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2 episodes with cmy
2 episodes with cmy
4 episodes with cmy
2 episodes with cmy
2 episodes with cmy
4 episodes with cmy
Send us a textIn this episode of Locker Room Talk & Shots, I dive into the often misunderstood yet powerful emotion of jealousy in relationships with guest Dr. Joli Hamilton, a psychologist and expert in relationships and jealousy. Together, we explore how jealousy can be transformed from a relationship challenge into a source of arousal, intimacy, and connection. Dr. Hamilton shares insights on embracing jealousy, using it to deepen trust, and even incorporating it into sexy and kinky dynamics that amplify desire. Whether you're curious about navigating non-monogamy or looking for ways to turn jealousy into a tool for passion, this conversation offers actionable advice and fascinating perspectives on getting off on jealousy.MOREYou can find my spicy site here. https://talksexwithannette.com/talk-sex-with-me/My spicy OF handle is @talksexwithannetteMy free spicy handle is @annettetalkssexSubscribe to my e-newsletter: https://she-explores-life.ck.page/e9760c390cAsk a question, Leave a Comment: https://www.speakpipe.cMy substack: https://talksexwithannette.substack.com/Check out my Diaries on OF. Enjoy exclusive access to intimacy video how-tos, guided self-pleasure meditations, and more!https://talksexwithannette.com/talk-sex-with-me/ Use code EXPLORES15 for 15% off all Womanizer Products at Womanizer.com. Experience the Pheromone Advantage at 15% off with my code LRT15Use code LRT15 at Eyeoflove.com And you'll get 15% off pheromone powered perfumes, colognes, and more. To find out more or book a session with me visit:https://talksexwithannette.com/home/sex-relationship-and-intimacy-coaching/Email: annette@talksexwithannette.comSupport the show Watch on YouTube: https://www.youtube.com/@annettebenedetti Connect with usWe are on all the socials: TikTok: @ LockerRoomTalkPodcast LRT's Insta: @Lockerroomtalkandshots Annette's Insta: @BeingBenedetti SEL Inst: @SheExplores_Life LRT's FB: @LockerRoomTalkandShots SEL FB: @ SheExploresLife Annette's YouTube: Annette Benedetti Check Out More Sexy Content:She Explores Life Website: sheexploreslife.comCheers!
Episode 14 - SUPERSTAR: m00m Theatre on the Air Proudly Presents: Season 1 / Episode 14, Chapter 14, “Superstar” (Season Finale)
Have you struggled with creating color palettes or even just deciding what colors go well together? Today's chat is a real eye-opener, breaking through the restrictive, although not wholly useless, traditional color schemes to unveil the simple reason why some colors go together better than others and how to unerringly identify what colors work well in combination and why others don't.Pull out a CMY color wheel, if you have one, so you can visually play along or bring this one up on your screen: https://tenthmusearts.com/product/cmywheel/I promise, will never look at color combinations the same way again! Leave a COMMENT: https://thesagearts.com/episodes/-CONTACT SAGEEmail Sage via the contact form or send a voice mail (use the red button, bottom right) on the show website: https://thesagearts.com/contact/And join Sage on social media:Instagram https://www.instagram.com/thesageartspodcast/Facebook https://www.facebook.com/TheSageArtsPodcast-GET WEEKLY PODCAST NOTICES & BONUS MATERIAL:https://sagebrayvaron.com/the-sage-arts-podcast/-JOIN THE COMMUNITY:The Sage Arts Share Space on Facebook-SUPPORT THIS PODCAST· Buy me a coffee!· Give back with PayPal· Buy a STICKER! (Get 2 per order as of this release.)· Buy polymer art books and magazines-CREDITS:Cover design by Sage; Illustration by Olga KostenkoMusic by Playsound
Does color theory and color mixing ever just make you feel stupid? Have you felt like there's a secret to understanding and working with color that just hasn't been revealed to you yet? Well, today, I'm going to demystify the concept of color and give you a very straightforward and rather fun way to understand and work with color that'll show you that, all along, it wasn't you. It was the system! By the end of this podcast, you'll know why color has been difficult to mix and how to mix with control, with pigments or visually. It will take an immense shift in how you think about color but it's like having the fog blown away, the clouds opening, and the sun finally shining. You'll know the secret you suspected was always out there.So before diving in, visit the website at https://thesagearts.com/2024/03/10/ep-053-the-big-color-mix-up/ to get visuals to support all of the amazing information I have for you. Even if you're familiar with the modern color model I'll be talking about, you may discover new things about the history and the science behind it, and leave with an elevated understanding and appreciation of what you're working with. Other Resources mentioned:Get a CMY color wheel or anything else in the Tenth Muse Arts shop for 15% off, promo code: CMY15https://tenthmusearts.com/Promo code is good for all items in cart, even sale items, but not shipping. Cannot be used with other coupons or discounts. Good through June 30th, 2024, or maybe even later. Try it out or write for an updated code.-Leave a COMMENT: https://thesagearts.com/episodes/-CONTACT SAGEEmail: https://thesagearts.com/contact/And join Sage on social media:Instagram https://www.instagram.com/thesageartspodcast/Facebook https://www.facebook.com/TheSageArtsPodcast-GET WEEKLY PODCAST NOTICES & BONUS MATERIAL:https://sagebrayvaron.com/the-sage-arts-podcast/-SUPPORT THIS PODCAST· Buy me a coffee!· Give back with PayPal· Buy polymer art books and magazines-CREDITS:Cover design by Sage; Illustration by Olga KostenkoColor wheel graph by Sage; Background image, Two Women by the Shore, Mediterranean (1896) by Henri-Edmond CrossMusic by Playsound
