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aviation innovation. this week, lara looks at the elemental solution to cleaning up carbon emissions from aircraft. we travel to the remote faroe islands to look at the latest ways to harness tidal energy. it s sort of like kitesurfing, but on the water. if it moves, it s a controller paul s en route towards more accessible games. if ijust raise my eyebrows, i m making the carjump. and we look at how generative technology could revolutionise the moviegoing experience. it can make approximately 52 quintillion versions of the film. about 100,000 flights jet around the world every day. flying accounts for 2.5% of all carbon emissions. now, that might not sound like much, but if aviation was a country, it would be among the top ten most polluting nations in the world, and its impact is expected to rise. now, there s a global race to get clean aviation off the ground. and some companies think they re close to cracking it. pretty soon, passengers will be flying in zero emis ....
of the film. about 100,000 flights jet around the world every day. flying accounts for 2.5% of all carbon emissions. now, that might not sound like much, but if aviation was a country, it would be among the top ten most polluting nations in the world, and its impact is expected to rise. now there s a global race to get clean aviation off the ground. and some companies think they re close to cracking it. pretty soon, passengers will be flying in zero emission aircraft. but how did we get here? archive: the new machine is called, optimistically, - the flyer. we ve come a long way since the wright brothers first flight in 1903. that day, they lifted the world into a new dimension. then we achieved bigger, faster planes. great, but that s also how we ended up with all these emissions. jet engines burn kerosene, which releases carbon dioxide, one of the main greenhouse gases causing climate change. the industry faces an enormous challenge to clean up its act, and that means ....
Brendan dawes is a generative artist himself and the developer of the film s bespoke generative software. the way to think of it is kind of like a collaborator. i give it some direction, but then it s like, actually, i ve done this, and i go, wow, ok, let s go down that path and that route. i m specifically looking to be surprised, surprised and delighted. i m pleased if people are more confused than they were before, because i think the biggest problem is trying to deal with what i call the appetite for certainty. i think we normally want to have control as filmmakers of every second, so there s a little bit of surrendering that control. but the result is things that i never would have thought to connect myself. when i see it when our generative system does it, you know, it s like, oh, my gosh, i didn t even think about that connection. that could be making unusual story choices, likejumping around out of chronological order, orjuxtaposing two seemingly unrelated scenes. those c ....
But then it s like, actually, i ve done this, and i go, wow, ok, let s go down that path and that route. i m specifically looking to be surprised, surprised and delighted. i m pleased if people are more confused than they were before, because i think the biggest problem is trying to deal with what i call the appetite for certainty. i think we normally want to have control as film makers of every second, so there s a little bit of surrendering that control. but the result is things that i never would have thought to connect myself. when i see it when our generative system does it, you know, it s like, oh, my gosh, i didn t even think about that connection. that could be making unusual story choices, likejumping around out of chronological order, orjuxtaposing two seemingly unrelated scenes. those choices can lead to wildly different versions of what is supposedly the same film. for example, gary says the audience ....
When i see it when our generative system does it, you know, it s like, oh, my gosh, i didn t even think about that connection. that could be making unusual story choices, likejumping around out of chronological order, orjuxtaposing two seemingly unrelated scenes. those choices can lead to wildly different versions of what is supposedly the same film. for example, gary says the audience reaction to the project, which premiered at this year s sundance film festival, was different every night. the mood shifted based on the choices the algorithm made. like, the first time that the film screened here at sundance, i felt it was, like, very energetic, and there were lots of laughs. but then the second time, it was more introspective and more personal. um, itjust depends on the scenes that end up getting chosen that night. and you can see those choices happening as you re watching the film. there s text that displays on screen showing the algorithm at work. these sorts of moments can make i ....