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Speaker 1: Get in touch with technology with tech Stuff from stuff

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Speaker 1: works dot com. Hey there, and welcome to tech Stuff.

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Speaker 1: I am your host, Jonathan Strickland. I'm an executive producer

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Speaker 1: at Cal's stuff Works, and I am a Disney fanatic.

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Speaker 1: People who have listened to this show for a long

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Speaker 1: time are already aware of that fact. I love Disney,

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Speaker 1: I love the Disney movies, I love the Disney Parks.

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Speaker 1: I've done episodes about different aspects of the Disney parks,

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Speaker 1: and earlier in ten I had planned on going to

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Speaker 1: Disney World and uh in twenty seventeen, Disney World over

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Speaker 1: at the Magic Kingdom started a brand new fireworks display

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Speaker 1: called Happily ever After. And after I heard about it

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Speaker 1: and heard what was going to be part of Happily

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Speaker 1: ever After, which would include three D projection mapping, I'll

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Speaker 1: talk about that this episode. I realized that this was

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Speaker 1: a really cool idea. I could use that as a

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Speaker 1: specific example and take the opportunity to talk about the

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Speaker 1: technologies that make that show possible. So, in the interest

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Speaker 1: of full disclosure, I want to let you guys know

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Speaker 1: I reached out to Disney and told them what I

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Speaker 1: wanted to do and asked if they might be able

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Speaker 1: to set up an interview with one of their imagineers

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Speaker 1: who was responsible for working on this this project. So

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Speaker 1: I did that and I heard back from Disney. They

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Speaker 1: were very, very gracious. They informed me that they did

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Speaker 1: not have any opportunities for any interviews during the time

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Speaker 1: when I was going to be at Disney anyway. I

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Speaker 1: told them this, you know, the span of the week

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Speaker 1: where I would actually be at the park. However, they

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Speaker 1: did give me a one day park hopper pass so

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Speaker 1: that I could go I which I used. So I

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Speaker 1: just wanted to make that full disclosure because while there

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Speaker 1: was no agreement about doing a show or having access

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Speaker 1: to anything, it was literally they said, thank you for

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Speaker 1: your interest. Here's a day at the park. I just

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Speaker 1: want to let you guys know that that had happened,

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Speaker 1: because you know, I want to be on the up

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Speaker 1: and up. But I had planned on doing the show anyway.

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Speaker 1: So yeah, alright, So what that's what is happily ever After? Well,

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Speaker 1: it is the successor of a show that was called Wishes. Uh.

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Speaker 1: This is the big nighttime show at the Magic Kingdom.

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Speaker 1: Wishes was primarily a pyrotechnics show, a fireworks display and

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Speaker 1: I was kind of sad to see Wishes go. Wishes

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Speaker 1: had been around for I think thirteen years at the

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Speaker 1: Magic Kingdom Park and then uh they decided to swap

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Speaker 1: it out. I had a personal connection to Wishes because

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Speaker 1: Wishes was hosted and I use air quotes for hosted

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Speaker 1: by jim NYE. Cricket. The voice of Jiminy Cricket was

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Speaker 1: one of the narrators for the show Wishes. And I

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Speaker 1: don't want to ruin the magic for anybody, but Jiminy

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Speaker 1: Cricket used to be voiced by an actor named Eddie Carroll,

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Speaker 1: and Eddie Carroll was a friend of the family. He

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Speaker 1: passed away a few years ago, but Eddie Carroll's a

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Speaker 1: friend of the Strickland family, and so it was kind

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Speaker 1: of sad to see that show go because that was

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Speaker 1: another connection to someone I had known and had had

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Speaker 1: hung out with. Very nice man. Uh So I was

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Speaker 1: sad to see that go, but I was also excited

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Speaker 1: because I I don't think anything at Disney should be

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Speaker 1: considered as a as a forever and ever permanent kind

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Speaker 1: of installment, because then you don't ever have the opportunity

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Speaker 1: to experiment and innovate. And I think that Walt Disney

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Speaker 1: was very much concerned with the concept of innovation, so

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Speaker 1: I am glad that they had the chance to make

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Speaker 1: this new show. Fireworks in Disney date back a long way.

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Speaker 1: The first fireworks display at a Disney park was at

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Speaker 1: Disneyland in nineteen fifty eight. It was called Fantasy in

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Speaker 1: the Sky. As I said, Wishes was the most recent

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Speaker 1: fireworks display over at the Magic Kingdom until earlier in

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Speaker 1: sev It was kind of cool. It had five hundred

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Speaker 1: fifty seven firing queues that meant at five fifty seven

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Speaker 1: different points during the show they would fire off at

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Speaker 1: least one, if not multiple fireworks. H and so it

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Speaker 1: was neat to see that show. I hope you had

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Speaker 1: a chance to see it. If you've ever been to

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Speaker 1: the Magic Kingdom, I hope you had a chance to

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Speaker 1: see Wishes. It was pretty good, but happily ever after.

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Speaker 1: Has a lot of new technologies involved in it, not

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Speaker 1: just fireworks, not just spotlights, not just lasers, but also

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Speaker 1: three D projection mapping, which has been used a couple

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Speaker 1: of times in Disney's past, including a notable one. The

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Speaker 1: first noted use of three D projection mapping was at

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Speaker 1: a Disney Park, but this was the first truly major

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Speaker 1: use of it in a big Disney show that was

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Speaker 1: meant to be a kind of a nightly performance. And

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Speaker 1: there's a lot of different breakdowns online you can find

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Speaker 1: for the show that kind of explain the flow of it.

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Speaker 1: One of them is on w d W Magic. It's

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Speaker 1: called Deconstructing Happily. Ever, after it breaks it down like this,

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Speaker 1: it says that there are seven sections to the show,

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Speaker 1: and the first one is called Desiring the Dream. This

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Speaker 1: is their terminology. It's not necessarily the internal one, but

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Speaker 1: Desiring the Dream, which sets the scene and features the

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Speaker 1: first instances of projection mapping. I'll explain what that means

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Speaker 1: a little bit later in this episode. The second section

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Speaker 1: is called Boldly Beginning the Journey, and that one has

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Speaker 1: some various laser effects along with projection mapping and some fireworks.

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Speaker 1: Then you have friends on the Journey. Section four is

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Speaker 1: Love is the Journey. Section five is Overcoming Adversity, which

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Speaker 1: includes both projected and real fireworks, which is kind of cool.

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Speaker 1: They'll have a projected firework on the castle itself and

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Speaker 1: then it will transition to a real firework in actual space,

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Speaker 1: so you watch as a pretend firework is fired off

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Speaker 1: on the scene of the castle and a real one

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Speaker 1: takes off right at the same point, so that you

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Speaker 1: can then have that perfect transition. It's a really neat effect.

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Speaker 1: Section six is the Heroes Happily ever After, and the

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Speaker 1: final section is find your Own Happily ever After. Meanwhile,

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Speaker 1: the Disney Wiki has a slightly different naming system for

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Speaker 1: these that goes with Happily ever After, wish Adventure, Friendship,

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Speaker 1: Love Adversity, Heroes fight Back, Peace Restored, and Happily ever

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Speaker 1: After referees. Each section has various effects, characters, music, and

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Speaker 1: dialogue associated with it. So let's talk about how how

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Speaker 1: all this works. I mean, it's when you experience it

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Speaker 1: as a show. You're hearing music, you're hearing dialogue, You're

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Speaker 1: seeing the imagery projected directly onto the castle, Cinderella's castle

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Speaker 1: at the Magic Kingdom. You're seeing the fireworks, you're seeing

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Speaker 1: the spotlights, you're seeing the lasers. How do you coordinate

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Speaker 1: all of that? The answer, by the way, spoiler alert,

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Speaker 1: is computers. Yeah, that's pretty much what you have to use.

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Speaker 1: But obviously there's a lot of different individual components here.

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Speaker 1: So let's start with fireworks. So we actually did a

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Speaker 1: pair of episodes about fireworks, uh a few years back

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Speaker 1: back in tween. This would be when Lauren vogeo Baum

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Speaker 1: was my co host, and Lauren and I did these

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Speaker 1: two episodes about fireworks. They are titled tech Stuff Lights

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Speaker 1: Some Fireworks. That one published on July twenty fourteen, and

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Speaker 1: the second part was called Fireworks Part two because apparently

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Speaker 1: we ran out of creative ways of naming episodes. That

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Speaker 1: one published on jen But I'm gonna go over some

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Speaker 1: of the salient facts so that we understand what's happening,

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Speaker 1: because I don't need to go in as much detailed

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Speaker 1: since we already have episodes. But it's been a few years,

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Speaker 1: so let's catch everybody up. First of all, what is

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Speaker 1: a firework? Well, it's an explosive or combustible device designed

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Speaker 1: to create an impressive light display and or loud noise.

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Speaker 1: These days, the most common basic ingredient and fireworks is

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Speaker 1: called black powder, which is similar to gunpowder. It's made

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Speaker 1: from sulfur, charcoal, and potassium nitrate, also known as saltpeter.

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Speaker 1: So those are your three basic ingredients for gunpowder. If

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Speaker 1: you remember from The Wonderful musical seventy. That's what Adams

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Speaker 1: was asking of his wife Abigail to send them saltpeter

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Speaker 1: because they needed it for their guns. Legend states that

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Speaker 1: fireworks were created by accident when a chef in China

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Speaker 1: was mixing together sulfur, saltpeter, and charcoal in a kitchen

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Speaker 1: and discovered that if you compressed it and then lit

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Speaker 1: it on fire, it would ignite with explosive force. There's

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Speaker 1: no word whether the chefs survived this discovery, or if

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Speaker 1: perhaps noodles found their way to the moon. No one

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Speaker 1: really knows, and in fact, this is probably an apocryphal story,

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Speaker 1: but it is a popular one. Another potentially apocryphal story

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Speaker 1: traces the origin of fireworks back to a specific monk

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Speaker 1: named Le Sian who lived in China about one thousand

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Speaker 1: years ago. But there's so many different sources that use

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Speaker 1: the exact same phrasing to describe the story that to me,

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Speaker 1: it sounds like they're all working from a a single

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Speaker 1: primary source, or they're perpetuating a whole lot of copying

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Speaker 1: and pasting. At any rate, it sounds like there's a

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Speaker 1: lot of plagiarism is a strong word, let's just say

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Speaker 1: very creative writing going on here, and I can't find

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Speaker 1: anything that actually confirms or denies that legend. It may

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Speaker 1: very well have an element of truth to it, or

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Speaker 1: it could be completely baseless, and it's just one of

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Speaker 1: those things that's been passed around by multiple people. Scholarly sources, however,

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Speaker 1: point to the development of gunpowder originating sometime around the

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Speaker 1: eleventh century Common Era in China. Other people worked on

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Speaker 1: it as well over the following centuries. Roger Bacon discovered

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Speaker 1: in the thirteenth century that black powder burned with a

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Speaker 1: quick flash if you lit it. So if you just

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Speaker 1: had black powder loose and you lit it, it would

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Speaker 1: go flash and just be gone. But if you were

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Speaker 1: to compress it by packing it into a container and

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Speaker 1: then you lit it, it would explode and go boom.

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Speaker 1: And that's because you have the basic needs for fire

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Speaker 1: in very high concentration in a small area. Uh. That

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Speaker 1: means that means you've got fuel. Fuel in this case

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Speaker 1: is the in the form of charcoal and sulfur, and

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Speaker 1: you have oxidizer that would be the potassium nitrate. Oxidizer

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Speaker 1: are the thing that allows fuel to burn. The one

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Speaker 1: we're really familiar with is oxygen, thus the name you

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Speaker 1: may remember the triangle that's required to have fire. You

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Speaker 1: need fuel, heat, and oxygen. Technically, you don't really need oxygen.

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Speaker 1: You need an oxidizer. Oxygen just happens to be one

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Speaker 1: of the oxidizers. It's the most plentiful one around us

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Speaker 1: on normal day to day basis. Pretty much when it's

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Speaker 1: not around us, we tend to not enjoy ourselves so much,

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Speaker 1: so we're really familiar with that one. Modern fireworks tend

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Speaker 1: to use other stuff as oxidizers. Uh Like you know,

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Speaker 1: potassium nitrate was very popular for a while, but it's

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Speaker 1: not used as much these days. It's not as environmentally

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Speaker 1: friendly as some other oxidizers. It creates byproducts that could

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Speaker 1: potentially be harmful to say, surrounding wildlife or people, So

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Speaker 1: potassium nitrate is not used as frequently in modern fireworks.

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Speaker 1: We're seeing more stuff like sodium and potassium pair your

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Speaker 1: date being used instead or pariah date, I guess is

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Speaker 1: the best way of saying it. Pariah date, not perio date.

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Speaker 1: Don't write to me, I know and messed it up.

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Speaker 1: The colors created from fireworks are dependent upon the materials

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Speaker 1: that you place inside those fireworks. Because different stuff burns

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Speaker 1: with different color flames. We've learned this over centuries where

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Speaker 1: people have worked with various materials, they've caught on fire

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Speaker 1: and we've looked at the flames and said, oh, that's pretty.

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Speaker 1: So if you want to have different effects with your fireworks,

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Speaker 1: you would add different types of metallic salts, that kind

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Speaker 1: of thing to your mixture in order to create the

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Speaker 1: sparking effect that you want. So here's a quick guide

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Speaker 1: to some of your basic colors. If you wanted red fireworks,

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Speaker 1: you would generate that by burning strontium salts, lithium salts,

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Speaker 1: lithium carbonate, strontium carbonate, which would give you a very

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Speaker 1: bright red. Strontium carbonate would So those are your reds.

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Speaker 1: If you wanted to create orange, you would use calcium

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Speaker 1: salts or calcium chloride. If you wanted yellow, you'd use

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Speaker 1: sodium salts like sodium chloride. If you wanted green, you

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Speaker 1: would go with barium compounds and a chlorine producer, so

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Speaker 1: barium chloride. If you want blue, you would go with

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Speaker 1: copper compounds and a chlorine producer, so copper chloride. You

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Speaker 1: want purple, then you would want to mix blue and

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Speaker 1: red together. It's kind of like grade school. And that

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Speaker 1: meant that you would mix together strawntium and copper. Typically,

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Speaker 1: if you wanted silver effects, you would use something like aluminum,

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Speaker 1: titanium or magnesium in there to get the explosive patterns.