How do you go from idea to over 1000 pre-orders before you've even started manufacturing?Gabi Saper is the co-founder of the CMY cube, a business that is just over 3 years old but already has over 60,000 customers, is stocked in over 100 retail outlets globally AND has recently partnered with a major global fashion house. This chat is super inspiring and Gabi's story is one that I know so many of you will get some incredible takeaways from with her extensive career in marketing Gabi shares how she tackles omni-channel marketing on her OWN but gets incredible reach, engagement and results just from a couple of clicks. We touch on patents, trademarks, copycats and what it really takes to master Amazon and make sure you stay tuned to the end to find out what her plans are for the next 12 months! You'll hear: ✨ The biggest mistake people make with patents and trademarks ✨ How they went from a prototype to 3 million views and 1000 pre-orders ✨Gabi's Pinterest HACK that takes one minute to do and gets over 2.7 MILLION organic views a month… and SO much moreYou can find CMY Cubes over @cmycubes or visit their website.WANT MORE:Do you want to have your own online brand but have no idea where to start? Check out our latest program Start-Up where we'll guide you every step of the way to test and launch SUCCESSFULLY. Or if you are feeling stuck, lonely, or overwhelmed in your business and want to double your sales in 90 days check out The Academy.Have an idea for an episode or want to connect? Reach out at @shecom.co.
The 16:9 PODCAST IS SPONSORED BY SCREENFEED – DIGITAL SIGNAGE CONTENT When I was at the big ISE pro AV trade show a few weeks ago, I yet again saw several products that were billed as holograms, even though they didn't even loosely fit the technical definition. I am always paying attention to news and social media posts that use that terminology, and once in a while, I come across something that actually does start to align with the true definition of holograms and holography. Like Voxon, which operates out of Adelaide, Australia. Started years ago as a beer drinking and tinkering maker project in a garage, Voxon now has a physical product for sale that generates a visual with depth that viewers can walk around and see from different angles. That product is mainly being bought by universities and R&D teams at companies to play with and learn, but the long game for Voxon is to produce or be the engine for other products that really do live up to the mainstream, Hollywood-driven notion of holograms. I had a great chat with co-founder and CEO Gavin Smith. Subscribe to this podcast: iTunes * Google Play * RSS TRANSCRIPT Gavin, thank you very much for joining me. I know you're up in Scotland, but you are based in Adelaide, Australia, correct? Gavin Smith: Yes, that's right. I'm originally from Scotland. I grew up here, spent the first part of my life in the north of Scotland in Elgin, and then I went to university in Paisley, Glasgow and then eventually, after working for 10 years in the banking sector, I immigrated to Australia and I've lived in Adelaide for the last 14 years. That's quite a climate shift! Gavin Smith: Yes, it is a climate shift. I was speaking to my wife the day before, and it was about 40 degrees there, just now they're having a heat wave, whereas up in Elgin here, it's about 1 degree at the moment. Yeah. I'm thinking, why are you there in February? But on the other hand, why would you wanna be in Adelaide if it's 40 Celsius? Gavin Smith: I quite like the cold. I prefer to be in this temperature right now than 40 degrees, that's for sure. Oh, I just spent 45 minutes with my snow machine clearing 25 centimeters of snow off my driveway, so I wouldn't mind being in Adelaide today. Gavin Smith: Thankfully I can have the best of both worlds. I'm heading back there in about a week and a half time. I was intrigued by your company. I saw a couple of LinkedIn posts with embedded videos and thought that's interesting and I wanted to speak more. So can you tell me what Voxon does? Gavin Smith: Yes, sure. So Voxon is a company that started in about 2012-2013, and it came out of two joint research projects. One was me and my friend Will, based in Adelaide, we had a Thursday Night Lab Session, as we called it, where we went to the shed and we drank a few beers and we tried to invent things. It was a bit weird, science-esque. So this wasn't exactly a lab? Gavin Smith: It was a shed. Let's face it, with a beer fridge and there was a lot of machinery, which was in various stages of repair. We used to get hard rubbish off the right side of the road in Adelaide and take it apart and see what we could make. It was just amateur invention hour. But it was at the start of that project, we built fairly rudimentary machines, CNC machines and we took apart laser scanners and were just inquisitive about how they work from a mechanical point of view. But that then turned into more of a, let's see how far we can push ourselves and learn new stuff, and we've been inspired by sci-fi, Star Wars, all those sorts of things. So we said, let's try and make the sort of 3D display that we'd seen in the movies and those science fiction movies always had the same type of display, and that wasn't a screen, that wasn't a headset. It was always some sort of floating image that you could walk around and you could look out from any direction and the common name for that in popular media was a holographic display. That's what people called it. So that's what we set out to build, and we very quickly figured out that this type of display had to be something to do with projecting images or dots onto some sort of surface that moved and that's because in order to render these little dots that make up the image, inside a space that had physical dimensions, you couldn't make the lights just appear on air. We figured you, you might be able to do some sort of gas or some sort of lasers and things like that. But the way we approached it was starting off by just shaking business cards back and forwards and shining lasers on them, and then that made a line because of persistence of vision. I always think that Neanderthal man invented the volumetric display because they probably waved burning embers around on the sticks at nighttime and drew those patterns in the air and those patterns really only existed because of the persistence of vision and the extrusion of light through a volume of space, and so that's what we decided to do, and we realized if you could draw a line, then if you could control the laser and turn it off and on again, you could draw a dot. And so we did that by cutting the laser beam with a rotating CD that was stuck on a high-speed drill with some sticky tape on it. We chopped the laser into little bits, and by controlling the speed of the laser, we ended up having a single dot, which we referred to as a voxel, that's what we Googled that a dot in space is referred to as a voxel and then we extrapolated from there and say if we're building these images out of little pixels of light or voxels, we need more and more of these dots, and when you do the math you quickly realize that you need millions of dots of light or volume to make an image, and that's difficult. And