Hearted Youtube comments on Technology Connections (@TechnologyConnections) channel.
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cracks knuckles Chemistry expert and former detergent chemist here, chiming in. Modulo some small semantic differences, you're 100% spot on. Functionally, there is zero difference in the formulations. Every powder dish detergent on the market comprises the same functional components, though the exact chemicals selected may vary. It's always some combination of detergent, anti-deposition agent, water conditioners, strong base, oxidizers, enzymes, buffers, "processing aids", and what I call "foo foo juice" - colors and fragrances.
The Purpose section is annoyingly vague so I'm going to break down each of the categories and give their examples. These aren't strict categories, in fact many of these chemicals perform double or even triple duty.
Detergent/Surfactant - Allows water to bind grease molecules by virtue of having two halves, hydrophilic (water loving) and hydrophobic (water hating or grease-binding). These can be basic/anionic (negative charge): sodium lauryl sulfate (SLS); neutral: isotridecanol ethoxylated, PEG C10. Acidic/cationic (positive) are uncommon in dish detergents but you may see them in rinse aids. Bonus fact: rinse aids are typically mild acids ( pH about 3) which helps dissolve calcium deposits and soap scum. Because of this, they have to use neutral or cationic surfactants.
Anti-deposition agent - Once you dissolve the grease, you don't want it to deposit back onto the dishes. Cascade calls this "boosts shine" but it's basically film prevention. The line between detergent and anti-deposition agent is blurry, and many chemicals can fulfill both roles. Acrylic copolymers are the best example here, but the PEGs (polyethylene glycol) also help in this regard, as do any neutral detergents. They tend to be weak detergents on their own, but their big advantage is they don't create soap scum (calcium fatty acids, more on that later).
Water conditioners and chelators - Hard water means calcium, iron, and other large positive ions in solution. Calcium reacts with anionic surfactants (aka soaps) to form insoluble scum. This both reduces cleaning power and makes extra goop that needs to be cleaned! Water conditioners exchange sodium for calcium, binding it so it doesn't form scum. This category includes polycarboxylates, citric acid, sodium phosphate (discontinued), EDTA, and our friend sodium acrylate/maleic/carboxylate copolymers again (yes it doubles as both anti-deposition and water conditioner. Synergy!).
Strong base - Anionic detergents work best at a high pH (alkaline/basic). Alkali also saponifies grease, giving it a hydrophilic group and turning it into soap! Lye (sodium hydroxide), bleach (sodium hypochlorite), sodium percarbonate aka sodium carbonate peroxide aka "OxyClean", sodium silicate, and sodium phosphate are all strong bases. See all that sodium? They also help condition water as well!
Oxidizers - These react with staining molecules such as tomato sauce, berries, tea, and coffee, as well as natural polymers like proteins (cheese) to break them apart. Sodium hypochlorite and percarbonate are oxidisers. "Transition metal catalyst" has a similar role, except instead of being consumed, it facilitates the bleaching action.
Enzymes - Starch and protein when heated and hydrated form a natural glue of sorts. Anyone dealing with stuck-on cheese or rice knows what I'm talking about. Enzymes are natural molecules that break these polymers down so they unstick from surfaces. Amylase specifically digests amylose (starch) and Subtilisin (protease) breaks down protein. Pro-tip: any time in biology you see whatever-ase, that breaks down _whatever_.
Buffers - prevent the base from being too basic and etching glassware. I think this is what zinc carbonate is doing, but I'm not 100% sure.
Processing Aid - Any time you see "processing aid" or "enables liquid processing" - that just means it's an inert bulk transport, because either the active ingredient is too viscous, or cakes easily, or whatever. Glycerin and Dipropylene glycol act as liquid solvents in those colorful liquid sections of the gel packs, since too much water would dissolve the pack. Sodium sulfate is just an inert powder.
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Here’s your friendly German with two mildly interesting things about that Adonal bottle. First, most of the label is translated, except for the large “Schärfesteigernder Filmentwickler”, which simply means “sharpness-increasing film developer”. In case you were wondering. Second, at the top the English translation says “Produced according to the latest Rodinal formula”, while the German version below it says “Nach der zuletzt bekannten Rodinal Rezeptur hergestellt”, which more literally translates to “Produced according to the last known[!] Rodinal formulation”. I’m sure there’s a fascinating story behind this.
Oh, and in case you’re really interested in Rodinal now, check out the German Wikipedia’s article about it, it’s way more detailed than the English one (yet). But in German, of course. Sorry.
