Your Face or Mine Click


Your Face or Mine

Is seeing really believing? Click investigates deep fakes, software used to swap faces in video, turning Spencer into President Trump.


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Transcript


LineFromTo

Now on BBC News,

it's time for Click.

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This week, lady becomes model.

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Man becomes ape.

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And Spen becomes Trump.

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AS DONALD TRUMP:

Great, the best.

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OK, movie quiz time.

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Five points if you can

name this film.

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Correct - it's Raiders

of the Lost Ark.

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No, that is not Harrison Ford,

that is the face of Nicholas Cage.

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OK, try this one.

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Yes, it is The Fellowship

of the Ring.

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100 points if you spotted

Nicholas Cage, Nicolas Cage

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and Nicholas Cage.

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So, what on Earth is going on?

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We're just about getting used

to the idea that there

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are loads of fakes online.

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Fake news, fake tweets,

fake photoshopped images.

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But these videos are a whole

level above anything

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that we've seen before,

and they may have consequences that

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go far beyond just switching

out a few movie stars.

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A lot of what we talk about over

the dinner table is,

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we live in a diverse world.

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Researchers at the University

of Washington released

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this video last year,

which used a computer vision

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algorithm to very convincingly

doctor Obama's mouth movements

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to make him lipsync to something

he said in a different interview.

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A lot of kids, the doors that

have been opened to me

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aren't open to them.

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And with the tricks and tools

of machine learning becoming

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better and easier to use,

it's now possible to do this without

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a particularly powerful computer.

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Remember the Nick Cage

videos from earlier?

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Well, this mix of Donald Trump

and Angela Merkel was created

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using the same tool,

a tool called Deepfakes.

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To be clear, this is not just a face

swap like you might see on Snapchat.

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This is artificial intelligence that

has learned what Trump's face looks

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like and then made it copy

Merkel's facial expressions.

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What's fascinating is that these

weren't made by a team

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of researchers, or a Hollywood

visual effects department.

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These were made by individuals

following an online tutorial

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on a desktop machine.

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Now, to see how easy it is,

we're going to do it.

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We're going to take my face

and make me President.

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We trained a neural network

by feeding it video of some

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of my past appearances.

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We mixed it with President Trump's

State of the Union Address.

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The software broke the video

into individual frames,

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run them through the network and,

in less than a day,

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this was the result.

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All of us, together, as one team...

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So, this is the original

video of Trump.

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And this is me, on his head.

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We all share the same home.

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I'm not sure it's an improvement,

but that does seem to be

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President Spenley Trump.

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The other half of the experiment

didn't go quite so well.

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This is Click presenter

Donald Kelly.

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Now, this was a very short

and quick experiment.

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It's far from perfect.

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It's blurry, you can see

the edges and sometimes -

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well, it's just downright scary.

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But had we left the network to train

for longer, on better videos,

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we could have got much

more convincing results.

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Now, Deepfakes has hit

the headlines in recent weeks,

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but it's not because of Trump

or Nicolas Cage, or even me.

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It's because of porn.

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An online community has been

using AI to put Hollywood

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actresses' faces onto adult

movie stars' bodies.

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Now, obviously we can't show

you much of the resulting videos,

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but they feature a number

of female celebrities.

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The videos are stolen,

and so are the faces.

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I was surprised but,

at the same time, not really,

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because of how technology

is advancing so much that it's just

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seems kind of inevitable.

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However, the context

of the material, taking a celebrity

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or a well-known face -

or even anyone's face,

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for that matter - and putting it

on a porn performer's body,

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and essentially creating this

fake, non-consensual

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porn, it's disturbing.

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It was definitely

a disturbing thing to see.

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Are people going to take, like,

pictures of ex-girlfriends and put

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them on porn performers?

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Issues surrounding consent

and copyright have led the website

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hosting this content to ban Deepfake

photography, and the

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communities making it.

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Reddit too, the site

where the community started,

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changed its rules to forbid

involuntary fake pornography.

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Away from porn, doesn't take much

imagination to see how one

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could create international outrage

by making fake statements

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from world leaders.

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Something that may become possible

very soon, thanks to some software

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that we looked at last year.

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This is Lyrebird.

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The idea here is that I can train

a neural network with samples

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of my voice and then it will be able

to speak like me.

