Hearted Youtube comments on Technology Connections (@TechnologyConnections) channel.
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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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