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As a person who worked in a G.E. Lamp Plant for over 20 years making the actual bulbs for the FlashCube, SuperCube, HiPower, MagiCube, & FlipFlash (names such as GE, Osram, Wootan, & several store brands); your assessment of the parts (glass bulb, glass beads, zirconium/magnesium foil, tungsten filament, oxygen, primer, etc...) were spot-on. The most dangerous part of the process was the use of the primer for MagiCube, which the post was dipped into. (A safer & different primer was used to dip the tungsten filament & electrical posts for the other flash bulbs. That primer wasn't as pressure sensitive.) The cup that held the primer was changed every 3-4 hours. As long as the primer wasn't dried out on the inside of the dip cup; which happens as the level in the cup drops, it was safe. BUT dried primer was extremely volatile & accidents have happened. As a side note... back in the heyday of chemical flash; our plant was just one of several that ran over 100 machines; each machine producing 2000-2500 bulbs/hour, 24 hours a day, 6+ days a week, for about 20 years. THAT'S A LOT OF BULBS!!
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Numitron backing is grey because RCA used what they had in spades, the sheet steel with aluminium coat that was used to make anodes and internal structures for thermionic tubes, and this was proven to survive the glass sealing and gettering operations. Thus they used the standard tools they had in the tube plant, the flat anode sheet, slightly formed to be a stiff backing, and punched out the holes needed to hold the filaments. Then used the technology they had to make glass beads with wire in them, and sealed those into the holes, making the filament supports, and then simply used a flat section of that steel wire that was bent over to hold a length of thoriated filament wire, also a common item in the tube shop. Length and diameter calculated for the brightness needed at the applied voltage, and then simply placed in location, the ends folded over, then spot welded together to trap the tungsten wire under slight tension. Then at the rear spot welds to a lead frame attached to a standard off the shelf 9 pin glass base, and you have the complete unit. Glass top attached, and then evacuated with the standard roughing pump, and as a bonus because of the low voltage, and no need to maintain an ultra low vacuum, the roughing pump and the heat sealing of the tube is all that is needed to operate, no need for a getter to be installed, and no need to flash it, just a RF heating during sealing to get a high vacuum, then seal.
Incidentally there were small versions made, the same size as your common 7 segment LED displays, and they were very popular, as they ran off 5V, and interfaced with logic. They worked best using CD4049/50 CMOS level shifting buffers, as those would source or sink 50mA no problem. Using a buffer/inverter per lamp, and a BCD decoder or counter per digit allowed those displays to be bright, and as bonus you could also use the blanking input on the drivers to use PWM to dim them.
Project to replace those displays with LED ones worked, just that it really did not drop display current use, it was still 5A of current at 5V, though it was good in that at least you had a display that now was available, using a tiny HP 7 segment red display. Do one conversion and you had 16 numitron displays to use to fix others, so we only converted 3 boards to the LED version. Biggest problem was the resistor value selected was too low, so the LED displays were running way too bright, so had to be dimmed. Rather than destroying the cordwood board made to fit them, I simply used 2 6A silicon diodes in the common line, to drop the voltage seen by the LED displays down from 5V to 3V8, which made them dim to exactly match the old displays. Those 2 diodes were hard to fit in the limited space left on the display board. Users liked the new crisp displays, the bright version got complaints that it was so bright it was unreadable at night with dark adapted sight, and it lit up the entire cockpit. Display dimming had to match the other display, and that board used unijunction transistors, and had a disconcerting habit of the power transistor unsoldering itself from the wire leads, it ran so hot. Base lead unsolders itself, transistor is still conducting, runs hotter and lamp blows. Select spare lamp and it also blows, unless enough time for transistor to cool below 200C junction temperature. Would have been nice to have had some of the more modern mosfets that can handle 50A, but not at the age of that design.
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RE: chroma dots @6:27.
Your speculation is correct. The chroma signal is encoded by "wiggling" (modulating) the Y signal within that range.
I find it helps to understand this by looking at the signal from the perspective of the TV doing the decoding.
A black and white TV has two radio demodulators, one that locks onto the sound sub-carrier to demodulate the sound (which is FM encoded) and one to lock onto the video sub-carrier and demodulate the video signal (aka, Luminance or Y), which is actually AM encoded. These two radio demodulators are essentially independent, apart from the fact they are tuned to two signals that are right next to each other on the dial.
