WEBVTT - How Disney's Happily Ever After Works

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<v Speaker 1>Get in touch with technology with tech Stuff from stuff

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<v Speaker 1>works dot com. Hey there, and welcome to tech Stuff.

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<v Speaker 1>I am your host, Jonathan Strickland. I'm an executive producer

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<v Speaker 1>at Cal's stuff Works, and I am a Disney fanatic.

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<v Speaker 1>People who have listened to this show for a long

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<v Speaker 1>time are already aware of that fact. I love Disney,

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<v Speaker 1>I love the Disney movies, I love the Disney Parks.

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<v Speaker 1>I've done episodes about different aspects of the Disney parks,

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<v Speaker 1>and earlier in ten I had planned on going to

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<v Speaker 1>Disney World and uh in twenty seventeen, Disney World over

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<v Speaker 1>at the Magic Kingdom started a brand new fireworks display

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<v Speaker 1>called Happily ever After. And after I heard about it

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<v Speaker 1>and heard what was going to be part of Happily

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<v Speaker 1>ever After, which would include three D projection mapping, I'll

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<v Speaker 1>talk about that this episode. I realized that this was

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<v Speaker 1>a really cool idea. I could use that as a

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<v Speaker 1>specific example and take the opportunity to talk about the

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<v Speaker 1>technologies that make that show possible. So, in the interest

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<v Speaker 1>of full disclosure, I want to let you guys know

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<v Speaker 1>I reached out to Disney and told them what I

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<v Speaker 1>wanted to do and asked if they might be able

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<v Speaker 1>to set up an interview with one of their imagineers

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<v Speaker 1>who was responsible for working on this this project. So

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<v Speaker 1>I did that and I heard back from Disney. They

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<v Speaker 1>were very, very gracious. They informed me that they did

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<v Speaker 1>not have any opportunities for any interviews during the time

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<v Speaker 1>when I was going to be at Disney anyway. I

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<v Speaker 1>told them this, you know, the span of the week

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<v Speaker 1>where I would actually be at the park. However, they

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<v Speaker 1>did give me a one day park hopper pass so

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<v Speaker 1>that I could go I which I used. So I

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<v Speaker 1>just wanted to make that full disclosure because while there

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<v Speaker 1>was no agreement about doing a show or having access

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<v Speaker 1>to anything, it was literally they said, thank you for

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<v Speaker 1>your interest. Here's a day at the park. I just

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<v Speaker 1>want to let you guys know that that had happened,

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<v Speaker 1>because you know, I want to be on the up

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<v Speaker 1>and up. But I had planned on doing the show anyway.

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<v Speaker 1>So yeah, alright, So what that's what is happily ever After? Well,

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<v Speaker 1>it is the successor of a show that was called Wishes. Uh.

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<v Speaker 1>This is the big nighttime show at the Magic Kingdom.

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<v Speaker 1>Wishes was primarily a pyrotechnics show, a fireworks display and

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<v Speaker 1>I was kind of sad to see Wishes go. Wishes

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<v Speaker 1>had been around for I think thirteen years at the

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<v Speaker 1>Magic Kingdom Park and then uh they decided to swap

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<v Speaker 1>it out. I had a personal connection to Wishes because

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<v Speaker 1>Wishes was hosted and I use air quotes for hosted

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<v Speaker 1>by jim NYE. Cricket. The voice of Jiminy Cricket was

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<v Speaker 1>one of the narrators for the show Wishes. And I

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<v Speaker 1>don't want to ruin the magic for anybody, but Jiminy

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<v Speaker 1>Cricket used to be voiced by an actor named Eddie Carroll,

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<v Speaker 1>and Eddie Carroll was a friend of the family. He

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<v Speaker 1>passed away a few years ago, but Eddie Carroll's a

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<v Speaker 1>friend of the Strickland family, and so it was kind

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<v Speaker 1>of sad to see that show go because that was

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<v Speaker 1>another connection to someone I had known and had had

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<v Speaker 1>hung out with. Very nice man. Uh So I was

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<v Speaker 1>sad to see that go, but I was also excited

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<v Speaker 1>because I I don't think anything at Disney should be

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<v Speaker 1>considered as a as a forever and ever permanent kind

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<v Speaker 1>of installment, because then you don't ever have the opportunity

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<v Speaker 1>to experiment and innovate. And I think that Walt Disney

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<v Speaker 1>was very much concerned with the concept of innovation, so

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<v Speaker 1>I am glad that they had the chance to make

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<v Speaker 1>this new show. Fireworks in Disney date back a long way.

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<v Speaker 1>The first fireworks display at a Disney park was at

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<v Speaker 1>Disneyland in nineteen fifty eight. It was called Fantasy in

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<v Speaker 1>the Sky. As I said, Wishes was the most recent

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<v Speaker 1>fireworks display over at the Magic Kingdom until earlier in

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<v Speaker 1>sev It was kind of cool. It had five hundred

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<v Speaker 1>fifty seven firing queues that meant at five fifty seven

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<v Speaker 1>different points during the show they would fire off at

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<v Speaker 1>least one, if not multiple fireworks. H and so it

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<v Speaker 1>was neat to see that show. I hope you had

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<v Speaker 1>a chance to see it. If you've ever been to

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<v Speaker 1>the Magic Kingdom, I hope you had a chance to

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<v Speaker 1>see Wishes. It was pretty good, but happily ever after.

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<v Speaker 1>Has a lot of new technologies involved in it, not

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<v Speaker 1>just fireworks, not just spotlights, not just lasers, but also

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<v Speaker 1>three D projection mapping, which has been used a couple

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<v Speaker 1>of times in Disney's past, including a notable one. The

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<v Speaker 1>first noted use of three D projection mapping was at

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<v Speaker 1>a Disney Park, but this was the first truly major

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<v Speaker 1>use of it in a big Disney show that was

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<v Speaker 1>meant to be a kind of a nightly performance. And

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<v Speaker 1>there's a lot of different breakdowns online you can find

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<v Speaker 1>for the show that kind of explain the flow of it.

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<v Speaker 1>One of them is on w d W Magic. It's

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<v Speaker 1>called Deconstructing Happily. Ever, after it breaks it down like this,

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<v Speaker 1>it says that there are seven sections to the show,

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<v Speaker 1>and the first one is called Desiring the Dream. This

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<v Speaker 1>is their terminology. It's not necessarily the internal one, but

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<v Speaker 1>Desiring the Dream, which sets the scene and features the

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<v Speaker 1>first instances of projection mapping. I'll explain what that means

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<v Speaker 1>a little bit later in this episode. The second section

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<v Speaker 1>is called Boldly Beginning the Journey, and that one has

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<v Speaker 1>some various laser effects along with projection mapping and some fireworks.

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<v Speaker 1>Then you have friends on the Journey. Section four is

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<v Speaker 1>Love is the Journey. Section five is Overcoming Adversity, which

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<v Speaker 1>includes both projected and real fireworks, which is kind of cool.

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<v Speaker 1>They'll have a projected firework on the castle itself and

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<v Speaker 1>then it will transition to a real firework in actual space,

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<v Speaker 1>so you watch as a pretend firework is fired off

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<v Speaker 1>on the scene of the castle and a real one

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<v Speaker 1>takes off right at the same point, so that you

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<v Speaker 1>can then have that perfect transition. It's a really neat effect.

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<v Speaker 1>Section six is the Heroes Happily ever After, and the

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<v Speaker 1>final section is find your Own Happily ever After. Meanwhile,

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<v Speaker 1>the Disney Wiki has a slightly different naming system for

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<v Speaker 1>these that goes with Happily ever After, wish Adventure, Friendship,

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<v Speaker 1>Love Adversity, Heroes fight Back, Peace Restored, and Happily ever

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<v Speaker 1>After referees. Each section has various effects, characters, music, and

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<v Speaker 1>dialogue associated with it. So let's talk about how how

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<v Speaker 1>all this works. I mean, it's when you experience it

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<v Speaker 1>as a show. You're hearing music, you're hearing dialogue, You're

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<v Speaker 1>seeing the imagery projected directly onto the castle, Cinderella's castle

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<v Speaker 1>at the Magic Kingdom. You're seeing the fireworks, you're seeing

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<v Speaker 1>the spotlights, you're seeing the lasers. How do you coordinate

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<v Speaker 1>all of that? The answer, by the way, spoiler alert,

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<v Speaker 1>is computers. Yeah, that's pretty much what you have to use.

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<v Speaker 1>But obviously there's a lot of different individual components here.

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<v Speaker 1>So let's start with fireworks. So we actually did a

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<v Speaker 1>pair of episodes about fireworks, uh a few years back

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<v Speaker 1>back in tween. This would be when Lauren vogeo Baum

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<v Speaker 1>was my co host, and Lauren and I did these

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<v Speaker 1>two episodes about fireworks. They are titled tech Stuff Lights

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<v Speaker 1>Some Fireworks. That one published on July twenty fourteen, and

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<v Speaker 1>the second part was called Fireworks Part two because apparently

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<v Speaker 1>we ran out of creative ways of naming episodes. That

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<v Speaker 1>one published on jen But I'm gonna go over some

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<v Speaker 1>of the salient facts so that we understand what's happening,

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<v Speaker 1>because I don't need to go in as much detailed

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<v Speaker 1>since we already have episodes. But it's been a few years,

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<v Speaker 1>so let's catch everybody up. First of all, what is

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<v Speaker 1>a firework? Well, it's an explosive or combustible device designed

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<v Speaker 1>to create an impressive light display and or loud noise.

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<v Speaker 1>These days, the most common basic ingredient and fireworks is

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<v Speaker 1>called black powder, which is similar to gunpowder. It's made

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<v Speaker 1>from sulfur, charcoal, and potassium nitrate, also known as saltpeter.

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<v Speaker 1>So those are your three basic ingredients for gunpowder. If

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<v Speaker 1>you remember from The Wonderful musical seventy. That's what Adams

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<v Speaker 1>was asking of his wife Abigail to send them saltpeter

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<v Speaker 1>because they needed it for their guns. Legend states that

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<v Speaker 1>fireworks were created by accident when a chef in China

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<v Speaker 1>was mixing together sulfur, saltpeter, and charcoal in a kitchen

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<v Speaker 1>and discovered that if you compressed it and then lit

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<v Speaker 1>it on fire, it would ignite with explosive force. There's

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<v Speaker 1>no word whether the chefs survived this discovery, or if

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<v Speaker 1>perhaps noodles found their way to the moon. No one

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<v Speaker 1>really knows, and in fact, this is probably an apocryphal story,

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<v Speaker 1>but it is a popular one. Another potentially apocryphal story

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<v Speaker 1>traces the origin of fireworks back to a specific monk

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<v Speaker 1>named Le Sian who lived in China about one thousand

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<v Speaker 1>years ago. But there's so many different sources that use

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<v Speaker 1>the exact same phrasing to describe the story that to me,

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<v Speaker 1>it sounds like they're all working from a a single

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<v Speaker 1>primary source, or they're perpetuating a whole lot of copying

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<v Speaker 1>and pasting. At any rate, it sounds like there's a

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<v Speaker 1>lot of plagiarism is a strong word, let's just say

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<v Speaker 1>very creative writing going on here, and I can't find

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<v Speaker 1>anything that actually confirms or denies that legend. It may

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<v Speaker 1>very well have an element of truth to it, or

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<v Speaker 1>it could be completely baseless, and it's just one of

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<v Speaker 1>those things that's been passed around by multiple people. Scholarly sources, however,

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<v Speaker 1>point to the development of gunpowder originating sometime around the

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<v Speaker 1>eleventh century Common Era in China. Other people worked on

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<v Speaker 1>it as well over the following centuries. Roger Bacon discovered

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<v Speaker 1>in the thirteenth century that black powder burned with a

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<v Speaker 1>quick flash if you lit it. So if you just

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<v Speaker 1>had black powder loose and you lit it, it would

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<v Speaker 1>go flash and just be gone. But if you were

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<v Speaker 1>to compress it by packing it into a container and

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<v Speaker 1>then you lit it, it would explode and go boom.

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<v Speaker 1>And that's because you have the basic needs for fire

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<v Speaker 1>in very high concentration in a small area. Uh. That

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<v Speaker 1>means that means you've got fuel. Fuel in this case

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<v Speaker 1>is the in the form of charcoal and sulfur, and

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<v Speaker 1>you have oxidizer that would be the potassium nitrate. Oxidizer

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<v Speaker 1>are the thing that allows fuel to burn. The one

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<v Speaker 1>we're really familiar with is oxygen, thus the name you

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<v Speaker 1>may remember the triangle that's required to have fire. You

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<v Speaker 1>need fuel, heat, and oxygen. Technically, you don't really need oxygen.

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<v Speaker 1>You need an oxidizer. Oxygen just happens to be one

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<v Speaker 1>of the oxidizers. It's the most plentiful one around us

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<v Speaker 1>on normal day to day basis. Pretty much when it's

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<v Speaker 1>not around us, we tend to not enjoy ourselves so much,

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<v Speaker 1>so we're really familiar with that one. Modern fireworks tend

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<v Speaker 1>to use other stuff as oxidizers. Uh Like you know,

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<v Speaker 1>potassium nitrate was very popular for a while, but it's

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<v Speaker 1>not used as much these days. It's not as environmentally

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<v Speaker 1>friendly as some other oxidizers. It creates byproducts that could

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<v Speaker 1>potentially be harmful to say, surrounding wildlife or people, So

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<v Speaker 1>potassium nitrate is not used as frequently in modern fireworks.

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<v Speaker 1>We're seeing more stuff like sodium and potassium pair your

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<v Speaker 1>date being used instead or pariah date, I guess is

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<v Speaker 1>the best way of saying it. Pariah date, not perio date.

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<v Speaker 1>Don't write to me, I know and messed it up.

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<v Speaker 1>The colors created from fireworks are dependent upon the materials

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<v Speaker 1>that you place inside those fireworks. Because different stuff burns

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<v Speaker 1>with different color flames. We've learned this over centuries where

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<v Speaker 1>people have worked with various materials, they've caught on fire

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<v Speaker 1>and we've looked at the flames and said, oh, that's pretty.

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<v Speaker 1>So if you want to have different effects with your fireworks,

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<v Speaker 1>you would add different types of metallic salts, that kind

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<v Speaker 1>of thing to your mixture in order to create the

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<v Speaker 1>sparking effect that you want. So here's a quick guide

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<v Speaker 1>to some of your basic colors. If you wanted red fireworks,

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<v Speaker 1>you would generate that by burning strontium salts, lithium salts,

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<v Speaker 1>lithium carbonate, strontium carbonate, which would give you a very

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<v Speaker 1>bright red. Strontium carbonate would So those are your reds.