really that started us down the road of experimenting with video projectors, with lasers with all sorts of things and more and more advanced moving surfaces, and eventually, we made a small helical display using a vacuum-formed helix that we basically made in Will's wife's kitchen when she was out, in the oven, and yeah, we created a very small image of an elephant. You might call it a hologram at the time. That's what we called it at the time, but it was a volumetric swept surface image. The terminology I'll go into a bit more detail, but at the time it was just a hologram to us, and we thought this was amazing and we'd never seen it before. So we put a video of it on YouTube and some guys in America who were unbeknown to us doing the same project got in contact with us and push came to shove, we decided to join forces and form Voxon, and that was back in 2013. So when you created this little elephant, was that like a big ‘aha' moment? Like, “Oh my God, we figured this out”? Gavin Smith: Yes, very much so. We believed at the time, we were the first people to do this. In fact, we weren't. But it was the first time we'd seen this type of image, and it was literally spine tingly amazing, to see a truly three-dimensional object that you could look down from, above, from the sides, from any angle, and it filled a space the same way as you or I fill a space in the physical world, you could measure its length that's spread, that's height and even its volume in gallons or liters. It had a tangible existence in the physical world and not on a screen as other 3D images tend to do. At this point, was this a stationary object? Gavin Smith: Yes, at this point the elephant was stationary and the way I'd created the elephant was we'd figured out, in order to make this elephant, we first needed to have the swept surface moving. So that was the helical screen, which was spinning at about 900 RPM on a very small electric motor and then we had a video projector that we'd managed to get going at about 1,200 frames per second, and in order to create the images, which were cross sections, helical cross sections of an elephant, that was all done offline. So the way I approached that was, we used software called 3D Studio Max, which is a design software, and in that, I modeled a helix and an elephant, and I then intersected the helix with the elephant in the software, rotated the helix digitally, and then I rendered out the resultant cross-section, the boolean operation of one on the other, and this is like taking a drill and drilling a hole into the ground and looking at just a helical core sample. So really it was like a CT scan of this elephant, but just slice at a time, and then I rendered those images to a file. I wrote some software to convert it to a new video format that we had to invent to compress all that data into this high-speed image stream, and then projected that onto the helix. Now, of course, the timing of the images and the rotation of the helix were not in sync, and so much like an old CRT screen where the vertical shift is not dialed in, the elephant would drift out the top of the display and come back in the bottom, and at that point, we knew that this was all about a combination of mathematics, optics, precision, and timing. And to make it interactive, we'd have to write a real-time computer program capable of generating these images in real-time, and that was the next part of the puzzle. This was a work working prototype basically. Gavin Smith: This was a working prototype, yeah. How big was it? Gavin Smith: The helix was very small. It was about five centimeters in diameter, about an inch and a half in diameter, and about an inch tall. But because the projector that we used was a Pico projector at the time, and it was about half the size of a pack of cards. This tiny little thing that we got off the internet from Texas Instruments, and you could focus it at about one centimeter away. So all those little pixels were infinitesimally small, so it was a very high-resolution display and very small, and we realized to get these number of frames per second, we'd have to take advantage of one of the most incredible pieces of engineering ever conceived, in my opinion, and that is the DLP chip from Texas Instruments invented by Larry Hornbeck who passed away several years ago, sadly, and that is an array of mirrors that is grown on a chip using photolithography, the same process as you create microchips, and that array of mirrors contains upwards of a million mirrors arranged in a two-dimensional array, and they can tilt on and off physically about 30,000 times a second. And that's called a MEMS, a microelectromechanical display or in optical terms, a spatial light modulator. So it's something that turns the light on and off at ultra-high speed, and those on-off cycles are what give us our Z-resolution on the display. So that's the slices that make up the display. Wow. So where are you at now with the company now that you've formed it and you've grown it, what's happened since that very first prototype elephant? Gavin Smith: Following that we realized that my programming skills were finite. I'd spent 10 years as a COBOL programmer in banking, and I wasn't up to the task of writing what was needed, which was a low-level graphics engine. This didn't need a mainframe, no, and we couldn't afford a mainframe, even if we wanted one. So we looked up on the internet to see who we could find in terms of programming to join the company, and there were two programmers who stood out. They were referred to as the top two programmers in the world and were John Carmack of Oculus, and then there was Ken Silverman who wrote the graphics engine for Duke Nukem back in the late 90s, so we contacted Ken. John wasn't available so we contacted Ken and demoed to him at Brown University in Rhode Island where he was working subsequently as basically a computer programmer teacher with his dad, who was the Dean of Engineering there, and Ken really liked what we were doing and his understanding of mathematics and foxholes and 3D rendering really made him think this was something he wanted to be involved in. So he joined our company as a founder and chief computer scientist, and he has led the development of the core rendering engine, which we call the Voxon Photonic engine and that's really our core IP, it's the ability to tick any 3D graphics from a third party source, from Unity, from a C program or something else, and turn it into a high speed projected image, which can be processed