Early TVs are actually really simple, electronically. All they do is take the output of the video demodulator (which is a nice voltage between 0v and 1v), detect the horizontal and vertical sync pulses (which are used to lock the frequency/phase of the two flyback transformers controlling the CRTs vertical and horizontal scanning) and then send the remaining signal directly to the CRT's electron gun to control the brightness of the electron beam at that position. 0.33v Represents black, 1v represents white, while 0v represents a sync pulse.
The most logical way of adding color to such a system would be to add a 3rd radio demodulator, one which picked up 3rd sub-carrier and decoded a chroma signal. But this would make the TV signal take up more bandwidth, and the FCC had already allocated 6Mhz channels. Additionally, you would have to replace all the black and white video equipment in the recording studios and transmitters to carry and transmit this extra signal.
So instead, the two demodulators are left untouched and the chroma signal is actually modulated on top of the Y (aka Luminance, Black&White) signal to create a combined Luminance/Chrominance signal (which replaces the Y signal and decodes fine as a Y signal on old Black and White TVs). Color TVs actually have to demodulate the demodulated the combined Y/C (Luminance/Chrominance) signal a second time to extract the chroma I and Q signals.
The chroma signal is encoded in the high frequency of this combined Y/C signal. A black line on the TV would have a Y/C with a constant 0.33v across the entire line. A white line would have a Y/C signal of a constant 1v across the entire line. For a solid colored line (say bright-green) the Y/C signal will fluctuate between 0.93v and 1.07v at a rate of 3.58 mhz. The phase difference between those fluctuations and the 3.58 Mhz color burst signal at the start of the line encode the hue of the color, with 225° representing green (178° for Yellow, 100° for Red, 0° for blue). The height of the fluctuations represent the saturation of the color (±0.07v represent 100% saturation and ±0v would be 0% saturation, or grayscale). The average height of the Y/C signal of course represents the luminance.
For complex lines with multiple colors, the fluctuations in Y/C won't be a constant 3.58 mhz, as it will speed up and slow down rapidly to change into the correct phase for the color at each location on the screen.
To decode this complex signal, first Color TVs have to split the Y/C signal by frequency. Early Color TVs would have used a Notch Filter, with a range of frequencies around 3.58Mhz (say 2.8Mhz to 4.1Mhz) being extracted as the chromance, while the rest (say 0 to 2.8Mhz and then 4.1Mhz to ~5.5Mhz) being interpreted as Luminance.
Frequency in a luminance signal is the rate of change of brightness across the line. A solid color across the line would have a frequency of 0hz. An image with vertical b&w bars across the screen, each about 1/10th of the screen wide, would have a frequency of 0.2 Mhz. With vertical bars 1/100th of the screen wide the frequency would be 1.9 Mhz. If you had vertical bars which were were about 1/188th of the screen wide, a color TV would actually interpret it as color infomation and show a solid color. (A number of 8bit computers like the Apple II actually took advantage of this to create color). But as the width of of the vertical bars got thinner and the frequency increased over 4mhz, they would become visible as black and white bars again.
Modern TVs use Comb Filters that use the infomation from previous and following lines to extract a much better Luminance signal that preserves most detail even around 3.58mhz. See this document for more details: https://www.intersil.com/content/dam/Intersil/documents/an96/an9644.pdf
So what are chroma dots? They are simply the actual chroma infomation which has been modulated right in the middle of the luminance signal. B&W TVs that were manufactured after NTSC was standardized are meant to the same notch filter that color TVs use, and simply discard the infomation with that frequency.
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The first Sony Handycam in 1985 repeated the same mistakes, except even worse. It was also a record-only device, and instead of a through-the-lens viewfinder, its viewfinder was simply a hole you look through, so it gave you no indication of focusing. And Video8 was a new format at the time, so almost no one had an existing VCR for it yet, unlike Beta's eight-year head-start before the BetaMovie arrived.
In fact, it's quite remarkable that Video8 didn't become yet another failed format, but I guess after losing the biggest format war in history, Sony was stubborn and unwilling to concede defeat again, so they kept on making Video8, Hi8, and Digital8 camcorders (obviously with much improved functionality over the years) all the way until the very end of the analog video era in 2007.
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When talking about modal dispersion, and TIR, you missed two points.
One, is that if there are any bends in the cable, TIR applies anyway; that's the only reason that you can get light on the other end, even if your cable is coiled several times over.