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<v Speaker 1>If you wanted to create orange, you would use calcium

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<v Speaker 1>salts or calcium chloride. If you wanted yellow, you'd use

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<v Speaker 1>sodium salts like sodium chloride. If you wanted green, you

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<v Speaker 1>would go with barium compounds and a chlorine producer, so

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<v Speaker 1>barium chloride. If you want blue, you would go with

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<v Speaker 1>copper compounds and a chlorine producer, so copper chloride. You

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<v Speaker 1>want purple, then you would want to mix blue and

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<v Speaker 1>red together. It's kind of like grade school. And that

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<v Speaker 1>meant that you would mix together strawntium and copper. Typically,

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<v Speaker 1>if you wanted silver effects, you would use something like aluminum,

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<v Speaker 1>titanium or magnesium in there to get the explosive patterns.

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<v Speaker 1>Because that all that does is just give you color.

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<v Speaker 1>It doesn't automatically make the fireworks spread out in a

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<v Speaker 1>particular shape. If you want a specific shape, you would

0:13:48.880 --> 0:13:53.160
<v Speaker 1>have to pour them these metallic salts into lumps made

0:13:53.160 --> 0:13:57.360
<v Speaker 1>of clay or a kind of Doughey material. These would

0:13:57.840 --> 0:14:03.079
<v Speaker 1>end up being pocket of that material, and they're about

0:14:03.080 --> 0:14:06.080
<v Speaker 1>three or four centimeters across, and in the industry they

0:14:06.120 --> 0:14:09.199
<v Speaker 1>refer to these things as stars. So each one's three

0:14:09.280 --> 0:14:12.600
<v Speaker 1>or four centimeters across. You might have a whole bunch

0:14:13.080 --> 0:14:16.360
<v Speaker 1>in a single firework, but each one of these would

0:14:16.360 --> 0:14:20.360
<v Speaker 1>represent a blast of color like one of those big

0:14:20.360 --> 0:14:23.240
<v Speaker 1>sparks you see in fireworks. So you're talking about lots

0:14:23.240 --> 0:14:26.920
<v Speaker 1>and lots of them in the really big ones. And uh,

0:14:27.400 --> 0:14:32.400
<v Speaker 1>the way you place them inside the firework determines where

0:14:32.400 --> 0:14:34.960
<v Speaker 1>they're going to go, just based upon where the blast

0:14:35.120 --> 0:14:38.720
<v Speaker 1>is right, You've got a essentially a black powder core

0:14:39.160 --> 0:14:43.280
<v Speaker 1>that's going to force everything into different directions, and you

0:14:43.440 --> 0:14:47.240
<v Speaker 1>place the stars around the core in the particular uh,

0:14:47.840 --> 0:14:51.480
<v Speaker 1>the particular arrangement you want in order to create the

0:14:51.520 --> 0:14:54.880
<v Speaker 1>effect you're going for. It's pretty cool that you can

0:14:54.920 --> 0:14:58.560
<v Speaker 1>do this, you know, manually, if you wanted to. In fact,

0:14:58.600 --> 0:15:01.240
<v Speaker 1>there are a lot of places that still do this

0:15:01.320 --> 0:15:05.640
<v Speaker 1>manually because frankly, you're you're working with stuff that's pretty dangerous,

0:15:05.720 --> 0:15:07.640
<v Speaker 1>so you want to be really careful with it. You can't,

0:15:07.800 --> 0:15:10.880
<v Speaker 1>you know, you can't treat black powder casually or you're

0:15:10.920 --> 0:15:14.680
<v Speaker 1>gonna have an explosion on your hands. Now, typical firework

0:15:14.760 --> 0:15:17.720
<v Speaker 1>rocket will have several stars packed into it, and like

0:15:17.760 --> 0:15:19.640
<v Speaker 1>I said, they had to be placed meticulously in the

0:15:19.720 --> 0:15:22.240
<v Speaker 1>rocket to get that desired effect. And then they use

0:15:22.280 --> 0:15:25.840
<v Speaker 1>a time delay fuse that would lead to the burst

0:15:25.960 --> 0:15:28.840
<v Speaker 1>chamber of black powder, which the stars are centered around.

0:15:29.200 --> 0:15:31.560
<v Speaker 1>So you typically have two different kinds of fuses in

0:15:31.600 --> 0:15:34.040
<v Speaker 1>your firework. You have a quick burning fuse that will

0:15:34.080 --> 0:15:38.760
<v Speaker 1>go to the uh the launch blast of black powder.

0:15:39.480 --> 0:15:42.080
<v Speaker 1>You can think of a firework is having two chambers,

0:15:42.320 --> 0:15:46.000
<v Speaker 1>the first one being the launch chamber. That's what's going

0:15:46.040 --> 0:15:49.160
<v Speaker 1>to provide the force necessary to propel the firework into

0:15:49.200 --> 0:15:51.600
<v Speaker 1>the air. Disney is a little different, but we'll talk

0:15:51.600 --> 0:15:54.320
<v Speaker 1>about that in a second. So your typical firework, you

0:15:54.360 --> 0:15:57.960
<v Speaker 1>would have that first black powder bunch that shoots the

0:15:58.000 --> 0:16:02.920
<v Speaker 1>firework into the air. The fuse would then lead to

0:16:03.040 --> 0:16:06.600
<v Speaker 1>a more slow burning fuse, And by slow we're talking

0:16:06.640 --> 0:16:09.680
<v Speaker 1>about degrees here. It's not like it's super slow, but

0:16:10.480 --> 0:16:14.240
<v Speaker 1>it would burn slower so that the secondary charge, the

0:16:14.360 --> 0:16:19.520
<v Speaker 1>burst charge, will explode at a precise timing, typically when

0:16:19.520 --> 0:16:21.800
<v Speaker 1>you want to get to the the top of the

0:16:22.000 --> 0:16:25.960
<v Speaker 1>arc of the fireworks flight. So you time this out

0:16:26.040 --> 0:16:28.920
<v Speaker 1>by measuring out how much black powder you're using. This

0:16:29.000 --> 0:16:31.720
<v Speaker 1>is all based upon also the weight of the firework.

0:16:31.760 --> 0:16:33.280
<v Speaker 1>When it's all finished, like, you have to do a

0:16:33.280 --> 0:16:35.480
<v Speaker 1>lot of math. You have to figure out how heavy

0:16:35.560 --> 0:16:38.680
<v Speaker 1>is the firework, how much force is the blast powder

0:16:38.680 --> 0:16:42.280
<v Speaker 1>going to create when it's doing this lift, how fast

0:16:42.320 --> 0:16:45.000
<v Speaker 1>will it get to the top of its flight path,

0:16:45.760 --> 0:16:48.320
<v Speaker 1>and how long does the slow burning fuse have to

0:16:48.320 --> 0:16:53.440
<v Speaker 1>be in order for the burst black powder to ignite

0:16:53.440 --> 0:16:56.920
<v Speaker 1>at the proper time to ignite all those stars and

0:16:57.000 --> 0:16:59.280
<v Speaker 1>send them out in the various directions. There's a lot

0:16:59.320 --> 0:17:02.640
<v Speaker 1>of math involved often that that's just for one firework. Also,

0:17:02.680 --> 0:17:05.360
<v Speaker 1>you've got to remember, based upon the way you design

0:17:05.520 --> 0:17:08.840
<v Speaker 1>the firework, you're gonna get very different effects. Obviously, if

0:17:08.840 --> 0:17:12.080
<v Speaker 1>you've seen any fireworks displays, you've probably seen somewhere it's

0:17:12.119 --> 0:17:15.119
<v Speaker 1>just a very bright star flying through the sky, or

0:17:15.160 --> 0:17:18.239
<v Speaker 1>another one where it's a really cool kind of uh

0:17:18.800 --> 0:17:22.560
<v Speaker 1>cascade effect. All of these are based upon the way

0:17:22.600 --> 0:17:26.040
<v Speaker 1>that you've actually packed the powder and the stars together,

0:17:26.840 --> 0:17:30.480
<v Speaker 1>so really precise. And it's fascinating to me that we

0:17:30.560 --> 0:17:32.879
<v Speaker 1>ever figured this stuff out because I look at it

0:17:32.920 --> 0:17:35.960
<v Speaker 1>and I think it's so pretty how much trial and

0:17:36.160 --> 0:17:39.720
<v Speaker 1>error was necessary to understand exactly how to do this correctly?

0:17:40.240 --> 0:17:42.000
<v Speaker 1>Would I have had the patients to do it, or

0:17:42.040 --> 0:17:44.880
<v Speaker 1>would I be known as Johnny the three fingered idiot

0:17:46.200 --> 0:17:49.360
<v Speaker 1>who probably worked a little too closely with black powder.

0:17:49.400 --> 0:17:50.840
<v Speaker 1>I think we all know the answer to that, so

0:17:50.880 --> 0:17:52.520
<v Speaker 1>you don't need to write me and tell me. I

0:17:52.640 --> 0:17:55.679
<v Speaker 1>know what the answer is. So let's just be thankful

0:17:55.720 --> 0:17:57.560
<v Speaker 1>that people who are smarter than I am were the

0:17:57.560 --> 0:18:02.959
<v Speaker 1>ones who developed fireworks. Now, more advanced fireworks may have

0:18:03.040 --> 0:18:05.760
<v Speaker 1>multiple burst chambers, so not just the one, they might

0:18:05.800 --> 0:18:09.840
<v Speaker 1>have multiple ones so that you get extra effects from

0:18:09.880 --> 0:18:12.560
<v Speaker 1>the same firework. You don't have to fire multiple ones

0:18:12.560 --> 0:18:16.400
<v Speaker 1>to get it, and you might have different break charges

0:18:16.480 --> 0:18:20.280
<v Speaker 1>in between these different chambers, so that you can have

0:18:20.520 --> 0:18:23.640
<v Speaker 1>them ignite at different points of the flight, and therefore

0:18:23.760 --> 0:18:28.600
<v Speaker 1>you get very different effects as a result. The shape

0:18:28.640 --> 0:18:31.040
<v Speaker 1>of the firework bursts is determined by the arrangement of

0:18:31.080 --> 0:18:33.560
<v Speaker 1>the stars inside the projectile and whether or not it

0:18:33.680 --> 0:18:36.600
<v Speaker 1>is a multi break firework. The shape of the shells

0:18:36.680 --> 0:18:39.600
<v Speaker 1>also determines the shape of the explosion, and here is

0:18:39.640 --> 0:18:43.880
<v Speaker 1>a collection of your basic types of fireworks. Shells. You've

0:18:43.920 --> 0:18:48.040
<v Speaker 1>got palm which contains large comets or charges in the

0:18:48.040 --> 0:18:51.760
<v Speaker 1>shape of a solid cylinder that travel outward, explode and

0:18:51.800 --> 0:18:54.240
<v Speaker 1>then curved downward like the limbs of a palm tree.

0:18:55.160 --> 0:18:58.800
<v Speaker 1>You have round shells. These explode and spherical shape, usually

0:18:58.880 --> 0:19:02.680
<v Speaker 1>of colored stars, so very typical firework that you would see.

0:19:03.040 --> 0:19:06.320
<v Speaker 1>A ring shell explodes to produce a symmetrical ring of stars.

0:19:06.359 --> 0:19:11.920
<v Speaker 1>Another very typical firework willow. This contains stars. High charcoal

0:19:11.960 --> 0:19:15.840
<v Speaker 1>composition makes them burn longer that fall into the shape

0:19:15.840 --> 0:19:18.639
<v Speaker 1>of willow branches and may even stay visible until they

0:19:18.720 --> 0:19:21.119
<v Speaker 1>hit the ground. So this is that cascading effect I

0:19:21.160 --> 0:19:24.520
<v Speaker 1>was talking about a second ago. Round dell shells. These

0:19:24.560 --> 0:19:28.520
<v Speaker 1>burst into a circle of maroon shells that explode in sequence.

0:19:29.160 --> 0:19:33.600
<v Speaker 1>Chrysanthemum shells. These burst into a spherical pattern of stars

0:19:33.640 --> 0:19:36.800
<v Speaker 1>that leave a visible trail with an effect somewhat suggestive

0:19:37.000 --> 0:19:41.240
<v Speaker 1>of the flower pistol shells like a chrysanthemum shell, but

0:19:41.359 --> 0:19:43.679
<v Speaker 1>has a core that is a different color from the

0:19:43.720 --> 0:19:47.240
<v Speaker 1>outer stars. So you get a contrast maroon shell which

0:19:47.359 --> 0:19:52.439
<v Speaker 1>makes allowed bang and serpentine bursts to send small tubes

0:19:52.480 --> 0:19:56.200
<v Speaker 1>of incendiaries skittering outward in random paths, which may culminate

0:19:56.200 --> 0:20:02.000
<v Speaker 1>in exploding stars. Obviously, these are all basic types of fireworks.

0:20:02.080 --> 0:20:04.880
<v Speaker 1>There are others, and there are combinations of these as well.

0:20:05.560 --> 0:20:07.680
<v Speaker 1>Like I said, fireworks have the two chambers, you've got

0:20:07.680 --> 0:20:10.560
<v Speaker 1>the different fuses that will allow those different chambers to

0:20:10.600 --> 0:20:13.280
<v Speaker 1>ignite at different points of the flight. To me, it's

0:20:13.280 --> 0:20:16.080
<v Speaker 1>a very low tech but elegant solution to making an

0:20:16.080 --> 0:20:18.199
<v Speaker 1>explosion happen exactly when you want it to and to

0:20:18.320 --> 0:20:21.320
<v Speaker 1>get the effect that you're hoping for. And typically you

0:20:21.320 --> 0:20:25.399
<v Speaker 1>would launch fireworks, these big ones anyway, from mortars and

0:20:25.440 --> 0:20:29.080
<v Speaker 1>a mortar firework mortar typically it's just a tube that

0:20:29.160 --> 0:20:32.919
<v Speaker 1>has one end sealed off, so the base of the

0:20:32.960 --> 0:20:35.639
<v Speaker 1>firework goes down against the bottom of the tube, you

0:20:35.760 --> 0:20:38.440
<v Speaker 1>light it, use the tube to aim the firework at

0:20:38.440 --> 0:20:41.600
<v Speaker 1>the right angle, flies out the end, and shoots off

0:20:41.680 --> 0:20:44.439
<v Speaker 1>preferably exactly where you want it to, and then it

0:20:44.480 --> 0:20:50.080
<v Speaker 1>blows up. Pretty simple design. Some mortars have sparkers at

0:20:50.080 --> 0:20:52.679
<v Speaker 1>the base of them, and those are hooked up to

0:20:52.760 --> 0:20:56.000
<v Speaker 1>a control board which could also be hooked up to

0:20:56.040 --> 0:20:59.399
<v Speaker 1>a computer program, so the computer program can send a

0:20:59.440 --> 0:21:02.919
<v Speaker 1>command that will send a electric current down the wire,

0:21:03.320 --> 0:21:07.000
<v Speaker 1>sparking the sparker, which then ignites the fuse for the

0:21:07.040 --> 0:21:09.760
<v Speaker 1>firework and fires it off. If you have a computer

0:21:09.800 --> 0:21:12.960
<v Speaker 1>program that has everything coordinated in it, then you just

0:21:13.080 --> 0:21:15.800
<v Speaker 1>run the program. As long as all the fireworks are

0:21:15.800 --> 0:21:18.439
<v Speaker 1>set up ahead of time, then it should work pretty

0:21:18.480 --> 0:21:21.160
<v Speaker 1>well and you will have your fireworks going off at

0:21:21.200 --> 0:21:24.399
<v Speaker 1>the appropriate time. If you wanted to actually time this

0:21:24.440 --> 0:21:27.040
<v Speaker 1>out properly, then you kind of have to work backwards.