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Harry hoped he would see some

success from the current project.

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Parents should look out for...

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The software asks you to read out

at least 30 sentences

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of its choosing, from which it can

pull out the basic building blocks

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of words, the phonemes,

that can then be put back together

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in any order.

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In other words, "in other words".

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I've always been a big

fan of One Direction.

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They were, quite frankly,

better than the Beatles.

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SPENCER LAUGHS.

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Although the creators of Lyrebird

are aware that this technology

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could be misused, they say that

by releasing it as a free tool,

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well, at least the public

will become aware that fake voices

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are already a reality.

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AS DONALD TRUMP:

Great, the best!

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One idea that we are considering is

to watermark the audio

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samples that we produce.

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So we are able to detect immediately

if it is generated by us.

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So, how do we protect ourselves

from having our online photos,

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videos and sound recordings used

to create fake us-es?

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At the moment, we are in a wild,

wild west situation.

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We don't know the attitude

of the courts to this problem.

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We don't have a clear piece

of legislation that would cover it.

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We have piecemeal laws on privacy,

copyright, trademark and passing off

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that would be useful to somebody

in trying to stop

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this from happening.

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We don't have a clear legal

definition and we don't have a clear

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piece of legislation

that is exactly on point.

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And until we have that, this legal

uncertainty will continue.

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The morality and the legality

of Deepfakes are murky issues.

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Just as we are wrestling

with the fact that we can't trust

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what we read, very soon we will need

to confront the fact

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that we can't trust anything

we see or hear either.

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Hello, and welcome

to The Week In Tech.

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It was the week that Google's

dedicated health farm announced it

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has created an algorithm that can

protect high blood pressure,

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as well as risk of heart attacks

or strokes, simply by scanning

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a person's eyes.

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As Boston Dynamics keep

on showing us how intelligent

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robots are becoming,

experts this week warned that

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artificial intelligence in the wrong

hands is ripe for exploitation.

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Drones turned into missiles,

fake videos manipulating public

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opinion and automated hacking

are just three of the

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And Amazon CEO Jeff Bezos

is getting a new clock.

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But it's not one you can

pick up from a shop.

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Costing a huge $42 million -

or £30 million - it is designed

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to run for 10,000 years

and construction began this week

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inside a hollowed-out

mountain in Texas.

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The Vice President of Facebook's

adverts found himself

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in hot water this week,

after tweeting that Russian-backed

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ads were not designed

to sway the US elections.

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Rob Goldman's tweet came after 13

Russians were charged with meddling

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in the election via social media.

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His views were not those

of Facebook itself.

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And a conspiracy theory video

claiming that survivors of last

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week's Florida shooting are "crisis

actors" somehow became YouTube's

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number one trending clip

before being removed.

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And finally, pictures

of Samsung's latest phone,

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the Galaxy S9 were leaked ahead

of its launch at the

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Mobile World Congress,

starting on Sunday -

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ironically, via an app released

by the company itself.

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We'll move on now

to video game news.

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Remember Nintendo's Switch,

its hugely successful console that's

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both mobile and which plugs

into a TV?

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Well, the Japanese gaming giant has

now created a host of rather unusual

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new peripherals which wildly alter

how the machine is used.

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And Marc Cieslak has been getting

all bent out of shape over it.

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HE PLAYS A MUSICAL SCALE.

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You may be forgiven for thinking

that this cardboard is the packaging

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for the new peripherals

for the Nintendo Switch console.

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However, the cardboard

are the peripherals themselves.

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Called Labo, it's a range of devices

which includes things like a piano,

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motor bike handlebars,

fishing rod and even a robot suit.

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Straps on the shoes...

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I might look like I'm stomping

around in a slightly weird way.

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But this game asks you to really get

into the character of a giant robot.

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And, if I pull out my visor...

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I activate first-person mode.

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For precision destruction!

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Called Toy-Cons, they are all

constructed from folded cardboard.

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Some use elastic bands

and all use the Switch's motion

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sensing controllers.

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I think Labo is a big deal

for the Nintendo Switch,

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just because it proves that Nintendo

is capable of continue to innovate

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on an already innovative product.