The other, is that almost all modal dispersion is almost completely remedied by using lasers in place of LEDs, alongside using higher quality fiber strands with less imperfections. As well as using single mode fiber cabling in multi-mode systems.You did mention that lasers make fiber faster, but you didn't provide the why, even though you explained the how beforehand.
Another thing to consider, is that fiber doesn't handle kinking very well. You can staple a CAT5e cable to a wall, and crush it into a kink, or bend it 180° to where unbending gives it a permanent bulge, and it will still have a chance of functioning, even if not ideal. But Fiber will break instantly, immediately, and almost irreparably the moment it gets in any of these tough situations, unless the sleeving is reinforced. And sleeve reinforcements only help with some of the problems.
It's probably impossible to fully cover every aspect properly, without making a heavily edited three hour document with multiple takes for each section.
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A level 1 charger at my house is WAY more than my needs for commuting to and from work. I don’t understand why people don’t get this. Yes, it’s slow, but the 120v EVSE that comes with most EVs is WAY more than most people’s needs.
I get something like 7 miles per hour of level 1 charge, that’s really significant. With my base model 2013 leaf and it’s 24kwh battery (and a 1.4kw EVSE), I charge 6% of my battery per hour just with a standard outdoor wall outlet at my apartment with a 100’ extension cord (you need a 14 gauge 3 conductor cord at 100’, this is extremely important).
Yeah, it’s slow, but I can charge literally 20 hours a day, and at work they don’t even charge me to plug in!
I always get in my car at 100% charge. Every time. This isn’t tough to do.
Also, side note, your video on level 1 charging convinced me to buy this car. Thank you. I couldn’t be happier. $8500 well spent.
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I have never owned a dishwasher, either in the states or in Europe, where I did not have to wash the dishes before putting them in the washer. All those things are good for is rinsing and sterilizing.
EDIT: Ok. I decided to try out your advice, Technology Connections. I put my dirty dishes in the washer, not even scraping them. Ran the hot water until it came up, and put a pack in the pre-wash and the wash receptacles. My washer only has a bottom sprayer, so I was not full of hope. But, one hour later, I open my machine, and Voila! Everything was spanking clean! Wow! This will save me a lot of labor and time, which is important as a single father of three. Can't thank you enough!
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Great video! A few things that might be of interest:
- Magnetic sound on film was more of a feature of cinema sound than you might have realised. When CinemaScope premiered in 1953, the wide image was only half of the selling point - the other was the 4 channel high fidelity soundtrack, which was achieved by putting 4 magnetic strips on the edges of the film.
This 4 channel layout (Left, Centre, Right, Surround) is what Dolby would emulate when they came up with their Dolby A encoding system utilising the optical soundtrack. (btw Stereo sound for cinema has always meant at least 4 channels, not 2 as is the case in the home).
The original Cinemascope was also a wider ratio (2.55:1) than what became the 'Scope standard (1.35:1) because it originally widened the image into the previous optical soundtrack area.
This "Mag-strip" was also utilised for the 70mm format, with 6 channels recorded onto the edges of the film. 70mm never had an optical soundtrack. Even once filming natively for 70mm became a rarity, big films were still often optically 'blown up' onto 70mm release prints pretty much purely to take advantage of the better soundtrack. 5.1 in the layout we know it today was already in cinemas since 1979 thanks to 6-track mag strip 70mm when Apocalypse Now premiered. Also, it sounds awesome.
- When doing traditional double-projector presentation, projectionists would often put some splicing tape on the edge of the film in the lead up to a reel change - the clacking sound the tape would make as it passed through the rollers / gate would serve as an audible warning that the reel was soon to end.
- SDDS utilised ATRAC encoding - the same compression format Sony had invented for the MiniDisc! Also, whilst it was 8 channels in its premiere format (which added two more channels behind the screen - the same as the original Todd AO 70mm Format), SDDS also had a standard 5.1 mode. For many years prints with all 3 soundtrack formats like the trailer you have were very common. What was less common was studios opting to upmix to the full 8 channel format. The advantage of having those extra 2 screen channels is again being utilised by Dolby Atmos.
- DTS didn't ever utilise higher capacity DVD Roms. However part of the original design of the system had allowed the timecode to also be used to trigger in-theatre effects. And from memory there was also provisions in the DTS bitstream itself to accomodate triggering other than the soundtrack. For this reason, DTS did get some limited use in special venue scenarios. It was also the only one of the 3 digital sound formats that had a 70mm version. Which was easy because the SMPTE timecode was just added to a 70mm print.