0:21:27.119 --> 0:21:29.639
<v Speaker 1>You have to figure out what point in the show

0:21:29.920 --> 0:21:32.240
<v Speaker 1>you want something to happen, and you mark down the

0:21:32.280 --> 0:21:35.639
<v Speaker 1>time stamp. So you start the show, you have a

0:21:35.680 --> 0:21:37.520
<v Speaker 1>moment in the show and you say this is when

0:21:37.560 --> 0:21:40.320
<v Speaker 1>I want the firework to go off. You mark the

0:21:40.320 --> 0:21:44.640
<v Speaker 1>time stamp down and you start working backwards. So you

0:21:44.680 --> 0:21:47.760
<v Speaker 1>take the firework that you're planning on firing and you say,

0:21:47.800 --> 0:21:50.000
<v Speaker 1>all right, well I need it to explode at this point,

0:21:50.040 --> 0:21:52.920
<v Speaker 1>So that's the explosion point. How long does it take

0:21:53.200 --> 0:21:56.879
<v Speaker 1>for the quick fuse to burn to the or the

0:21:56.880 --> 0:22:00.640
<v Speaker 1>slow fuse to burn to the burst chamber? How long

0:22:00.680 --> 0:22:03.639
<v Speaker 1>does that take? Based upon that, we know know how

0:22:04.080 --> 0:22:06.439
<v Speaker 1>long back how far back we need to go for

0:22:06.480 --> 0:22:09.119
<v Speaker 1>the birst chamber to light Based on that, you can say,

0:22:09.160 --> 0:22:11.520
<v Speaker 1>all right, well, how far does the lift chamber need

0:22:11.600 --> 0:22:14.560
<v Speaker 1>to uh? When does that need to light up in

0:22:14.720 --> 0:22:16.600
<v Speaker 1>order for the burst chamber to be in the right

0:22:16.600 --> 0:22:19.520
<v Speaker 1>position at the right time. So you just keep working backward,

0:22:19.840 --> 0:22:22.040
<v Speaker 1>and as you do that, you start to finally get

0:22:22.080 --> 0:22:23.840
<v Speaker 1>to the point where you say, this is the moment

0:22:23.880 --> 0:22:25.960
<v Speaker 1>in the show where I have to launch so that

0:22:26.040 --> 0:22:29.040
<v Speaker 1>at this later moment I get the effect I want.

0:22:29.640 --> 0:22:31.679
<v Speaker 1>And as long as you're being very consistent with the

0:22:31.680 --> 0:22:34.640
<v Speaker 1>way you're producing your fireworks, you should get the same

0:22:34.680 --> 0:22:38.360
<v Speaker 1>effect more or less every show. There might be small

0:22:39.320 --> 0:22:42.520
<v Speaker 1>changes based on weather and some other things that are

0:22:42.600 --> 0:22:45.200
<v Speaker 1>kind of outside your control. There're gonna be some small

0:22:45.280 --> 0:22:48.879
<v Speaker 1>change differences in quality, for example, with fireworks. But for

0:22:48.920 --> 0:22:51.600
<v Speaker 1>the most part, you're gonna be pretty consistent because physics

0:22:51.720 --> 0:22:54.560
<v Speaker 1>is like that. If physics were not like that, we

0:22:54.560 --> 0:22:58.679
<v Speaker 1>wouldn't have physics, because you have to have the world

0:22:58.720 --> 0:23:00.880
<v Speaker 1>makes sense in order for us to be able to

0:23:00.920 --> 0:23:04.320
<v Speaker 1>talk about rules. If the world didn't make sense, then

0:23:04.800 --> 0:23:10.880
<v Speaker 1>fireworks would be even more dangerous than they already are. Disney,

0:23:10.880 --> 0:23:14.120
<v Speaker 1>as I mentioned, it is slightly different from this typical

0:23:14.200 --> 0:23:17.960
<v Speaker 1>mortar approach. They don't they don't use mortars with sparkers.

0:23:17.960 --> 0:23:21.200
<v Speaker 1>They typically use mortars that have air compressor guns in them,

0:23:21.240 --> 0:23:24.679
<v Speaker 1>so they can actually use compressed air to fire a

0:23:24.720 --> 0:23:27.919
<v Speaker 1>firework into the sky. Now, what that means is that

0:23:27.960 --> 0:23:32.400
<v Speaker 1>their fireworks don't require this lift chamber of black powder

0:23:33.040 --> 0:23:37.600
<v Speaker 1>because the lift is created from the burst of compressed

0:23:37.640 --> 0:23:40.880
<v Speaker 1>air behind the firework, So they can actually cut down

0:23:40.880 --> 0:23:42.760
<v Speaker 1>on the amount of black powder they need to use

0:23:42.840 --> 0:23:47.320
<v Speaker 1>for each rocket that's in their show. That also means

0:23:47.359 --> 0:23:49.680
<v Speaker 1>that they cut down on the amount of smoke they

0:23:49.720 --> 0:23:53.240
<v Speaker 1>generate per fireworks show because they're not burning as much

0:23:53.240 --> 0:23:56.960
<v Speaker 1>black powder. So there is a practical, uh side effect

0:23:57.040 --> 0:23:58.879
<v Speaker 1>to this. Besides the fact that you know they can

0:23:59.000 --> 0:24:03.600
<v Speaker 1>use compressed air to to get fireworks into motion and

0:24:03.680 --> 0:24:06.920
<v Speaker 1>into into the right place before they explode. Now I've

0:24:06.960 --> 0:24:10.040
<v Speaker 1>got a lot more to talk about with the various

0:24:10.640 --> 0:24:13.639
<v Speaker 1>technologies that are used and happily ever after. But before

0:24:13.640 --> 0:24:16.080
<v Speaker 1>I get into that, let's take a quick break to

0:24:16.200 --> 0:24:29.879
<v Speaker 1>thank our sponsor. All Right, so we've covered fireworks, but

0:24:30.080 --> 0:24:33.600
<v Speaker 1>there are other elements too happily ever after that we

0:24:33.640 --> 0:24:37.280
<v Speaker 1>need to talk about, and another one would be laser lights.

0:24:38.640 --> 0:24:41.359
<v Speaker 1>We covered lasers in an even more recent episode of

0:24:41.359 --> 0:24:44.760
<v Speaker 1>tech Stuff than we did fireworks. That episode was Pew

0:24:44.840 --> 0:24:50.720
<v Speaker 1>Pew Lasers, which published on June four, so super recent.

0:24:50.920 --> 0:24:54.840
<v Speaker 1>I'm not gonna go into any real big detail with

0:24:54.960 --> 0:24:57.840
<v Speaker 1>lasers because of that, but I'm gonna give you a

0:24:57.920 --> 0:25:00.320
<v Speaker 1>little bit of an overview just in case you for gotten,

0:25:00.440 --> 0:25:02.760
<v Speaker 1>and that way you don't have to necessarily go and

0:25:02.800 --> 0:25:05.120
<v Speaker 1>dig up that old episode to really get a full

0:25:05.160 --> 0:25:08.040
<v Speaker 1>appreciation of the technology that is making the show happen.

0:25:09.080 --> 0:25:12.520
<v Speaker 1>Laser used to just be an acronym, right, but now

0:25:12.640 --> 0:25:16.080
<v Speaker 1>it is a a noun all on its own. We're

0:25:16.119 --> 0:25:19.679
<v Speaker 1>so proud of this word that it's now achieved true

0:25:19.720 --> 0:25:25.920
<v Speaker 1>noun status. The acronym stands for light amplification by stimulated

0:25:26.000 --> 0:25:31.040
<v Speaker 1>emission of radiation, which sounds naughty, but it's not. It

0:25:31.240 --> 0:25:36.600
<v Speaker 1>just means that you're using energy to stimulate the electrons

0:25:36.720 --> 0:25:41.560
<v Speaker 1>that are in orbit around certain atom nuclei, which when

0:25:41.600 --> 0:25:44.119
<v Speaker 1>you put it that way, doesn't sound nearly as exciting.

0:25:44.880 --> 0:25:49.080
<v Speaker 1>Lasers are monochromatic, which means they produce one wavelength of

0:25:49.200 --> 0:25:53.679
<v Speaker 1>light and thus one specific color because the wavelength of

0:25:53.760 --> 0:25:59.400
<v Speaker 1>light it directly corresponds to the color of light. This

0:25:59.480 --> 0:26:01.840
<v Speaker 1>is true both in the visible spectrum and outside of it,

0:26:01.880 --> 0:26:04.960
<v Speaker 1>but obviously outside of the visible spectrum, it really isn't

0:26:05.000 --> 0:26:07.800
<v Speaker 1>something we can perceive. You can have infrared lasers, but

0:26:07.840 --> 0:26:10.720
<v Speaker 1>you wouldn't be able to see them, But anything that's

0:26:10.720 --> 0:26:13.639
<v Speaker 1>in the visible spectrum, obviously the wavelength would have to

0:26:13.720 --> 0:26:18.879
<v Speaker 1>be a specific length in order for us to perceive it.

0:26:19.440 --> 0:26:23.040
<v Speaker 1>Um that type of light really depends upon the amount

0:26:23.119 --> 0:26:27.639
<v Speaker 1>of energy that the electrons are releasing during the lazing process.

0:26:27.760 --> 0:26:31.679
<v Speaker 1>That in turn is dependent upon the material you're using

0:26:31.920 --> 0:26:37.639
<v Speaker 1>in order to have your lasing medium. So you choose

0:26:37.640 --> 0:26:40.879
<v Speaker 1>your lasing medium that will do that will determine exactly

0:26:40.880 --> 0:26:43.320
<v Speaker 1>how much energy you have to pour into the medium

0:26:43.359 --> 0:26:48.680
<v Speaker 1>to excite the electrons. When the electrons emit that excess

0:26:48.800 --> 0:26:51.080
<v Speaker 1>energy when they want to return to their ground state,

0:26:51.119 --> 0:26:53.680
<v Speaker 1>which I'll talk about in just a second, that will

0:26:53.800 --> 0:26:57.159
<v Speaker 1>end up taking the form of photons, and the photons

0:26:57.200 --> 0:27:01.000
<v Speaker 1>will be of the wavelength the actual light will be

0:27:01.040 --> 0:27:06.840
<v Speaker 1>of the wavelength that is dependent upon uh that lasing medium, right,

0:27:06.920 --> 0:27:10.679
<v Speaker 1>So it all comes down to your choice of materials.

0:27:10.680 --> 0:27:12.400
<v Speaker 1>That tells you how much power you have to put

0:27:12.440 --> 0:27:15.320
<v Speaker 1>into it in order to stimulate the electrons, and thus

0:27:15.400 --> 0:27:17.439
<v Speaker 1>what color of light you're going to get out of it.

0:27:17.560 --> 0:27:20.959
<v Speaker 1>At the end of it, all the light waves that

0:27:21.000 --> 0:27:23.480
<v Speaker 1>come out of a laser are in phase with one another.

0:27:23.560 --> 0:27:27.280
<v Speaker 1>That means they all crest and descend in their wave

0:27:27.359 --> 0:27:30.680
<v Speaker 1>patterns the same way, which also means you can pack

0:27:30.720 --> 0:27:34.680
<v Speaker 1>a whole bunch of light waves together really tightly. Think

0:27:34.720 --> 0:27:41.160
<v Speaker 1>about like putting together some curved pieces of track from

0:27:41.200 --> 0:27:44.320
<v Speaker 1>a railroad set, and you have a whole bunch of

0:27:44.400 --> 0:27:47.960
<v Speaker 1>curves that are the same grade, so they're all of

0:27:48.040 --> 0:27:51.680
<v Speaker 1>the of the same same gentle curve to the right,

0:27:51.760 --> 0:27:54.480
<v Speaker 1>let's say, and you've got a stack of them, Well,

0:27:54.480 --> 0:27:57.240
<v Speaker 1>they stack together really nicely because they all take the

0:27:57.280 --> 0:28:00.359
<v Speaker 1>same shape. This is the same idea, but because you

0:28:00.359 --> 0:28:03.840
<v Speaker 1>have all of these light waves in phase with one another.

0:28:03.920 --> 0:28:07.800
<v Speaker 1>You can pack them together very tightly, they don't jumble up,

0:28:07.960 --> 0:28:10.560
<v Speaker 1>and that's how you get coherence. That's how you get

0:28:10.560 --> 0:28:14.960
<v Speaker 1>a coherent laser. That's what we call that. To get

0:28:14.960 --> 0:28:19.800
<v Speaker 1>a little more granular, atoms have electrons that orbit the

0:28:19.880 --> 0:28:22.920
<v Speaker 1>nuclei of the atom. That's of course the protons and

0:28:23.160 --> 0:28:26.879
<v Speaker 1>or well protons and possibly neutrons. You gotta have a

0:28:26.920 --> 0:28:29.119
<v Speaker 1>proton there, but you may or may not have a

0:28:29.160 --> 0:28:32.760
<v Speaker 1>neutron there, depending upon the actual atom in question. The

0:28:32.800 --> 0:28:38.440
<v Speaker 1>electrons orbit these nuclei at a particular distance or really

0:28:38.480 --> 0:28:43.400
<v Speaker 1>a particular potential range from the nuclei. We tend to

0:28:43.480 --> 0:28:46.360
<v Speaker 1>draw it in very simplistic terms. The reality is a

0:28:46.400 --> 0:28:49.360
<v Speaker 1>bit more messy. But we talk about electron shells, these

0:28:49.720 --> 0:28:53.920
<v Speaker 1>energy shells that electrons will inhabit, and each energy shell

0:28:54.000 --> 0:28:58.200
<v Speaker 1>has a certain number of vacancies available, and electrons will

0:28:58.200 --> 0:29:02.360
<v Speaker 1>take on the vacancy that is closest to the nuclei,

0:29:02.640 --> 0:29:06.880
<v Speaker 1>and then other electrons will take the next closest once

0:29:06.920 --> 0:29:09.720
<v Speaker 1>an entire shell fills up. Well, if you pour energy

0:29:09.800 --> 0:29:13.680
<v Speaker 1>into an atom, that energy will then transfer over to

0:29:13.760 --> 0:29:16.880
<v Speaker 1>the electrons and the ones that are on the outermost

0:29:17.040 --> 0:29:20.040
<v Speaker 1>shell can be excited so that they jump out even

0:29:20.120 --> 0:29:24.920
<v Speaker 1>further away from the nucleus. Once that energy that you're

0:29:25.000 --> 0:29:29.680
<v Speaker 1>using to energize the electrons goes away, the electrons will

0:29:30.080 --> 0:29:33.480
<v Speaker 1>try and return to their ground state, that outer electron

0:29:33.560 --> 0:29:35.720
<v Speaker 1>shell that they normally would be in if they had

0:29:35.800 --> 0:29:39.520
<v Speaker 1>not just been boosted further out. As they do, so

0:29:39.600 --> 0:29:42.800
<v Speaker 1>they have to give up that excess energy they've picked up.