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The fact that it is made out

of cardboard and your existing

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controllers fit in, I think that

will blow parents' minds and,

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more importantly, blow

children's minds as well.

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But before you can play

with your Toy-Con, you've

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got to build at first,

something that you might worry

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requires the prowess of an origami

expert crossed with the advanced

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flatpack furniture building skills

of a self-assembly sensei.

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Building these devices takes

varying lengths of time.

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More complicated Toy-Cons,

like the robot suit,

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can take up to eight

hours to complete.

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But that's part of the appeal

of Labo, taking pleasure

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from the building of the devices

that you are about to

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use, and understanding

how they go together.

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A little bit of patience and some

deft folding results in this.

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Nintendo reckons this

is a radio controlled car.

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Last time I looked, cars had wheels.

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My completed Toy-Con,

which I can make move around,

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because the Switch controllers have

got HD rumble and it

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means that you can have

different levels of rumble.

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Allowing this particular

Toy-Con to move about.

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Now, this only took me about ten

minutes to build, all in all.

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And because the Switch controllers

have an IR camera in them,

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on the Switch itself,

you can see where

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the Toy-Con is going.

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Each one of the Toy-Cons

comes with a game.

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Some are more complicated

than others, but will require

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an element of physical control,

which comes courtesy

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of the folded cardboard.

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The games themselves

are more like mini-games.

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But that's not the point.

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This is more about creativity

and making something than it is

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a hard-core gaming experience.

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But I do question the durability

of cardboard peripherals.

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How does that go back in there?

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Not very, based

on my time with them.

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We've managed to have a pit

stop with our very own

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cardboard mechanic.

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So, while I managed to damage my

cardboard motorcycle,

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repairs are really quite easy.

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There were two different offerings

so far, the Variety Pack,

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which includes five different

Toy-Cons, priced at £59.99, and

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the Robosuit, which costs £69.99.

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That seems like a lot

of money for cardboard toys

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with bits of string for guts.

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Nintendo hasn't yet said

whether they are going to give

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you replacement parts for that,

or whether you are going to have to

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scavenge cardboard from supermarkets

or things like that.

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So it's going to be interesting

to see how much Nintendo

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are expecting you to spend on top

of the base game and cardboard kits.

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This week, Caterpillar announced

the release of a new smartphone.

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You'd be forgiven for not even

knowing they produced such a thing.

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These devices are specifically aimed

at the construction industry.

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But this one has a few

interesting features.

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An upgrade to their FLIR

thermal imaging camera,

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the addition of a laser beam

for measuring how far away

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something is, or room size,

and the standout feature, a nose.

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Yes, it can smell.

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Or, more specifically,

it has an indoor air quality sensor

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which aims to alert users

if there are high levels

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of volatile organic compounds -

or VOCs - in the air,

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something commonly found in paint,

solvents and cleaning products.

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Sound a bit niche?

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Well, its creators don't think so.

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Builders, plumbers, electricians,

carpenters, farmers.

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These type of people kind

of generally get overlooked

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by the everyday phone vendors.

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So, what we are doing

is understanding the technology

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that we can integrate

into our products that really

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makes their lives better.

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Next week on the show, we'll be

bringing you all of the latest news

0:14:530:14:57

and releases from NWC in Barcelona.

0:14:570:14:58

That was Lara.

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Now, earlier we looked

at how one face can be

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transplanted onto another.

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Next, it's time to meet the people

who took this man's face

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and body and turned him

into a completely different species.

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The team behind War For The Planet

Of The Apes is hoping to win

0:15:240:15:28

the Best Visual Effects Oscar next

weekend.

0:15:280:15:30

If it does, it will be the second

Oscar in a row for Dan Lemon.

0:15:300:15:38

Bad place.

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Human zoo.

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Bad human.

0:15:400:15:42

Bad humans.

0:15:420:15:43

Soldiers.

0:15:430:15:45

Soldiers...

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War For The Planet Of The Apes

represents the effort of over 500

0:15:480:15:52

people in visual effects.

0:15:520:16:00

Some of us worked on the movie

for, like, two years.

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The movie runs about two

hours and 20 minutes,

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and all but 15 shots in the movie

had visual effects.

0:16:060:16:09

Many of the heaviest shots

in the movie took over 1400 hours

0:16:090:16:12

per frame to render.