in such a way as to de-wrap them when they're projected, so they're the right size. We use dithering in real time to make color possible, which is similar to newsprint, CMY newsprint in the newspaper, and this all basically allows us to project images onto any type of moving surface now and do it in real-time and make applications that are much bigger and extensible so we can plug it into other programs or have people write their own programs for our displays. So you've emerged from being an R&D effort in the shed to a real company to having working prototypes and now you're an operating company with the product. Gavin Smith: I like to say we've emerged, but I'd very much say we're still crossing the chasm, so to speak, in terms of the technology landscape. After that initial prototype, we spent many years batting our heads together, trying to work as a team in America, and eventually, Will and I decided to raise some money in Australia and set up the company there. We raised about a million and a half Australian dollars. It was about a million US dollars back in 2017, and that was enough to employ some extra engineers and business development, and an experienced COO and start working on our first product, which was the VX1. Now, the VX1 was a different type of display. We decided not to do the helix back then, and we decided to make a different type of display, and that was a reciprocating display and so we invented a way of moving a screen up and down very efficiently using resonance. It's the same I guess mechanical thing that all objects have, and that is at a certain frequency, they start vibrating if there's a driving vibration force. So the Tacoma Bridge falling down when the wind blew at the right speed was an example of when resonances destroyed something. But an opera singer, breaking a glass at the right pitch is another example of something that vibrates due to a striving force, and so we found out if we built a screen, which was mounted on springs that were of a very particular weight, and the springs were a very particular constant of Young's modulus, we could vibrate that subsystem and the screen would vibrate up and down very efficiently and very fast, fast enough that you couldn't see the screen. So that's what the VX1 became, and onto the back of that screen, we project images and those images from a swept volume, and the VX1 had a volume of about 18x18x8 cm, I think it's about 7 inches square by about 3 inches tall, and we have a single projector mounted inside of that and a computer and a ton of electronics keeps it all in sync, and we built a software API for it and a library of programs that come built into it. So it's off the shelf, you turn it on and it works. And so we built that back in 2017 and over the last five years, it's evolved into something which is very reliable and now, you can't tell them apart when they're manufactured at the start, each one might look different with hot glue and duct tape and all the rest of it. But now we have a complete digital workflow. We outsource most of the manufacture of the parts and we do final assembly software, QC, and packaging up and then ship them out to companies we've sold probably about 120 VX1s globally since 2017, and those have gone out to companies all around the world, like Sony, MIT, Harvard, CMU, Unity, BA Systems, Verizon, Erickson, a lot of companies and they've bought them and they're generally going into explorative use cases. Yeah, I was going to say, it sounds like they're going into labs as opposed to stores. Gavin Smith: Yeah, they're not going into stores. The VX1 is really an evaluation system. It's not prime time ready for running all day long, and the reason for that is it has a vibration component to it, and also the refresh rate of the VX1 is actually variable within the volume. It's hard to explain, but the apparent volume refresh rate is 30 hertz in the middle and 15 hertz at the poles and so it has a little bit of flicker. But in a dark environment, it's really spellbinding and it's actually used in museums. There's some in Germany and a science museum there. It's been used in an art exhibition in Paris, where the art was created by David Levine and MIT Media Lab and it's frequently used in universities and it pops up in all sorts of trade shows, and it's always a talking point and it always gathers a crowd around it, and what we like to say with the volumetric display from a marketing point of view, or really a description of what it is, it's really about creating a digital campfire. That's the kind of user experience. It's gathering people around something intimately in a way that they can still have eye contact and maintain a conversation, and each person has their own perspective and view of the 3D data. The scale you're describing is still quite small and that seems to be What I've experienced with, when I've seen demonstrations at the SID trade show of light field displays. They're all like the size of a soda bottle at most. Is that a function of just the technology, you can't just make these things big? Gavin Smith: You can make them bigger, and we have since that point. The biggest display that we've made so far was one that we just delivered to BA Systems in Frimley near London, and fo that one, we've gone back to the helical display for that particular one, and it's. 46 centimeters in diameter and 8 centimeters deep. So that's about nine times the volume of the VX1. So that's a much bigger display. Now you can, with a swept volume, you can go as big as you'd like within the realms of physics, and what I mean by that is with a rotating display, you can make the display as big as something that can rotate at a speed that's fast enough to make the medium kind of disappear. So if you think about propellers and fans, for example, I've seen pedestal fans that are a meter in diameter running faster than we run our display, and with rotating displays, it's easier to do because you have conservation of momentum and you have inertia which drives the display around, and yet you can rotate the volume as well, have it enclosed so that you're not generating airflow as a fan does. So for example, if you have a propeller-shaped blade encased in a cylindrical enclosure, and that enclosure is spinning, then you don't get the air resistance you get with a fan and the display that we made for BA Systems is ultimately silent and flicker-free because we're running at exactly 30 hertz throughout the volume, which means you don't get flicker, but reciprocating