We Are Sailing Click

Now on BBC News, it is time for Click.

This week, life on the ocean waves. A big cloud makes a big bang, which

makes a big cloud. And climbing higher and higher, and back down

again. This weekend, the world's toughest

sailing race begins. Held every three years, the Volvo Ocean race

starts in Alicante, in Spain, and ends in The Hague, in the

Netherlands. Now, that doesn't actually sound very far, but in the

middle there is the small matter of 45,000 nautical miles, taking in 12

cities in six continents, and with broken masts, capsizes and icebergs

almost guaranteed, this is no luxury cruise. To try and make this journey

even possible, technology inevitably raise its head. These are some of

the most advanced sailing yachts ever designed, and we were given

special access to one of them during crew training. 22 October sees the

most extreme offshore event in the world began. We are just testing if

we can figure out trying to sail through that went. We are struggling

at the moment to try and make the boat go as fast as it can go with

the data we have been given. 45,000 miles, nine months of racing, seven

identical boats, in the roughest seas in the world. With boats

capable of 32 knots, and leaving for extended periods out at sea, races

of this nature are not undertaken lightly, with Cruise displaying an

extreme dedication to sailing. I kind of gave up my life in France to

go and do the race began, to work with the boat and to gain more

experience. I sold my house and sort of made myself homeless in the

process. I have got three sisters and my parents. I think I have seen

my parents for five days in the last 1.5 years. I am sure they would like

to see me a bit more. On these experiences, as well as action from

the race, will be broadcast directly from the ocean. These yachts are

basically fitted with oceangoing equivalents to TV studios and edit

facilities. OK, cramped and wet version of TV studios and edit

facilities. We have two 250 antennas, satellite mobile phones

can be connected internet via them. And there are also 4G modules and

how antennas. Making use of all of this kit is an on-board reporter.

They have the opportunity to capture video footage, or take photographs

or interviews of the teams, and then this is broadcast to the world by

the on-board communication system. As the boats are being tracked live,

the audience can follow the action at any time. No one gets any sleep,

and I have to wake everyone up every 15 minutes or half an hour.

Basically we have got to move everything on deck below to the high

side of the boat. If they really want to interact without getting

wet, there is a game which uses the real race starter, allowing the

audience to virtually compete against the real thing. The yacht is

fitted with a number of different senses, measuring things like wind,

tide speed, and how far the boat is tipping over. Unusually, this event

is taking place in parts of the ocean not commonly used for racing,

and as a result, one of the yachts will be fitted with a sensor which

checks for micro levels of plastic waste in the ocean. This data will

eventually be analysed by researchers from the UN. In the

meantime, the teams will have their hands full, raising their boats over

massive distances. And, even though conditions will be tough, most of

the crews would have it any other way. As soon as you are able to do

what you love, it is not a sacrifice any more. We have been talking a lot

about augmented reality lately. This is, in case you are not aware, the

next big thing, and is being applied to all sorts of areas. This week it

is art. Lara Lewington has been to see how AR and 360 video is hoping

to bring some culture to your smartphone. Blenheim Palace, a place

of rich history, 18th century architecture, and the contemporary

art exhibition, and that is where the technology comes into it. Before

speaking to our art critic about technology's place in the art world,

time for a look around. Artist Jenny's software combines physical

installations with a mobile phone app to bring her political and

historical based work it to life. Beacons throughout the 200 acre

estate trigger 360 videos in the right location, and combine that

with your phone's gyroscope to make sure that you are looking at them

from the right perspective. Here, the illusion of pictures being

overlaid on the real world is created, turning day into night,

eliminating buildings with words, and the an appearance from a flying

mythical creature. The effect looks similar to augmented reality, but is

really more like virtual reality without a headset. Maybe this is

because bringing AR to art seems to have its challenges. Let me show you

this. Snapchat and artist Jeff Koons have joined forces so users can view

his sculptures through augmented reality and popular geo- tagged

locations across the road. It is hiding from us again. It is not even

telling us where it is now. So, with a little help from an art critic, I

tried to take a closer look in London's Hyde Park. There it is.

There we go. Herself selfie worked. Having found a spot the image was

tagged two and opened up Snapchat, this giant balloon dog sculpture

appears on my screen. Do you actually think there is a future in

this? Do you think people will be able to appreciate art in a

different form? It is a form of reproduction of art. It is not art.