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So, that's a core hours.

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So we have a lot of those processors

working at the same time.

0:16:180:16:21

Maybe the frames wouldn't come back

for two days, three days.

0:16:210:16:24

Bad place.

0:16:240:16:25

I find long time ago, after zoo...

0:16:250:16:28

So, the razor's edge

that we walk is figuring out how

0:16:280:16:31

to take our apes and adjust them,

and make the performance readable

0:16:310:16:34

to a human audience,

so it is legible as something that

0:16:340:16:37

you and I can connect with.

0:16:370:16:44

But also, not to take it so far

that suddenly it doesn't

0:16:440:16:47

feel ape-like any more.

0:16:470:16:48

Somehow it feels too human.

0:16:480:16:49

That is the fine line

that we ride and that

0:16:490:16:56

requires our animators to really...

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You know, it's their kind

of skill and experience that

0:16:580:17:00

comes into play there.

0:17:000:17:03

This particular movie plays as sort

of this epic Western, you know?

0:17:040:17:07

Where they are travelling from one

location to the next and you get

0:17:070:17:10

to see a lot of different

environments, and spaces.

0:17:100:17:16

The big environment

was the prison camp.

0:17:160:17:18

That is where most of the second

half of the movie takes place.

0:17:180:17:22

The prison camp, we actually built

it near the Vancouver Airport

0:17:220:17:30

in British Columbia.

0:17:300:17:31

It was a 70,000 square feet set.

0:17:310:17:33

So it was a really big set.

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But it was surrounded by over

100,000 square feet of green screen.

0:17:350:17:38

We needed all that screen

because we had big wide shots

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that were set quite low.

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And beyond this set, we needed

to put the Sierra Nevada mountains.

0:17:450:17:49

We used a process called

photogrammetry, where we went up

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in a helicopter and shot reference

up and down the Sierra Nevadas

0:17:520:17:55

in that kind of region.

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And then we turned those

still photographs into

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three-dimensional geometry

using the photogrammetry process.

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And we were able to use those pieces

of geometry sort of like a kit set.

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And in the kind of traditional model

making sense, we were able to take

0:18:190:18:23

geometry from those mountains,

cut them up and then put

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them together into a way

where we could achieve specific

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compositions that matched what

the director was after for that set.

0:18:280:18:31

We developed this new piece

of software called Totara.

0:18:310:18:34

Totara is an ecosystem simulator.

0:18:340:18:35

So, we built the terrain

and we sort of map resources.

0:18:350:18:38

We said, this is where the good soil

is, this is where the bad soil is.

0:18:380:18:42

And then we let the plants

grow from these seeds.

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We ran this similation over

the equivalent of 80 years

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inside the computer.

0:18:480:18:48

And it allowed the trees to grow up.

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And as the trees grew,

they competed with one

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another for resources.

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So, they would kind of try

to reach higher and higher.

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And what happened was a lot

of complexity emerged

0:18:570:18:59

from that simulation.

0:18:590:19:00

It looked a lot more realistic,

and we got a lot more realistic

0:19:000:19:04

variation and naturalism

from that simulation.

0:19:040:19:05

One of the things that are so great

about our job is not knowing

0:19:050:19:09

what the next thing is.

0:19:090:19:11

And that, for us, is the thing

that is so much fun,

0:19:110:19:14

to be able to be, like,

OK, here is the creative challenge.

0:19:140:19:17

How can we take our technical tools

and bend them to tell this story,

0:19:170:19:21

or what can we invent,

what can we make up to be

0:19:210:19:24

able to tell the story?

0:19:240:19:25

No, no, no...

0:19:260:19:28

OK...

0:19:280:19:30

You might remember that late last

year I had a brilliant chat

0:19:310:19:34

with Andy Serkis about his role

as Caesar in War For The Planet

0:19:340:19:38

Of The Apes, and the art

of motion capture in general.

0:19:380:19:41

And you can watch that again right

now on our YouTube channel.

0:19:410:19:48

And next week we will get exclusive,

behind-the-scenes access to another

0:19:480:19:51

visual effects Oscar nominee,

Star Wars: The Last Jedi.

0:19:510:19:55

Now, as it happens, the visual

effects company that power Star Wars

0:19:550:19:59

has also been involved in something

rather different recently.