displays, ones that go up and down, scaling them is more of a challenge because you're having to push the air out the way up and down, and as the size of the screen moving up and down gets bigger, if you're projecting from behind, for example, you also have to start considering things like the flexing of the substrate that you're projecting onto. For a front projection display where you project down from the top, we can go bigger because you can make a very lightweight, thicker screen out of exotic materials and those are materials that are very light but very stiff. Things like air gels and foamed metals, and very lightweight honeycomb structure so that way you can go bigger but we may need to move into the realms of using reduced atmospheric displays, partial vacuums, and things like that to reduce the resistance or using materials that are air permeable, such as meshes that move up and down very quickly. And we have done experiments with those and found that we can go a lot bigger. However, with the current projection systems that we're using, you then have to increase the brightness because the brightness of the image is also stretched out through a volume. If you imagine a home cinema projector projecting 3k or 4k lumens, you have to consider that each of the images that it's projecting is pretty much evenly lit in terms of all the pixels that you're projecting. Whereas what we are doing is we are projecting these thousands of images, we're only illuminating the cross-section of every object. So we're maybe only using 1% of the available brightness of the projector at any one time, unless you project a solid slice all the way across, which is really you're building up this construct, which is how I explain it to people as it's very similar to 3D printing. If you look at how a 3D printer works, we are doing exactly the same thing, except we are printing using light instead of PLA and we're printing thousands and thousands of times faster. In digital signage, the thing that always gets people nervous is moving parts, and that directly affects reliability and longevity. How do you address that? Gavin Smith: So the VX1 is a good example of moving parts in a display that isn't yet ready for long-running and when I say long-running, we do have it in exhibitions, but we have recently engineered it in such a way that the parts that may break or will break are the four springs that drive the machine, and those have been engineered to resonate at particular frequency. Now after several hundred million extensions of those springs, they can fatigue and they will fatigue break and that's something that we're working on, and that might be a month or three weeks of running 24/7, and so we've made those springs user replaceable. You can change them in two or three minutes for a fresh set. So it's almost like the mechanical profile of something like an Inkjet printer where you have to change the cartridge every so often. And we find with mechanical stuff, people accept mechanical things in their lives as long as the maintenance/utility ratio is at a level they can accept like bicycles, cars, and things like that. You maintain them as long as their utility outweighs the inconvenience of the repair. Now for projection equipment and things like that in digital signage, there are a lot of two-dimensional technologies that are ultra-reliable on those things, big LED panels, 2D video projectors and just lighting. You can turn them on and leave them and you should be okay. So in our rotating displays and we have another rotating display that we're working on, which we can't discuss just now cuz it's still under NDA, is part of the reason we're going down that rabbit hole or going down that design sort of path because we can make rotating displays, which are very reliable, they're effectively like a record player. You turn it on and it spins around and you could leave it and come back in three weeks and it would still be spinning around, and also a rotating display if properly manufactured within tolerances won't cause the vibration, and the vibration is really the thing that can cause the issues because vibration can lead to fatigue and failure in electrical components, electronic components, small cracks in circuits, and things like that. So from our point of view, we're going towards rotating mechanics because that ultimately allows us to make things which are reliable enough to be used in a wide range of industries including digital signage, advertising, medical imaging and gaming, and many more. In my world, there are all kinds of companies who are saying that they have holographic products of some kind or another. As somebody who's doing something that sounds very much like a hologram or close to what we thought of when we all saw Star Wars, what do you think of those things? Gavin Smith: I don't like to be a troll, first of all on LinkedIn, and so I try to shy away from saying, look, that's rubbish. But what I try to do is politely point out how things work when it's not clear from someone's post how something might work or where it's misleading. Now if you look at the term hologram, it comes from the Greek, hólos and grammḗ, which means the whole message, and in a way, I tend to think of an actual hologram, which is created using lasers, laser interference patterns, and light beams and things like that they don't represent the whole message. Because if you take your credit card out, which is one of the few places you will see a hologram you'll notice that you can't look down on the hologram from above, you can't turn the card over and look at it from the back. They are a limited view of something, and so the term hologram has become, as you say, in popular fiction, and popular media, it's really a catchall for anything that is sci-fi 3D related, right? And it's misused, everyone calls it a hologram, and our staff sometimes call it a hologram. I like to say it's not a hologram because it has a lot more features than a hologram. Holograms have some really interesting properties, one of which is that you can cut a hologram into 10 little pieces and it turns into 10 individual little holograms, and that's a really interesting thing. But holograms from a 3D point of view don't exist in signage anywhere. They simply don't. The terminology used to describe things that you see in signage and popular media is completely misused, and I like to go through them and categorize them into different things. And those are, first of all, volumetric displays of which we're the only