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I'm a young dude in my 20's, and frankly, I have no idea how my peers are ok with the lack of control we have with our technology.
I don't like "black boxes", which is what I call any technology which I don't have even a passing understanding of, whether it be an algorithm for youtube videos, or the ABS brakes in my car. The only difference between those two, is that I can learn what makes the ABS brakes work. I can illuminate the black box, and then I will begin to trust it.
Sure, I don't know exactly how the architecture of my PC's CPU is laid out, but I know enough about PC's to be able to both troubleshoot it if need be, and control what it does or doesn't do.
I suppose the point I'm trying to get at, is that it's my firm belief that technology should be subservient to the user. It should not perform operations not called for, and too many things these days do just that, with no way for the user to peer in and control it.
I don't like it when my phone tries to automatically restart or update without my permission.
I don't like it when cars drive without driver input.
I don't like it when phone apps start sharing information without my knowledge.
I don't like it when the GPS tells me to take a different route.
Perhaps I'm a contrarian, a hipster, a technophobe, whatever, but gosh darn it, our species has the most advanced brain known to us, and we're trying to use it as LITTLE as possible?! Outsource our thinking?! Return to monke?!
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The spinny things on top of a helicopter are not really "fans". They don't work by "pushing" air down, like these ceiling fans do. In fact, you can stand under a spinning helicopter rotor and you won't really feel any downdraft. (You will only start to see strong air currents farther away from the end of the rotor blades).
Rotor blades are what's called an airfoil. Their shape is formed so that the air has to travel a farther distance over the top of the airfoil than at the bottom of the airfoil. When you look at an airfoil crosssection, you'll see a kind of 'bulge'.
The fact that the air flowing over the top of the airfoil has to travel farther than the air at the bottom of the airfoil leeds to a drop in air pressure on the top of the airfoil (thanks, Bernoulli!), which then created an upwards force, which we call lift.
On an airplane, lift is simply generated by the airplane having forward momentum. But on a helicopter, you essentially just spin the airfoils real fast. Boom, lift!
And yes, airplane propellers also work with airfoils.
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YouTube DEFINETELY needs to add Audio Descriptions for viewers who are legally blind or visually impaired. James Rath (a YouTuber who is legally blind) started a campaign a couple of years ago called #AudioDescribeYT. Everyone, please bring this to YouTube's attention as much as possible because I would love to see a difference made to make YouTube more accessible for the blind.
Also, no offense to Alec but there are a couple of things in this video that annoy me; one is the "There's no place like 4K! There's no place like 4K!" part. While it is a clever line, it truly annoys me because I HATE The Wizard of Oz. In addition, people who are deaf or hard of hearing (I'm not one of them) much prefer the terms "D/deaf" and/or "hard of hearing" instead of "hearing impaired." Look at the subtitle options on Pixar Blu-rays and DVDs (as well as Wiggles DVDs--yes, the Wiggles) and you'll notice that they note the subtitles as "English for the Hearing Impaired." That should be changed to "English SDH" or "English for the Deaf & Hard of Hearing." I'm also teaching myself sign language (mainly ASL or American Sign Language, since I'm Canadian and there is no official CSL as far as I'm aware) so if I ever get a chance to communicate with a person who is deaf or hard of hearing, I'll be happy to talk--I mean sign, with them. The part of this long paragraph about subtitles isn't my opinion, btw, it's based on some things that I've heard from people who are deaf or hard of hearing in other YouTube videos.
And Alec (if you're reading this),
Please feel free to pin and love this comment just to bring it to everyone's attention so they can yell at YouTube in any way possible about this problem that is unfortunately still a thing on this site. I swear to God, I'm not just asking for you to pin and/or love this comment just because I made it on the same day that the video was posted and/or that I'm a big fan of your channel. However, it truly baffles me about how little YouTube cares about this. Look at iTunes and Netflix. They've already implemented Audio Description (or sometimes called DVS or Descriptive Video Service) features into their players, as well. So come on, guys. Let's get with the program. (And yes, I am a big fan of this channel and remember some of Alec's awesome catchphrases from one or more of this channel's previous videos). And I remember from a previous video that I would also LOVE to see a video going more into the follies of the DVD and Blu-ray discs, please. It would just be my dream.
And, as always, thanks for watching.