I mean, it is not creating a piece, it is reproducing apiece. And I

think any kind of reproduction of art does help people, and whether it

is a poster or a postcard or anything. But that is not much

better than, you know, anything. But what happens when another artist

wants to come and spoil the fun? Geo- tagging their own work in the

same place? Well, New York based Sebastian has created the first

example of AR vandalism. Using his own app, he geo- tagged a vandalised

version of Jeff Koons's sculpture in the same location in New York's

Central Park. Which may have scandalise him but would in effect

those using Snapchat anyway. Although it does raise questions

about the future of this sort of art and virtual public spaces. For a

company to have the freedom to GPS tag whatever they want is an

enormous luxury that we should not be giving out for free. The virtual

public space belongs to us. We should charge them rent. The meeting

of art and technology clearly has its place. But whether I have seen

it this week or not does seem to remain in question. Hello, and

welcome to the week intact. It was the week that the world's 3D printed

bridge, made of 800 layers of concrete, was unveiled in the

Netherlands. Facebook bought an app called tbh that forces users to send

anonymous condiments to each other, and Snap will bring original TV

programming to Snapchat. Hopefully the shows will not disappear after

five seconds. And it was a Wi-Fi Armageddon this week as a cracked

attack exposed a major security floor. The weakness is found

ironically in the security protocol used to protect the majority of

Wi-Fi connections. Some companies are already issuing patches to fix

the problem, so make sure you update your systems as they come. The

finalists of the Global Learning X prize have been announced. Five

teams are now in the running for the $15 million grand prize, including

this school and One Billion, which we featured this summer. All have

been given a $1 billion -- $1 million award. Finally, the one

million dollar duel between megabytes and another team went down

in Japan. I am glory and Eagle prime one over the course of three long,

slow and painful rounds against the Japanese robots, slashing its open

with a chainsaw in the end. Now, back to the junkyard. Not everyone

can have their own spaceship, but Jeff Bezos, the man behind Amazon,

does. Why not? After all, he is worth $85 billion. Pouring a measly

$1 billion a year into his project Blue Origin, it is easy. While he

has his sights set firmly beyond the clouds, the reason he can afford

this is because of the cloud. More specifically, not Amazon the online

shop, but Amazon web services. Beneath the surface of our daily

lives, there is a flow of money, information and people built on a

raft of support systems. However bank payments are tracked and how we

get from A to B on public transport. Things about how goods arrive in

shops. When everything works seamlessly, it is easy to miss what

is happening behind the scenes. What a movie, a new playlist, a bed for

the night? Well, you wouldn't get one from these household names

without the help of Amazon web services, AWS. And it makes Amazon

more cash than the thing we know makes them cash. Shaw, Google and

Microsoft offer similar services, but it was Amazon that reinvented

cloud compute back 2006, and it is now the biggest player. The trick is

to make the service that the business. NASA users AWS to stream

for K video from International Space Station, while much smaller

companies like mobile ADT provide counselling detection in Africa, --

cancer detection in Africa, use it to improve the accuracy of the

nurses in rural villages. From occasional shopping to huge data

tasks like this, the reason why analytics, streaming, accounting and

other cloud services have moved to Amazon and its competitors is

because you pay for exact what you use. Used to have to predict ahead

of time how much capacity you were going to need. And what that meant

was you either guest too low and didn't have enough, and therefore

you would have errors and a terrible customer experience, or in most

cases you get high and new provision for the peak. But there is a reason

they call it the peak, which is because you never really hit the

peak, so you sit on a lot of wasted capital. But handing over valuable

data to be analysed by these cloud services involves a lot of trust.

Recently there have been several big leagues from data storage provided

by Amazon web services. Just last month, Verizon accidentally left a

data bucket of sensitive information unprotected, and in a separate

incident, 4 million Time Warner cable records were left exposed.

Back in June, it was discovered that political data gathered on 188

million US citizens was publicly accessible from a misconfigured data

store. Experts have questioned whether AWS could have done more to

actively guide its customers in good security practice, and even to

actively test security. Instead, AWS has chosen to focus blame on its

clients. We provide a set of capabilities and a lot of

flexibility our customers, and so you can have infrastructure like we

run and it can have airtight security, but if our customers in

the applications they build do not build the same level of quality and

security, you could have a problem. Nevertheless, some of the biggest

names on the web and in the real world rely on Google, Microsoft and

AWS to deliver. And to give you an idea of the detail that can be

involved, on a recent trip to Nevada, Dan Simmons discovered that

even an actual mine has uses for a data mine. Everything here is big. A

mind almost two miles wide. 250 ton trucks. Welcome to the second

largest boron mine in the world. This is literally the money shot.

This is what they are after. This is tonight, and after it has been

processed, the boron will come from this and on into 200 or 300

different products, many of them electronics we have in our home,

like the toughened glass on the front of microwave ovens.