company in the world that's making a commercial volumetric display. There's one other company Aerial Burton, who are based in Japan that makes a volumetric display, but it's a very high-tech scientific prototype that uses lasers to explode the air and has very low resolution. And then you've got autostereoscopic 3D displays, and they broadly fit into the categories of lenticular displays which are as you probably know LCD panels, which have got a plastic lens array on them that allows you to see a left and a right image, and those left and right images can give you a stereoscopic view. I would call them stereoscopic displays because they're not 3d. You can't look at them from any direction and they don't physically occupy three-dimensional euclidean space, which is what the real world is, and those types of displays come in different formats. So you get some with just horizontal parallax, which means you can move your head left and right and see a number of distinct views. You've got some that you can move up and down as well, and also get a little bit of vertical parallax as well, and there's probably five or six companies doing those sorts of displays. You've got Looking Glass, Lightfield Labs, Acer, and Sodium, so that area can grow. The physical size of those displays can get bigger, but the bigger they get, the harder it is to move further away because you're pupil distance means it's harder to get a 3D view, and also with any display like that, the 3D image that you see because it's the result of you seeing two independent images with your left and right eye, that 3D image can never leave the bounds or the window of the display, and that's something in advertising, which is very misused a lot, they show a 2D monitor with the image leaping out beyond the border of the monitor, and that just can't happen. That breaks the laws of physics, and so that's the kind of three auto stereoscopic 3D landscapes, and it's hard to say that autostereoscopic, 3D display because people zone out and they go, is it a hologram? And no it's not. The other types of 3D that are popular just now are obviously, glasses-based display, AR, VR, mixed-reality, and we don't really, we don't really mind about that or care about that because it's something you have to put something on your head, and that's our different thing really. So those offer you an immersive experience where you go down a rabbit hole and you're in another world and that's not what we are about. And then you've got the fake 3D displays, which are not 3D stereoscopically but appear that way, and that's where I get slightly annoyed by those displays, but I understand there are people making types of signage I guess you would say, that is perfectly suitable for a scenario and those are things like Pepper's ghost which is when you reflect a 2D image off a big piece of glass or plexiglass, and that's the pepper, the famous one, the Tupac hologram at Coachella. I met the guy and spoke to him. He's a really lovely guy and I had a good chat about that, and he knows full well that it's an illusion, but it's the illusion that Disneyland has been using for many years, and it's a perfectly good illusion for a seated studio audience because they see someone on stage and they're doing it now with the, I think the ABBA Show in London is a similar type of setup. They call them holograms, but it's a 2D picture that's far enough away that you can be made to believe that it's three-dimensional and it might exist at different levels like a diorama. You could have a stack of images, on fly screens or whatever, that appear to be layered, but ultimately they are 2D, and then the one that's come out recently, which causes probably the most amount of confusion for people are the anamorphic projections on large billboards, and everyone's seen these displays on LinkedIn and YouTube, and they tend to appear on large curved billboards in parts of China where the rental of the billboards is sufficiently cheap as you can put these big images up there, film them from one particular spot in 2d, and then put that on LinkedIn and have people comment on it and say, wow, that's an amazing hologram. Even though a) they haven't seen this in real life and b) it's not a hologram and it's not even three-dimensional. It's a perspective-based 2D trick, and so one of our challenges is expectation management, and that is people see large-scale fake 2D images, and fake 3D images and then they conclude that it must be possible and they want to buy one, and then when they see yours they go, oh, it's much smaller than I imagined, and you feel like saying, it's real. It's actually based on science, and you could walk around it. And that's the challenge we're at just now. Trying to move away from this feeling that you have to have the biggest display in the world for it to be valid, and a lot of the business for us and a lot of the inquiries we get are from the likes of the Middle East, where they want to build very big, very impressive, very bright, very colorful displays and they say, we want a hologram that will fit in a football stadium and fly around in the sky, and you have to say well, that's great, but that's also impossible using anything that's even imaginable today, let alone physically achievable, and so yeah, we are very much a case of trying to be as honest as we can with the limitations, but also with the opportunities because regardless of the fact that our technology is relatively small compared to large screen billboards, we have got the ability to create sci-fi-inspired interactive displays that you can put in personal spaces, in museums, in galleries, in shopping centers, and they really do look like something up close under scrutiny that you might see in a Marvel movie, and that's the kind of relationship we're trying to find with other companies as well. There are other types of the display as well. You probably talked to Daniel about some of his displays, which are levitating grains of dust and things like that, and the challenge I have with them is yes, you can make a 3D image, but you have to look at how long it takes to make that 3D image and they're really more akin to painting with light. It's long-exposure photography. You have to manipulate something and move it around over a long period of time to bring it, to build a single image, and scaling those types of displays is impossible. It's the same with laser-based displays, whenever you're moving a single dot around, you run out of resolution extraordinarily fast because it's a