0:19:590:20:03

Just in time for Fashion Week

season, the London College

0:20:040:20:11

of Fashion has teamed up

with Industrial Light & Magic to put

0:20:110:20:13

on a show with a difference.

0:20:130:20:19

Two years in the making,

ILMxLAB is debuting its live CGX

0:20:190:20:22

technology in an augmented

reality catwalk experience.

0:20:220:20:25

Real-life models are joined

by a virtual avatar

0:20:250:20:32

that is controlled by a human,

wearing ILM's signature performance

0:20:320:20:35

capture gear backstage.

0:20:350:20:36

As the performer walks around,

a specially designed rig,

0:20:360:20:38

motion capture and depth sensing

cameras tracked her every move.

0:20:380:20:42

The avatar mirrors her

physicality in real-time.

0:20:420:20:49

Ahead of the show, we got

an exclusive sneaky

0:20:490:20:52

peek behind the scenes.

0:20:520:20:53

So, when we are calibrating,

we are solving your skeleton

0:20:530:20:55

from all the markers,

so that you know, OK,

0:20:550:20:58

that is how your wrist moves,

that is how your hip moves.

0:20:580:21:01

It gets the right

proportions and everything.

0:21:010:21:04

Having a live event,

where we are using the technology

0:21:040:21:07

that doesn't require a headset to be

put on, and it is also

0:21:070:21:10

not Star Wars-based,

that is quite a two-part

0:21:100:21:13

departure for us.

0:21:130:21:13

So, you know, we are really excited

to go into this new foray of what it

0:21:130:21:18

means to collaborate on a live

event, number one, and, number two,

0:21:180:21:21

just being out here in London.

0:21:210:21:29

It was really interesting to design

with the consideration

0:21:300:21:32

that it would be the Jedis.

0:21:320:21:34

So, the textures and materials

were chosen consciously

0:21:340:21:36

to make sure it reflects

what you guys can create.

0:21:360:21:48

No catwalk is complete, of course,

without a wardrobe change.

0:21:490:21:51

And so, during the show,

the virtual model's clothing

0:21:510:21:54

transforms via the real-life

performer taking a bow.

0:21:540:21:56

The gesture triggers

the change live.

0:21:560:22:00

To view the transformation, though,

tending fashionistas have to look

0:22:010:22:03

at a large five by three

metre LED screen.

0:22:030:22:08

It shows a live video feed

of the stage taken from the balcony.

0:22:080:22:12

The room around them comes to life,

too, with overlaid graphics,

0:22:120:22:15

turning this traditional interior

into a Macau inspired street scene.

0:22:150:22:21

The fashion industry

is based on emotion.

0:22:210:22:23

There is enormous

desire for newness.

0:22:230:22:25

So integrating technology

and fashion allows us

0:22:250:22:38

to create new experiences,

new garments, in this

0:22:380:22:40

case, for consumers

to enjoy and experience.

0:22:400:22:42

So, the last five minutes, all of

the models will stand in position.

0:22:420:22:45

Seeing how the fabric drapes

and falls, and how that mimics

0:22:450:22:48

into digital format,

that makes me really excited

0:22:480:22:50

because of the potential

of what you can do to fabric.

0:22:500:22:53

So, that kind of control

is something that I guess,

0:22:530:22:56

as designers, we don't

really normally have.

0:22:560:22:58

And that's what we really wanted

to kind of push for.

0:22:580:23:02

Eventually, the aim is to shrink

this elaborate setup down to a pair

0:23:020:23:05

of wearable goggles.

0:23:060:23:07

Let's hope they are

suitably en vogue!

0:23:070:23:10

Bravo!

0:23:140:23:18

And that's it from us for this week.

0:23:180:23:21

Don't forget we live on Twitter

@BBCClick and on Facebook, too.

0:23:210:23:24

You can find us there, hanging

around every day of every week.

0:23:240:23:27

Thanks for watching

and we will see you soon.

0:23:270:23:29

Is seeing really believing? Click investigates deep fakes, software used to swap faces in video, turning Spencer into President Trump. Plus a hands-on with cardboard videogame peripherals and behind the scenes at a Sci-Fi fashion show.


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