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Line | From | To | |
---|---|---|---|
into the weekend. | 0:00:00 | 0:00:05 | |
And now on BBC News, it is Click. | 0:00:05 | 0:00:09 | |
This week, we are up, up and away.
Taking apart the first order. | 0:00:09 | 0:00:19 | |
Grandpa and confetti cannon. | 0:00:19 | 0:00:24 | |
This week, 108,000 people landed in
us alone with one thing on their | 0:00:45 | 0:00:53 | |
minds. Mobile phones. Welcome to the
mobile walled Congress. The enormous | 0:00:53 | 0:01:00 | |
annual expo where we get to hear
about the latest in phones, tablets | 0:01:00 | 0:01:06 | |
and, increasingly, anything that
moves. A smart watch with a built-in | 0:01:06 | 0:01:11 | |
projector? The mobile industry is
increasingly important to the | 0:01:11 | 0:01:14 | |
economy of the world. Last year it
was worth $3.6 trillion. 5 billion | 0:01:14 | 0:01:20 | |
of us have mobiles, three point 3
billion use the mobile Internet. And | 0:01:20 | 0:01:25 | |
despite it being the coldest event
we can remember, the halls were | 0:01:25 | 0:01:30 | |
still packed with thousands of
exhibitors showing off their wares. | 0:01:30 | 0:01:34 | |
This one is definitely waterproof.
Roaming the floor for us this year, | 0:01:34 | 0:01:37 | |
Lara. Despite talk of how many of
the big players are not releasing | 0:01:37 | 0:01:43 | |
new phones at the show, there are
quite a few new phones on display. | 0:01:43 | 0:01:49 | |
And the cameras were often taking
centre stage. This is both Mohd. We | 0:01:49 | 0:01:56 | |
saw how we may interact with our
devices in the future. Who needs a | 0:01:56 | 0:02:01 | |
buttons when you can just go. And
the way they may interact with us. A | 0:02:01 | 0:02:07 | |
phone screen that ends. Could aid in
the phone be the future? To really | 0:02:07 | 0:02:12 | |
get to grips with the latest news
here, I joined forces with a man who | 0:02:12 | 0:02:18 | |
seriously now these phones. HMD, who
brought the Nokia brand a few years | 0:02:18 | 0:02:23 | |
back, I ring again embracing
nostalgia with its 8110 4G. Now, you | 0:02:23 | 0:02:30 | |
do not need to have it in banana
yellow. Would feel silly to take out | 0:02:30 | 0:02:36 | |
of your pocket? Absolutely in that
colour. I would needed to be black | 0:02:36 | 0:02:40 | |
or any other colour except bright
yellow. The operating system can | 0:02:40 | 0:02:44 | |
only run a few apps. It will include
Google assistant, Google Maps and | 0:02:44 | 0:02:49 | |
Facebook although not Twitter nor
WhatsApp. But with a battery life of | 0:02:49 | 0:02:56 | |
25 days, albeit on standby, and a
pricetag of 70 quid, it does sound | 0:02:56 | 0:03:01 | |
like a decent proposition. It has
4G. That is all of the connectivity | 0:03:01 | 0:03:06 | |
of you would want at a low price.
And a nice is it to hold like that, | 0:03:06 | 0:03:11 | |
frame like that and then use centre
button to take the photo? One | 0:03:11 | 0:03:17 | |
manufacture managed to create an
exclusive world of their own. I feel | 0:03:17 | 0:03:21 | |
underdressed. I am sorry. You can
not and so. Hmmm not just | 0:03:21 | 0:03:29 | |
underdressed, I cannot enter. Even
though they were not releasing a new | 0:03:29 | 0:03:32 | |
phone. The biggest announcement came
from Samsung with news of the | 0:03:32 | 0:03:37 | |
release of their ? nine and we got
our hands on one of those devices. | 0:03:37 | 0:03:43 | |
Even here at the big reveal of a
phone it was the camera that was | 0:03:43 | 0:03:49 | |
very much front and centre. For a
start, the Galaxy S9 and S9 plus | 0:03:49 | 0:03:57 | |
shoe better pictures in low light,
reducing grain by taking a burst of | 0:03:57 | 0:04:02 | |
12 shots at once. The larger S9 plus
has two lenses that work together to | 0:04:02 | 0:04:10 | |
produce photos with a blue
background, in the same way that the | 0:04:10 | 0:04:14 | |
iPhone 7 plus has done since 2016.