linear thing, and even with Aerial Burton exploding the air with a laser they can only do about 1000 or 2000 dots every second, and that breaks down to being able to draw maybe a very simple two-dimensional shape whereas to draw a detailed image, an elephant or anything like that, that we've displayed in the past, it requires upwards of 30 or 40 million dots a second to do that with each image, each volume contains millions of dots. Where do you see this going in, let's say, five years from now? And are you at that point selling products or are you licensing the technology to larger display manufacturers? Or something else? Gavin Smith: So at the moment what we're doing is we're looking for projects that we can scale and one of the first projects that we're working on just now and the technology can be applied to a range of different industries. As you can imagine, any new display technology. You could use it for CT scans, you could use it for advertising, for point of sale, for a whole lot of different things. But you have to choose those projects early on when the technology is immature, and that is low-hanging fruit if you want to use that term, and so our low-hanging freight at the moment, we believe is in the entertainment industry, digital out-of-home entertainment to be specific, which is the likes of video gaming and entertainment venues, and so 2018, we were in the Tokyo Game Show with one of our machines, and we were situated next to Taito at the company that made Space Invaders, and their board came across their senior members and they played with our technology and they really liked it. And so we entered into a conversation with them and over several years, we have built a Space invaders arcade machine called Next Dimension, and that's using our rotating volumetric display with three projectors each running at 4,000 frames per second and a large rotating volume, and we've written a new Space Invaders arcade game and Taito has granted us the license to bring that to market. In order to do that, we're now doing commercial testing and technical testing which involves taking the technology into venues, play testing it and getting feedback from the venues on the suitability of the game and the profitability of it as a product. So with that game, our plan is to follow in the footsteps of the previous Space Invader game, which was called Frenzy made by Roth Rolls. It sold 3000 or 4000 units globally. So if you could do that, it would be a profitable first venture in terms of bringing technology to market, and at the moment, we're looking to raise some capital. We need to raise $2-3 million USD to do the design from the manufacturer for that and build the first batch of machines which would be rolled out globally. Now, that's really seen for us as a launch of technology using the IP of Space Invaders as a carrier, a launch vehicle for the technology, but once launched and once our technology is widely known and understood, what we then plan to do is build our own revenue generating model and technology platform that can be deployed to venues around the world who can use this as a kind of an entertainment device where you can run different IP on it from different vendors and do a sort of profit share with the venue owners. So a cinema, Chucke CheeseB, Dave & Busters, those types of venues, as well as bowling alleys, VR arcades, and all those types of entertainment venues that currently is starting to grow in strength, largely because people are now looking for entertainment experiences, not necessarily just staying at home. COVID obviously threw a curve ball our way as well. When our Space Invaders machine was sent to Japan for testing, COVID had just happened so it went into internal testing within Taito, and then Square Enix who owns Taito, their parent company decreed that Taito would no longer manufacture arcade machines but would license their IP only so that kind of threw a spanner in the works and they've come back to us and said, we'd love the game, but we want you to bring it to market, not us. So that's one thing we're working on just now. There's a video of Space Invaders: Next Dimension on YouTube that you can look at, and it's a really fun experience because it's a four-player game. We've added the volumetric nature. You can fly up and down during sub-games. You can bump your next-door neighbor with your spaceship and get a power-up. It really is for us a way of saying, look, this is a new way, it's a new palette of which to make new gaming experiences and the future is really up to the imaginations of people writing software. All right. That was super interesting. I learned a lot there and some of it is, as often the case, I understood as well. Gavin Smith: That's great. I'm glad you understand. It is a hard thing to wrap your head around, especially for us trying to demonstrate the nature of the technology in 2D YouTube videos and LinkedIn videos, and you really have to see it with your own eyes to understand it, and that's why this week I was over for a meeting with BA Systems, but I took the opportunity to spend several days in London at a film Studio in SoHo, in London, the owners very gratefully let me have a demonstration group there, and I spent two days last week demonstrating the product to ten or so companies come in and see the technology, and it's only then when they really start to get their creative juices flowing and that's where POCs projects kick-off. So that's what we're looking for just now, are companies that have imaginative people and they have a need for creating some new interactive media that can be symbiotic with their existing VR and AR metaverse type stuff. But really something that's designed for people up close and personal, intimate experiences. If people want to get in touch, where do they find you online? Gavin Smith: So we have a website, which is just www.voxon.co. Voxon Photonics is our Australian company name, and you can find us on LinkedIn. Actually, my own personal LinkedIn is generally where I post most stuff. That's Gavin Smith on LinkedIn, you can look me up there around, and then we have the Voxon Photonics LinkedIn page and we're on Twitter and Facebook and YouTube as well. We have a lot of videos on YouTube. That's a good place to start. But if you wanna get in touch, contact us via Voxon.co. Drop us an email and we'll be happy to have a meeting and a video call. All right, Gavin, thank you so much for spending some time with me. Gavin Smith: My pleasure. Thanks very much for having me.