0:29:43.680 --> 0:29:47.280
<v Speaker 1>Otherwise they're just too they're just too darn Swoll for

0:29:47.440 --> 0:29:51.520
<v Speaker 1>that energy shell, and you can't have a Swoll electron there,

0:29:51.560 --> 0:29:53.560
<v Speaker 1>so they have to give up that energy. They do

0:29:53.640 --> 0:29:57.040
<v Speaker 1>that in the form of photons. So again the type

0:29:57.040 --> 0:29:59.920
<v Speaker 1>of material you're using determines how much energy you're poor

0:30:00.080 --> 0:30:03.160
<v Speaker 1>ng in, and that in turn determines the type of

0:30:03.200 --> 0:30:06.840
<v Speaker 1>photon the wavelength of light that will be emitted when

0:30:06.840 --> 0:30:11.000
<v Speaker 1>the electron comes back down to its ground state. Uh

0:30:12.160 --> 0:30:15.160
<v Speaker 1>So that that kind of gives you the overview of

0:30:15.160 --> 0:30:19.280
<v Speaker 1>how lasers work in a very general sense. There's also

0:30:19.360 --> 0:30:21.440
<v Speaker 1>obviously a lot of other elements. You have to have

0:30:21.440 --> 0:30:23.280
<v Speaker 1>a power source, you have to have a lens of

0:30:23.320 --> 0:30:27.480
<v Speaker 1>some sort. Typically there's some interesting mirrors there. The lazing

0:30:28.640 --> 0:30:33.280
<v Speaker 1>system tends to involve a chamber that has UH mirrors

0:30:33.680 --> 0:30:36.160
<v Speaker 1>on either end of the chamber, one of which is

0:30:36.320 --> 0:30:40.520
<v Speaker 1>only partially silvered, so that you can have the lasers

0:30:40.560 --> 0:30:46.000
<v Speaker 1>continuously stimulate the lasing medium and thus emit more laser

0:30:46.120 --> 0:30:50.000
<v Speaker 1>light until it can escape out of the partially silvered

0:30:50.080 --> 0:30:53.400
<v Speaker 1>part of the chamber. It's pretty cool, Like you start

0:30:53.480 --> 0:30:56.000
<v Speaker 1>looking into it and you realize, yeah, I understand why

0:30:56.080 --> 0:30:59.400
<v Speaker 1>James Bond villains really considered the laser a go to

0:31:00.080 --> 0:31:04.360
<v Speaker 1>doomsday device, because these are pretty interesting things here. The

0:31:04.560 --> 0:31:07.160
<v Speaker 1>lasing medium itself kind of acts as an amplifier for

0:31:07.280 --> 0:31:11.760
<v Speaker 1>laser lights, so again a very important component for your laser,

0:31:12.240 --> 0:31:16.160
<v Speaker 1>and two different things, two different factors really determine how

0:31:16.240 --> 0:31:20.000
<v Speaker 1>well laser light shows up at any given time. Those

0:31:20.040 --> 0:31:23.320
<v Speaker 1>two things would be the wavelength of the light itself,

0:31:24.080 --> 0:31:27.840
<v Speaker 1>so where in the spectrum does it fall, and how

0:31:27.920 --> 0:31:31.440
<v Speaker 1>much power was put into the laser. So if we're

0:31:31.440 --> 0:31:34.960
<v Speaker 1>talking about just the visible spectrum, since anything outside of

0:31:35.000 --> 0:31:38.200
<v Speaker 1>that really doesn't matter because we can't see it. Uh,

0:31:38.240 --> 0:31:42.480
<v Speaker 1>the wavelength we would wind is around five nanometers. That's

0:31:42.520 --> 0:31:46.160
<v Speaker 1>ideal for brightness and it produces a green laser. So

0:31:47.000 --> 0:31:49.880
<v Speaker 1>if you're wondering why so many laser pointers were green

0:31:50.000 --> 0:31:53.400
<v Speaker 1>for the longest time. It's because that one shows up really,

0:31:53.400 --> 0:31:56.720
<v Speaker 1>really well with relatively low amounts of power. You don't

0:31:56.760 --> 0:31:59.040
<v Speaker 1>need to pour a lot of energy in in order

0:31:59.040 --> 0:32:02.080
<v Speaker 1>to get a nice visible laser beam. But if you

0:32:02.120 --> 0:32:04.600
<v Speaker 1>wanted other colors, you could get them, but it might

0:32:04.680 --> 0:32:07.200
<v Speaker 1>require you to pour more energy into it, which means

0:32:07.200 --> 0:32:09.320
<v Speaker 1>you might need a bigger battery, or it might drain

0:32:09.360 --> 0:32:13.240
<v Speaker 1>batteries faster. Uh, there are other considerations you have to

0:32:13.280 --> 0:32:16.640
<v Speaker 1>make so you can make lasers of all different types

0:32:16.680 --> 0:32:19.640
<v Speaker 1>of colors. It just requires a lot more energy, and

0:32:19.720 --> 0:32:23.120
<v Speaker 1>if you pour enough energy in to a laser, it

0:32:23.240 --> 0:32:27.160
<v Speaker 1>becomes hazardous. Right. A little bit of power can go

0:32:27.240 --> 0:32:30.440
<v Speaker 1>a long way with certain wavelengths, but with others. If

0:32:30.480 --> 0:32:32.640
<v Speaker 1>you're pouring a lot of energy in, you can have

0:32:32.760 --> 0:32:35.400
<v Speaker 1>enough energy there for the laser to do some damage

0:32:35.760 --> 0:32:39.320
<v Speaker 1>when it comes into contact with something else, like like

0:32:39.680 --> 0:32:44.400
<v Speaker 1>your hand or your eyeball. So lasers can be particularly

0:32:44.480 --> 0:32:47.000
<v Speaker 1>dangerous once you start getting up there in power. I

0:32:47.000 --> 0:32:49.040
<v Speaker 1>mean they can be dangerous even at low power, but

0:32:49.480 --> 0:32:51.920
<v Speaker 1>the higher power you go, the more dangerous they can be.

0:32:52.000 --> 0:32:56.040
<v Speaker 1>And in fact, you can buy lasers at ridiculously powerful

0:32:56.360 --> 0:33:01.680
<v Speaker 1>levels just online. If you into some of them strong

0:33:01.760 --> 0:33:05.520
<v Speaker 1>enough to do things like, uh, produce a beam that's

0:33:05.560 --> 0:33:08.960
<v Speaker 1>concentrated and hot enough to light a match, or pop

0:33:08.960 --> 0:33:13.080
<v Speaker 1>a balloon, or burn a hole through a thin piece

0:33:13.080 --> 0:33:17.040
<v Speaker 1>of wood. That kind of thing. It buyer beware, it's

0:33:17.120 --> 0:33:21.040
<v Speaker 1>dangerous stuff. But anyway, Disney uses lasers not to burn

0:33:21.120 --> 0:33:24.280
<v Speaker 1>through the castle because that would be incredibly expensive they'd

0:33:24.320 --> 0:33:28.200
<v Speaker 1>have to replace it every day, but rather to create

0:33:29.400 --> 0:33:33.240
<v Speaker 1>embellishments in their show. So if you watch Happily ever After,

0:33:33.320 --> 0:33:35.600
<v Speaker 1>and there are, by the way, videos online where you

0:33:35.640 --> 0:33:38.800
<v Speaker 1>can watch the whole show from beginning to end. Disney

0:33:38.840 --> 0:33:42.080
<v Speaker 1>in fact live stream the very first Happily ever After,

0:33:42.160 --> 0:33:44.400
<v Speaker 1>and I believe the video from that live stream is

0:33:44.440 --> 0:33:46.880
<v Speaker 1>still available online. So you can watch that first one.

0:33:47.840 --> 0:33:50.080
<v Speaker 1>You'll see the moments where the lasers come in and

0:33:50.120 --> 0:33:52.640
<v Speaker 1>they will appear to draw on the castle, and the

0:33:52.640 --> 0:33:57.320
<v Speaker 1>projection mapping, which we'll talk about next, follows along, so

0:33:57.360 --> 0:34:01.400
<v Speaker 1>that you have what looks like a laser pint brush

0:34:01.520 --> 0:34:06.560
<v Speaker 1>and it looks like it's actually making the castle change color. Again,

0:34:06.640 --> 0:34:08.760
<v Speaker 1>that's all part of the projection mapping. It's all timed

0:34:08.760 --> 0:34:11.680
<v Speaker 1>out very precisely. So all of these lasers have to

0:34:11.680 --> 0:34:16.520
<v Speaker 1>be computer controlled, and they're all controlled from their various stations.

0:34:16.560 --> 0:34:20.879
<v Speaker 1>They're all on gimbals that are motorized so that they

0:34:20.880 --> 0:34:24.080
<v Speaker 1>can be pointed in the very specific direction they need

0:34:24.080 --> 0:34:26.719
<v Speaker 1>to be in at the angle they need, and they

0:34:26.719 --> 0:34:31.920
<v Speaker 1>can all be controlled simultaneously through the computer process. So

0:34:31.960 --> 0:34:34.759
<v Speaker 1>it's all been programmed so that every single motion is

0:34:34.840 --> 0:34:38.600
<v Speaker 1>precise and the lasers are all going exactly where they

0:34:38.640 --> 0:34:41.360
<v Speaker 1>need to be. Now, that's obviously very challenging for a

0:34:41.440 --> 0:34:44.320
<v Speaker 1>human being to do. If I were holding a laser pointer,

0:34:44.640 --> 0:34:49.000
<v Speaker 1>the further away I am from my target, the more

0:34:49.080 --> 0:34:52.359
<v Speaker 1>dramatic any movement I make is going to be. At

0:34:52.440 --> 0:34:55.440
<v Speaker 1>the far end of it. Right, you can just imagine

0:34:55.920 --> 0:35:01.520
<v Speaker 1>if you have a laser that's pointing at a castle

0:35:01.600 --> 0:35:06.080
<v Speaker 1>that's a hundred and fifty two feet away, tiny little

0:35:06.160 --> 0:35:09.520
<v Speaker 1>motions on your end are going to be translated into

0:35:09.600 --> 0:35:13.480
<v Speaker 1>giant ones across against the castle. Even though it's a

0:35:13.520 --> 0:35:16.759
<v Speaker 1>small beam of light, you'll see it move in dramatic

0:35:16.800 --> 0:35:19.400
<v Speaker 1>ways just with tying little motions. So all of this

0:35:19.480 --> 0:35:22.000
<v Speaker 1>has to be controlled by machine. All has to be automated,

0:35:22.880 --> 0:35:25.480
<v Speaker 1>and you program it very precisely in a computer. Now,

0:35:25.480 --> 0:35:30.239
<v Speaker 1>the computer model has to understand and I used to

0:35:30.320 --> 0:35:34.760
<v Speaker 1>understand loosely here, but it has to understand the dimensions

0:35:34.800 --> 0:35:37.560
<v Speaker 1>of the canvas you're painting against. In this case, it

0:35:37.560 --> 0:35:40.719
<v Speaker 1>would be the Cinderella's Castle at Magic Kingdom and Walt

0:35:40.760 --> 0:35:45.200
<v Speaker 1>Disney World. And by knowing that, it knows how precisely

0:35:45.360 --> 0:35:49.800
<v Speaker 1>to move the laser pointer so that it will create

0:35:49.840 --> 0:35:52.920
<v Speaker 1>the effect specifically where it needs to go, and it

0:35:52.920 --> 0:35:56.640
<v Speaker 1>can make very smooth and consistent motions. That's the other

0:35:56.719 --> 0:36:00.839
<v Speaker 1>important thing for any show of this nature, you consistency.

0:36:00.920 --> 0:36:04.000
<v Speaker 1>So you want the show tonight to be just as

0:36:04.040 --> 0:36:05.719
<v Speaker 1>good as the show that was last night, and you

0:36:05.760 --> 0:36:07.600
<v Speaker 1>want tomorrow's show to be just as good as the

0:36:07.640 --> 0:36:10.120
<v Speaker 1>last two. So you want to make sure everything is

0:36:10.480 --> 0:36:13.960
<v Speaker 1>as controlled as it possibly can be, knowing that there

0:36:14.000 --> 0:36:15.719
<v Speaker 1>are certain elements that are going to be outside of

0:36:15.719 --> 0:36:18.920
<v Speaker 1>your control, things like weather conditions. That's not something you

0:36:18.960 --> 0:36:22.520
<v Speaker 1>can really have a say over. So that can that

0:36:22.719 --> 0:36:25.520
<v Speaker 1>covers the lasers, and there are all sorts of different

0:36:25.560 --> 0:36:27.840
<v Speaker 1>colors of lasers that are used in this one. I

0:36:27.920 --> 0:36:30.440
<v Speaker 1>want to say that there are yellow ones or gold

0:36:30.480 --> 0:36:33.520
<v Speaker 1>ones that are part of Happily ever after. But there

0:36:33.520 --> 0:36:36.600
<v Speaker 1>are different colors as well, and those come into various

0:36:36.640 --> 0:36:40.479
<v Speaker 1>points of the quote unquote story of the show. There's

0:36:40.520 --> 0:36:43.360
<v Speaker 1>kind of a loose story. It's more like a little

0:36:43.440 --> 0:36:49.200
<v Speaker 1>vignettes that happened throughout the the experience rather than a

0:36:49.239 --> 0:36:53.200
<v Speaker 1>traditional narrative. But that's that technology. Now let's move on

0:36:53.680 --> 0:36:56.759
<v Speaker 1>to projection mapping, which I'm really excited to talk about

0:36:56.800 --> 0:36:58.680
<v Speaker 1>because projection mapping is one of those things I just

0:36:58.719 --> 0:37:02.440
<v Speaker 1>think is super cool. There are tons and tons of

0:37:02.560 --> 0:37:07.480
<v Speaker 1>videos online showing what projection mapping is, and if you

0:37:07.719 --> 0:37:10.840
<v Speaker 1>see some of the better ones, the effects are really

0:37:10.960 --> 0:37:16.120
<v Speaker 1>breathtaking because they're very convincing from the proper angle. But

0:37:16.280 --> 0:37:18.880
<v Speaker 1>you have to have conditions just right. You need the

0:37:18.960 --> 0:37:21.279
<v Speaker 1>lighting to be just right so that the projection you're

0:37:21.280 --> 0:37:25.759
<v Speaker 1>looking at doesn't get ruined by a lot of ambient light.