This, however, is quite new here in | 0:04:14 | 0:04:19 | |
the West. It is the first phone I
have seen that has a mechanical | 0:04:19 | 0:04:23 | |
arbiter which can switch from S 2.5
two S 1.5 to let in more light. Last | 0:04:23 | 0:04:30 | |
year, we saw a Sony phone that could
shoot at 40 times slow Mo 's. That | 0:04:30 | 0:04:37 | |
is 960 frames per second. As we
predicted then, that feature is now | 0:04:37 | 0:04:42 | |
starting to migrate into other
phones. One problem I have with | 0:04:42 | 0:04:47 | |
Sony's super slow mode is that you
have to be incredibly precise in | 0:04:47 | 0:04:53 | |
order to start the recording and
capture the 0.2 seconds of action. | 0:04:53 | 0:04:59 | |
Not so with this phone. It waits
until it detects motion in a certain | 0:04:59 | 0:05:05 | |
part of its viewfinder and then it
fires. So... That should mean you | 0:05:05 | 0:05:11 | |
don't miss those of milliseconds of
slow Mo Magic. The video is of the | 0:05:11 | 0:05:21 | |
lower 720 resolution but that is
still acceptable on a phone screen. | 0:05:21 | 0:05:25 | |
The boats -- results can be shared
or kept on your lock screen. Hot on | 0:05:25 | 0:05:35 | |
the heels of apple's iPhone oh jeez,
the SI lets you create and send your | 0:05:35 | 0:05:45 | |
own back three. They look a little
like you and they will copy your | 0:05:45 | 0:05:51 | |
face expression using live tracking.
Or you can use one preset from your | 0:05:51 | 0:05:58 | |
likeness. Overall, both phones look
and feel like their predecessors. | 0:05:58 | 0:06:04 | |
The same size, dust and water
resistant and they still have a | 0:06:04 | 0:06:07 | |
headphone socket. The screen is ever
so slightly longer. They will now | 0:06:07 | 0:06:12 | |
accept ST cards of up to 400 bigger
pie -- gigabytes and they play Dolby | 0:06:12 | 0:06:19 | |
Atmos sound. And where the SH could
be plugged into a dog to connect to | 0:06:19 | 0:06:30 | |
screen, mouse and keyed board, the
S9 can become a trackpad. Will soon | 0:06:30 | 0:06:35 | |
also double as a keyboard. Even with
the S9's better to expect, critics | 0:06:35 | 0:06:43 | |
say that the improvements are not
massive. They do think the camera | 0:06:43 | 0:06:46 | |
and the sharing functions are sure
to be eyecatchers. And now super | 0:06:46 | 0:06:53 | |
slow motion is complete without lots
and lots of confetti. Well, only one | 0:06:53 | 0:07:05 | |
day after Samsung announced their
phone and their slow Mo Camara, we | 0:07:05 | 0:07:09 | |
found out that Sony have up raided
bears to 960 frames per second and | 0:07:09 | 0:07:15 | |
in full HD which makes it better.
So, what do you think the situation? | 0:07:15 | 0:07:19 | |
You tried it earlier. I did and it
really is better than the effort | 0:07:19 | 0:07:24 | |
from Samsung. Sony has experienced.
This is the second time they have | 0:07:24 | 0:07:29 | |
done this and full HD, when you see
it, it is glorious. Warriors in | 0:07:29 | 0:07:36 | |
comparison to the 720 noisy version
on the map one Mack -- Mack to map. | 0:07:36 | 0:07:43 | |
-- S9. Once you get it right, it is
brilliant. That you will get | 0:07:43 | 0:07:50 | |
frustrated during the ten times it
takes to get it right. The phone is | 0:07:50 | 0:07:56 | |
also optimised for Sony's and
containment suite, a feature they | 0:07:56 | 0:07:59 | |
are going big on. The third feature
is what they call dynamic vibration. | 0:07:59 | 0:08:03 | |
No matter where you stream from, or
what you are doing, similar to a | 0:08:03 | 0:08:09 | |
PlayStation controller, it uses the
audio path to produce haptic | 0:08:09 | 0:08:12 | |
feedback. Holding it for two hours
like this, with big white excessive. | 0:08:12 | 0:08:19 | |
Sites on the phones themselves there
was a of chat about five G | 0:08:19 | 0:08:23 | |
commercial roll-out. Amount --
amongst it, a plan to launch it in | 0:08:23 | 0:08:29 | |
four US cities by the end of the
year. A commercial service is also | 0:08:29 | 0:08:33 | |
expected to kick off in South Korea,
proving that five G was not just for | 0:08:33 | 0:08:37 | |
the Winter Olympics. They may not
have wanted me on the show floor but | 0:08:37 | 0:08:45 | |
they did invite me to go for a spin.