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Speaker 1: Because that all that does is just give you color.

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Speaker 1: It doesn't automatically make the fireworks spread out in a

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Speaker 1: particular shape. If you want a specific shape, you would

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Speaker 1: have to pour them these metallic salts into lumps made

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Speaker 1: of clay or a kind of Doughey material. These would

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Speaker 1: end up being pocket of that material, and they're about

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Speaker 1: three or four centimeters across, and in the industry they

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Speaker 1: refer to these things as stars. So each one's three

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Speaker 1: or four centimeters across. You might have a whole bunch

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Speaker 1: in a single firework, but each one of these would

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Speaker 1: represent a blast of color like one of those big

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Speaker 1: sparks you see in fireworks. So you're talking about lots

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Speaker 1: and lots of them in the really big ones. And uh,

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Speaker 1: the way you place them inside the firework determines where

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Speaker 1: they're going to go, just based upon where the blast

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Speaker 1: is right, You've got a essentially a black powder core

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Speaker 1: that's going to force everything into different directions, and you

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Speaker 1: place the stars around the core in the particular uh,

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Speaker 1: the particular arrangement you want in order to create the

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Speaker 1: effect you're going for. It's pretty cool that you can

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Speaker 1: do this, you know, manually, if you wanted to. In fact,

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Speaker 1: there are a lot of places that still do this

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Speaker 1: manually because frankly, you're you're working with stuff that's pretty dangerous,

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Speaker 1: so you want to be really careful with it. You can't,

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Speaker 1: you know, you can't treat black powder casually or you're

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Speaker 1: gonna have an explosion on your hands. Now, typical firework

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Speaker 1: rocket will have several stars packed into it, and like

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Speaker 1: I said, they had to be placed meticulously in the

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Speaker 1: rocket to get that desired effect. And then they use

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Speaker 1: a time delay fuse that would lead to the burst

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Speaker 1: chamber of black powder, which the stars are centered around.

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Speaker 1: So you typically have two different kinds of fuses in

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Speaker 1: your firework. You have a quick burning fuse that will

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Speaker 1: go to the uh the launch blast of black powder.

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Speaker 1: You can think of a firework is having two chambers,

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Speaker 1: the first one being the launch chamber. That's what's going

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Speaker 1: to provide the force necessary to propel the firework into

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Speaker 1: the air. Disney is a little different, but we'll talk

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Speaker 1: about that in a second. So your typical firework, you

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Speaker 1: would have that first black powder bunch that shoots the

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Speaker 1: firework into the air. The fuse would then lead to

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Speaker 1: a more slow burning fuse, And by slow we're talking

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Speaker 1: about degrees here. It's not like it's super slow, but

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Speaker 1: it would burn slower so that the secondary charge, the

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Speaker 1: burst charge, will explode at a precise timing, typically when

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Speaker 1: you want to get to the the top of the

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Speaker 1: arc of the fireworks flight. So you time this out

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Speaker 1: by measuring out how much black powder you're using. This

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Speaker 1: is all based upon also the weight of the firework.

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Speaker 1: When it's all finished, like, you have to do a

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Speaker 1: lot of math. You have to figure out how heavy

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Speaker 1: is the firework, how much force is the blast powder

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Speaker 1: going to create when it's doing this lift, how fast

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Speaker 1: will it get to the top of its flight path,

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Speaker 1: and how long does the slow burning fuse have to

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Speaker 1: be in order for the burst black powder to ignite

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Speaker 1: at the proper time to ignite all those stars and

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Speaker 1: send them out in the various directions. There's a lot

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Speaker 1: of math involved often that that's just for one firework. Also,

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Speaker 1: you've got to remember, based upon the way you design

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Speaker 1: the firework, you're gonna get very different effects. Obviously, if

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Speaker 1: you've seen any fireworks displays, you've probably seen somewhere it's

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Speaker 1: just a very bright star flying through the sky, or

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Speaker 1: another one where it's a really cool kind of uh

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Speaker 1: cascade effect. All of these are based upon the way

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Speaker 1: that you've actually packed the powder and the stars together,

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Speaker 1: so really precise. And it's fascinating to me that we

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Speaker 1: ever figured this stuff out because I look at it

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Speaker 1: and I think it's so pretty how much trial and

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Speaker 1: error was necessary to understand exactly how to do this correctly?

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Speaker 1: Would I have had the patients to do it, or

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Speaker 1: would I be known as Johnny the three fingered idiot

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Speaker 1: who probably worked a little too closely with black powder.

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Speaker 1: I think we all know the answer to that, so

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Speaker 1: you don't need to write me and tell me. I

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Speaker 1: know what the answer is. So let's just be thankful

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Speaker 1: that people who are smarter than I am were the

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Speaker 1: ones who developed fireworks. Now, more advanced fireworks may have

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Speaker 1: multiple burst chambers, so not just the one, they might

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Speaker 1: have multiple ones so that you get extra effects from

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Speaker 1: the same firework. You don't have to fire multiple ones

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Speaker 1: to get it, and you might have different break charges

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Speaker 1: in between these different chambers, so that you can have

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Speaker 1: them ignite at different points of the flight, and therefore

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00:18:23,760 --> 00:18:28,600
Speaker 1: you get very different effects as a result. The shape

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Speaker 1: of the firework bursts is determined by the arrangement of

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Speaker 1: the stars inside the projectile and whether or not it

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Speaker 1: is a multi break firework. The shape of the shells

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Speaker 1: also determines the shape of the explosion, and here is

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Speaker 1: a collection of your basic types of fireworks. Shells. You've

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Speaker 1: got palm which contains large comets or charges in the

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00:18:48,040 --> 00:18:51,760
Speaker 1: shape of a solid cylinder that travel outward, explode and

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Speaker 1: then curved downward like the limbs of a palm tree.

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Speaker 1: You have round shells. These explode and spherical shape, usually

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Speaker 1: of colored stars, so very typical firework that you would see.

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Speaker 1: A ring shell explodes to produce a symmetrical ring of stars.

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Speaker 1: Another very typical firework willow. This contains stars. High charcoal

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00:19:11,960 --> 00:19:15,840
Speaker 1: composition makes them burn longer that fall into the shape

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Speaker 1: of willow branches and may even stay visible until they

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Speaker 1: hit the ground. So this is that cascading effect I

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Speaker 1: was talking about a second ago. Round dell shells. These

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Speaker 1: burst into a circle of maroon shells that explode in sequence.

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Speaker 1: Chrysanthemum shells. These burst into a spherical pattern of stars

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Speaker 1: that leave a visible trail with an effect somewhat suggestive

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Speaker 1: of the flower pistol shells like a chrysanthemum shell, but

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Speaker 1: has a core that is a different color from the

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Speaker 1: outer stars. So you get a contrast maroon shell which

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Speaker 1: makes allowed bang and serpentine bursts to send small tubes

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Speaker 1: of incendiaries skittering outward in random paths, which may culminate

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Speaker 1: in exploding stars. Obviously, these are all basic types of fireworks.

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Speaker 1: There are others, and there are combinations of these as well.

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Speaker 1: Like I said, fireworks have the two chambers, you've got

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Speaker 1: the different fuses that will allow those different chambers to

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00:20:10,600 --> 00:20:13,280
Speaker 1: ignite at different points of the flight. To me, it's

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Speaker 1: a very low tech but elegant solution to making an

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Speaker 1: explosion happen exactly when you want it to and to

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Speaker 1: get the effect that you're hoping for. And typically you

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00:20:21,320 --> 00:20:25,399
Speaker 1: would launch fireworks, these big ones anyway, from mortars and

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Speaker 1: a mortar firework mortar typically it's just a tube that

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Speaker 1: has one end sealed off, so the base of the

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00:20:32,960 --> 00:20:35,639
Speaker 1: firework goes down against the bottom of the tube, you

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Speaker 1: light it, use the tube to aim the firework at

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Speaker 1: the right angle, flies out the end, and shoots off

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Speaker 1: preferably exactly where you want it to, and then it

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00:20:44,480 --> 00:20:50,080
Speaker 1: blows up. Pretty simple design. Some mortars have sparkers at

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Speaker 1: the base of them, and those are hooked up to

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Speaker 1: a control board which could also be hooked up to

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Speaker 1: a computer program, so the computer program can send a

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Speaker 1: command that will send a electric current down the wire,

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00:21:03,320 --> 00:21:07,000
Speaker 1: sparking the sparker, which then ignites the fuse for the

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00:21:07,040 --> 00:21:09,760
Speaker 1: firework and fires it off. If you have a computer

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Speaker 1: program that has everything coordinated in it, then you just

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Speaker 1: run the program. As long as all the fireworks are

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Speaker 1: set up ahead of time, then it should work pretty

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00:21:18,480 --> 00:21:21,160
Speaker 1: well and you will have your fireworks going off at

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Speaker 1: the appropriate time. If you wanted to actually time this

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Speaker 1: out properly, then you kind of have to work backwards.

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Speaker 1: You have to figure out what point in the show

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Speaker 1: you want something to happen, and you mark down the

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Speaker 1: time stamp. So you start the show, you have a

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Speaker 1: moment in the show and you say this is when

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00:21:37,560 --> 00:21:40,320
Speaker 1: I want the firework to go off. You mark the

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00:21:40,320 --> 00:21:44,640
Speaker 1: time stamp down and you start working backwards. So you

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Speaker 1: take the firework that you're planning on firing and you say,

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00:21:47,800 --> 00:21:50,000
Speaker 1: all right, well I need it to explode at this point,

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00:21:50,040 --> 00:21:52,920
Speaker 1: So that's the explosion point. How long does it take

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Speaker 1: for the quick fuse to burn to the or the

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Speaker 1: slow fuse to burn to the burst chamber? How long

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Speaker 1: does that take? Based upon that, we know know how

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00:22:04,080 --> 00:22:06,439
Speaker 1: long back how far back we need to go for

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Speaker 1: the birst chamber to light Based on that, you can say,

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Speaker 1: all right, well, how far does the lift chamber need

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Speaker 1: to uh? When does that need to light up in

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00:22:14,720 --> 00:22:16,600
Speaker 1: order for the burst chamber to be in the right

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00:22:16,600 --> 00:22:19,520
Speaker 1: position at the right time. So you just keep working backward,

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Speaker 1: and as you do that, you start to finally get

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Speaker 1: to the point where you say, this is the moment

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Speaker 1: in the show where I have to launch so that

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Speaker 1: at this later moment I get the effect I want.

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00:22:29,640 --> 00:22:31,679
Speaker 1: And as long as you're being very consistent with the

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00:22:31,680 --> 00:22:34,640
Speaker 1: way you're producing your fireworks, you should get the same

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00:22:34,680 --> 00:22:38,360
Speaker 1: effect more or less every show. There might be small

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00:22:39,320 --> 00:22:42,520
Speaker 1: changes based on weather and some other things that are

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00:22:42,600 --> 00:22:45,200
Speaker 1: kind of outside your control. There're gonna be some small

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00:22:45,280 --> 00:22:48,879
Speaker 1: change differences in quality, for example, with fireworks. But for

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00:22:48,920 --> 00:22:51,600
Speaker 1: the most part, you're gonna be pretty consistent because physics

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Speaker 1: is like that. If physics were not like that, we

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00:22:54,560 --> 00:22:58,679
Speaker 1: wouldn't have physics, because you have to have the world

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00:22:58,720 --> 00:23:00,880
Speaker 1: makes sense in order for us to be able to

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00:23:00,920 --> 00:23:04,320
Speaker 1: talk about rules. If the world didn't make sense, then

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00:23:04,800 --> 00:23:10,880
Speaker 1: fireworks would be even more dangerous than they already are. Disney,

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00:23:10,880 --> 00:23:14,120
Speaker 1: as I mentioned, it is slightly different from this typical

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00:23:14,200 --> 00:23:17,960
Speaker 1: mortar approach. They don't they don't use mortars with sparkers.

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00:23:17,960 --> 00:23:21,200
Speaker 1: They typically use mortars that have air compressor guns in them,

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00:23:21,240 --> 00:23:24,679
Speaker 1: so they can actually use compressed air to fire a

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00:23:24,720 --> 00:23:27,919
Speaker 1: firework into the sky. Now, what that means is that

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00:23:27,960 --> 00:23:32,400
Speaker 1: their fireworks don't require this lift chamber of black powder

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00:23:33,040 --> 00:23:37,600
Speaker 1: because the lift is created from the burst of compressed

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00:23:37,640 --> 00:23:40,880
Speaker 1: air behind the firework, So they can actually cut down

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00:23:40,880 --> 00:23:42,760
Speaker 1: on the amount of black powder they need to use

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00:23:42,840 --> 00:23:47,320
Speaker 1: for each rocket that's in their show. That also means

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00:23:47,359 --> 00:23:49,680
Speaker 1: that they cut down on the amount of smoke they

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00:23:49,720 --> 00:23:53,240
Speaker 1: generate per fireworks show because they're not burning as much

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00:23:53,240 --> 00:23:56,960
Speaker 1: black powder. So there is a practical, uh side effect

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00:23:57,040 --> 00:23:58,879
Speaker 1: to this. Besides the fact that you know they can

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00:23:59,000 --> 00:24:03,600
Speaker 1: use compressed air to to get fireworks into motion and

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00:24:03,680 --> 00:24:06,920
Speaker 1: into into the right place before they explode. Now I've

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00:24:06,960 --> 00:24:10,040
Speaker 1: got a lot more to talk about with the various

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00:24:10,640 --> 00:24:13,639
Speaker 1: technologies that are used and happily ever after. But before

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00:24:13,640 --> 00:24:16,080
Speaker 1: I get into that, let's take a quick break to

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00:24:16,200 --> 00:24:29,879
Speaker 1: thank our sponsor. All Right, so we've covered fireworks, but

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00:24:30,080 --> 00:24:33,600
Speaker 1: there are other elements too happily ever after that we

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00:24:33,640 --> 00:24:37,280
Speaker 1: need to talk about, and another one would be laser lights.

