | |
It's really realistic, actually! | 0:21:47 | 0:21:48 | |
Also handy if you fancy giving a very expensive | 0:21:48 | 0:21:51 | |
PowerPoint presentation, as one of these Novo Line rigs costs | 0:21:51 | 0:21:53 | |
anywhere from 15 grand for a week's rental. | 0:21:53 | 0:21:56 | |
We wanted to have a full space for a dancer, | 0:21:56 | 0:21:58 | |
a performer, a CEO to talk. | 0:21:58 | 0:22:00 | |
We wanted that you could touch it. | 0:22:00 | 0:22:02 | |
The other system, you can't touch it because it's smeared, | 0:22:02 | 0:22:04 | |
it's a fragile, reflective surface. | 0:22:05 | 0:22:06 | |
This, you can wrap around, we could create curves with it. | 0:22:06 | 0:22:09 | |
And of course, it can go to massive sizes. | 0:22:09 | 0:22:11 | |
And to take the whole thing even further, they're introducing | 0:22:11 | 0:22:14 | |
real-life flour to complement the virtual stuff, | 0:22:14 | 0:22:16 | |
blending the boundaries between real and virtual. | 0:22:16 | 0:22:18 | |
Sort of. | 0:22:18 | 0:22:18 | |
We've got a bit of technical difficulty. | 0:22:19 | 0:22:20 | |
But luckily, Paul's in his pants. | 0:22:20 | 0:22:22 | |
So, a man in pants will surely save the day! | 0:22:22 | 0:22:25 | |
Problem solved, dancer into position, stand by lighting, | 0:22:25 | 0:22:27 | |
music, cue projection... | 0:22:27 | 0:22:28 | |
And action! | 0:22:28 | 0:22:40 | |
CHEERING AND APPLAUSE. | 0:22:41 | 0:22:46 | |
CHEERING AND APPLAUSE. | 0:22:59 | 0:23:03 | |
Actually, instead of complementing the effect, I think it actually | 0:23:03 | 0:23:06 | |
detracted from it a little bit. | 0:23:06 | 0:23:08 | |
Yep. | 0:23:08 | 0:23:10 | |
Especially when the flour went onto the back wall. | 0:23:10 | 0:23:12 | |
Yep, yep. | 0:23:12 | 0:23:13 | |
Because then you go, well, that's now totally fake. | 0:23:13 | 0:23:15 | |
It's no magic. | 0:23:15 | 0:23:16 | |
It's no magic. | 0:23:16 | 0:23:18 | |
Creating an extra audiovisual experience, though, | 0:23:18 | 0:23:19 | |
adds to the complexity of live performance. | 0:23:19 | 0:23:21 | |
It's not just the type of visuals, it's the scale, the brightness, | 0:23:21 | 0:23:24 | |
how the lighting interacts with the mesh, how it blends | 0:23:24 | 0:23:27 | |
with the real-life action on stage. | 0:23:27 | 0:23:29 | |
But, no pain, no gain. | 0:23:29 | 0:23:34 | |
To be artistic with technology, it's not easy and it's | 0:23:34 | 0:23:36 | |
a lot of experiences, and a lot of mistakes to see, | 0:23:36 | 0:23:39 | |
so what do we want to do? | 0:23:39 | 0:23:41 | |
So it needs time. | 0:23:41 | 0:23:42 | |
I think this ballet, for example, has the beauty itself. | 0:23:42 | 0:23:46 | |
Mmm. | 0:23:46 | 0:23:48 | |
You don't need this. Mmm. | 0:23:48 | 0:23:50 | |
Well, that's it for this week. | 0:23:50 | 0:23:52 | |
Don't forget, we live on Facebook and on Twitter... | 0:23:52 | 0:23:54 | |
Thanks for watching. | 0:23:54 | 0:23:55 | |
Thanks for having us at your place, Jalien. | 0:23:55 | 0:23:59 | |
Hey, no worries, man. Hmm... | 0:23:59 | 0:24:02 | |
Now, get out of here! Yeah. | 0:24:02 | 0:24:04 | |
Hmm... Out! | 0:24:04 | 0:24:06 | |
Move, scoot, mm! Huh... | 0:24:06 | 0:24:09 | |
Jackass, huh? Yeah. | 0:24:09 | 0:24:11 | |
I've gotta go, bye. | 0:24:11 | 0:24:12 | |
Huh. Huh. | 0:24:12 | 0:24:15 | |
Hi there. | 0:24:36 | 0:24:36 | |
We've got some decent weather coming up to start the weekend. | 0:24:36 | 0:24:39 | |
With high pressure in charge, we'll have some sunshine to start | 0:24:39 | 0:24:42 | |
the day on Saturday. | 0:24:42 | 0:24:44 | |
Mind you, some of you might have been woken in the night by the odd | 0:24:44 | 0:24:48 |