If you can call it that. They have | 0:08:45 | 0:08:52 | |
come up with a novel way of testing
a phone. They have connected to this | 0:08:52 | 0:08:57 | |
vehicle and the phone is actually
going to drive the car. | 0:08:57 | 0:09:02 | |
This being an attempt to show off
the processing power and image | 0:09:07 | 0:09:12 | |
recognition of their pro, which was
released last year, rather than | 0:09:12 | 0:09:19 | |
something they plan on executing in
the real world. Not that they | 0:09:19 | 0:09:23 | |
trusted the inbuilt camera for this
job. They attached a large external | 0:09:23 | 0:09:26 | |
one. The phone uses artificial
intelligence to process what it | 0:09:26 | 0:09:31 | |
sees. I am told it recognises around
1000 objects. In turns, it will send | 0:09:31 | 0:09:38 | |
signals to the vehicle via Wi-Fi
which will then control the car | 0:09:38 | 0:09:41 | |
through a robotic system. Technology
that we are using to power this | 0:09:41 | 0:09:46 | |
actually exist within the phone
already. The artificial intelligence | 0:09:46 | 0:09:49 | |
that sits at the heart of what we
are showing the is part of the | 0:09:49 | 0:09:53 | |
everyday experience of your smart
phone. There we go. I'm India. In | 0:09:53 | 0:09:59 | |
the wake of this feels quite strange
at the moment. People are just | 0:09:59 | 0:10:03 | |
moving around. That is a very big
all. How often do you see one that | 0:10:03 | 0:10:08 | |
size on the road. Now the phone has
had a chance to learn, it is time | 0:10:08 | 0:10:13 | |
for round two where it should
instruct the vehicle to react to any | 0:10:13 | 0:10:17 | |
hazards it identifies. Here it goes.
It feels slightly nerve racking. For | 0:10:17 | 0:10:30 | |
a bit of fun, if we detect a bike I
will swerve right? It's not really | 0:10:30 | 0:10:37 | |
that dramatic is it? OK. I am
holding on tight. That is quite | 0:10:37 | 0:10:44 | |
weird. That was chosen at random.
The phone recognised the object that | 0:10:44 | 0:10:49 | |
was put out. It said, it asked you
what you wanted to do if you saw | 0:10:49 | 0:10:55 | |
that. It saw the object and then did
the manoeuvre. Oh, well. I guess it | 0:10:55 | 0:11:02 | |
did what they promised. And for
them, well it got us talking about a | 0:11:02 | 0:11:08 | |
phone that is not even new. | 0:11:08 | 0:11:10 | |
Hello and welcome to the week in
Tech. It was the week that drones | 0:11:18 | 0:11:22 | |
replaced models on the catwalk in
Medan, carrying the latest handbags. | 0:11:22 | 0:11:29 | |
One web and Airbus announced an
network of 900 satellites to provide | 0:11:29 | 0:11:34 | |
NexGen five G mobile Internet to
aeroplane travellers by 2020 while | 0:11:34 | 0:11:40 | |
Vodafone and Nokia plan to go one
further and deliver mobile Internet | 0:11:40 | 0:11:43 | |
to the moon. Albeit using 4G. The
network would provide a way for | 0:11:43 | 0:11:49 | |
lunar rovers to stream data from as
early as next year. Snake robots | 0:11:49 | 0:11:55 | |
have slithered out from the labs at
Harvard University. Robots move | 0:11:55 | 0:11:59 | |
using laser cut scales at which
expand and contract to propel them. | 0:11:59 | 0:12:04 | |
Research is perfecting this way of
moving to help tackle difficult to | 0:12:04 | 0:12:07 | |
rein and to be used in intestinal
surgery. It was also the week that | 0:12:07 | 0:12:15 | |
Amazon purchased Ring, the smart
doorbell company. This adds to their | 0:12:15 | 0:12:18 | |
growing collection of smart home
products and paves the way for | 0:12:18 | 0:12:22 | |
deliveries not only to your door but
even inside your home. That may ring | 0:12:22 | 0:12:28 | |