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00:24:38,640 --> 00:24:41,359
Speaker 1: We covered lasers in an even more recent episode of

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00:24:41,359 --> 00:24:44,760
Speaker 1: tech Stuff than we did fireworks. That episode was Pew

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00:24:44,840 --> 00:24:50,720
Speaker 1: Pew Lasers, which published on June four, so super recent.

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00:24:50,920 --> 00:24:54,840
Speaker 1: I'm not gonna go into any real big detail with

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00:24:54,960 --> 00:24:57,840
Speaker 1: lasers because of that, but I'm gonna give you a

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00:24:57,920 --> 00:25:00,320
Speaker 1: little bit of an overview just in case you for gotten,

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00:25:00,440 --> 00:25:02,760
Speaker 1: and that way you don't have to necessarily go and

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00:25:02,800 --> 00:25:05,120
Speaker 1: dig up that old episode to really get a full

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00:25:05,160 --> 00:25:08,040
Speaker 1: appreciation of the technology that is making the show happen.

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00:25:09,080 --> 00:25:12,520
Speaker 1: Laser used to just be an acronym, right, but now

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00:25:12,640 --> 00:25:16,080
Speaker 1: it is a a noun all on its own. We're

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00:25:16,119 --> 00:25:19,679
Speaker 1: so proud of this word that it's now achieved true

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00:25:19,720 --> 00:25:25,920
Speaker 1: noun status. The acronym stands for light amplification by stimulated

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00:25:26,000 --> 00:25:31,040
Speaker 1: emission of radiation, which sounds naughty, but it's not. It

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00:25:31,240 --> 00:25:36,600
Speaker 1: just means that you're using energy to stimulate the electrons

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00:25:36,720 --> 00:25:41,560
Speaker 1: that are in orbit around certain atom nuclei, which when

431
00:25:41,600 --> 00:25:44,119
Speaker 1: you put it that way, doesn't sound nearly as exciting.

432
00:25:44,880 --> 00:25:49,080
Speaker 1: Lasers are monochromatic, which means they produce one wavelength of

433
00:25:49,200 --> 00:25:53,679
Speaker 1: light and thus one specific color because the wavelength of

434
00:25:53,760 --> 00:25:59,400
Speaker 1: light it directly corresponds to the color of light. This

435
00:25:59,480 --> 00:26:01,840
Speaker 1: is true both in the visible spectrum and outside of it,

436
00:26:01,880 --> 00:26:04,960
Speaker 1: but obviously outside of the visible spectrum, it really isn't

437
00:26:05,000 --> 00:26:07,800
Speaker 1: something we can perceive. You can have infrared lasers, but

438
00:26:07,840 --> 00:26:10,720
Speaker 1: you wouldn't be able to see them, But anything that's

439
00:26:10,720 --> 00:26:13,639
Speaker 1: in the visible spectrum, obviously the wavelength would have to

440
00:26:13,720 --> 00:26:18,879
Speaker 1: be a specific length in order for us to perceive it.

441
00:26:19,440 --> 00:26:23,040
Speaker 1: Um that type of light really depends upon the amount

442
00:26:23,119 --> 00:26:27,639
Speaker 1: of energy that the electrons are releasing during the lazing process.

443
00:26:27,760 --> 00:26:31,679
Speaker 1: That in turn is dependent upon the material you're using

444
00:26:31,920 --> 00:26:37,639
Speaker 1: in order to have your lasing medium. So you choose

445
00:26:37,640 --> 00:26:40,879
Speaker 1: your lasing medium that will do that will determine exactly

446
00:26:40,880 --> 00:26:43,320
Speaker 1: how much energy you have to pour into the medium

447
00:26:43,359 --> 00:26:48,680
Speaker 1: to excite the electrons. When the electrons emit that excess

448
00:26:48,800 --> 00:26:51,080
Speaker 1: energy when they want to return to their ground state,

449
00:26:51,119 --> 00:26:53,680
Speaker 1: which I'll talk about in just a second, that will

450
00:26:53,800 --> 00:26:57,159
Speaker 1: end up taking the form of photons, and the photons

451
00:26:57,200 --> 00:27:01,000
Speaker 1: will be of the wavelength the actual light will be

452
00:27:01,040 --> 00:27:06,840
Speaker 1: of the wavelength that is dependent upon uh that lasing medium, right,

453
00:27:06,920 --> 00:27:10,679
Speaker 1: So it all comes down to your choice of materials.

454
00:27:10,680 --> 00:27:12,400
Speaker 1: That tells you how much power you have to put

455
00:27:12,440 --> 00:27:15,320
Speaker 1: into it in order to stimulate the electrons, and thus

456
00:27:15,400 --> 00:27:17,439
Speaker 1: what color of light you're going to get out of it.

457
00:27:17,560 --> 00:27:20,959
Speaker 1: At the end of it, all the light waves that

458
00:27:21,000 --> 00:27:23,480
Speaker 1: come out of a laser are in phase with one another.

459
00:27:23,560 --> 00:27:27,280
Speaker 1: That means they all crest and descend in their wave

460
00:27:27,359 --> 00:27:30,680
Speaker 1: patterns the same way, which also means you can pack

461
00:27:30,720 --> 00:27:34,680
Speaker 1: a whole bunch of light waves together really tightly. Think

462
00:27:34,720 --> 00:27:41,160
Speaker 1: about like putting together some curved pieces of track from

463
00:27:41,200 --> 00:27:44,320
Speaker 1: a railroad set, and you have a whole bunch of

464
00:27:44,400 --> 00:27:47,960
Speaker 1: curves that are the same grade, so they're all of

465
00:27:48,040 --> 00:27:51,680
Speaker 1: the of the same same gentle curve to the right,

466
00:27:51,760 --> 00:27:54,480
Speaker 1: let's say, and you've got a stack of them, Well,

467
00:27:54,480 --> 00:27:57,240
Speaker 1: they stack together really nicely because they all take the

468
00:27:57,280 --> 00:28:00,359
Speaker 1: same shape. This is the same idea, but because you

469
00:28:00,359 --> 00:28:03,840
Speaker 1: have all of these light waves in phase with one another.

470
00:28:03,920 --> 00:28:07,800
Speaker 1: You can pack them together very tightly, they don't jumble up,

471
00:28:07,960 --> 00:28:10,560
Speaker 1: and that's how you get coherence. That's how you get

472
00:28:10,560 --> 00:28:14,960
Speaker 1: a coherent laser. That's what we call that. To get

473
00:28:14,960 --> 00:28:19,800
Speaker 1: a little more granular, atoms have electrons that orbit the

474
00:28:19,880 --> 00:28:22,920
Speaker 1: nuclei of the atom. That's of course the protons and

475
00:28:23,160 --> 00:28:26,879
Speaker 1: or well protons and possibly neutrons. You gotta have a

476
00:28:26,920 --> 00:28:29,119
Speaker 1: proton there, but you may or may not have a

477
00:28:29,160 --> 00:28:32,760
Speaker 1: neutron there, depending upon the actual atom in question. The

478
00:28:32,800 --> 00:28:38,440
Speaker 1: electrons orbit these nuclei at a particular distance or really

479
00:28:38,480 --> 00:28:43,400
Speaker 1: a particular potential range from the nuclei. We tend to

480
00:28:43,480 --> 00:28:46,360
Speaker 1: draw it in very simplistic terms. The reality is a

481
00:28:46,400 --> 00:28:49,360
Speaker 1: bit more messy. But we talk about electron shells, these

482
00:28:49,720 --> 00:28:53,920
Speaker 1: energy shells that electrons will inhabit, and each energy shell

483
00:28:54,000 --> 00:28:58,200
Speaker 1: has a certain number of vacancies available, and electrons will

484
00:28:58,200 --> 00:29:02,360
Speaker 1: take on the vacancy that is closest to the nuclei,

485
00:29:02,640 --> 00:29:06,880
Speaker 1: and then other electrons will take the next closest once

486
00:29:06,920 --> 00:29:09,720
Speaker 1: an entire shell fills up. Well, if you pour energy

487
00:29:09,800 --> 00:29:13,680
Speaker 1: into an atom, that energy will then transfer over to

488
00:29:13,760 --> 00:29:16,880
Speaker 1: the electrons and the ones that are on the outermost

489
00:29:17,040 --> 00:29:20,040
Speaker 1: shell can be excited so that they jump out even

490
00:29:20,120 --> 00:29:24,920
Speaker 1: further away from the nucleus. Once that energy that you're

491
00:29:25,000 --> 00:29:29,680
Speaker 1: using to energize the electrons goes away, the electrons will

492
00:29:30,080 --> 00:29:33,480
Speaker 1: try and return to their ground state, that outer electron

493
00:29:33,560 --> 00:29:35,720
Speaker 1: shell that they normally would be in if they had

494
00:29:35,800 --> 00:29:39,520
Speaker 1: not just been boosted further out. As they do, so

495
00:29:39,600 --> 00:29:42,800
Speaker 1: they have to give up that excess energy they've picked up.

496
00:29:43,680 --> 00:29:47,280
Speaker 1: Otherwise they're just too they're just too darn Swoll for

497
00:29:47,440 --> 00:29:51,520
Speaker 1: that energy shell, and you can't have a Swoll electron there,

498
00:29:51,560 --> 00:29:53,560
Speaker 1: so they have to give up that energy. They do

499
00:29:53,640 --> 00:29:57,040
Speaker 1: that in the form of photons. So again the type

500
00:29:57,040 --> 00:29:59,920
Speaker 1: of material you're using determines how much energy you're poor

501
00:30:00,080 --> 00:30:03,160
Speaker 1: ng in, and that in turn determines the type of

502
00:30:03,200 --> 00:30:06,840
Speaker 1: photon the wavelength of light that will be emitted when

503
00:30:06,840 --> 00:30:11,000
Speaker 1: the electron comes back down to its ground state. Uh

504
00:30:12,160 --> 00:30:15,160
Speaker 1: So that that kind of gives you the overview of

505
00:30:15,160 --> 00:30:19,280
Speaker 1: how lasers work in a very general sense. There's also

506
00:30:19,360 --> 00:30:21,440
Speaker 1: obviously a lot of other elements. You have to have

507
00:30:21,440 --> 00:30:23,280
Speaker 1: a power source, you have to have a lens of

508
00:30:23,320 --> 00:30:27,480
Speaker 1: some sort. Typically there's some interesting mirrors there. The lazing

509
00:30:28,640 --> 00:30:33,280
Speaker 1: system tends to involve a chamber that has UH mirrors

510
00:30:33,680 --> 00:30:36,160
Speaker 1: on either end of the chamber, one of which is

511
00:30:36,320 --> 00:30:40,520
Speaker 1: only partially silvered, so that you can have the lasers

512
00:30:40,560 --> 00:30:46,000
Speaker 1: continuously stimulate the lasing medium and thus emit more laser

513
00:30:46,120 --> 00:30:50,000
Speaker 1: light until it can escape out of the partially silvered

514
00:30:50,080 --> 00:30:53,400
Speaker 1: part of the chamber. It's pretty cool, Like you start

515
00:30:53,480 --> 00:30:56,000
Speaker 1: looking into it and you realize, yeah, I understand why

516
00:30:56,080 --> 00:30:59,400
Speaker 1: James Bond villains really considered the laser a go to

517
00:31:00,080 --> 00:31:04,360
Speaker 1: doomsday device, because these are pretty interesting things here. The

518
00:31:04,560 --> 00:31:07,160
Speaker 1: lasing medium itself kind of acts as an amplifier for

519
00:31:07,280 --> 00:31:11,760
Speaker 1: laser lights, so again a very important component for your laser,

520
00:31:12,240 --> 00:31:16,160
Speaker 1: and two different things, two different factors really determine how

521
00:31:16,240 --> 00:31:20,000
Speaker 1: well laser light shows up at any given time. Those

522
00:31:20,040 --> 00:31:23,320
Speaker 1: two things would be the wavelength of the light itself,

523
00:31:24,080 --> 00:31:27,840
Speaker 1: so where in the spectrum does it fall, and how

524
00:31:27,920 --> 00:31:31,440
Speaker 1: much power was put into the laser. So if we're

525
00:31:31,440 --> 00:31:34,960
Speaker 1: talking about just the visible spectrum, since anything outside of

526
00:31:35,000 --> 00:31:38,200
Speaker 1: that really doesn't matter because we can't see it. Uh,

527
00:31:38,240 --> 00:31:42,480
Speaker 1: the wavelength we would wind is around five nanometers. That's

528
00:31:42,520 --> 00:31:46,160
Speaker 1: ideal for brightness and it produces a green laser. So

529
00:31:47,000 --> 00:31:49,880
Speaker 1: if you're wondering why so many laser pointers were green

530
00:31:50,000 --> 00:31:53,400
Speaker 1: for the longest time. It's because that one shows up really,

531
00:31:53,400 --> 00:31:56,720
Speaker 1: really well with relatively low amounts of power. You don't

532
00:31:56,760 --> 00:31:59,040
Speaker 1: need to pour a lot of energy in in order

533
00:31:59,040 --> 00:32:02,080
Speaker 1: to get a nice visible laser beam. But if you

534
00:32:02,120 --> 00:32:04,600
Speaker 1: wanted other colors, you could get them, but it might

535
00:32:04,680 --> 00:32:07,200
Speaker 1: require you to pour more energy into it, which means

536
00:32:07,200 --> 00:32:09,320
Speaker 1: you might need a bigger battery, or it might drain

537
00:32:09,360 --> 00:32:13,240
Speaker 1: batteries faster. Uh, there are other considerations you have to

538
00:32:13,280 --> 00:32:16,640
Speaker 1: make so you can make lasers of all different types

539
00:32:16,680 --> 00:32:19,640
Speaker 1: of colors. It just requires a lot more energy, and

540
00:32:19,720 --> 00:32:23,120
Speaker 1: if you pour enough energy in to a laser, it

541
00:32:23,240 --> 00:32:27,160
Speaker 1: becomes hazardous. Right. A little bit of power can go

542
00:32:27,240 --> 00:32:30,440
Speaker 1: a long way with certain wavelengths, but with others. If

543
00:32:30,480 --> 00:32:32,640
Speaker 1: you're pouring a lot of energy in, you can have

544
00:32:32,760 --> 00:32:35,400
Speaker 1: enough energy there for the laser to do some damage

545
00:32:35,760 --> 00:32:39,320
Speaker 1: when it comes into contact with something else, like like

546
00:32:39,680 --> 00:32:44,400
Speaker 1: your hand or your eyeball. So lasers can be particularly

547
00:32:44,480 --> 00:32:47,000
Speaker 1: dangerous once you start getting up there in power. I

548
00:32:47,000 --> 00:32:49,040
Speaker 1: mean they can be dangerous even at low power, but

549
00:32:49,480 --> 00:32:51,920
Speaker 1: the higher power you go, the more dangerous they can be.