0:37:26.040 --> 0:37:28.719
<v Speaker 1>The more ambient light you have, the more you can

0:37:28.760 --> 0:37:33.640
<v Speaker 1>see the the object that's behind the projection. The less

0:37:34.480 --> 0:37:37.640
<v Speaker 1>uh immersive the experience will be, or the less convincing

0:37:37.640 --> 0:37:40.240
<v Speaker 1>the experience will be. But if you're wondering what projection

0:37:40.239 --> 0:37:43.200
<v Speaker 1>mapping is, since I haven't really defined it, it is

0:37:43.239 --> 0:37:46.480
<v Speaker 1>the display of an image on a non flat or

0:37:46.640 --> 0:37:49.840
<v Speaker 1>non white surface. So in other words, it's like projecting

0:37:49.880 --> 0:37:54.560
<v Speaker 1>onto a film screen, only anything could be a film screen.

0:37:54.600 --> 0:37:59.640
<v Speaker 1>Any three dimensional object could, in theory, be your film screen.

0:38:00.080 --> 0:38:02.680
<v Speaker 1>The technique has been used for a few years to

0:38:02.760 --> 0:38:06.520
<v Speaker 1>great effect at various concerts and celebrations. If you've ever

0:38:06.560 --> 0:38:09.040
<v Speaker 1>seen one in person, you know how dramatic the effects

0:38:09.040 --> 0:38:11.239
<v Speaker 1>can be. With the right lighting and projection. As I

0:38:11.280 --> 0:38:14.360
<v Speaker 1>was mentioning earlier, you can make a building seemed to

0:38:14.360 --> 0:38:16.840
<v Speaker 1>come alive, or to fall apart, or turn into a

0:38:16.840 --> 0:38:19.560
<v Speaker 1>giant puzzle. Uh. There are a lot of different videos

0:38:19.560 --> 0:38:22.239
<v Speaker 1>on YouTube. Just go and look up projection mapping. You're

0:38:22.239 --> 0:38:26.200
<v Speaker 1>gonna see some incredible stuff. Projection mapping has also been

0:38:26.239 --> 0:38:31.480
<v Speaker 1>called spatial augmented reality, because you are augmenting reality with

0:38:31.719 --> 0:38:36.399
<v Speaker 1>a overlay of information, in this case, projected information. Most

0:38:36.440 --> 0:38:39.480
<v Speaker 1>of the time we think of augmented reality as some

0:38:39.560 --> 0:38:43.359
<v Speaker 1>sort of headset we're wearing where we've got display in

0:38:43.400 --> 0:38:45.840
<v Speaker 1>front of us, and we're looking at a video feed

0:38:46.200 --> 0:38:49.280
<v Speaker 1>of the world around us, not really the real world.

0:38:49.320 --> 0:38:51.680
<v Speaker 1>We're looking at it through the camera lens, so we're

0:38:51.680 --> 0:38:54.080
<v Speaker 1>looking at kind of a monitor, and then we have

0:38:54.200 --> 0:38:57.080
<v Speaker 1>digital information overlaid on top of that display, and that

0:38:57.160 --> 0:39:00.080
<v Speaker 1>gives us that augmented reality. This is a differ or

0:39:00.080 --> 0:39:03.239
<v Speaker 1>an approach to augmented reality. It is just as legitimate.

0:39:03.280 --> 0:39:08.120
<v Speaker 1>It is where you are directly projecting onto reality reality itself,

0:39:08.840 --> 0:39:11.919
<v Speaker 1>so rather than having a screen in front of you,

0:39:11.920 --> 0:39:14.120
<v Speaker 1>you're looking at the world. It's just that the world

0:39:14.200 --> 0:39:16.799
<v Speaker 1>also happens to have something projected on top of it

0:39:16.880 --> 0:39:20.880
<v Speaker 1>that augments the experience, which is kind of cool that

0:39:21.000 --> 0:39:24.680
<v Speaker 1>it allows you to to make the definition a little

0:39:24.680 --> 0:39:27.680
<v Speaker 1>more broad when it comes to augmented reality. It's also

0:39:27.719 --> 0:39:30.600
<v Speaker 1>been known as video mapping, and Disney, as it turns out,

0:39:30.680 --> 0:39:34.520
<v Speaker 1>has a really long history with it. Disney has perhaps

0:39:34.600 --> 0:39:39.600
<v Speaker 1>the first implementation of projection mapping, and that would date

0:39:39.719 --> 0:39:43.520
<v Speaker 1>all the way back to nineteen sixty nine and a

0:39:43.520 --> 0:39:49.960
<v Speaker 1>little part called Disneyland, California. Disneyland in nineteen sixty nine

0:39:49.960 --> 0:39:53.359
<v Speaker 1>opened up a brand new attraction that brand new attractions.

0:39:53.840 --> 0:39:57.799
<v Speaker 1>Probably it's definitely in my top three. It is the

0:39:57.840 --> 0:40:01.920
<v Speaker 1>Haunted Mansion, uh, a ride that is also beloved by

0:40:02.000 --> 0:40:05.200
<v Speaker 1>Holly Fry here at How Stuff Works. Holly is a

0:40:05.280 --> 0:40:10.040
<v Speaker 1>huge Disney fan and she loves the Haunted Mansion as well.

0:40:11.160 --> 0:40:14.840
<v Speaker 1>For a good reason it's a fantastic ride, and the

0:40:14.880 --> 0:40:18.240
<v Speaker 1>attraction used a lot of different cool lighting and special effects,

0:40:18.239 --> 0:40:22.600
<v Speaker 1>including the amazing Pepper's Ghost effect, which we've talked about

0:40:22.600 --> 0:40:25.279
<v Speaker 1>on a previous episode of tech Stuff. In fact, I

0:40:25.320 --> 0:40:27.480
<v Speaker 1>think I did a full episode of tech Stuff just

0:40:27.640 --> 0:40:32.320
<v Speaker 1>on the Haunted Mansion several years ago. But the effect

0:40:32.400 --> 0:40:36.040
<v Speaker 1>I want to talk about here is one that involves

0:40:36.200 --> 0:40:42.680
<v Speaker 1>five sculptures, five busts. There are five bust sculptures that

0:40:42.719 --> 0:40:47.520
<v Speaker 1>are in the graveyard sequence of the Haunted Mansion, and

0:40:47.840 --> 0:40:51.520
<v Speaker 1>they are of five figures that are singing the song

0:40:51.600 --> 0:40:56.040
<v Speaker 1>Grim Grinning Ghosts, and um, it's actually the singers. That's

0:40:56.080 --> 0:41:00.120
<v Speaker 1>their faces that are projected onto these busts. Of the

0:41:00.160 --> 0:41:05.160
<v Speaker 1>bus themselves are plain white figures that are designed in

0:41:05.200 --> 0:41:08.560
<v Speaker 1>the shape of the heads of those singers. But then

0:41:08.600 --> 0:41:13.279
<v Speaker 1>the singers were shot on film singing along to this song,

0:41:13.440 --> 0:41:17.560
<v Speaker 1>Grim Grinning Ghosts. That footage is then projected on top

0:41:18.000 --> 0:41:22.760
<v Speaker 1>of these static sculptures, So the sculptures have no moving parts.

0:41:23.440 --> 0:41:25.840
<v Speaker 1>Their mouths are not moving, the eyes are not opening

0:41:25.840 --> 0:41:30.640
<v Speaker 1>and closing, there's no articulation whatsoever. That effect is completely

0:41:30.680 --> 0:41:34.279
<v Speaker 1>generated by the projection that's on top of the sculptures.

0:41:35.000 --> 0:41:38.760
<v Speaker 1>And this was again back in nine, so very forward

0:41:38.800 --> 0:41:41.239
<v Speaker 1>thinking when it comes down to the effects you would

0:41:41.239 --> 0:41:44.439
<v Speaker 1>want for your amusement park. Uh. And it's a really

0:41:44.480 --> 0:41:47.880
<v Speaker 1>early example of projection mapping, perhaps the first one, although

0:41:47.920 --> 0:41:53.200
<v Speaker 1>I don't have any confirming evidence to say so. Uh.

0:41:53.520 --> 0:41:56.440
<v Speaker 1>You have to have the projector lined up precisely with

0:41:56.520 --> 0:42:02.040
<v Speaker 1>the object. It has to be uh calor braided exactly

0:42:02.360 --> 0:42:05.560
<v Speaker 1>so that you can get this effect properly. If it

0:42:05.600 --> 0:42:11.800
<v Speaker 1>weren't done so, then the images of the face would

0:42:11.800 --> 0:42:15.560
<v Speaker 1>not line up with the actual carved face of the sculpture.

0:42:16.040 --> 0:42:18.879
<v Speaker 1>Think of it in terms of a movie screen. If

0:42:18.880 --> 0:42:21.520
<v Speaker 1>you have a movie screen and the projector was off kilter,

0:42:22.239 --> 0:42:24.600
<v Speaker 1>then the picture you're looking at would not line up

0:42:24.600 --> 0:42:27.520
<v Speaker 1>with the screen and things would look strange. You may

0:42:27.560 --> 0:42:29.920
<v Speaker 1>have even seen this, Maybe you've gone to a film

0:42:29.920 --> 0:42:33.960
<v Speaker 1>where the projectionist had not corrected for it properly, and

0:42:34.000 --> 0:42:37.239
<v Speaker 1>the the view of the film was a little too

0:42:37.280 --> 0:42:39.120
<v Speaker 1>low or a little too high. It's little too low.

0:42:39.560 --> 0:42:41.920
<v Speaker 1>Then you might see stuff like boom mix that are

0:42:41.960 --> 0:42:45.000
<v Speaker 1>not actually cut out of the shot. They are just

0:42:45.280 --> 0:42:48.600
<v Speaker 1>typically out of view because the projectionist lines up the

0:42:48.640 --> 0:42:52.320
<v Speaker 1>film in such a way. That you would not see it. Typically,

0:42:53.920 --> 0:42:55.799
<v Speaker 1>same sort of thing is true with projection mapping, but

0:42:55.960 --> 0:42:58.080
<v Speaker 1>to a much greater degree. You have to be very

0:42:58.120 --> 0:43:01.320
<v Speaker 1>precise with how the projection line up with the third

0:43:01.360 --> 0:43:04.960
<v Speaker 1>three dimensional object that it is hitting. Disney actually received

0:43:04.960 --> 0:43:09.680
<v Speaker 1>a patent in ninete about projection mapping. The patents title

0:43:09.920 --> 0:43:14.920
<v Speaker 1>is Apparatus Method for Projection upon a three Dimensional Object,

0:43:14.960 --> 0:43:18.520
<v Speaker 1>which again was pretty much projection mapping. And from that

0:43:18.560 --> 0:43:21.719
<v Speaker 1>patent is the following statement, which really sums up the

0:43:21.800 --> 0:43:25.080
<v Speaker 1>challenges that you face if you want to create this effect.

0:43:26.480 --> 0:43:29.840
<v Speaker 1>The projection of an image onto a three dimensional object

0:43:29.880 --> 0:43:33.800
<v Speaker 1>having various contours and shapes is not an easy task.

0:43:33.960 --> 0:43:37.120
<v Speaker 1>It is generally known that the correction of all optical

0:43:37.160 --> 0:43:41.960
<v Speaker 1>distortion problems inherent in flat two dimensional image projection is

0:43:42.080 --> 0:43:46.479
<v Speaker 1>especially difficult when working with three dimensional projection surfaces. These

0:43:46.520 --> 0:43:51.120
<v Speaker 1>problems include proper image registration on the object, proper keystoning

0:43:51.480 --> 0:43:55.719
<v Speaker 1>corrections to ensure appropriate perspective appearances, and focusing of the

0:43:55.760 --> 0:43:59.200
<v Speaker 1>image within a specified range of depth. So what that's

0:43:59.239 --> 0:44:03.719
<v Speaker 1>saying is, when you've got a distorted screen, which is

0:44:03.800 --> 0:44:08.160
<v Speaker 1>essentially what a three dimensional object would be, you can't

0:44:08.200 --> 0:44:12.120
<v Speaker 1>just easily map a two dimensional image on top of it.

0:44:12.120 --> 0:44:15.440
<v Speaker 1>It's It's kind of like if you grabbed a paper

0:44:15.480 --> 0:44:18.279
<v Speaker 1>map and try to lay it down on top of

0:44:18.280 --> 0:44:20.520
<v Speaker 1>a globe. While the paper map has been designed in

0:44:20.560 --> 0:44:25.600
<v Speaker 1>such a way to mimic the Earth, but obviously lots

0:44:25.640 --> 0:44:28.560
<v Speaker 1>of different considerations had to be taken into effect to

0:44:28.640 --> 0:44:31.319
<v Speaker 1>make that happen. When you are trying to convert a

0:44:31.320 --> 0:44:34.840
<v Speaker 1>three dimensional object into a two dimensional rendering, you have

0:44:34.920 --> 0:44:37.839
<v Speaker 1>to make some sacrifices. You can't just slap the map

0:44:38.080 --> 0:44:40.719
<v Speaker 1>back onto a globe and have it look perfect. It's

0:44:40.760 --> 0:44:43.400
<v Speaker 1>not going to You have to You would have to

0:44:43.400 --> 0:44:46.480
<v Speaker 1>warp things within the image in order to have it

0:44:46.560 --> 0:44:48.880
<v Speaker 1>line up properly so that it would look the way

0:44:49.040 --> 0:44:51.760
<v Speaker 1>it should on a globe. The same thing is true

0:44:51.760 --> 0:44:55.160
<v Speaker 1>with projection mapping. You actually have to warp the image

0:44:55.560 --> 0:44:57.719
<v Speaker 1>so that when it's overlaid on top of the three

0:44:57.719 --> 0:45:01.400
<v Speaker 1>dimensional object, you get the effect. Do you one. Now

0:45:01.400 --> 0:45:04.799
<v Speaker 1>I'm gonna talk a lot more about projection mapping, but

0:45:04.960 --> 0:45:08.160
<v Speaker 1>first let's take another quick break to thank our sponsor.