alarm bells for those concerned with
privacy. And finally, California has | 0:12:28 | 0:12:35 | |
joined other places and removed the
need for a human to read the high | 0:12:35 | 0:12:40 | |
end a driverless car. Vista needs to
be plans for how cops can pull the | 0:12:40 | 0:12:48 | |
car over to speak to eat. -- there
still needs to be planned. This is | 0:12:48 | 0:12:55 | |
possibly one of the more surprising
things on the show floor. I am | 0:12:55 | 0:12:58 | |
currently in a holoportal. There are
four sensors, five laptops doing the | 0:12:58 | 0:13:06 | |
grunt work and once a person has
been created in holographic form | 0:13:06 | 0:13:10 | |
they can be seen on this in
real-time. I have been to see a | 0:13:10 | 0:13:15 | |
family who are really putting this
setup to good use. The house -- he | 0:13:15 | 0:13:24 | |
has a fatal genetic muscle wasting
disease. Every single muscle in his | 0:13:24 | 0:13:31 | |
body deteriorates over time and that
means he loses the ability and | 0:13:31 | 0:13:34 | |
strength to do a lot of things that
we take for granted. Dimply walking, | 0:13:34 | 0:13:38 | |
eating a hub, things that. They just
go in time. He has a life expectancy | 0:13:38 | 0:13:44 | |
somewhere between 20 and 25. Is when
the heart and lungs, they are also | 0:13:44 | 0:13:50 | |
muscles, that is when they give up.
Since Harrison came off his feet at | 0:13:50 | 0:13:59 | |
the end of last year, being able to
create stimulating and engaging | 0:13:59 | 0:14:04 | |
experiences at home have become more
important than ever. | 0:14:04 | 0:14:08 | |
And today, he has a virtual visitor.
This research prototype is currently | 0:14:11 | 0:14:20 | |
being perfected at Ravensbourne. I
see the holograndpa. Are you cooking | 0:14:20 | 0:14:37 | |
tonight? Your dad would like a stake
that big! He is only allowed one | 0:14:37 | 0:14:41 | |
that big. -- steak. Next Tuesday is
Pancake Day. What would you have | 0:14:41 | 0:14:49 | |
this year? Definitely maple syrup.
There are are AR and VR versions. | 0:14:49 | 0:15:00 | |
Eventually, 2-way audio and video
could be possible, and more than one | 0:15:00 | 0:15:04 | |
person could be transported. But
right now it is about giving the | 0:15:04 | 0:15:10 | |
basics right. While this is not a
true hologram, be displayed displays | 0:15:10 | 0:15:17 | |
holograndpa as a 3-dimensional
projection, as if he was in the | 0:15:17 | 0:15:20 | |
room. There was when we tested at a
bit of a time lapse due to a lack of | 0:15:20 | 0:15:25 | |
processing power and connection. It
is in the spirit of being inspired | 0:15:25 | 0:15:30 | |
by Star Wars, using the tech as we
use it now. So we knew that it would | 0:15:30 | 0:15:34 | |
not be the most amazing fidelity,
but it was always the magic of how | 0:15:34 | 0:15:38 | |
we would see Harrison feeling in his
home when grandpa collar ports in | 0:15:38 | 0:15:42 | |
and says hello. -- holoports. We
know time is precious so this | 0:15:42 | 0:15:52 | |
transcendence of time and space with
technology to be together is | 0:15:52 | 0:15:55 | |
potentially very powerful. Arsenal
beat Tottenham. Never in a million | 0:15:55 | 0:16:03 | |
years or that when. 3-1 to
Tottenham, and Harry chainstores | 0:16:03 | 0:16:06 | |
two. -- Harry Kane scores two. One
of the teams this year is what | 0:16:06 | 0:16:19 | |
mobile connectivity can do to
transform lives. The company case | 0:16:19 | 0:16:24 | |
for change is to committing projects
around the world, hoping to inspire | 0:16:24 | 0:16:28 | |
others. -- documenting products.