550
00:32:52,000 --> 00:32:56,040
Speaker 1: And in fact, you can buy lasers at ridiculously powerful

551
00:32:56,360 --> 00:33:01,680
Speaker 1: levels just online. If you into some of them strong

552
00:33:01,760 --> 00:33:05,520
Speaker 1: enough to do things like, uh, produce a beam that's

553
00:33:05,560 --> 00:33:08,960
Speaker 1: concentrated and hot enough to light a match, or pop

554
00:33:08,960 --> 00:33:13,080
Speaker 1: a balloon, or burn a hole through a thin piece

555
00:33:13,080 --> 00:33:17,040
Speaker 1: of wood. That kind of thing. It buyer beware, it's

556
00:33:17,120 --> 00:33:21,040
Speaker 1: dangerous stuff. But anyway, Disney uses lasers not to burn

557
00:33:21,120 --> 00:33:24,280
Speaker 1: through the castle because that would be incredibly expensive they'd

558
00:33:24,320 --> 00:33:28,200
Speaker 1: have to replace it every day, but rather to create

559
00:33:29,400 --> 00:33:33,240
Speaker 1: embellishments in their show. So if you watch Happily ever After,

560
00:33:33,320 --> 00:33:35,600
Speaker 1: and there are, by the way, videos online where you

561
00:33:35,640 --> 00:33:38,800
Speaker 1: can watch the whole show from beginning to end. Disney

562
00:33:38,840 --> 00:33:42,080
Speaker 1: in fact live stream the very first Happily ever After,

563
00:33:42,160 --> 00:33:44,400
Speaker 1: and I believe the video from that live stream is

564
00:33:44,440 --> 00:33:46,880
Speaker 1: still available online. So you can watch that first one.

565
00:33:47,840 --> 00:33:50,080
Speaker 1: You'll see the moments where the lasers come in and

566
00:33:50,120 --> 00:33:52,640
Speaker 1: they will appear to draw on the castle, and the

567
00:33:52,640 --> 00:33:57,320
Speaker 1: projection mapping, which we'll talk about next, follows along, so

568
00:33:57,360 --> 00:34:01,400
Speaker 1: that you have what looks like a laser pint brush

569
00:34:01,520 --> 00:34:06,560
Speaker 1: and it looks like it's actually making the castle change color. Again,

570
00:34:06,640 --> 00:34:08,760
Speaker 1: that's all part of the projection mapping. It's all timed

571
00:34:08,760 --> 00:34:11,680
Speaker 1: out very precisely. So all of these lasers have to

572
00:34:11,680 --> 00:34:16,520
Speaker 1: be computer controlled, and they're all controlled from their various stations.

573
00:34:16,560 --> 00:34:20,879
Speaker 1: They're all on gimbals that are motorized so that they

574
00:34:20,880 --> 00:34:24,080
Speaker 1: can be pointed in the very specific direction they need

575
00:34:24,080 --> 00:34:26,719
Speaker 1: to be in at the angle they need, and they

576
00:34:26,719 --> 00:34:31,920
Speaker 1: can all be controlled simultaneously through the computer process. So

577
00:34:31,960 --> 00:34:34,759
Speaker 1: it's all been programmed so that every single motion is

578
00:34:34,840 --> 00:34:38,600
Speaker 1: precise and the lasers are all going exactly where they

579
00:34:38,640 --> 00:34:41,360
Speaker 1: need to be. Now, that's obviously very challenging for a

580
00:34:41,440 --> 00:34:44,320
Speaker 1: human being to do. If I were holding a laser pointer,

581
00:34:44,640 --> 00:34:49,000
Speaker 1: the further away I am from my target, the more

582
00:34:49,080 --> 00:34:52,359
Speaker 1: dramatic any movement I make is going to be. At

583
00:34:52,440 --> 00:34:55,440
Speaker 1: the far end of it. Right, you can just imagine

584
00:34:55,920 --> 00:35:01,520
Speaker 1: if you have a laser that's pointing at a castle

585
00:35:01,600 --> 00:35:06,080
Speaker 1: that's a hundred and fifty two feet away, tiny little

586
00:35:06,160 --> 00:35:09,520
Speaker 1: motions on your end are going to be translated into

587
00:35:09,600 --> 00:35:13,480
Speaker 1: giant ones across against the castle. Even though it's a

588
00:35:13,520 --> 00:35:16,759
Speaker 1: small beam of light, you'll see it move in dramatic

589
00:35:16,800 --> 00:35:19,400
Speaker 1: ways just with tying little motions. So all of this

590
00:35:19,480 --> 00:35:22,000
Speaker 1: has to be controlled by machine. All has to be automated,

591
00:35:22,880 --> 00:35:25,480
Speaker 1: and you program it very precisely in a computer. Now,

592
00:35:25,480 --> 00:35:30,239
Speaker 1: the computer model has to understand and I used to

593
00:35:30,320 --> 00:35:34,760
Speaker 1: understand loosely here, but it has to understand the dimensions

594
00:35:34,800 --> 00:35:37,560
Speaker 1: of the canvas you're painting against. In this case, it

595
00:35:37,560 --> 00:35:40,719
Speaker 1: would be the Cinderella's Castle at Magic Kingdom and Walt

596
00:35:40,760 --> 00:35:45,200
Speaker 1: Disney World. And by knowing that, it knows how precisely

597
00:35:45,360 --> 00:35:49,800
Speaker 1: to move the laser pointer so that it will create

598
00:35:49,840 --> 00:35:52,920
Speaker 1: the effect specifically where it needs to go, and it

599
00:35:52,920 --> 00:35:56,640
Speaker 1: can make very smooth and consistent motions. That's the other

600
00:35:56,719 --> 00:36:00,839
Speaker 1: important thing for any show of this nature, you consistency.

601
00:36:00,920 --> 00:36:04,000
Speaker 1: So you want the show tonight to be just as

602
00:36:04,040 --> 00:36:05,719
Speaker 1: good as the show that was last night, and you

603
00:36:05,760 --> 00:36:07,600
Speaker 1: want tomorrow's show to be just as good as the

604
00:36:07,640 --> 00:36:10,120
Speaker 1: last two. So you want to make sure everything is

605
00:36:10,480 --> 00:36:13,960
Speaker 1: as controlled as it possibly can be, knowing that there

606
00:36:14,000 --> 00:36:15,719
Speaker 1: are certain elements that are going to be outside of

607
00:36:15,719 --> 00:36:18,920
Speaker 1: your control, things like weather conditions. That's not something you

608
00:36:18,960 --> 00:36:22,520
Speaker 1: can really have a say over. So that can that

609
00:36:22,719 --> 00:36:25,520
Speaker 1: covers the lasers, and there are all sorts of different

610
00:36:25,560 --> 00:36:27,840
Speaker 1: colors of lasers that are used in this one. I

611
00:36:27,920 --> 00:36:30,440
Speaker 1: want to say that there are yellow ones or gold

612
00:36:30,480 --> 00:36:33,520
Speaker 1: ones that are part of Happily ever after. But there

613
00:36:33,520 --> 00:36:36,600
Speaker 1: are different colors as well, and those come into various

614
00:36:36,640 --> 00:36:40,479
Speaker 1: points of the quote unquote story of the show. There's

615
00:36:40,520 --> 00:36:43,360
Speaker 1: kind of a loose story. It's more like a little

616
00:36:43,440 --> 00:36:49,200
Speaker 1: vignettes that happened throughout the the experience rather than a

617
00:36:49,239 --> 00:36:53,200
Speaker 1: traditional narrative. But that's that technology. Now let's move on

618
00:36:53,680 --> 00:36:56,759
Speaker 1: to projection mapping, which I'm really excited to talk about

619
00:36:56,800 --> 00:36:58,680
Speaker 1: because projection mapping is one of those things I just

620
00:36:58,719 --> 00:37:02,440
Speaker 1: think is super cool. There are tons and tons of

621
00:37:02,560 --> 00:37:07,480
Speaker 1: videos online showing what projection mapping is, and if you

622
00:37:07,719 --> 00:37:10,840
Speaker 1: see some of the better ones, the effects are really

623
00:37:10,960 --> 00:37:16,120
Speaker 1: breathtaking because they're very convincing from the proper angle. But

624
00:37:16,280 --> 00:37:18,880
Speaker 1: you have to have conditions just right. You need the

625
00:37:18,960 --> 00:37:21,279
Speaker 1: lighting to be just right so that the projection you're

626
00:37:21,280 --> 00:37:25,759
Speaker 1: looking at doesn't get ruined by a lot of ambient light.

627
00:37:26,040 --> 00:37:28,719
Speaker 1: The more ambient light you have, the more you can

628
00:37:28,760 --> 00:37:33,640
Speaker 1: see the the object that's behind the projection. The less

629
00:37:34,480 --> 00:37:37,640
Speaker 1: uh immersive the experience will be, or the less convincing

630
00:37:37,640 --> 00:37:40,240
Speaker 1: the experience will be. But if you're wondering what projection

631
00:37:40,239 --> 00:37:43,200
Speaker 1: mapping is, since I haven't really defined it, it is

632
00:37:43,239 --> 00:37:46,480
Speaker 1: the display of an image on a non flat or

633
00:37:46,640 --> 00:37:49,840
Speaker 1: non white surface. So in other words, it's like projecting

634
00:37:49,880 --> 00:37:54,560
Speaker 1: onto a film screen, only anything could be a film screen.

635
00:37:54,600 --> 00:37:59,640
Speaker 1: Any three dimensional object could, in theory, be your film screen.

636
00:38:00,080 --> 00:38:02,680
Speaker 1: The technique has been used for a few years to

637
00:38:02,760 --> 00:38:06,520
Speaker 1: great effect at various concerts and celebrations. If you've ever

638
00:38:06,560 --> 00:38:09,040
Speaker 1: seen one in person, you know how dramatic the effects

639
00:38:09,040 --> 00:38:11,239
Speaker 1: can be. With the right lighting and projection. As I

640
00:38:11,280 --> 00:38:14,360
Speaker 1: was mentioning earlier, you can make a building seemed to

641
00:38:14,360 --> 00:38:16,840
Speaker 1: come alive, or to fall apart, or turn into a

642
00:38:16,840 --> 00:38:19,560
Speaker 1: giant puzzle. Uh. There are a lot of different videos

643
00:38:19,560 --> 00:38:22,239
Speaker 1: on YouTube. Just go and look up projection mapping. You're

644
00:38:22,239 --> 00:38:26,200
Speaker 1: gonna see some incredible stuff. Projection mapping has also been

645
00:38:26,239 --> 00:38:31,480
Speaker 1: called spatial augmented reality, because you are augmenting reality with

646
00:38:31,719 --> 00:38:36,399
Speaker 1: a overlay of information, in this case, projected information. Most

647
00:38:36,440 --> 00:38:39,480
Speaker 1: of the time we think of augmented reality as some

648
00:38:39,560 --> 00:38:43,359
Speaker 1: sort of headset we're wearing where we've got display in

649
00:38:43,400 --> 00:38:45,840
Speaker 1: front of us, and we're looking at a video feed

650
00:38:46,200 --> 00:38:49,280
Speaker 1: of the world around us, not really the real world.

651
00:38:49,320 --> 00:38:51,680
Speaker 1: We're looking at it through the camera lens, so we're

652
00:38:51,680 --> 00:38:54,080
Speaker 1: looking at kind of a monitor, and then we have

653
00:38:54,200 --> 00:38:57,080
Speaker 1: digital information overlaid on top of that display, and that

654
00:38:57,160 --> 00:39:00,080
Speaker 1: gives us that augmented reality. This is a differ or

655
00:39:00,080 --> 00:39:03,239
Speaker 1: an approach to augmented reality. It is just as legitimate.

656
00:39:03,280 --> 00:39:08,120
Speaker 1: It is where you are directly projecting onto reality reality itself,

657
00:39:08,840 --> 00:39:11,919
Speaker 1: so rather than having a screen in front of you,

658
00:39:11,920 --> 00:39:14,120
Speaker 1: you're looking at the world. It's just that the world

659
00:39:14,200 --> 00:39:16,799
Speaker 1: also happens to have something projected on top of it

660
00:39:16,880 --> 00:39:20,880
Speaker 1: that augments the experience, which is kind of cool that

661
00:39:21,000 --> 00:39:24,680
Speaker 1: it allows you to to make the definition a little

662
00:39:24,680 --> 00:39:27,680
Speaker 1: more broad when it comes to augmented reality. It's also

663
00:39:27,719 --> 00:39:30,600
Speaker 1: been known as video mapping, and Disney, as it turns out,

664
00:39:30,680 --> 00:39:34,520
Speaker 1: has a really long history with it. Disney has perhaps

665
00:39:34,600 --> 00:39:39,600
Speaker 1: the first implementation of projection mapping, and that would date

666
00:39:39,719 --> 00:39:43,520
Speaker 1: all the way back to nineteen sixty nine and a

667
00:39:43,520 --> 00:39:49,960
Speaker 1: little part called Disneyland, California. Disneyland in nineteen sixty nine

668
00:39:49,960 --> 00:39:53,359
Speaker 1: opened up a brand new attraction that brand new attractions.