0:45:15.800 --> 0:45:19.280
<v Speaker 1>Let's talk a little bit about the concept of spatial

0:45:19.400 --> 0:45:22.719
<v Speaker 1>augmented reality. I mentioned I mentioned earlier that's sort of

0:45:22.719 --> 0:45:27.520
<v Speaker 1>the academic name for what is projection mapping. This became

0:45:27.560 --> 0:45:30.120
<v Speaker 1>an area of study really in the late nineteen nineties.

0:45:30.200 --> 0:45:32.919
<v Speaker 1>So even though Disney had pioneered some of this work

0:45:32.960 --> 0:45:36.120
<v Speaker 1>in the late nineteen sixties, it wasn't until the nineteen

0:45:36.160 --> 0:45:39.280
<v Speaker 1>nineties that a lot of work was being done on it, because, again,

0:45:39.400 --> 0:45:42.160
<v Speaker 1>to do it on a big scale was really tricky

0:45:42.360 --> 0:45:45.279
<v Speaker 1>unless you started taking a computer science approach, and that's

0:45:45.280 --> 0:45:48.080
<v Speaker 1>exactly what was going on in the nineties. That was

0:45:48.200 --> 0:45:51.640
<v Speaker 1>largely the domain of a group of researchers who are

0:45:51.680 --> 0:45:55.279
<v Speaker 1>working at the University of North Carolina Chapel Hill. They

0:45:55.360 --> 0:45:58.359
<v Speaker 1>wrote a paper called the Office of the Future, and

0:45:58.400 --> 0:46:00.880
<v Speaker 1>in that paper they imagined an office that would have

0:46:01.000 --> 0:46:04.200
<v Speaker 1>lots of projectors everywhere, and the projectors would allow you

0:46:04.280 --> 0:46:10.319
<v Speaker 1>to turn work spaces into all sorts of different augmented experiences. So,

0:46:10.400 --> 0:46:13.440
<v Speaker 1>for example, let's say that you're working on a collaborative project,

0:46:13.760 --> 0:46:17.239
<v Speaker 1>you might use all these different projectors to allow you

0:46:17.360 --> 0:46:22.279
<v Speaker 1>to work uh interactively in an environment that would let

0:46:22.280 --> 0:46:25.360
<v Speaker 1>you visualize exactly what you're talking about, even if what

0:46:25.440 --> 0:46:28.319
<v Speaker 1>you normally would use just spreadsheets. So it's kind of

0:46:28.360 --> 0:46:32.800
<v Speaker 1>a cool idea, but very heavily relied upon this idea

0:46:32.920 --> 0:46:36.799
<v Speaker 1>of projection mapping. One of the people working on that

0:46:36.880 --> 0:46:40.600
<v Speaker 1>was Ramesh Rascar is one of that University of North

0:46:40.600 --> 0:46:42.960
<v Speaker 1>Carolina group, and he also worked on a tech that

0:46:43.000 --> 0:46:47.600
<v Speaker 1>he called shader lamps. Shader lamps would allow you, through

0:46:47.600 --> 0:46:52.000
<v Speaker 1>projection to create different effects on stationary three dimensional objects,

0:46:52.560 --> 0:46:56.680
<v Speaker 1>as if you were using a digital canvas. So you

0:46:56.760 --> 0:46:59.759
<v Speaker 1>might think of shaders on graphics, you know, Shaders are

0:46:59.840 --> 0:47:02.720
<v Speaker 1>things that allow you to work with light in different ways.

0:47:03.080 --> 0:47:05.600
<v Speaker 1>That was the purpose of shader lamps to create light

0:47:05.719 --> 0:47:08.719
<v Speaker 1>in specific ways to protect against three dimensional objects and

0:47:08.719 --> 0:47:10.919
<v Speaker 1>then create the different effects that you want. And there's

0:47:10.920 --> 0:47:14.000
<v Speaker 1>actually a really cool video that I watched where he

0:47:14.080 --> 0:47:18.640
<v Speaker 1>walked through this process and he showed a neutral colored vause.

0:47:18.880 --> 0:47:21.239
<v Speaker 1>The vase was sort of an off white color, is

0:47:21.280 --> 0:47:25.520
<v Speaker 1>just plain, no texture, no pattern on it, and projected

0:47:25.560 --> 0:47:28.720
<v Speaker 1>different images onto it so that it had a pattern

0:47:28.840 --> 0:47:30.960
<v Speaker 1>or it appeared to have texture. The one that I

0:47:31.040 --> 0:47:34.840
<v Speaker 1>really liked was one where it was a very convincing

0:47:35.000 --> 0:47:40.319
<v Speaker 1>illusion that there was a patterned vase rotating perhaps on

0:47:40.400 --> 0:47:44.240
<v Speaker 1>like a lazy Susan, But it turned out the vase

0:47:44.360 --> 0:47:47.319
<v Speaker 1>was completely stationary. It was not rotating at all, it

0:47:47.400 --> 0:47:53.000
<v Speaker 1>was just a solid color vase. It was the image

0:47:53.040 --> 0:47:55.799
<v Speaker 1>that was making it look like it was rotating. It's

0:47:55.840 --> 0:47:58.799
<v Speaker 1>the same basic principle that we have for film. We're

0:47:58.800 --> 0:48:02.600
<v Speaker 1>watching a series of images that, when they are played

0:48:02.640 --> 0:48:07.080
<v Speaker 1>back at a certain frequency, appear to simulate movement. Same

0:48:07.120 --> 0:48:10.799
<v Speaker 1>thing is true with projection mapping, but it required that

0:48:10.880 --> 0:48:15.200
<v Speaker 1>you have this approach where you are conforming the image

0:48:15.200 --> 0:48:21.200
<v Speaker 1>projected to the object shape and size. So it's a

0:48:21.239 --> 0:48:24.000
<v Speaker 1>little more tricky. It's not just well, let's move the

0:48:24.000 --> 0:48:26.400
<v Speaker 1>projector a little bit closer to the screen or a

0:48:26.400 --> 0:48:29.080
<v Speaker 1>little further away from the screen because the image that's

0:48:29.120 --> 0:48:32.720
<v Speaker 1>being shown is too big or too small. It also

0:48:32.800 --> 0:48:37.200
<v Speaker 1>involves the actual contours of the device you're or the

0:48:37.200 --> 0:48:39.680
<v Speaker 1>the object you're using. And he pointed out the two

0:48:39.680 --> 0:48:44.800
<v Speaker 1>main problems of projection mapping are aligning each individual projector

0:48:45.000 --> 0:48:47.320
<v Speaker 1>so that the images they display line up with the

0:48:47.360 --> 0:48:50.800
<v Speaker 1>physical features of the three dimensional object itself. So, for example,

0:48:50.920 --> 0:48:54.200
<v Speaker 1>corners or in the case of Cinderella's Castle at Disney,

0:48:54.400 --> 0:48:57.040
<v Speaker 1>you've got the different parapets, you've got the different doors

0:48:57.080 --> 0:49:00.399
<v Speaker 1>and windows. All of that has to line up icily

0:49:00.480 --> 0:49:03.360
<v Speaker 1>with the the projection or else you're gonna have this

0:49:03.440 --> 0:49:06.840
<v Speaker 1>weird overlay effect where the image is not quite on

0:49:07.000 --> 0:49:10.480
<v Speaker 1>top of the physical part of the castle it's supposed

0:49:10.480 --> 0:49:13.800
<v Speaker 1>to be laid against. So that's one of the two challenges.

0:49:14.000 --> 0:49:16.799
<v Speaker 1>The other big one is you typically need more than

0:49:16.840 --> 0:49:19.839
<v Speaker 1>one projector because you have to hit an object at

0:49:19.920 --> 0:49:22.799
<v Speaker 1>various angles, and if you have one projector, all that

0:49:22.920 --> 0:49:25.279
<v Speaker 1>light is just coming from one side, and if you're

0:49:25.280 --> 0:49:28.600
<v Speaker 1>at any other viewing point around this three dimensional object,

0:49:28.840 --> 0:49:31.360
<v Speaker 1>you're not going to get the effect of the projection.

0:49:31.640 --> 0:49:34.080
<v Speaker 1>So you have to have multiple projectors all aiming at

0:49:34.120 --> 0:49:38.400
<v Speaker 1>the same physical object. They each have to be calibrated

0:49:38.440 --> 0:49:41.480
<v Speaker 1>properly with that object, with respect to the object and

0:49:41.520 --> 0:49:45.440
<v Speaker 1>with respect to each other, so that the seams of

0:49:45.480 --> 0:49:49.560
<v Speaker 1>those images line up precisely. If you have a character,

0:49:50.040 --> 0:49:53.319
<v Speaker 1>and animated character show up on one side of the

0:49:53.360 --> 0:49:56.279
<v Speaker 1>castle and then make his or her way around to

0:49:56.320 --> 0:49:59.400
<v Speaker 1>the other side of the castle, and in that journey

0:50:00.120 --> 0:50:03.560
<v Speaker 1>that character gets handed off from one projector to another,

0:50:04.120 --> 0:50:07.320
<v Speaker 1>obviously you need to have that lineup as as best

0:50:07.360 --> 0:50:11.040
<v Speaker 1>as possible to have a seamless experience. You can cheat

0:50:11.080 --> 0:50:14.520
<v Speaker 1>a little bit with an object like Cinderella's castle, because

0:50:14.520 --> 0:50:17.120
<v Speaker 1>you could have the character go into or appear to

0:50:17.200 --> 0:50:20.800
<v Speaker 1>go into a tower or a window or a door,

0:50:21.360 --> 0:50:23.920
<v Speaker 1>and it's kind of like a cut in a film.

0:50:23.960 --> 0:50:26.760
<v Speaker 1>You could then have the character emerge from another window

0:50:26.960 --> 0:50:29.480
<v Speaker 1>or another door, and it's being handled by a totally

0:50:29.520 --> 0:50:32.239
<v Speaker 1>different projector, and because you had the character move out

0:50:32.280 --> 0:50:34.680
<v Speaker 1>of sight for a moment, you don't have to have

0:50:34.760 --> 0:50:37.839
<v Speaker 1>that truly seamless experience. You don't have to have those

0:50:37.840 --> 0:50:43.000
<v Speaker 1>two projectors synchronized so precisely that there's no overlap, where

0:50:43.000 --> 0:50:46.640
<v Speaker 1>otherwise you might end up with quasi Modo having four arms,

0:50:47.040 --> 0:50:51.600
<v Speaker 1>which would make him even less quasi modo, or more

0:50:51.680 --> 0:50:55.880
<v Speaker 1>quasi and less modo whatever. Hunchback of Notre Dame is

0:50:55.920 --> 0:51:01.360
<v Speaker 1>a terrible Disney movie. Come at me, so very difficult

0:51:01.360 --> 0:51:04.720
<v Speaker 1>problems to solve, and typically you have to design computer

0:51:04.840 --> 0:51:08.160
<v Speaker 1>software in order for you to be able to do this. Uh,

0:51:08.239 --> 0:51:11.800
<v Speaker 1>you being the person trying to create projection mapping. Luckily

0:51:11.920 --> 0:51:14.920
<v Speaker 1>for us, if we were interested in doing our own

0:51:14.920 --> 0:51:19.239
<v Speaker 1>projection mapping project, there are lots of software packages out

0:51:19.280 --> 0:51:22.120
<v Speaker 1>there that are designed to do this, and typically the

0:51:22.160 --> 0:51:24.080
<v Speaker 1>way it works is you would download one of these

0:51:24.080 --> 0:51:27.800
<v Speaker 1>software packages, which tend to cost and a few hundreds

0:51:27.800 --> 0:51:31.760
<v Speaker 1>of dollars, somewhere between three hundred and eight hundred dollars

0:51:32.160 --> 0:51:35.719
<v Speaker 1>truly is not that much. When you look at video software,

0:51:35.920 --> 0:51:38.960
<v Speaker 1>there's a lot of video editing software that's in that range.

0:51:39.400 --> 0:51:41.799
<v Speaker 1>So something that's on this scale, which is meant to

0:51:41.920 --> 0:51:48.319
<v Speaker 1>project against large objects, it's not really that outrageous to

0:51:48.360 --> 0:51:50.640
<v Speaker 1>have a piece of software cost a few hundred dollars.

0:51:51.760 --> 0:51:56.160
<v Speaker 1>You pair it with a projector or multiple projectors, and

0:51:56.200 --> 0:51:59.279
<v Speaker 1>you typically would set up an object where it would

0:51:59.320 --> 0:52:02.359
<v Speaker 1>be in the pathway of the projector, and you would

0:52:02.480 --> 0:52:08.040
<v Speaker 1>use the software to manipulate a field on top of

0:52:08.160 --> 0:52:13.640
<v Speaker 1>virtual field on top of the actual object, and what

0:52:13.680 --> 0:52:16.319
<v Speaker 1>would happen is the projector would project an image, it

0:52:16.400 --> 0:52:20.080
<v Speaker 1>may be a grid, for example, to define the areas

0:52:20.400 --> 0:52:23.239
<v Speaker 1>of that object, and you would use the software to

0:52:23.320 --> 0:52:27.960
<v Speaker 1>conform the grid so that it met the parameters of

0:52:28.000 --> 0:52:31.799
<v Speaker 1>that object. So you are mapping the object itself within

0:52:31.840 --> 0:52:35.640
<v Speaker 1>the software. You're defining the areas that you can paint

0:52:35.680 --> 0:52:40.520
<v Speaker 1>against your defining the screen itself. And it's kind of

0:52:40.520 --> 0:52:44.640
<v Speaker 1>like using photo editing software, except instead of just cropping

0:52:44.640 --> 0:52:47.719
<v Speaker 1>a photo, what you're doing is you're just defining the

0:52:47.880 --> 0:52:50.799
<v Speaker 1>edges of your image. So if you're doing something like

0:52:50.800 --> 0:52:53.880
<v Speaker 1>Cinderella's Castle, you would say, all right, I want this tower,

0:52:54.520 --> 0:52:56.920
<v Speaker 1>and I want the parapet at the top of the tower,

0:52:57.400 --> 0:53:00.360
<v Speaker 1>but I don't want any of the edges to fall

0:53:00.400 --> 0:53:02.279
<v Speaker 1>into this because we won't be able to see it.