Whether it is empowering women in | 0:16:28 | 0:16:37 | |
India, or giving farmers and extra
resources to grope crops, most of | 0:16:37 | 0:16:40 | |
the project to be backed on a world
scale, some in the Welbeck things | 0:16:40 | 0:16:45 | |
could be possible very soon. We are
seeing tremendous amount of change. | 0:16:45 | 0:16:53 | |
-- Mackellar. In Africa, for
example, we will see 250 million | 0:16:53 | 0:16:56 | |
smart phones changed to 700 million
smartphones and just five short | 0:16:56 | 0:17:01 | |
years. -- World Bank. A wrong will
have access to broadband as the | 0:17:01 | 0:17:06 | |
Fosun. But in the industry, unless
they think about taking these | 0:17:06 | 0:17:11 | |
applications are making them work at
scale in developing countries it | 0:17:11 | 0:17:15 | |
will not happen. Was getting
connected for many many the start, | 0:17:15 | 0:17:21 | |
this drove the deployment during
large scale disasters is part of | 0:17:21 | 0:17:26 | |
Nokia's project. As well is
providing views that would not be | 0:17:26 | 0:17:29 | |
possible from the ground, the full
kit rated network bubble of up to | 0:17:29 | 0:17:33 | |
four Corbert radius, where
connection would otherwise be | 0:17:33 | 0:17:37 | |
unavailable. Real-time video
streaming, gas and he is in, mapping | 0:17:37 | 0:17:39 | |
and analytics, could help rescuers
respond better and more safely. It | 0:17:39 | 0:17:46 | |
will be ready for its first
real-world exercise in the | 0:17:46 | 0:17:50 | |
Philippines with the Red Cross this
summer. This display illustrated | 0:17:50 | 0:17:54 | |
smart phone setup that went live in
Turkey last month. The idea is that | 0:17:54 | 0:17:58 | |
censors are placed around the farm,
and they sink up to a Nap, providing | 0:17:58 | 0:18:03 | |
information about, for example, how
healthy the crops are, the condition | 0:18:03 | 0:18:07 | |
of the silent humidity. That way the
farmer could be alerted if there is | 0:18:07 | 0:18:11 | |
a problem. That information can then
be provided to the farmer through | 0:18:11 | 0:18:14 | |
the low-power network it is
connected to. So there is a fungal | 0:18:14 | 0:18:17 | |
disease, for example, it can
immediately identified and dealt | 0:18:17 | 0:18:20 | |
with. It is all very well collecting
a lot of data, but what we actually | 0:18:20 | 0:18:27 | |
do with that data is really
important. Every year in India alone | 0:18:27 | 0:18:34 | |
2.8 million people are diagnosed
with tuberculosis. This map aims to | 0:18:34 | 0:18:40 | |
use predictive modelling to find out
the areas that are most at risk. So | 0:18:40 | 0:18:45 | |
the red parts that you can see here
are where the disease is already | 0:18:45 | 0:18:49 | |
prevalent. It is possible to add an
extra layer to that data by tapping | 0:18:49 | 0:18:53 | |
on here, and we can see mobile phone
usage, which of course represent is | 0:18:53 | 0:18:58 | |
where the people are. By identifying
these areas at the highest risk, it | 0:18:58 | 0:19:02 | |
means that awareness can be raised,
clinics can be ready, expected me to | 0:19:02 | 0:19:07 | |
be more cases of TB, and, of course,
immunisations can be given to | 0:19:07 | 0:19:11 | |
hopefully prevent some of those
cases from even happening. And that | 0:19:11 | 0:19:19 | |
is it from NWC this year. After all
that, it is time to take a trip | 0:19:19 | 0:19:27 | |
elsewhere. Ah, the wind is blowing
through my hair. Amazing to be down | 0:19:27 | 0:19:35 | |
and relax. Stunning. -- to be able
to sit down and relax. That was Lara | 0:19:35 | 0:19:49 | |
in Barcelona. And the Oscars are
finally here. The 90 the Awards are | 0:19:49 | 0:19:52 | |
this weekend. Over the past few
weeks, we have been going | 0:19:52 | 0:19:56 | |
exclusively behind the scenes with
some of the nominees in the best | 0:19:56 | 0:20:00 | |
visual effects category. This week
is the fourth in our series. -- the | 0:20:00 | 0:20:05 | |
90th Academy Awards at this weekend.