669
00:39:53,840 --> 00:39:57,799
Speaker 1: Probably it's definitely in my top three. It is the

670
00:39:57,840 --> 00:40:01,920
Speaker 1: Haunted Mansion, uh, a ride that is also beloved by

671
00:40:02,000 --> 00:40:05,200
Speaker 1: Holly Fry here at How Stuff Works. Holly is a

672
00:40:05,280 --> 00:40:10,040
Speaker 1: huge Disney fan and she loves the Haunted Mansion as well.

673
00:40:11,160 --> 00:40:14,840
Speaker 1: For a good reason it's a fantastic ride, and the

674
00:40:14,880 --> 00:40:18,240
Speaker 1: attraction used a lot of different cool lighting and special effects,

675
00:40:18,239 --> 00:40:22,600
Speaker 1: including the amazing Pepper's Ghost effect, which we've talked about

676
00:40:22,600 --> 00:40:25,279
Speaker 1: on a previous episode of tech Stuff. In fact, I

677
00:40:25,320 --> 00:40:27,480
Speaker 1: think I did a full episode of tech Stuff just

678
00:40:27,640 --> 00:40:32,320
Speaker 1: on the Haunted Mansion several years ago. But the effect

679
00:40:32,400 --> 00:40:36,040
Speaker 1: I want to talk about here is one that involves

680
00:40:36,200 --> 00:40:42,680
Speaker 1: five sculptures, five busts. There are five bust sculptures that

681
00:40:42,719 --> 00:40:47,520
Speaker 1: are in the graveyard sequence of the Haunted Mansion, and

682
00:40:47,840 --> 00:40:51,520
Speaker 1: they are of five figures that are singing the song

683
00:40:51,600 --> 00:40:56,040
Speaker 1: Grim Grinning Ghosts, and um, it's actually the singers. That's

684
00:40:56,080 --> 00:41:00,120
Speaker 1: their faces that are projected onto these busts. Of the

685
00:41:00,160 --> 00:41:05,160
Speaker 1: bus themselves are plain white figures that are designed in

686
00:41:05,200 --> 00:41:08,560
Speaker 1: the shape of the heads of those singers. But then

687
00:41:08,600 --> 00:41:13,279
Speaker 1: the singers were shot on film singing along to this song,

688
00:41:13,440 --> 00:41:17,560
Speaker 1: Grim Grinning Ghosts. That footage is then projected on top

689
00:41:18,000 --> 00:41:22,760
Speaker 1: of these static sculptures, So the sculptures have no moving parts.

690
00:41:23,440 --> 00:41:25,840
Speaker 1: Their mouths are not moving, the eyes are not opening

691
00:41:25,840 --> 00:41:30,640
Speaker 1: and closing, there's no articulation whatsoever. That effect is completely

692
00:41:30,680 --> 00:41:34,279
Speaker 1: generated by the projection that's on top of the sculptures.

693
00:41:35,000 --> 00:41:38,760
Speaker 1: And this was again back in nine, so very forward

694
00:41:38,800 --> 00:41:41,239
Speaker 1: thinking when it comes down to the effects you would

695
00:41:41,239 --> 00:41:44,439
Speaker 1: want for your amusement park. Uh. And it's a really

696
00:41:44,480 --> 00:41:47,880
Speaker 1: early example of projection mapping, perhaps the first one, although

697
00:41:47,920 --> 00:41:53,200
Speaker 1: I don't have any confirming evidence to say so. Uh.

698
00:41:53,520 --> 00:41:56,440
Speaker 1: You have to have the projector lined up precisely with

699
00:41:56,520 --> 00:42:02,040
Speaker 1: the object. It has to be uh calor braided exactly

700
00:42:02,360 --> 00:42:05,560
Speaker 1: so that you can get this effect properly. If it

701
00:42:05,600 --> 00:42:11,800
Speaker 1: weren't done so, then the images of the face would

702
00:42:11,800 --> 00:42:15,560
Speaker 1: not line up with the actual carved face of the sculpture.

703
00:42:16,040 --> 00:42:18,879
Speaker 1: Think of it in terms of a movie screen. If

704
00:42:18,880 --> 00:42:21,520
Speaker 1: you have a movie screen and the projector was off kilter,

705
00:42:22,239 --> 00:42:24,600
Speaker 1: then the picture you're looking at would not line up

706
00:42:24,600 --> 00:42:27,520
Speaker 1: with the screen and things would look strange. You may

707
00:42:27,560 --> 00:42:29,920
Speaker 1: have even seen this, Maybe you've gone to a film

708
00:42:29,920 --> 00:42:33,960
Speaker 1: where the projectionist had not corrected for it properly, and

709
00:42:34,000 --> 00:42:37,239
Speaker 1: the the view of the film was a little too

710
00:42:37,280 --> 00:42:39,120
Speaker 1: low or a little too high. It's little too low.

711
00:42:39,560 --> 00:42:41,920
Speaker 1: Then you might see stuff like boom mix that are

712
00:42:41,960 --> 00:42:45,000
Speaker 1: not actually cut out of the shot. They are just

713
00:42:45,280 --> 00:42:48,600
Speaker 1: typically out of view because the projectionist lines up the

714
00:42:48,640 --> 00:42:52,320
Speaker 1: film in such a way. That you would not see it. Typically,

715
00:42:53,920 --> 00:42:55,799
Speaker 1: same sort of thing is true with projection mapping, but

716
00:42:55,960 --> 00:42:58,080
Speaker 1: to a much greater degree. You have to be very

717
00:42:58,120 --> 00:43:01,320
Speaker 1: precise with how the projection line up with the third

718
00:43:01,360 --> 00:43:04,960
Speaker 1: three dimensional object that it is hitting. Disney actually received

719
00:43:04,960 --> 00:43:09,680
Speaker 1: a patent in ninete about projection mapping. The patents title

720
00:43:09,920 --> 00:43:14,920
Speaker 1: is Apparatus Method for Projection upon a three Dimensional Object,

721
00:43:14,960 --> 00:43:18,520
Speaker 1: which again was pretty much projection mapping. And from that

722
00:43:18,560 --> 00:43:21,719
Speaker 1: patent is the following statement, which really sums up the

723
00:43:21,800 --> 00:43:25,080
Speaker 1: challenges that you face if you want to create this effect.

724
00:43:26,480 --> 00:43:29,840
Speaker 1: The projection of an image onto a three dimensional object

725
00:43:29,880 --> 00:43:33,800
Speaker 1: having various contours and shapes is not an easy task.

726
00:43:33,960 --> 00:43:37,120
Speaker 1: It is generally known that the correction of all optical

727
00:43:37,160 --> 00:43:41,960
Speaker 1: distortion problems inherent in flat two dimensional image projection is

728
00:43:42,080 --> 00:43:46,479
Speaker 1: especially difficult when working with three dimensional projection surfaces. These

729
00:43:46,520 --> 00:43:51,120
Speaker 1: problems include proper image registration on the object, proper keystoning

730
00:43:51,480 --> 00:43:55,719
Speaker 1: corrections to ensure appropriate perspective appearances, and focusing of the

731
00:43:55,760 --> 00:43:59,200
Speaker 1: image within a specified range of depth. So what that's

732
00:43:59,239 --> 00:44:03,719
Speaker 1: saying is, when you've got a distorted screen, which is

733
00:44:03,800 --> 00:44:08,160
Speaker 1: essentially what a three dimensional object would be, you can't

734
00:44:08,200 --> 00:44:12,120
Speaker 1: just easily map a two dimensional image on top of it.

735
00:44:12,120 --> 00:44:15,440
Speaker 1: It's It's kind of like if you grabbed a paper

736
00:44:15,480 --> 00:44:18,279
Speaker 1: map and try to lay it down on top of

737
00:44:18,280 --> 00:44:20,520
Speaker 1: a globe. While the paper map has been designed in

738
00:44:20,560 --> 00:44:25,600
Speaker 1: such a way to mimic the Earth, but obviously lots

739
00:44:25,640 --> 00:44:28,560
Speaker 1: of different considerations had to be taken into effect to

740
00:44:28,640 --> 00:44:31,319
Speaker 1: make that happen. When you are trying to convert a

741
00:44:31,320 --> 00:44:34,840
Speaker 1: three dimensional object into a two dimensional rendering, you have

742
00:44:34,920 --> 00:44:37,839
Speaker 1: to make some sacrifices. You can't just slap the map

743
00:44:38,080 --> 00:44:40,719
Speaker 1: back onto a globe and have it look perfect. It's

744
00:44:40,760 --> 00:44:43,400
Speaker 1: not going to You have to You would have to

745
00:44:43,400 --> 00:44:46,480
Speaker 1: warp things within the image in order to have it

746
00:44:46,560 --> 00:44:48,880
Speaker 1: line up properly so that it would look the way

747
00:44:49,040 --> 00:44:51,760
Speaker 1: it should on a globe. The same thing is true

748
00:44:51,760 --> 00:44:55,160
Speaker 1: with projection mapping. You actually have to warp the image

749
00:44:55,560 --> 00:44:57,719
Speaker 1: so that when it's overlaid on top of the three

750
00:44:57,719 --> 00:45:01,400
Speaker 1: dimensional object, you get the effect. Do you one. Now

751
00:45:01,400 --> 00:45:04,799
Speaker 1: I'm gonna talk a lot more about projection mapping, but

752
00:45:04,960 --> 00:45:08,160
Speaker 1: first let's take another quick break to thank our sponsor.

753
00:45:15,800 --> 00:45:19,280
Speaker 1: Let's talk a little bit about the concept of spatial

754
00:45:19,400 --> 00:45:22,719
Speaker 1: augmented reality. I mentioned I mentioned earlier that's sort of

755
00:45:22,719 --> 00:45:27,520
Speaker 1: the academic name for what is projection mapping. This became

756
00:45:27,560 --> 00:45:30,120
Speaker 1: an area of study really in the late nineteen nineties.

757
00:45:30,200 --> 00:45:32,919
Speaker 1: So even though Disney had pioneered some of this work

758
00:45:32,960 --> 00:45:36,120
Speaker 1: in the late nineteen sixties, it wasn't until the nineteen

759
00:45:36,160 --> 00:45:39,280
Speaker 1: nineties that a lot of work was being done on it, because, again,

760
00:45:39,400 --> 00:45:42,160
Speaker 1: to do it on a big scale was really tricky

761
00:45:42,360 --> 00:45:45,279
Speaker 1: unless you started taking a computer science approach, and that's

762
00:45:45,280 --> 00:45:48,080
Speaker 1: exactly what was going on in the nineties. That was

763
00:45:48,200 --> 00:45:51,640
Speaker 1: largely the domain of a group of researchers who are

764
00:45:51,680 --> 00:45:55,279
Speaker 1: working at the University of North Carolina Chapel Hill. They

765
00:45:55,360 --> 00:45:58,359
Speaker 1: wrote a paper called the Office of the Future, and

766
00:45:58,400 --> 00:46:00,880
Speaker 1: in that paper they imagined an office that would have

767
00:46:01,000 --> 00:46:04,200
Speaker 1: lots of projectors everywhere, and the projectors would allow you

768
00:46:04,280 --> 00:46:10,319
Speaker 1: to turn work spaces into all sorts of different augmented experiences. So,

769
00:46:10,400 --> 00:46:13,440
Speaker 1: for example, let's say that you're working on a collaborative project,

770
00:46:13,760 --> 00:46:17,239
Speaker 1: you might use all these different projectors to allow you

771
00:46:17,360 --> 00:46:22,279
Speaker 1: to work uh interactively in an environment that would let

772
00:46:22,280 --> 00:46:25,360
Speaker 1: you visualize exactly what you're talking about, even if what

773
00:46:25,440 --> 00:46:28,319
Speaker 1: you normally would use just spreadsheets. So it's kind of

774
00:46:28,360 --> 00:46:32,800
Speaker 1: a cool idea, but very heavily relied upon this idea

775
00:46:32,920 --> 00:46:36,799
Speaker 1: of projection mapping. One of the people working on that

776
00:46:36,880 --> 00:46:40,600
Speaker 1: was Ramesh Rascar is one of that University of North

777
00:46:40,600 --> 00:46:42,960
Speaker 1: Carolina group, and he also worked on a tech that

778
00:46:43,000 --> 00:46:47,600
Speaker 1: he called shader lamps. Shader lamps would allow you, through

779
00:46:47,600 --> 00:46:52,000
Speaker 1: projection to create different effects on stationary three dimensional objects,

780
00:46:52,560 --> 00:46:56,680
Speaker 1: as if you were using a digital canvas. So you

781
00:46:56,760 --> 00:46:59,759
Speaker 1: might think of shaders on graphics, you know, Shaders are

782
00:46:59,840 --> 00:47:02,720
Speaker 1: things that allow you to work with light in different ways.

783
00:47:03,080 --> 00:47:05,600
Speaker 1: That was the purpose of shader lamps to create light

784
00:47:05,719 --> 00:47:08,719
Speaker 1: in specific ways to protect against three dimensional objects and

785
00:47:08,719 --> 00:47:10,919
Speaker 1: then create the different effects that you want. And there's

786
00:47:10,920 --> 00:47:14,000
Speaker 1: actually a really cool video that I watched where he

787
00:47:14,080 --> 00:47:18,640
Speaker 1: walked through this process and he showed a neutral colored vause.