0:53:02.360 --> 0:53:04.880
<v Speaker 1>The projection will go just past the edge of the

0:53:04.920 --> 0:53:08.120
<v Speaker 1>tower and there's nothing for the image to be projected

0:53:08.160 --> 0:53:10.839
<v Speaker 1>against at that point, So we want to make sure

0:53:10.880 --> 0:53:15.239
<v Speaker 1>that we define those edges within the software. Once you've

0:53:15.280 --> 0:53:18.840
<v Speaker 1>done that, then you can start to animate or design

0:53:19.000 --> 0:53:26.719
<v Speaker 1>lighting effects against that now virtually defined space. You also

0:53:26.719 --> 0:53:29.440
<v Speaker 1>have to keep in mind that the distance between the

0:53:29.440 --> 0:53:34.439
<v Speaker 1>projector and the object has to be established so that

0:53:34.640 --> 0:53:36.839
<v Speaker 1>the scale remains the same. If you were to bring

0:53:36.840 --> 0:53:40.799
<v Speaker 1>the projector closer or further away without adjusting lens, that's

0:53:40.800 --> 0:53:43.840
<v Speaker 1>going to affect both the focus and the scale. So

0:53:43.920 --> 0:53:45.640
<v Speaker 1>there are a lot of different elements that are at

0:53:45.640 --> 0:53:48.200
<v Speaker 1>play with this technology, and if you want to work

0:53:48.239 --> 0:53:51.200
<v Speaker 1>just right, you have to find the right place to

0:53:51.280 --> 0:53:56.120
<v Speaker 1>set up your your technology. You have to calibrate it precisely,

0:53:56.520 --> 0:53:58.640
<v Speaker 1>and then you have to make sure that nothing moves

0:53:59.040 --> 0:54:01.680
<v Speaker 1>so that it's all lined up and stays lined up.

0:54:02.160 --> 0:54:05.640
<v Speaker 1>So in this display or this this demonstration I was

0:54:05.640 --> 0:54:09.200
<v Speaker 1>talking about earlier. They show that they'd use a program

0:54:09.239 --> 0:54:12.399
<v Speaker 1>to define specific points on the three dimensional surface from

0:54:12.440 --> 0:54:14.440
<v Speaker 1>the point of view of the projector in order to

0:54:14.480 --> 0:54:18.080
<v Speaker 1>calibrate the system. So you would just use essentially a

0:54:18.120 --> 0:54:22.360
<v Speaker 1>mouse moving a cursor to different points on the image

0:54:22.400 --> 0:54:25.160
<v Speaker 1>of this three dimensional object. So you've got a camera

0:54:25.600 --> 0:54:28.080
<v Speaker 1>and a projector that are lined up with each other,

0:54:28.719 --> 0:54:31.080
<v Speaker 1>and you use the mouse to define, all right, this

0:54:31.160 --> 0:54:33.160
<v Speaker 1>is an edge, this is an edge, or or here's

0:54:33.160 --> 0:54:35.960
<v Speaker 1>a point, here's a point, here's a point, in order

0:54:36.000 --> 0:54:39.120
<v Speaker 1>to calibrate it with the projector itself, and using multiple

0:54:39.160 --> 0:54:42.080
<v Speaker 1>points allows for the system to line up precisely with

0:54:42.200 --> 0:54:44.680
<v Speaker 1>the object. If you just clicked one point, there's not

0:54:44.760 --> 0:54:48.000
<v Speaker 1>enough reference there. The image coordinates for the projectors are

0:54:48.080 --> 0:54:51.200
<v Speaker 1>in two dimensions, you know, X and y axis, because

0:54:51.239 --> 0:54:54.520
<v Speaker 1>depth is not really something a projector handles. A projector

0:54:54.600 --> 0:54:58.560
<v Speaker 1>can't make the light stop at a certain distance. It's

0:54:58.560 --> 0:55:01.640
<v Speaker 1>going to keep going till it reflects off of something.

0:55:02.160 --> 0:55:04.680
<v Speaker 1>So you just are concerned with X and y and

0:55:04.719 --> 0:55:08.239
<v Speaker 1>then you warp that depending upon the actual depth of

0:55:08.280 --> 0:55:11.520
<v Speaker 1>the physical object you're shooting against or you're projecting against

0:55:11.840 --> 0:55:15.319
<v Speaker 1>the actual points in space. Therefore are three dimensional, even

0:55:15.320 --> 0:55:19.560
<v Speaker 1>though the data inside the projector is two dimensional, because

0:55:19.640 --> 0:55:23.280
<v Speaker 1>those points in space have to conform with the physical

0:55:23.280 --> 0:55:26.320
<v Speaker 1>features of a real object. In the demonstration I watched,

0:55:26.600 --> 0:55:29.320
<v Speaker 1>they were projecting images on a model of the taj

0:55:29.520 --> 0:55:33.719
<v Speaker 1>Mahal and it was very effective. The system, according to them,

0:55:33.800 --> 0:55:37.560
<v Speaker 1>required about five minutes to calibrate per shader lamp, so

0:55:37.640 --> 0:55:41.239
<v Speaker 1>that's not very long. I have no idea how long

0:55:41.239 --> 0:55:44.279
<v Speaker 1>it takes to calibrate the Disney system. I was not

0:55:44.360 --> 0:55:46.799
<v Speaker 1>able to chat with anybody to get that information, but

0:55:46.880 --> 0:55:50.680
<v Speaker 1>I imagine it's again very precise and probably takes a

0:55:50.680 --> 0:55:54.319
<v Speaker 1>few minutes to make sure that it's lined up reliably.

0:55:55.280 --> 0:55:57.799
<v Speaker 1>Once set, then you just you said it. You leave it,

0:55:57.840 --> 0:56:02.440
<v Speaker 1>you walk away, you don't touch it. Now, you can't

0:56:02.600 --> 0:56:05.799
<v Speaker 1>just grab any old projector and a white or other

0:56:05.960 --> 0:56:09.000
<v Speaker 1>neutral colored object and just go to town. The images

0:56:09.040 --> 0:56:11.319
<v Speaker 1>you project will not match up with the object you're

0:56:11.360 --> 0:56:13.160
<v Speaker 1>projecting on, so you have to have that way to

0:56:13.160 --> 0:56:15.560
<v Speaker 1>warp the image so it lines up. I talked about

0:56:15.560 --> 0:56:19.000
<v Speaker 1>this a second ago. You use that software to conform

0:56:19.400 --> 0:56:24.200
<v Speaker 1>to the three dimensional object, um you needed. You need

0:56:24.200 --> 0:56:27.919
<v Speaker 1>a computer obviously to run the software. The computer needs

0:56:27.920 --> 0:56:30.920
<v Speaker 1>to have a pretty powerful processor and a really powerful

0:56:30.960 --> 0:56:35.880
<v Speaker 1>graphics processing unit or GPU, because you need the processor

0:56:36.320 --> 0:56:38.600
<v Speaker 1>that's strong so it can send a lot of data

0:56:38.680 --> 0:56:42.560
<v Speaker 1>to the GPU consistently. You need to have a good

0:56:42.560 --> 0:56:46.160
<v Speaker 1>pathway between processor and GPU, so that you also need

0:56:46.200 --> 0:56:50.759
<v Speaker 1>a really good bus between the two. The GPU needs

0:56:50.800 --> 0:56:52.960
<v Speaker 1>to be beefy because it's going to be sending a

0:56:53.000 --> 0:56:57.840
<v Speaker 1>lot of data to the projector, and the more um

0:56:58.000 --> 0:57:02.240
<v Speaker 1>high res the inag, the more data it has to send.

0:57:02.680 --> 0:57:05.600
<v Speaker 1>If you're doing something on the scale of what Disney wants,

0:57:05.719 --> 0:57:09.279
<v Speaker 1>chances are you've got pretty high standards for the resolution.

0:57:09.920 --> 0:57:12.319
<v Speaker 1>Even keeping in mind that you're projecting this against an

0:57:12.480 --> 0:57:17.360
<v Speaker 1>enormous castle and most people will be dozens of feet away,

0:57:17.480 --> 0:57:19.760
<v Speaker 1>you still want it to be a really crisp image,

0:57:19.880 --> 0:57:23.080
<v Speaker 1>So you're going to need some pretty powerful machines with

0:57:23.280 --> 0:57:28.080
<v Speaker 1>really strong processing abilities to carry this off and send

0:57:28.080 --> 0:57:31.760
<v Speaker 1>that information to your high res projectors to shoot it

0:57:31.800 --> 0:57:35.080
<v Speaker 1>against the three dimensional object in question. Keeping in mind

0:57:35.280 --> 0:57:39.439
<v Speaker 1>you're probably using multiple projectors, so that reduces the need

0:57:39.840 --> 0:57:45.600
<v Speaker 1>for the the landscape you're covering for each projector, and thus,

0:57:45.680 --> 0:57:49.480
<v Speaker 1>if each projector is lined up with a different dedicated computer.

0:57:50.440 --> 0:57:53.280
<v Speaker 1>You can divide up the job a little bit, although

0:57:53.760 --> 0:57:55.800
<v Speaker 1>all of those computers at some point have to be

0:57:55.840 --> 0:57:59.800
<v Speaker 1>coordinated with one another. Otherwise you would have different parts

0:57:59.840 --> 0:58:02.440
<v Speaker 1>of the show showing up at different segments and it

0:58:02.440 --> 0:58:08.480
<v Speaker 1>would just be a mess, a chaotic mess. Projectors have

0:58:09.280 --> 0:58:12.320
<v Speaker 1>something called a throw distance, that is the distance between

0:58:12.360 --> 0:58:14.520
<v Speaker 1>the projector and a screen that it can show an

0:58:14.520 --> 0:58:18.360
<v Speaker 1>effective image. So that's something you have to take into effect. Uh,

0:58:18.720 --> 0:58:24.040
<v Speaker 1>you also have to worry about making sure that you've

0:58:24.040 --> 0:58:26.800
<v Speaker 1>got the right you know, all the resolutions are the

0:58:26.920 --> 0:58:29.880
<v Speaker 1>are the same, because otherwise, if the resolution of one

0:58:29.880 --> 0:58:32.280
<v Speaker 1>projector is different from another, you're gonna have a very

0:58:32.720 --> 0:58:36.840
<v Speaker 1>muddy effect on the three dimensional object in question. As

0:58:36.840 --> 0:58:38.720
<v Speaker 1>I said, there are a lot of different software packages

0:58:38.720 --> 0:58:40.640
<v Speaker 1>out there. There are some free ones if you want

0:58:40.680 --> 0:58:45.720
<v Speaker 1>to try some projection mapping, although there reliability maybe a

0:58:45.760 --> 0:58:49.040
<v Speaker 1>little less resilient than what you would get with a

0:58:49.120 --> 0:58:52.400
<v Speaker 1>paid software package, But there are some out there that

0:58:52.440 --> 0:58:54.960
<v Speaker 1>you can look at. But there there's tons of different

0:58:55.280 --> 0:58:59.240
<v Speaker 1>projection mapping software suites out there if you if you're

0:58:59.240 --> 0:59:02.160
<v Speaker 1>really serious of about doing this, you can PLoP down

0:59:02.200 --> 0:59:06.480
<v Speaker 1>some cash and you'll get a more reliable and possibly

0:59:06.560 --> 0:59:10.080
<v Speaker 1>more user friendly set of tools to do this yourself.

0:59:11.400 --> 0:59:14.000
<v Speaker 1>To develop the Disney show, they started with a scale

0:59:14.080 --> 0:59:17.680
<v Speaker 1>model of the castle, so everything had to be precisely

0:59:17.760 --> 0:59:20.760
<v Speaker 1>at the right dimensions with one another in order for

0:59:20.800 --> 0:59:24.800
<v Speaker 1>them to use that as their working model, because obviously

0:59:24.800 --> 0:59:27.000
<v Speaker 1>they couldn't do this every single day out of the

0:59:27.040 --> 0:59:29.840
<v Speaker 1>park there are people there, so to develop it, they

0:59:29.880 --> 0:59:33.640
<v Speaker 1>needed to make a perfect scale model of Cinderella's Castle

0:59:34.080 --> 0:59:38.040
<v Speaker 1>and use that to plot out their show. And they

0:59:38.080 --> 0:59:41.640
<v Speaker 1>did this everything from the full narrative arc like what's

0:59:41.680 --> 0:59:45.280
<v Speaker 1>the story they're trying to tell, to the particular animations

0:59:45.280 --> 0:59:49.840
<v Speaker 1>and effects that they were trying to create. Obviously, anything

0:59:49.840 --> 0:59:53.480
<v Speaker 1>that involved pyrotechnics probably they didn't throw in there, because

0:59:54.120 --> 0:59:57.640
<v Speaker 1>shooting fireworks off inside is never a good idea. But

0:59:58.000 --> 1:00:01.280
<v Speaker 1>for all the three D projection mapping techniques they could use.

1:00:01.280 --> 1:00:04.120
<v Speaker 1>Those they could actually set up projectors and projected against

1:00:04.160 --> 1:00:07.760
<v Speaker 1>the three dimensional scale model they had and see what

1:00:07.800 --> 1:00:09.600
<v Speaker 1>it was going to look like on the small scale

1:00:09.640 --> 1:00:12.360
<v Speaker 1>before they built up and worked on it for the

1:00:12.440 --> 1:00:16.840
<v Speaker 1>actual park. They called in as many of the original

1:00:16.880 --> 1:00:20.600
<v Speaker 1>animators for the various films that they reference in the show,

1:00:20.680 --> 1:00:25.160
<v Speaker 1>so throughout the show, different iconic characters from Disney movies

1:00:25.360 --> 1:00:29.840
<v Speaker 1>show up on Cinderella's castle. Uh, for example, Merida from

1:00:29.880 --> 1:00:36.240
<v Speaker 1>Brave or Aladdin from Aladdin, We'll show up and they'll

1:00:36.360 --> 1:00:39.080
<v Speaker 1>interact with the castle in some way. They tried to

1:00:39.080 --> 1:00:41.720
<v Speaker 1>get as many of the original animators back to work

1:00:41.720 --> 1:00:43.840
<v Speaker 1>on those characters as they possibly could, So it's a

1:00:43.880 --> 1:00:46.520
<v Speaker 1>big thrill for a lot of those folks because they

1:00:46.520 --> 1:00:48.720
<v Speaker 1>hadn't had a chance to work on those characters in

1:00:48.840 --> 1:00:53.320
<v Speaker 1>some cases for several decades. And uh, it really is

1:00:53.400 --> 1:00:55.360
<v Speaker 1>nice to be able to see those characters come to

1:00:55.440 --> 1:00:57.960
<v Speaker 1>life and have the same sort of qualities that they

1:00:58.000 --> 1:01:02.520
<v Speaker 1>had in the movies that they became famous for. So

1:01:03.640 --> 1:01:07.400
<v Speaker 1>that's kind of cool thing too, is not just the technology,

1:01:07.400 --> 1:01:09.600
<v Speaker 1>but if you are a Disney fan and you're also

1:01:09.640 --> 1:01:13.080
<v Speaker 1>a fan of the process of animation, knowing that it

1:01:13.120 --> 1:01:15.560
<v Speaker 1>was the same people responsible for bringing that to life

1:01:15.600 --> 1:01:19.360
<v Speaker 1>the first time is really something special because it's it's

1:01:19.400 --> 1:01:23.440
<v Speaker 1>you know, it's it's calling back to a nostalgic time. Now,

1:01:23.600 --> 1:01:26.840
<v Speaker 1>of course, that wasn't the case for every single piece

1:01:26.880 --> 1:01:29.920
<v Speaker 1>of animation they referenced. In some cases, those animators have

1:01:29.960 --> 1:01:36.280
<v Speaker 1>passed away, especially for the really old classic Disney animated features,

1:01:36.680 --> 1:01:42.240
<v Speaker 1>but it was a pretty impressive spectrum of characters, everything

1:01:42.280 --> 1:01:46.360
<v Speaker 1>from the more recent shows and films, things like Mowanna

1:01:46.440 --> 1:01:50.960
<v Speaker 1>and Zootopia too, classics like Sleeping Beauty. Well, we will

1:01:51.000 --> 1:01:53.680
<v Speaker 1>never get rid of Maleficent. I think she's always going

1:01:53.720 --> 1:01:57.560
<v Speaker 1>to be a villain in every single Disney nighttime spectacular

1:01:57.600 --> 1:02:02.160
<v Speaker 1>because how can you how can you leave out a

1:02:02.160 --> 1:02:06.360
<v Speaker 1>an evil fairy queen who assumes the shape of a dragon.