But when everything is this big, it is the little things that can make a

difference. Data from the trucks detect bumps and movement. They

upload to the cloud. The Amazon programme takes over and gives this

map showing how different routes and services affect the tyres on these

monsters. We have this installed here. You can see a heat map of the

mine pit. The green is smooth road. The orange is rough. We can monitor

it and dispatched to a appropriate areas. Ultimately that will save

wear and tear. Why does not Rio Tinto wants to keep this to

themselves? Why not rely on their own experience? We are mining

company, not a software company. We just want the best practice to solve

these problems. There is no reason to reinvent the wheel. If it did not

exist, we probably would have done this. And is the savings, another

big attraction of using the Cloud. It can produce savings multiple

times over. You can possibly get up to 40 - 50% more life on a tyre. How

much money is that for those at home? They cost about 40- $50,000.

So, $25,000 more on the life of a tyre is pretty good.

Now, Destiny two was one of the most widely anticipated game releases of

the year in sequel to one of the most expensive games ever made. Next

week it will be available on the PC for the first time ever. As the

studio geared up for its release, we were given exclusive

behind-the-scenes access to the team which made the game, operating out

of Seattle you don't have to be a rocket scientist to know what they

make here. They very rarely let people in with a camera. Hello!

Welcome! Thank you very much. When we say it is rare for cameras to be

in here, we mean it. We are the first people to ever record in this

studio, founded in the 90s by two college friends. Bungee is famous

for making the they now employ over 700 people. The first thing I

published was a multiplayer only network in 92. It barely existed

except on college campuses. Now based in Seattle and responsible for

the BAFTA winning Destiny franchise, they are a hive of activity having

just released the title, a title for something that was a best seller,

but also criticised for being dull. After the first game, there was some

negative feedback, criticism. Did you take that to heart? Absolutely.

It was to a large degree stuff we already knew. We knew it had amazing

parts that many people would love and which would get people playing

it for years to come. But we also saw the real mistakes we made on the

story, for example. Those were big sources of things to fix for the

next one. We were not surprised. When you are a creator and you are

immersed in it, you understand it. But it was a sharp message from the

community that we were expected more of. He says they learned their

lessons. Early reviews of the console release in September

suggests he may be right. But there are still plenty of challenges.

Keeping this on line universe going is a lot of work. In a crowded

market, they face stiff competition to keep layers coming back for more.

-- players. One of the major differences between this new version

of Destiny and the original is it is going on the PC for the first time

ever. I have never played with a mouse and keyboard before. Let's see

what it is like. Making it feel like Destiny with a mouse and keyboard

has been an exciting part of the project. Certain guns will kick and

rise up. That recoil is integral to making the experience feel heavy,

like you are there. But with a mouse, it just feels like you are

chasing the barrel of a gun all the time. It is very accurate. I am

doing better on a PC. When you spend several thousand dollars, several

thousand pounds, on a gaming rig, you want to honour the investment

they have put into it. Much of it goes into being able to render the

capability. This monitor is relatively new in the PC space, but

we have made the effort to make sure that if you are playing on one, that

is a good investment. As well as the PC release of the game, people here

are working on expansion packs coming soon as well. It is in rooms

like this one where they are deciding what you are going to be

playing in the coming months and years. And everything the team needs

to put that together is all here in this one building. The motion

capture area, the sound design studios. It starts out with this. I

like it right away. It is evocative. This is a stunning number. We have

recorded over 900 pieces of this game. Without knowing what a person

is going to do, when a battle is going to break out, you don't know.

You need several options in your pocket all the time so if something

happens here, over there, something comes out from behind a rock,

whatever, the music has to change instantly. We released the

soundtrack of Destiny the day before the game launched. Within 24 hours,

we were the number one album on Amazon, knocking Taylor Swift out of

first race. -- place. It is not often you see a climbing wall in the

middle of a gaming studio. Despite the pressures of making such a

high-profile game, start here tried their best to keep relaxed. That is,

you know, if you find it relaxing. There was a climber at the studio

who was a veteran of it. He designed some of our best problems because he

applied his mindset to it. Obviously, I was going to have to

give it a go. So close! I was so close. Heading to the north tower!

Our game is a content game. Quantity is a part of quality, especially for

players who are always going to consume the content faster than we

can build it, you know? It takes months to make a cool adventure. And

players will go through it in 20 minutes. So, that is the challenge

for now. What is next for them? They don't usually do interviews, but

sitting down with us, Jason says it is something they are actively

looking at. We are starting in eight small way to see what is beyond

Destiny. We are attempting to do something new to surprise people,

but you risk being ignored because no one cares about what you did. And

so I would say, yeah, you make your hand pretty tired writing down all

the risks going into a new gaming project. But I would say investors

are taking on a lot of to bring something people care about. -- of

risk. And that is it for this week. Don't forget, we are on Facebook and

Twitter through the week on BBC Click. Thank you for watching. We

will see you