788
00:47:18,880 --> 00:47:21,239
Speaker 1: The vase was sort of an off white color, is

789
00:47:21,280 --> 00:47:25,520
Speaker 1: just plain, no texture, no pattern on it, and projected

790
00:47:25,560 --> 00:47:28,720
Speaker 1: different images onto it so that it had a pattern

791
00:47:28,840 --> 00:47:30,960
Speaker 1: or it appeared to have texture. The one that I

792
00:47:31,040 --> 00:47:34,840
Speaker 1: really liked was one where it was a very convincing

793
00:47:35,000 --> 00:47:40,319
Speaker 1: illusion that there was a patterned vase rotating perhaps on

794
00:47:40,400 --> 00:47:44,240
Speaker 1: like a lazy Susan, But it turned out the vase

795
00:47:44,360 --> 00:47:47,319
Speaker 1: was completely stationary. It was not rotating at all, it

796
00:47:47,400 --> 00:47:53,000
Speaker 1: was just a solid color vase. It was the image

797
00:47:53,040 --> 00:47:55,799
Speaker 1: that was making it look like it was rotating. It's

798
00:47:55,840 --> 00:47:58,799
Speaker 1: the same basic principle that we have for film. We're

799
00:47:58,800 --> 00:48:02,600
Speaker 1: watching a series of images that, when they are played

800
00:48:02,640 --> 00:48:07,080
Speaker 1: back at a certain frequency, appear to simulate movement. Same

801
00:48:07,120 --> 00:48:10,799
Speaker 1: thing is true with projection mapping, but it required that

802
00:48:10,880 --> 00:48:15,200
Speaker 1: you have this approach where you are conforming the image

803
00:48:15,200 --> 00:48:21,200
Speaker 1: projected to the object shape and size. So it's a

804
00:48:21,239 --> 00:48:24,000
Speaker 1: little more tricky. It's not just well, let's move the

805
00:48:24,000 --> 00:48:26,400
Speaker 1: projector a little bit closer to the screen or a

806
00:48:26,400 --> 00:48:29,080
Speaker 1: little further away from the screen because the image that's

807
00:48:29,120 --> 00:48:32,720
Speaker 1: being shown is too big or too small. It also

808
00:48:32,800 --> 00:48:37,200
Speaker 1: involves the actual contours of the device you're or the

809
00:48:37,200 --> 00:48:39,680
Speaker 1: the object you're using. And he pointed out the two

810
00:48:39,680 --> 00:48:44,800
Speaker 1: main problems of projection mapping are aligning each individual projector

811
00:48:45,000 --> 00:48:47,320
Speaker 1: so that the images they display line up with the

812
00:48:47,360 --> 00:48:50,800
Speaker 1: physical features of the three dimensional object itself. So, for example,

813
00:48:50,920 --> 00:48:54,200
Speaker 1: corners or in the case of Cinderella's Castle at Disney,

814
00:48:54,400 --> 00:48:57,040
Speaker 1: you've got the different parapets, you've got the different doors

815
00:48:57,080 --> 00:49:00,399
Speaker 1: and windows. All of that has to line up icily

816
00:49:00,480 --> 00:49:03,360
Speaker 1: with the the projection or else you're gonna have this

817
00:49:03,440 --> 00:49:06,840
Speaker 1: weird overlay effect where the image is not quite on

818
00:49:07,000 --> 00:49:10,480
Speaker 1: top of the physical part of the castle it's supposed

819
00:49:10,480 --> 00:49:13,800
Speaker 1: to be laid against. So that's one of the two challenges.

820
00:49:14,000 --> 00:49:16,799
Speaker 1: The other big one is you typically need more than

821
00:49:16,840 --> 00:49:19,839
Speaker 1: one projector because you have to hit an object at

822
00:49:19,920 --> 00:49:22,799
Speaker 1: various angles, and if you have one projector, all that

823
00:49:22,920 --> 00:49:25,279
Speaker 1: light is just coming from one side, and if you're

824
00:49:25,280 --> 00:49:28,600
Speaker 1: at any other viewing point around this three dimensional object,

825
00:49:28,840 --> 00:49:31,360
Speaker 1: you're not going to get the effect of the projection.

826
00:49:31,640 --> 00:49:34,080
Speaker 1: So you have to have multiple projectors all aiming at

827
00:49:34,120 --> 00:49:38,400
Speaker 1: the same physical object. They each have to be calibrated

828
00:49:38,440 --> 00:49:41,480
Speaker 1: properly with that object, with respect to the object and

829
00:49:41,520 --> 00:49:45,440
Speaker 1: with respect to each other, so that the seams of

830
00:49:45,480 --> 00:49:49,560
Speaker 1: those images line up precisely. If you have a character,

831
00:49:50,040 --> 00:49:53,319
Speaker 1: and animated character show up on one side of the

832
00:49:53,360 --> 00:49:56,279
Speaker 1: castle and then make his or her way around to

833
00:49:56,320 --> 00:49:59,400
Speaker 1: the other side of the castle, and in that journey

834
00:50:00,120 --> 00:50:03,560
Speaker 1: that character gets handed off from one projector to another,

835
00:50:04,120 --> 00:50:07,320
Speaker 1: obviously you need to have that lineup as as best

836
00:50:07,360 --> 00:50:11,040
Speaker 1: as possible to have a seamless experience. You can cheat

837
00:50:11,080 --> 00:50:14,520
Speaker 1: a little bit with an object like Cinderella's castle, because

838
00:50:14,520 --> 00:50:17,120
Speaker 1: you could have the character go into or appear to

839
00:50:17,200 --> 00:50:20,800
Speaker 1: go into a tower or a window or a door,

840
00:50:21,360 --> 00:50:23,920
Speaker 1: and it's kind of like a cut in a film.

841
00:50:23,960 --> 00:50:26,760
Speaker 1: You could then have the character emerge from another window

842
00:50:26,960 --> 00:50:29,480
Speaker 1: or another door, and it's being handled by a totally

843
00:50:29,520 --> 00:50:32,239
Speaker 1: different projector, and because you had the character move out

844
00:50:32,280 --> 00:50:34,680
Speaker 1: of sight for a moment, you don't have to have

845
00:50:34,760 --> 00:50:37,839
Speaker 1: that truly seamless experience. You don't have to have those

846
00:50:37,840 --> 00:50:43,000
Speaker 1: two projectors synchronized so precisely that there's no overlap, where

847
00:50:43,000 --> 00:50:46,640
Speaker 1: otherwise you might end up with quasi Modo having four arms,

848
00:50:47,040 --> 00:50:51,600
Speaker 1: which would make him even less quasi modo, or more

849
00:50:51,680 --> 00:50:55,880
Speaker 1: quasi and less modo whatever. Hunchback of Notre Dame is

850
00:50:55,920 --> 00:51:01,360
Speaker 1: a terrible Disney movie. Come at me, so very difficult

851
00:51:01,360 --> 00:51:04,720
Speaker 1: problems to solve, and typically you have to design computer

852
00:51:04,840 --> 00:51:08,160
Speaker 1: software in order for you to be able to do this. Uh,

853
00:51:08,239 --> 00:51:11,800
Speaker 1: you being the person trying to create projection mapping. Luckily

854
00:51:11,920 --> 00:51:14,920
Speaker 1: for us, if we were interested in doing our own

855
00:51:14,920 --> 00:51:19,239
Speaker 1: projection mapping project, there are lots of software packages out

856
00:51:19,280 --> 00:51:22,120
Speaker 1: there that are designed to do this, and typically the

857
00:51:22,160 --> 00:51:24,080
Speaker 1: way it works is you would download one of these

858
00:51:24,080 --> 00:51:27,800
Speaker 1: software packages, which tend to cost and a few hundreds

859
00:51:27,800 --> 00:51:31,760
Speaker 1: of dollars, somewhere between three hundred and eight hundred dollars

860
00:51:32,160 --> 00:51:35,719
Speaker 1: truly is not that much. When you look at video software,

861
00:51:35,920 --> 00:51:38,960
Speaker 1: there's a lot of video editing software that's in that range.

862
00:51:39,400 --> 00:51:41,799
Speaker 1: So something that's on this scale, which is meant to

863
00:51:41,920 --> 00:51:48,319
Speaker 1: project against large objects, it's not really that outrageous to

864
00:51:48,360 --> 00:51:50,640
Speaker 1: have a piece of software cost a few hundred dollars.

865
00:51:51,760 --> 00:51:56,160
Speaker 1: You pair it with a projector or multiple projectors, and

866
00:51:56,200 --> 00:51:59,279
Speaker 1: you typically would set up an object where it would

867
00:51:59,320 --> 00:52:02,359
Speaker 1: be in the pathway of the projector, and you would

868
00:52:02,480 --> 00:52:08,040
Speaker 1: use the software to manipulate a field on top of

869
00:52:08,160 --> 00:52:13,640
Speaker 1: virtual field on top of the actual object, and what

870
00:52:13,680 --> 00:52:16,319
Speaker 1: would happen is the projector would project an image, it

871
00:52:16,400 --> 00:52:20,080
Speaker 1: may be a grid, for example, to define the areas

872
00:52:20,400 --> 00:52:23,239
Speaker 1: of that object, and you would use the software to

873
00:52:23,320 --> 00:52:27,960
Speaker 1: conform the grid so that it met the parameters of

874
00:52:28,000 --> 00:52:31,799
Speaker 1: that object. So you are mapping the object itself within

875
00:52:31,840 --> 00:52:35,640
Speaker 1: the software. You're defining the areas that you can paint

876
00:52:35,680 --> 00:52:40,520
Speaker 1: against your defining the screen itself. And it's kind of

877
00:52:40,520 --> 00:52:44,640
Speaker 1: like using photo editing software, except instead of just cropping

878
00:52:44,640 --> 00:52:47,719
Speaker 1: a photo, what you're doing is you're just defining the

879
00:52:47,880 --> 00:52:50,799
Speaker 1: edges of your image. So if you're doing something like

880
00:52:50,800 --> 00:52:53,880
Speaker 1: Cinderella's Castle, you would say, all right, I want this tower,

881
00:52:54,520 --> 00:52:56,920
Speaker 1: and I want the parapet at the top of the tower,

882
00:52:57,400 --> 00:53:00,360
Speaker 1: but I don't want any of the edges to fall

883
00:53:00,400 --> 00:53:02,279
Speaker 1: into this because we won't be able to see it.

884
00:53:02,360 --> 00:53:04,880
Speaker 1: The projection will go just past the edge of the

885
00:53:04,920 --> 00:53:08,120
Speaker 1: tower and there's nothing for the image to be projected

886
00:53:08,160 --> 00:53:10,839
Speaker 1: against at that point, So we want to make sure

887
00:53:10,880 --> 00:53:15,239
Speaker 1: that we define those edges within the software. Once you've

888
00:53:15,280 --> 00:53:18,840
Speaker 1: done that, then you can start to animate or design

889
00:53:19,000 --> 00:53:26,719
Speaker 1: lighting effects against that now virtually defined space. You also

890
00:53:26,719 --> 00:53:29,440
Speaker 1: have to keep in mind that the distance between the

891
00:53:29,440 --> 00:53:34,439
Speaker 1: projector and the object has to be established so that

892
00:53:34,640 --> 00:53:36,839
Speaker 1: the scale remains the same. If you were to bring

893
00:53:36,840 --> 00:53:40,799
Speaker 1: the projector closer or further away without adjusting lens, that's

894
00:53:40,800 --> 00:53:43,840
Speaker 1: going to affect both the focus and the scale. So

895
00:53:43,920 --> 00:53:45,640
Speaker 1: there are a lot of different elements that are at

896
00:53:45,640 --> 00:53:48,200
Speaker 1: play with this technology, and if you want to work

897
00:53:48,239 --> 00:53:51,200
Speaker 1: just right, you have to find the right place to

898
00:53:51,280 --> 00:53:56,120
Speaker 1: set up your your technology. You have to calibrate it precisely,

899
00:53:56,520 --> 00:53:58,640
Speaker 1: and then you have to make sure that nothing moves

900
00:53:59,040 --> 00:54:01,680
Speaker 1: so that it's all lined up and stays lined up.

901
00:54:02,160 --> 00:54:05,640
Speaker 1: So in this display or this this demonstration I was

902
00:54:05,640 --> 00:54:09,200
Speaker 1: talking about earlier. They show that they'd use a program

903
00:54:09,239 --> 00:54:12,399
Speaker 1: to define specific points on the three dimensional surface from

904
00:54:12,440 --> 00:54:14,440
Speaker 1: the point of view of the projector in order to

905
00:54:14,480 --> 00:54:18,080
Speaker 1: calibrate the system. So you would just use essentially a

906
00:54:18,120 --> 00:54:22,360
Speaker 1: mouse moving a cursor to different points on the image

907
00:54:22,400 --> 00:54:25,160
Speaker 1: of this three dimensional object. So you've got a camera

908
00:54:25,600 --> 00:54:28,080
Speaker 1: and a projector that are lined up with each other,

909
00:54:28,719 --> 00:54:31,080
Speaker 1: and you use the mouse to define, all right, this

910
00:54:31,160 --> 00:54:33,160
Speaker 1: is an edge, this is an edge, or or here's

911
00:54:33,160 --> 00:54:35,960
Speaker 1: a point, here's a point, here's a point, in order

912
00:54:36,000 --> 00:54:39,120
Speaker 1: to calibrate it with the projector itself, and using multiple

913
00:54:39,160 --> 00:54:42,080
Speaker 1: points allows for the system to line up precisely with

914
00:54:42,200 --> 00:54:44,680
Speaker 1: the object. If you just clicked one point, there's not

915
00:54:44,760 --> 00:54:48,000
Speaker 1: enough reference there. The image coordinates for the projectors are

916
00:54:48,080 --> 00:54:51,200
Speaker 1: in two dimensions, you know, X and y axis, because

917
00:54:51,239 --> 00:54:54,520
Speaker 1: depth is not really something a projector handles. A projector

918
00:54:54,600 --> 00:54:58,560
Speaker 1: can't make the light stop at a certain distance. It's

919
00:54:58,560 --> 00:55:01,640
Speaker 1: going to keep going till it reflects off of something.

