james waterhouse reports. it is and always has been the whole of ukraine which is under attack. kyiv is still moscow s biggest prize. air defences have improved here, but this attack proved too much. translation: i was woken up at 7:30 by a horrible sound. i it was so frightening. the missile was flying and everything was buzzing, so noisy. you are left in no doubt that this was a direct missile strike. the scale of the damage, the size of the blast zone, the heat caused. you re more used to seeing damage caused from falling debris when a missile is intercepted. but this reflects the scale of this russian attack. and scenes like this are being replicated right across ukraine. a lucky escape in kharkiv in the north east. this city is familiar with missile strikes, but not 20 in a single morning. a shopping centre in dnipro in the east, as well as a maternity hospital, were hit. it didn t stop there. this is the port city of odesa in the south, where a residential block was str
us through the latest? it is spread of the attacks, can you take us through the latest? us through the latest? it is quite strikin: , us through the latest? it is quite striking. as us through the latest? it is quite striking. as you us through the latest? it is quite striking, as you say. us through the latest? it is quite striking, as you say. the - us through the latest? it is quite striking, as you say. the first. us through the latest? it is quite i striking, as you say. the first time in more than a year since a russian missile was able to penetrate the kyiv air defences and i think that is a reflection of our defences across ukraine being overwhelmed in the way that they have, you have heard for the air force is saying and i think that it s really telling something. more than 18 strategic bomber aircraft were used by russia, it says i every type of missile was launched, the only ones with ash from the sea and you take all of these things together, living in the
who s a creative director from visual effects house framestore, now, it s important to remember always when you re dealing with this kind of stuff, that the ai doesn t understand what it s drawing. and actually that s what gives it its unique, quirky animation style. and actually that s what gives it its unique, quirky animation style. you can see in that robot there, the controls on the front, all the buttons are rippling and glitching. yeah. it can t keep them consistent over the number of frames you ve animated it. so thatjust seems to be part of the thing where it doesn t necessarily understand what needs to stay the same in the animation. funnily enough, actually, there s a moment where the girl robot spins her head around, and that was something that itjust did serendipitously. i didn t ask for that, and itjust did it. i mean, it s one of the interesting things about this, the sort of serendipitous nature of it giving you something unexpected, which is also part of the
this week, nick s getting into his trunks to find out what a phone can do for a forest. now i ve just completed another survey injust under a minute. we ll find out what lara s thinking as she immerses herself in culture. i know what i m looking at now, but how do i feel? and less than two years after ai took up art, is it ready for hollywood? spencer s getting his big trailer voice ready. the ai will listen to the audio. deep trailer voice: ..and generate me a new one. jazz music plays this is the tinpot jazz orchestra. it lasts less than a minute, but it is a charming, glitchy, cartoon like production created using generative ai video tools. now, this means that the characters weren t designed by illustrators and animators. instead, they were described in english to an ai, which then created them itself. the film was made by william bartlett, who s a creative director from visual effects house framestore, and who, like a lot of generative ai creators at the moment, put it t
the characters weren t designed by illustrators and animators. instead, they were described in english to an ai, which then created them itself. the film was made by william bartlett, who s a creative director from visual effects house framestore, and who, like a lot of generative ai creators at the moment, put it together in his spare time. it started off life as a test. and i wanted to do a test that was more elaborate than just a couple of shots. i wanted to try and string together something which had a bit of narrative to try and drive the kind of ambition of the shots. will actually had to use different generative ai tools for different parts of the process. first, he asked midjourney to come up with some still images of the kind of characters that he wanted. and so i might describe a sort of vintage tin robot playing a trumpet, for example, and then you get a kind of set of images to choose from that you might or might not like. and the great thing is that it takes abou