1:02:06.480 --> 1:02:13.040
<v Speaker 1>That's that's pretty awesome, but I think that's a particularly

1:02:13.080 --> 1:02:17.280
<v Speaker 1>interesting part of Happily ever After. Artists when they were

1:02:17.280 --> 1:02:20.160
<v Speaker 1>working on this, we're working on digital services, so think

1:02:20.160 --> 1:02:25.120
<v Speaker 1>of like, uh, an interactive screen, not not necessarily a tablet,

1:02:25.240 --> 1:02:29.040
<v Speaker 1>but a display that they could directly draw on using

1:02:29.120 --> 1:02:33.960
<v Speaker 1>light pens or digital pins. So they had the representation

1:02:34.000 --> 1:02:38.920
<v Speaker 1>of the castle there, which was essentially a visual interpretation

1:02:39.120 --> 1:02:43.160
<v Speaker 1>of the virtual model that they had created. So they

1:02:43.240 --> 1:02:46.280
<v Speaker 1>had created a virtual model by defining the aspects of

1:02:46.280 --> 1:02:49.320
<v Speaker 1>that castle the way I mentioned earlier. Artists could then

1:02:49.440 --> 1:02:54.280
<v Speaker 1>draw against that and create the effects directly in the software,

1:02:54.280 --> 1:02:56.520
<v Speaker 1>which then could be projected against the castle when they

1:02:56.520 --> 1:02:59.040
<v Speaker 1>wanted to test things out, And this allowed them to

1:03:00.120 --> 1:03:03.320
<v Speaker 1>developed the show relatively quickly. It still took a very

1:03:03.320 --> 1:03:07.520
<v Speaker 1>long time, but it allowed for very quick prototyping and

1:03:07.560 --> 1:03:12.920
<v Speaker 1>testing of different effects and transitions and sequences, which is

1:03:12.960 --> 1:03:16.360
<v Speaker 1>pretty cool. And at the end of the show spoiler alert,

1:03:17.240 --> 1:03:19.560
<v Speaker 1>tinker Bell comes out and flies over the crowd. This

1:03:19.640 --> 1:03:21.960
<v Speaker 1>is something that's been going on for decades over at

1:03:22.000 --> 1:03:25.200
<v Speaker 1>Disney and I think people would have rioted if tinker

1:03:25.240 --> 1:03:30.240
<v Speaker 1>Bell had been removed from the experience, so uh. At

1:03:30.320 --> 1:03:33.600
<v Speaker 1>Disney World, tinker Bell has been part of the nightly

1:03:33.680 --> 1:03:38.920
<v Speaker 1>show since July third n at the Magic Kingdom. She

1:03:39.000 --> 1:03:42.240
<v Speaker 1>hasn't appeared every single night because her appearance is dependent

1:03:42.320 --> 1:03:45.480
<v Speaker 1>upon the weather. If the weather is if it's too

1:03:45.520 --> 1:03:49.120
<v Speaker 1>windy or stormy, then tinker Bell will not be coming out.

1:03:49.480 --> 1:03:52.600
<v Speaker 1>Because Okay, for those of you who don't want the

1:03:52.640 --> 1:03:56.120
<v Speaker 1>magic ruined, you should probably stop listening right now, so

1:03:56.120 --> 1:03:58.800
<v Speaker 1>I'm gonna give you a second. For the rest of you,

1:03:59.200 --> 1:04:01.960
<v Speaker 1>Ramsey just took off his headphones. Jokes on him. He's

1:04:01.960 --> 1:04:05.640
<v Speaker 1>like three ft away. He has to listen anyway. Tinker

1:04:05.640 --> 1:04:07.680
<v Speaker 1>Bell is an actress, right all right. I hate to

1:04:07.720 --> 1:04:09.480
<v Speaker 1>say it because I don't want to ruin the magic,

1:04:09.600 --> 1:04:13.240
<v Speaker 1>but she's an actress typically sometimes an actor, but typically

1:04:13.240 --> 1:04:18.240
<v Speaker 1>an actress and tinker Bell um. You know, they have

1:04:18.280 --> 1:04:21.919
<v Speaker 1>to keep tinker Bell safe. So to that end, if

1:04:21.960 --> 1:04:24.720
<v Speaker 1>the weather conditions are unfavorable, tinker Bell does not fly.

1:04:25.320 --> 1:04:28.240
<v Speaker 1>Tinker Bell's flight is along a zip line. There is

1:04:28.440 --> 1:04:31.400
<v Speaker 1>a zip line that is approximately eight hundred fifty feet long.

1:04:31.480 --> 1:04:35.800
<v Speaker 1>It extends from the Cinderella's Castle from one of the towers,

1:04:36.280 --> 1:04:39.360
<v Speaker 1>and it ends on the top of tomorrow Land Terrace

1:04:40.120 --> 1:04:43.720
<v Speaker 1>d fifty feet away. A flight down tinker Bell's zip

1:04:43.760 --> 1:04:47.720
<v Speaker 1>line takes about thirty seconds. So let's do some math here.

1:04:48.520 --> 1:04:51.800
<v Speaker 1>Eight hundred fifty feet and thirty seconds translates to about

1:04:51.920 --> 1:04:55.520
<v Speaker 1>nineteen miles per hour. That actress is zipping down a

1:04:55.640 --> 1:04:58.960
<v Speaker 1>zip line at nineteen miles per hour in a tinker

1:04:58.960 --> 1:05:02.160
<v Speaker 1>Bell costume that lights up, has led lights, there's a

1:05:02.200 --> 1:05:05.680
<v Speaker 1>battery pack and everything. Uh, this means that tinker Bell

1:05:05.800 --> 1:05:11.360
<v Speaker 1>has to meet some certain certain criteria. There's certain rules

1:05:11.440 --> 1:05:12.800
<v Speaker 1>that you have to follow if you wish to be

1:05:12.840 --> 1:05:16.640
<v Speaker 1>tinker Bell, and they're a little precise. I was going

1:05:16.680 --> 1:05:19.240
<v Speaker 1>to use the words draconian, but that might be a

1:05:19.280 --> 1:05:22.200
<v Speaker 1>little too cruel. So, for example, to be tinker Bell,

1:05:22.440 --> 1:05:25.280
<v Speaker 1>you must be no taller than five ft that is

1:05:25.320 --> 1:05:28.640
<v Speaker 1>the maximum height for tinker Bell. That's partly so that

1:05:28.720 --> 1:05:31.800
<v Speaker 1>you get the wonderful illusion of the fairy flying over

1:05:31.840 --> 1:05:35.440
<v Speaker 1>the audience. And you must weigh no more than one

1:05:35.560 --> 1:05:39.840
<v Speaker 1>hundred five pounds because you're in a harness on a

1:05:39.960 --> 1:05:43.080
<v Speaker 1>zip line, and that harness is rated up to a

1:05:43.160 --> 1:05:46.520
<v Speaker 1>certain weight, which is well over a hundred five pounds.

1:05:46.560 --> 1:05:50.200
<v Speaker 1>Clearly you wouldn't rate it at the in the cap weight,

1:05:51.040 --> 1:05:54.120
<v Speaker 1>but that's why one of the reasons why I'm sure

1:05:54.600 --> 1:05:57.520
<v Speaker 1>they have this strict weight limit of a hundred five pounds.

1:05:58.560 --> 1:06:02.000
<v Speaker 1>Tinker Bell sometimes is played by a guy. Occasionally there's

1:06:02.240 --> 1:06:06.320
<v Speaker 1>a fellow who will have to step in as tinker

1:06:06.320 --> 1:06:10.440
<v Speaker 1>Bell if the actress typically playing tinker Bell is unavailable

1:06:10.440 --> 1:06:14.960
<v Speaker 1>for whatever reason. At the end of the flight, you

1:06:15.000 --> 1:06:18.280
<v Speaker 1>are greeted if you are tinker Bell, to the warm

1:06:18.320 --> 1:06:21.440
<v Speaker 1>embrace of a net being held by a couple of

1:06:21.480 --> 1:06:25.520
<v Speaker 1>technicians or cast members. Everyone who works at Disney is

1:06:25.560 --> 1:06:29.720
<v Speaker 1>a cast member, so the net will slow you down,

1:06:29.800 --> 1:06:33.760
<v Speaker 1>and you end your last little bit of your journey

1:06:34.680 --> 1:06:38.280
<v Speaker 1>against a gymnastic matt that's on its side, so it's

1:06:38.360 --> 1:06:41.560
<v Speaker 1>up against the edge of the or wall. Of the

1:06:41.600 --> 1:06:44.520
<v Speaker 1>tomorrow Land terraces, so that way, if the net doesn't

1:06:44.520 --> 1:06:46.680
<v Speaker 1>slow you down enough, you don't just go crashing into

1:06:46.760 --> 1:06:50.680
<v Speaker 1>a wall. Um all right, So I'm done ruining the magic.

1:06:50.960 --> 1:06:55.440
<v Speaker 1>That's it. So that's kind of the lowdown on Disney's

1:06:55.480 --> 1:06:58.360
<v Speaker 1>Happily ever After. It is a great show if you

1:06:58.480 --> 1:07:01.480
<v Speaker 1>have not seen it. There are videos on YouTube you

1:07:01.480 --> 1:07:04.760
<v Speaker 1>can watch Happily ever After, and it's about an eighteen

1:07:04.800 --> 1:07:09.360
<v Speaker 1>minute long display, so it's it's a doozy um. The

1:07:09.400 --> 1:07:12.200
<v Speaker 1>technology is really impressive. I will say that I've watched

1:07:12.240 --> 1:07:14.640
<v Speaker 1>the videos, it is way more impressive to see in person.

1:07:15.600 --> 1:07:20.200
<v Speaker 1>So if you're already going to the Magic Kingdom, and

1:07:20.360 --> 1:07:23.080
<v Speaker 1>if Happily ever After is scheduled to happen the night

1:07:23.120 --> 1:07:26.520
<v Speaker 1>you are there, I highly recommend checking it out. I mean,

1:07:26.640 --> 1:07:28.520
<v Speaker 1>you could go and ride more rides. There are gonna

1:07:28.520 --> 1:07:30.360
<v Speaker 1>be a whole lot of people watching the show rather

1:07:30.400 --> 1:07:34.000
<v Speaker 1>than doing that. But if you if you like Disney

1:07:34.040 --> 1:07:39.520
<v Speaker 1>films in particular, and you really like fireworks, displays and uh,

1:07:39.560 --> 1:07:43.120
<v Speaker 1>you know, innovative technology, I highly recommend it. It It is

1:07:43.120 --> 1:07:46.560
<v Speaker 1>is a really well done show. It's not as narratively

1:07:47.160 --> 1:07:50.560
<v Speaker 1>cohesive as I typically like. I like stories that have

1:07:50.800 --> 1:07:53.560
<v Speaker 1>more to them than that. But it is a lot

1:07:53.600 --> 1:07:56.560
<v Speaker 1>of fun to watch the different vignettes, and there's certain

1:07:56.600 --> 1:08:00.800
<v Speaker 1>segments that just find breathtaking. I love Meredis segment. In

1:08:00.880 --> 1:08:04.000
<v Speaker 1>that section, the entire castle appears to be covered in

1:08:04.160 --> 1:08:07.880
<v Speaker 1>ivy and it's just really vibrant. And I also love

1:08:07.960 --> 1:08:11.720
<v Speaker 1>Molana's section. And uh, there's a little bit at the

1:08:11.880 --> 1:08:16.680
<v Speaker 1>end with with Simba's dad and with the song go

1:08:16.880 --> 1:08:21.759
<v Speaker 1>the Distance from Hercules. This is particularly moving. Got dusty

1:08:21.800 --> 1:08:26.120
<v Speaker 1>and ear. Okay, that's enough of that. I'm glad I

1:08:26.160 --> 1:08:28.320
<v Speaker 1>had a chance to actually talk about this because again

1:08:28.360 --> 1:08:31.120
<v Speaker 1>I had been planning it since before I took my trip.

1:08:31.680 --> 1:08:33.920
<v Speaker 1>And uh, while I didn't get a chance to talk

1:08:33.920 --> 1:08:37.240
<v Speaker 1>to any imagineers, and I hope one day to correct that.

1:08:37.360 --> 1:08:39.880
<v Speaker 1>I would love to chat with some imagineers about what

1:08:39.920 --> 1:08:43.800
<v Speaker 1>they do, because I think it's incredible the work that

1:08:43.880 --> 1:08:48.479
<v Speaker 1>goes into creating these different Disney attractions. It's it's phenomenal stuff.

1:08:49.320 --> 1:08:52.720
<v Speaker 1>I am very thankful that Disney was kind enough to

1:08:52.760 --> 1:08:57.040
<v Speaker 1>extend to me a a pass for the day. Um

1:08:57.120 --> 1:08:58.960
<v Speaker 1>I stayed for more than a day, so I bought

1:08:59.000 --> 1:09:02.240
<v Speaker 1>all the other days, but one of those days was free.

1:09:02.360 --> 1:09:06.720
<v Speaker 1>So just full disclosure again you guys. That wraps up

1:09:06.840 --> 1:09:09.720
<v Speaker 1>this episode of tech Stuff. If you have suggestions for

1:09:09.800 --> 1:09:13.240
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1:09:44.720 --> 1:09:47.720
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1:09:47.800 --> 1:09:50.200
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