920
00:55:02,160 --> 00:55:04,680
Speaker 1: So you just are concerned with X and y and

921
00:55:04,719 --> 00:55:08,239
Speaker 1: then you warp that depending upon the actual depth of

922
00:55:08,280 --> 00:55:11,520
Speaker 1: the physical object you're shooting against or you're projecting against

923
00:55:11,840 --> 00:55:15,319
Speaker 1: the actual points in space. Therefore are three dimensional, even

924
00:55:15,320 --> 00:55:19,560
Speaker 1: though the data inside the projector is two dimensional, because

925
00:55:19,640 --> 00:55:23,280
Speaker 1: those points in space have to conform with the physical

926
00:55:23,280 --> 00:55:26,320
Speaker 1: features of a real object. In the demonstration I watched,

927
00:55:26,600 --> 00:55:29,320
Speaker 1: they were projecting images on a model of the taj

928
00:55:29,520 --> 00:55:33,719
Speaker 1: Mahal and it was very effective. The system, according to them,

929
00:55:33,800 --> 00:55:37,560
Speaker 1: required about five minutes to calibrate per shader lamp, so

930
00:55:37,640 --> 00:55:41,239
Speaker 1: that's not very long. I have no idea how long

931
00:55:41,239 --> 00:55:44,279
Speaker 1: it takes to calibrate the Disney system. I was not

932
00:55:44,360 --> 00:55:46,799
Speaker 1: able to chat with anybody to get that information, but

933
00:55:46,880 --> 00:55:50,680
Speaker 1: I imagine it's again very precise and probably takes a

934
00:55:50,680 --> 00:55:54,319
Speaker 1: few minutes to make sure that it's lined up reliably.

935
00:55:55,280 --> 00:55:57,799
Speaker 1: Once set, then you just you said it. You leave it,

936
00:55:57,840 --> 00:56:02,440
Speaker 1: you walk away, you don't touch it. Now, you can't

937
00:56:02,600 --> 00:56:05,799
Speaker 1: just grab any old projector and a white or other

938
00:56:05,960 --> 00:56:09,000
Speaker 1: neutral colored object and just go to town. The images

939
00:56:09,040 --> 00:56:11,319
Speaker 1: you project will not match up with the object you're

940
00:56:11,360 --> 00:56:13,160
Speaker 1: projecting on, so you have to have that way to

941
00:56:13,160 --> 00:56:15,560
Speaker 1: warp the image so it lines up. I talked about

942
00:56:15,560 --> 00:56:19,000
Speaker 1: this a second ago. You use that software to conform

943
00:56:19,400 --> 00:56:24,200
Speaker 1: to the three dimensional object, um you needed. You need

944
00:56:24,200 --> 00:56:27,919
Speaker 1: a computer obviously to run the software. The computer needs

945
00:56:27,920 --> 00:56:30,920
Speaker 1: to have a pretty powerful processor and a really powerful

946
00:56:30,960 --> 00:56:35,880
Speaker 1: graphics processing unit or GPU, because you need the processor

947
00:56:36,320 --> 00:56:38,600
Speaker 1: that's strong so it can send a lot of data

948
00:56:38,680 --> 00:56:42,560
Speaker 1: to the GPU consistently. You need to have a good

949
00:56:42,560 --> 00:56:46,160
Speaker 1: pathway between processor and GPU, so that you also need

950
00:56:46,200 --> 00:56:50,759
Speaker 1: a really good bus between the two. The GPU needs

951
00:56:50,800 --> 00:56:52,960
Speaker 1: to be beefy because it's going to be sending a

952
00:56:53,000 --> 00:56:57,840
Speaker 1: lot of data to the projector, and the more um

953
00:56:58,000 --> 00:57:02,240
Speaker 1: high res the inag, the more data it has to send.

954
00:57:02,680 --> 00:57:05,600
Speaker 1: If you're doing something on the scale of what Disney wants,

955
00:57:05,719 --> 00:57:09,279
Speaker 1: chances are you've got pretty high standards for the resolution.

956
00:57:09,920 --> 00:57:12,319
Speaker 1: Even keeping in mind that you're projecting this against an

957
00:57:12,480 --> 00:57:17,360
Speaker 1: enormous castle and most people will be dozens of feet away,

958
00:57:17,480 --> 00:57:19,760
Speaker 1: you still want it to be a really crisp image,

959
00:57:19,880 --> 00:57:23,080
Speaker 1: So you're going to need some pretty powerful machines with

960
00:57:23,280 --> 00:57:28,080
Speaker 1: really strong processing abilities to carry this off and send

961
00:57:28,080 --> 00:57:31,760
Speaker 1: that information to your high res projectors to shoot it

962
00:57:31,800 --> 00:57:35,080
Speaker 1: against the three dimensional object in question. Keeping in mind

963
00:57:35,280 --> 00:57:39,439
Speaker 1: you're probably using multiple projectors, so that reduces the need

964
00:57:39,840 --> 00:57:45,600
Speaker 1: for the the landscape you're covering for each projector, and thus,

965
00:57:45,680 --> 00:57:49,480
Speaker 1: if each projector is lined up with a different dedicated computer.

966
00:57:50,440 --> 00:57:53,280
Speaker 1: You can divide up the job a little bit, although

967
00:57:53,760 --> 00:57:55,800
Speaker 1: all of those computers at some point have to be

968
00:57:55,840 --> 00:57:59,800
Speaker 1: coordinated with one another. Otherwise you would have different parts

969
00:57:59,840 --> 00:58:02,440
Speaker 1: of the show showing up at different segments and it

970
00:58:02,440 --> 00:58:08,480
Speaker 1: would just be a mess, a chaotic mess. Projectors have

971
00:58:09,280 --> 00:58:12,320
Speaker 1: something called a throw distance, that is the distance between

972
00:58:12,360 --> 00:58:14,520
Speaker 1: the projector and a screen that it can show an

973
00:58:14,520 --> 00:58:18,360
Speaker 1: effective image. So that's something you have to take into effect. Uh,

974
00:58:18,720 --> 00:58:24,040
Speaker 1: you also have to worry about making sure that you've

975
00:58:24,040 --> 00:58:26,800
Speaker 1: got the right you know, all the resolutions are the

976
00:58:26,920 --> 00:58:29,880
Speaker 1: are the same, because otherwise, if the resolution of one

977
00:58:29,880 --> 00:58:32,280
Speaker 1: projector is different from another, you're gonna have a very

978
00:58:32,720 --> 00:58:36,840
Speaker 1: muddy effect on the three dimensional object in question. As

979
00:58:36,840 --> 00:58:38,720
Speaker 1: I said, there are a lot of different software packages

980
00:58:38,720 --> 00:58:40,640
Speaker 1: out there. There are some free ones if you want

981
00:58:40,680 --> 00:58:45,720
Speaker 1: to try some projection mapping, although there reliability maybe a

982
00:58:45,760 --> 00:58:49,040
Speaker 1: little less resilient than what you would get with a

983
00:58:49,120 --> 00:58:52,400
Speaker 1: paid software package, But there are some out there that

984
00:58:52,440 --> 00:58:54,960
Speaker 1: you can look at. But there there's tons of different

985
00:58:55,280 --> 00:58:59,240
Speaker 1: projection mapping software suites out there if you if you're

986
00:58:59,240 --> 00:59:02,160
Speaker 1: really serious of about doing this, you can PLoP down

987
00:59:02,200 --> 00:59:06,480
Speaker 1: some cash and you'll get a more reliable and possibly

988
00:59:06,560 --> 00:59:10,080
Speaker 1: more user friendly set of tools to do this yourself.

989
00:59:11,400 --> 00:59:14,000
Speaker 1: To develop the Disney show, they started with a scale

990
00:59:14,080 --> 00:59:17,680
Speaker 1: model of the castle, so everything had to be precisely

991
00:59:17,760 --> 00:59:20,760
Speaker 1: at the right dimensions with one another in order for

992
00:59:20,800 --> 00:59:24,800
Speaker 1: them to use that as their working model, because obviously

993
00:59:24,800 --> 00:59:27,000
Speaker 1: they couldn't do this every single day out of the

994
00:59:27,040 --> 00:59:29,840
Speaker 1: park there are people there, so to develop it, they

995
00:59:29,880 --> 00:59:33,640
Speaker 1: needed to make a perfect scale model of Cinderella's Castle

996
00:59:34,080 --> 00:59:38,040
Speaker 1: and use that to plot out their show. And they

997
00:59:38,080 --> 00:59:41,640
Speaker 1: did this everything from the full narrative arc like what's

998
00:59:41,680 --> 00:59:45,280
Speaker 1: the story they're trying to tell, to the particular animations

999
00:59:45,280 --> 00:59:49,840
Speaker 1: and effects that they were trying to create. Obviously, anything

1000
00:59:49,840 --> 00:59:53,480
Speaker 1: that involved pyrotechnics probably they didn't throw in there, because

1001
00:59:54,120 --> 00:59:57,640
Speaker 1: shooting fireworks off inside is never a good idea. But

1002
00:59:58,000 --> 01:00:01,280
Speaker 1: for all the three D projection mapping techniques they could use.

1003
01:00:01,280 --> 01:00:04,120
Speaker 1: Those they could actually set up projectors and projected against

1004
01:00:04,160 --> 01:00:07,760
Speaker 1: the three dimensional scale model they had and see what

1005
01:00:07,800 --> 01:00:09,600
Speaker 1: it was going to look like on the small scale

1006
01:00:09,640 --> 01:00:12,360
Speaker 1: before they built up and worked on it for the

1007
01:00:12,440 --> 01:00:16,840
Speaker 1: actual park. They called in as many of the original

1008
01:00:16,880 --> 01:00:20,600
Speaker 1: animators for the various films that they reference in the show,

1009
01:00:20,680 --> 01:00:25,160
Speaker 1: so throughout the show, different iconic characters from Disney movies

1010
01:00:25,360 --> 01:00:29,840
Speaker 1: show up on Cinderella's castle. Uh, for example, Merida from

1011
01:00:29,880 --> 01:00:36,240
Speaker 1: Brave or Aladdin from Aladdin, We'll show up and they'll

1012
01:00:36,360 --> 01:00:39,080
Speaker 1: interact with the castle in some way. They tried to

1013
01:00:39,080 --> 01:00:41,720
Speaker 1: get as many of the original animators back to work

1014
01:00:41,720 --> 01:00:43,840
Speaker 1: on those characters as they possibly could, So it's a

1015
01:00:43,880 --> 01:00:46,520
Speaker 1: big thrill for a lot of those folks because they

1016
01:00:46,520 --> 01:00:48,720
Speaker 1: hadn't had a chance to work on those characters in

1017
01:00:48,840 --> 01:00:53,320
Speaker 1: some cases for several decades. And uh, it really is

1018
01:00:53,400 --> 01:00:55,360
Speaker 1: nice to be able to see those characters come to

1019
01:00:55,440 --> 01:00:57,960
Speaker 1: life and have the same sort of qualities that they

1020
01:00:58,000 --> 01:01:02,520
Speaker 1: had in the movies that they became famous for. So

1021
01:01:03,640 --> 01:01:07,400
Speaker 1: that's kind of cool thing too, is not just the technology,

1022
01:01:07,400 --> 01:01:09,600
Speaker 1: but if you are a Disney fan and you're also

1023
01:01:09,640 --> 01:01:13,080
Speaker 1: a fan of the process of animation, knowing that it

1024
01:01:13,120 --> 01:01:15,560
Speaker 1: was the same people responsible for bringing that to life

1025
01:01:15,600 --> 01:01:19,360
Speaker 1: the first time is really something special because it's it's

1026
01:01:19,400 --> 01:01:23,440
Speaker 1: you know, it's it's calling back to a nostalgic time. Now,

1027
01:01:23,600 --> 01:01:26,840
Speaker 1: of course, that wasn't the case for every single piece

1028
01:01:26,880 --> 01:01:29,920
Speaker 1: of animation they referenced. In some cases, those animators have

1029
01:01:29,960 --> 01:01:36,280
Speaker 1: passed away, especially for the really old classic Disney animated features,

1030
01:01:36,680 --> 01:01:42,240
Speaker 1: but it was a pretty impressive spectrum of characters, everything

1031
01:01:42,280 --> 01:01:46,360
Speaker 1: from the more recent shows and films, things like Mowanna

1032
01:01:46,440 --> 01:01:50,960
Speaker 1: and Zootopia too, classics like Sleeping Beauty. Well, we will

1033
01:01:51,000 --> 01:01:53,680
Speaker 1: never get rid of Maleficent. I think she's always going

1034
01:01:53,720 --> 01:01:57,560
Speaker 1: to be a villain in every single Disney nighttime spectacular

1035
01:01:57,600 --> 01:02:02,160
Speaker 1: because how can you how can you leave out a

1036
01:02:02,160 --> 01:02:06,360
Speaker 1: an evil fairy queen who assumes the shape of a dragon.