Otherwise known as episode eight. Of | 0:20:05 | 0:20:09 | |
course I am talking about Star Wars:
The Last Jedi. I feel like this, we | 0:20:09 | 0:20:28 | |
ultimately ended up with over 2006
shots in this film. You have too | 0:20:28 | 0:20:32 | |
much of your father's- you. It took
almost a year to get to the point we | 0:20:32 | 0:20:42 | |
are out. -- you have too much of
your father's heart in you. We | 0:20:42 | 0:20:47 | |
started to paint textures and build
the internal controls and anatomy of | 0:20:47 | 0:20:51 | |
the character. And as the editors,
Ryan and Bob, were working together, | 0:20:51 | 0:20:58 | |
they brought together sequences only
using Andy's as a reference point. | 0:20:58 | 0:21:06 | |
And he had this incredible, powerful
voice. It was I who breached your | 0:21:06 | 0:21:13 | |
minds. The amazing thing about Andy
is that he is very skilled at doing | 0:21:13 | 0:21:17 | |
this and is unafraid of technology.
So we were able to suit him up in an | 0:21:17 | 0:21:22 | |
active motion capture suit, to film
with infrared cameras from the | 0:21:22 | 0:21:25 | |
ceiling of the sat. That allowed him
to walk around and perform | 0:21:25 | 0:21:29 | |
unhindered. We also put a helmet on
his head with four high-definition | 0:21:29 | 0:21:34 | |
cameras, so that we could get clear
definition on his face. As we | 0:21:34 | 0:21:38 | |
started to do animation tests on the
early material, we got a few weeks | 0:21:38 | 0:21:43 | |
in, and rain came to me and said, I
am not sure that the voice is making | 0:21:43 | 0:21:50 | |
the anatomy of the character we
designed, and we realised that there | 0:21:50 | 0:21:54 | |
was an issue there. The initial
design made it look like a very | 0:21:54 | 0:21:57 | |
fragile, frail, older character. And
Andy's what is this lovely booming | 0:21:57 | 0:22:03 | |
big thing. So we had to change
something is, it is just as fine, | 0:22:03 | 0:22:09 | |
and made him about 1.5 feet tall. He
is about 8.5 feet tall, the | 0:22:09 | 0:22:16 | |
character. And then we knew we had
done right and we could move | 0:22:16 | 0:22:20 | |
forward. The bombing run was in the
original script, was exactly as you | 0:22:20 | 0:22:24 | |
said in the film. We did bid how to
execute this in a few different | 0:22:24 | 0:22:34 | |
ways, practical pyrotechnics, that
sort of thing. And the scheduling | 0:22:34 | 0:22:37 | |
cost of that was too prohibitive.
The important thing to me is, when | 0:22:37 | 0:22:43 | |
working with a director like Ryan,
is that we can make our city look | 0:22:43 | 0:22:47 | |
like any particular style. -- CG
look. We can make it look like | 0:22:47 | 0:22:54 | |
anything. We have that control over
the weather we can render things, | 0:22:54 | 0:22:58 | |
now. After a time, Ryan became
confident in what we could do. | 0:22:58 | 0:23:02 | |
Actually, it was a liberation. We
could achieve anything with | 0:23:02 | 0:23:06 | |
explosions and high-tech necks. What
we achieved in the bombing run I | 0:23:06 | 0:23:09 | |
think have pushed us to a new level
of believability. We modelled not be | 0:23:09 | 0:23:18 | |
outside first, but from the inside
out. So as you destroy a ship, you | 0:23:18 | 0:23:22 | |
are opening up holes, and the
audience can see in, at the viewer | 0:23:22 | 0:23:26 | |
can see in. It was exciting to do
it. I think it the destruction to a | 0:23:26 | 0:23:30 | |
new level. I think our contribution
to film is getting more and more | 0:23:30 | 0:23:38 | |
invisible in certain cases. When
they are not invisible because you | 0:23:38 | 0:23:41 | |
know they cannot be real, they are
getting more believable. Globally, | 0:23:41 | 0:23:45 | |
the visual effects techniques are so
advanced, now, that it is now | 0:23:45 | 0:23:49 | |
important to good story, and it is
important at that story has good | 0:23:49 | 0:23:53 | |
ideas and greater challenges that
push us to create visuals that have | 0:23:53 | 0:23:58 | |
never been seen before. And we wish
the entire crew of Star Wars: The | 0:23:58 | 0:24:08 | |
Last Jedi, along with the other
nominees, the best of luck for this | 0:24:08 | 0:24:12 | |
week's Oscars. That is if this week.
You can find on Twitter and | 0:24:12 | 0:24:17 | |
Facebook. They give for watching. We
will see you soon. -- thank you for | 0:24:17 | 0:24:23 | |
watching. | 0:24:23 | 0:24:43 |