Sincerely,
William
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I am SCREAMING at anyone who will listen, well, just anyone, that ALL NEW CONSTRCTION (retail, commercial, residential, industrial, etc) must have accommodations for EV charging. Space in the panel, conduit run (tubes for wires), lot space for BEV's, mounting posts if needed, and transmission lines all in place. It will be far easier to install and maintain than a digging holes and ripping walls to install after the build.
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Yes, that's what google says a pixel is, and it's an incomplete definition. They key point of what a pixel is has to do with being individually manipulated. As demonstrated with the shadow mask, the electron gun does not give a lick whether it actually falls on a phospher or not.
That is a huge difference. I can turn on pixel 300,280 and give it an RGB intensity of 2A7033 on a digital display. It will happily do so. The best an CRT display can do is vary the intensity of it's beam on line 280, after a certain period of time past the h blank and hope the phosphors that get lit are visible through the mask.
That's why old school consoles are in such lockstep with the crt's rate of refresh. The console knows what it put out the field previously, and some can know whats in the next field, but it could only guess what is sitting under the beam and being lit by use of registers that count what line the display is currently drawing and another counter that tracks to the hblank. From there it could "address" individual parts of the screen and know what should be displayed there. I say should because the console couldn't actually know what's there, it just knows what it is attempting to paint there.
This is most telling in the atari where bits of the play field aren't displayed because the cpu had to take over to run the program code during the h blank, for a brief moment the tv had no information as to what to do with the electron gun and thus didn't fire until the display routine took over.
In modern displays, I can look at the digital output and know the exact location and intensity of every dot on the screen. They are pixels, and can be directly manipulated.
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Terrific video as always, just wanted to add a few insights which might be helpful.
First off, I'd love to see you discussing telecines in a bit more detail, especially as that is something that was used for longer than people might expect: even into the late 80s/early 90s, the BBC was using their own film prints to show episodes of the original Star Trek and transmitting those live onto television. This also meant that those airings included the same censorship that was applied when first broadcast in the 60s. Of course, the problem with this is most apparent with the infamous screening of one episode where the film literally came apart in the projector at an edit point (the BBC would often remove the pre-title sequence and re-edit to after the show's title sequence). This telecine process also resulted in a number of films having to be presented with live pan-and-scanning on the part of the operators, which... yeah, you can imagine how badly that went, and you'd have two noses chatting in front of a wall.
The comment about 16mm only needing to be done at 720p isn't strictly true: a lot of low-budget horror films were made in that format, and companies like Arrow have done incredible restorations at 4K and 2K resolutions, even if they obviously don't have quite the same level of detail as those shot on 35mm film.
The thing that holds back shows made on film being restored in HD is that it is still an expensive process, which is only just now becoming cost-effective for second-run channels and streaming services hungry for HD - the main outlet for these was Blu-ray for many years, but people don't buy TV shows on Blu-ray, and that was why Next Generation was restored when others weren't - not enough people bought them. But more and more shows have remastered, largely from a company called Illuminate Hollywood, who have developed a partially-automated computer process that matches the original film negatives to their video-edited counterparts. They were the company that did remasters of shows like Baywatch, The X-Files, Pee-Wee's Playhouse, and more. But even so, it still requires human consideration - but sometimes not enough, as shows do have things like missing effects, particularly day-to-night filters. Buffy the Vampire Slayer is the worst example, full of careless mistakes and gaffs as part of the HD remaster including wrong takes, framing, and so forth. But even so, this is still very expensive to do, and has to be done on properties that would turn profit from such a thing.
Sorry for the long comment, got a lot of info.
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How The pump directs water to top and bottom:
Granted I didn't read every one of the currently 11,819 comments but I can't believe you didn't actually do any research to figure out how the machine switches between the top and bottom wash arms. There's a small ball just past the impeller that directs the water either up or down. When the washer first starts its cycle, the ball is in a neutral position, the pressure of the wash water pushes that ball against the outlet that leads to the hose going to the top spray arm. its not a perfect seal so that tube does get some water pushed up, but not enough pressure to do any good.
The motor will shut off for a split second, when it does that, the water rushes back down, forcing the ball to the outlet that runs the bottom spray arm. The pump is timed just right to activate while this ball is in that position and its pressure holds it there now keeping the lower arm turned off and allowing the water to flow to the top arm. By varying the off time of the pump, the machine can constantly switch back and forth between the upper and lower arms reducing the need for more powerful motors and less water. To run both arms at the same time would require considerably more water, more water pressure, a bigger pump and overall more energy and be less efficient and louder.
Interesting video over all though.
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