1037
01:02:06,480 --> 01:02:13,040
Speaker 1: That's that's pretty awesome, but I think that's a particularly

1038
01:02:13,080 --> 01:02:17,280
Speaker 1: interesting part of Happily ever After. Artists when they were

1039
01:02:17,280 --> 01:02:20,160
Speaker 1: working on this, we're working on digital services, so think

1040
01:02:20,160 --> 01:02:25,120
Speaker 1: of like, uh, an interactive screen, not not necessarily a tablet,

1041
01:02:25,240 --> 01:02:29,040
Speaker 1: but a display that they could directly draw on using

1042
01:02:29,120 --> 01:02:33,960
Speaker 1: light pens or digital pins. So they had the representation

1043
01:02:34,000 --> 01:02:38,920
Speaker 1: of the castle there, which was essentially a visual interpretation

1044
01:02:39,120 --> 01:02:43,160
Speaker 1: of the virtual model that they had created. So they

1045
01:02:43,240 --> 01:02:46,280
Speaker 1: had created a virtual model by defining the aspects of

1046
01:02:46,280 --> 01:02:49,320
Speaker 1: that castle the way I mentioned earlier. Artists could then

1047
01:02:49,440 --> 01:02:54,280
Speaker 1: draw against that and create the effects directly in the software,

1048
01:02:54,280 --> 01:02:56,520
Speaker 1: which then could be projected against the castle when they

1049
01:02:56,520 --> 01:02:59,040
Speaker 1: wanted to test things out, And this allowed them to

1050
01:03:00,120 --> 01:03:03,320
Speaker 1: developed the show relatively quickly. It still took a very

1051
01:03:03,320 --> 01:03:07,520
Speaker 1: long time, but it allowed for very quick prototyping and

1052
01:03:07,560 --> 01:03:12,920
Speaker 1: testing of different effects and transitions and sequences, which is

1053
01:03:12,960 --> 01:03:16,360
Speaker 1: pretty cool. And at the end of the show spoiler alert,

1054
01:03:17,240 --> 01:03:19,560
Speaker 1: tinker Bell comes out and flies over the crowd. This

1055
01:03:19,640 --> 01:03:21,960
Speaker 1: is something that's been going on for decades over at

1056
01:03:22,000 --> 01:03:25,200
Speaker 1: Disney and I think people would have rioted if tinker

1057
01:03:25,240 --> 01:03:30,240
Speaker 1: Bell had been removed from the experience, so uh. At

1058
01:03:30,320 --> 01:03:33,600
Speaker 1: Disney World, tinker Bell has been part of the nightly

1059
01:03:33,680 --> 01:03:38,920
Speaker 1: show since July third n at the Magic Kingdom. She

1060
01:03:39,000 --> 01:03:42,240
Speaker 1: hasn't appeared every single night because her appearance is dependent

1061
01:03:42,320 --> 01:03:45,480
Speaker 1: upon the weather. If the weather is if it's too

1062
01:03:45,520 --> 01:03:49,120
Speaker 1: windy or stormy, then tinker Bell will not be coming out.

1063
01:03:49,480 --> 01:03:52,600
Speaker 1: Because Okay, for those of you who don't want the

1064
01:03:52,640 --> 01:03:56,120
Speaker 1: magic ruined, you should probably stop listening right now, so

1065
01:03:56,120 --> 01:03:58,800
Speaker 1: I'm gonna give you a second. For the rest of you,

1066
01:03:59,200 --> 01:04:01,960
Speaker 1: Ramsey just took off his headphones. Jokes on him. He's

1067
01:04:01,960 --> 01:04:05,640
Speaker 1: like three ft away. He has to listen anyway. Tinker

1068
01:04:05,640 --> 01:04:07,680
Speaker 1: Bell is an actress, right all right. I hate to

1069
01:04:07,720 --> 01:04:09,480
Speaker 1: say it because I don't want to ruin the magic,

1070
01:04:09,600 --> 01:04:13,240
Speaker 1: but she's an actress typically sometimes an actor, but typically

1071
01:04:13,240 --> 01:04:18,240
Speaker 1: an actress and tinker Bell um. You know, they have

1072
01:04:18,280 --> 01:04:21,919
Speaker 1: to keep tinker Bell safe. So to that end, if

1073
01:04:21,960 --> 01:04:24,720
Speaker 1: the weather conditions are unfavorable, tinker Bell does not fly.

1074
01:04:25,320 --> 01:04:28,240
Speaker 1: Tinker Bell's flight is along a zip line. There is

1075
01:04:28,440 --> 01:04:31,400
Speaker 1: a zip line that is approximately eight hundred fifty feet long.

1076
01:04:31,480 --> 01:04:35,800
Speaker 1: It extends from the Cinderella's Castle from one of the towers,

1077
01:04:36,280 --> 01:04:39,360
Speaker 1: and it ends on the top of tomorrow Land Terrace

1078
01:04:40,120 --> 01:04:43,720
Speaker 1: d fifty feet away. A flight down tinker Bell's zip

1079
01:04:43,760 --> 01:04:47,720
Speaker 1: line takes about thirty seconds. So let's do some math here.

1080
01:04:48,520 --> 01:04:51,800
Speaker 1: Eight hundred fifty feet and thirty seconds translates to about

1081
01:04:51,920 --> 01:04:55,520
Speaker 1: nineteen miles per hour. That actress is zipping down a

1082
01:04:55,640 --> 01:04:58,960
Speaker 1: zip line at nineteen miles per hour in a tinker

1083
01:04:58,960 --> 01:05:02,160
Speaker 1: Bell costume that lights up, has led lights, there's a

1084
01:05:02,200 --> 01:05:05,680
Speaker 1: battery pack and everything. Uh, this means that tinker Bell

1085
01:05:05,800 --> 01:05:11,360
Speaker 1: has to meet some certain certain criteria. There's certain rules

1086
01:05:11,440 --> 01:05:12,800
Speaker 1: that you have to follow if you wish to be

1087
01:05:12,840 --> 01:05:16,640
Speaker 1: tinker Bell, and they're a little precise. I was going

1088
01:05:16,680 --> 01:05:19,240
Speaker 1: to use the words draconian, but that might be a

1089
01:05:19,280 --> 01:05:22,200
Speaker 1: little too cruel. So, for example, to be tinker Bell,

1090
01:05:22,440 --> 01:05:25,280
Speaker 1: you must be no taller than five ft that is

1091
01:05:25,320 --> 01:05:28,640
Speaker 1: the maximum height for tinker Bell. That's partly so that

1092
01:05:28,720 --> 01:05:31,800
Speaker 1: you get the wonderful illusion of the fairy flying over

1093
01:05:31,840 --> 01:05:35,440
Speaker 1: the audience. And you must weigh no more than one

1094
01:05:35,560 --> 01:05:39,840
Speaker 1: hundred five pounds because you're in a harness on a

1095
01:05:39,960 --> 01:05:43,080
Speaker 1: zip line, and that harness is rated up to a

1096
01:05:43,160 --> 01:05:46,520
Speaker 1: certain weight, which is well over a hundred five pounds.

1097
01:05:46,560 --> 01:05:50,200
Speaker 1: Clearly you wouldn't rate it at the in the cap weight,

1098
01:05:51,040 --> 01:05:54,120
Speaker 1: but that's why one of the reasons why I'm sure

1099
01:05:54,600 --> 01:05:57,520
Speaker 1: they have this strict weight limit of a hundred five pounds.

1100
01:05:58,560 --> 01:06:02,000
Speaker 1: Tinker Bell sometimes is played by a guy. Occasionally there's

1101
01:06:02,240 --> 01:06:06,320
Speaker 1: a fellow who will have to step in as tinker

1102
01:06:06,320 --> 01:06:10,440
Speaker 1: Bell if the actress typically playing tinker Bell is unavailable

1103
01:06:10,440 --> 01:06:14,960
Speaker 1: for whatever reason. At the end of the flight, you

1104
01:06:15,000 --> 01:06:18,280
Speaker 1: are greeted if you are tinker Bell, to the warm

1105
01:06:18,320 --> 01:06:21,440
Speaker 1: embrace of a net being held by a couple of

1106
01:06:21,480 --> 01:06:25,520
Speaker 1: technicians or cast members. Everyone who works at Disney is

1107
01:06:25,560 --> 01:06:29,720
Speaker 1: a cast member, so the net will slow you down,

1108
01:06:29,800 --> 01:06:33,760
Speaker 1: and you end your last little bit of your journey

1109
01:06:34,680 --> 01:06:38,280
Speaker 1: against a gymnastic matt that's on its side, so it's

1110
01:06:38,360 --> 01:06:41,560
Speaker 1: up against the edge of the or wall. Of the

1111
01:06:41,600 --> 01:06:44,520
Speaker 1: tomorrow Land terraces, so that way, if the net doesn't

1112
01:06:44,520 --> 01:06:46,680
Speaker 1: slow you down enough, you don't just go crashing into

1113
01:06:46,760 --> 01:06:50,680
Speaker 1: a wall. Um all right, So I'm done ruining the magic.

1114
01:06:50,960 --> 01:06:55,440
Speaker 1: That's it. So that's kind of the lowdown on Disney's

1115
01:06:55,480 --> 01:06:58,360
Speaker 1: Happily ever After. It is a great show if you

1116
01:06:58,480 --> 01:07:01,480
Speaker 1: have not seen it. There are videos on YouTube you

1117
01:07:01,480 --> 01:07:04,760
Speaker 1: can watch Happily ever After, and it's about an eighteen

1118
01:07:04,800 --> 01:07:09,360
Speaker 1: minute long display, so it's it's a doozy um. The

1119
01:07:09,400 --> 01:07:12,200
Speaker 1: technology is really impressive. I will say that I've watched

1120
01:07:12,240 --> 01:07:14,640
Speaker 1: the videos, it is way more impressive to see in person.

1121
01:07:15,600 --> 01:07:20,200
Speaker 1: So if you're already going to the Magic Kingdom, and

1122
01:07:20,360 --> 01:07:23,080
Speaker 1: if Happily ever After is scheduled to happen the night

1123
01:07:23,120 --> 01:07:26,520
Speaker 1: you are there, I highly recommend checking it out. I mean,

1124
01:07:26,640 --> 01:07:28,520
Speaker 1: you could go and ride more rides. There are gonna

1125
01:07:28,520 --> 01:07:30,360
Speaker 1: be a whole lot of people watching the show rather

1126
01:07:30,400 --> 01:07:34,000
Speaker 1: than doing that. But if you if you like Disney

1127
01:07:34,040 --> 01:07:39,520
Speaker 1: films in particular, and you really like fireworks, displays and uh,

1128
01:07:39,560 --> 01:07:43,120
Speaker 1: you know, innovative technology, I highly recommend it. It It is

1129
01:07:43,120 --> 01:07:46,560
Speaker 1: is a really well done show. It's not as narratively

1130
01:07:47,160 --> 01:07:50,560
Speaker 1: cohesive as I typically like. I like stories that have

1131
01:07:50,800 --> 01:07:53,560
Speaker 1: more to them than that. But it is a lot

1132
01:07:53,600 --> 01:07:56,560
Speaker 1: of fun to watch the different vignettes, and there's certain

1133
01:07:56,600 --> 01:08:00,800
Speaker 1: segments that just find breathtaking. I love Meredis segment. In

1134
01:08:00,880 --> 01:08:04,000
Speaker 1: that section, the entire castle appears to be covered in

1135
01:08:04,160 --> 01:08:07,880
Speaker 1: ivy and it's just really vibrant. And I also love

1136
01:08:07,960 --> 01:08:11,720
Speaker 1: Molana's section. And uh, there's a little bit at the

1137
01:08:11,880 --> 01:08:16,680
Speaker 1: end with with Simba's dad and with the song go

1138
01:08:16,880 --> 01:08:21,759
Speaker 1: the Distance from Hercules. This is particularly moving. Got dusty

1139
01:08:21,800 --> 01:08:26,120
Speaker 1: and ear. Okay, that's enough of that. I'm glad I

1140
01:08:26,160 --> 01:08:28,320
Speaker 1: had a chance to actually talk about this because again

1141
01:08:28,360 --> 01:08:31,120
Speaker 1: I had been planning it since before I took my trip.

1142
01:08:31,680 --> 01:08:33,920
Speaker 1: And uh, while I didn't get a chance to talk

1143
01:08:33,920 --> 01:08:37,240
Speaker 1: to any imagineers, and I hope one day to correct that.

1144
01:08:37,360 --> 01:08:39,880
Speaker 1: I would love to chat with some imagineers about what

1145
01:08:39,920 --> 01:08:43,800
Speaker 1: they do, because I think it's incredible the work that

1146
01:08:43,880 --> 01:08:48,479
Speaker 1: goes into creating these different Disney attractions. It's it's phenomenal stuff.

1147
01:08:49,320 --> 01:08:52,720
Speaker 1: I am very thankful that Disney was kind enough to

1148
01:08:52,760 --> 01:08:57,040
Speaker 1: extend to me a a pass for the day. Um

1149
01:08:57,120 --> 01:08:58,960
Speaker 1: I stayed for more than a day, so I bought

1150
01:08:59,000 --> 01:09:02,240
Speaker 1: all the other days, but one of those days was free.

1151
01:09:02,360 --> 01:09:06,720
Speaker 1: So just full disclosure again you guys. That wraps up

1152
01:09:06,840 --> 01:09:09,720
Speaker 1: this episode of tech Stuff. If you have suggestions for

1153
01:09:09,800 --> 01:09:13,240
Speaker 1: topics I should cover in future episodes, whether it's a

1154
01:09:13,280 --> 01:09:17,519
Speaker 1: specific technology, a company, a person in tech, let me know.

1155
01:09:17,920 --> 01:09:20,479
Speaker 1: Maybe there's someone you want me to interview, Maybe there's

1156
01:09:20,520 --> 01:09:24,360
Speaker 1: someone you want as the perfect guest co host. Send

1157
01:09:24,360 --> 01:09:27,080
Speaker 1: me a message. You can email me. The address is

1158
01:09:27,360 --> 01:09:31,320
Speaker 1: text stuff at how stuff works dot com, or drop

1159
01:09:31,360 --> 01:09:34,080
Speaker 1: me a line on Facebook or Twitter. The handle it

1160
01:09:34,200 --> 01:09:37,639
Speaker 1: both of those is text stuff h s W. Remember

1161
01:09:37,920 --> 01:09:41,280
Speaker 1: I live stream shows on Wednesdays and Fridays. You can

1162
01:09:41,320 --> 01:09:44,679
Speaker 1: go to twitch dot tv slash tech stuff and there

1163
01:09:44,720 --> 01:09:47,720
Speaker 1: you'll find the schedule. You can pop in join the

1164
01:09:47,800 --> 01:09:50,200
Speaker 1: chat room and I will be happy to chat with

1165
01:09:50,240 --> 01:09:53,439
Speaker 1: you between segments and just see what's going on in

1166
01:09:53,520 --> 01:09:57,759
Speaker 1: your world. And that's it. I'll tak you again. Release

1167
01:09:57,840 --> 01:10:06,040
Speaker 1: it for more on this and thousands of other topics,

1168
01:10:06,320 --> 01:10:17,439
Speaker 1: is it how stuff works dot com