Ke pɛi ye nïïn 30 penë dhorou ke ajuiɛɛr ee cë rɔt looi benë kɔc ŋuɛ̈n mïïth lɔ neem të cennë keek mac thïn. Në ye ajuiɛɛrë nom ke akutë CMY ee tɔ̈ ke ŋɛ̈ɛ̈r Alɛk Manoah ku jɔl ya kɔc juïc ëke cath kenë keek. Kë kɔɔrkɛ̈ bïk looi ëtɛ̈n ee cë man adɛ̈ kek mïth tɔ̈ në thejin yic bë kaar ya neem ana lekkɛ̈ bɛ̈nbei miäk keke bë dhil ya kɔc cën kë rɛɛc berkɛ̈ looi. ̈ɛ̈r Alɛk Manɛ̈r
The 16:9 PODCAST IS SPONSORED BY SCREENFEED – DIGITAL SIGNAGE CONTENT E-paper displays are, by far, best known for the little e-readers people use instead of printed books. The core technology used for those readers is what's also being used for things like meeting room displays and updated bus stop schedule signs that run off batteries and, in some cases, solar chargers. But that's all been in black and white and gray. Color displays, and particularly displays that can do full motion graphics and video playback, have largely stayed in the bucket of future technology. A small Dutch company is well along the path of changing all that - using something called electro-wetting display technology that gets its brightness from the sun, and would be used as low-energy alternatives to big LED video displays used for out of home advertising. In this podcast, I have a detailed chat with Etulipa founder Hans Feil, whose company is rapidly evolving and maturing the technology, and has a big investment and R&D partner in Daktronics, the big South Dakota-based LED manufacturer. We get into what the technology is and how it works, its differences with other kinds of e-paper, how it sets up, and its benefits. The company is still at the advanced R&D stage, but far enough along that it anticipates being in small quantity production next year, through a manufacturing partner in Taiwan. Subscribe to this podcast: iTunes * Google Play * RSS TRANSCRIPT Hans, thank you very much for joining me. Let's just get right to it. What the heck is electro wetting display technology? Hans Feil: That's a good question. It's what they call reflective display technology. Of course, you probably know about it already, but if people don't know, the introduction that I made is that I say you probably will have an e-reader, many people have e-readers nowadays and it's black and white and a little bit slow, but you can read it outdoors. If you take your iPad outdoor in the sun, it's difficult to read. We have something like your the display on the e-reader, but then with color and it's fast, and that's the that's the difference. So it's a reflective display technology. It reflects light so there's no back light behind, it doesn't emit light. So if you take our display into the dark, you don't see anything unless you light it up with a back light or front light. So that's for newcomers. If you're a chemist or a physicist or a scientist, I'd probably say it a little bit different, in the sense that what we do is that we manipulates liquids colored oils, and we have a layer colored oils and with little cells with oils and we can make small droplets with it and the size of the droplets we can. For instance, if you compare to print, many people have ink-jet printers and if they would take a magnifying glass and look at the paper, they're see little cyan, magenta and yellow droplets on the white paper, and what we do is we're mimicking this printing with cyan, magenta and yellow. So we have a white paper or white reflector, we call it. And we have three layers of glass on top of it with cyan, magenta, and yellow oil and each individual layer, we can switch this oil droplets, making them small or big. And if all the layers are spread, it's black because you don't see anything, all the lights are absorb. And if there are all the droplets are small, white or nearly white and depending on which droplets you switch and can get all the colors of the rainbow, and that's all very low power. From what I read on your website, unlike traditional, if you wanna call traditional ePaper, what we would know from E-ink displays primarily, this can do 25 frames per second motion, which is quite a bit different because when you see something change on an ePaper screen, it goes nuts for a fraction of a second as it reorganizes itself. Hans Feil: Yes, and in our case, it doesn't really reorganize, droplets just become big or small and it goes very fast. Was that a big step to get to the point where you could change them that quickly or is that kind of inherent in the technology design? Hans Feil: It comes automatically with the technology. It has never been slow. And with ePaper, and I'm certainly not banging on Eink, but they spent 20+ years advancing their color displays and they'll put out press releases saying we now have more color support than we used to but basically it's been a very long road to get 'em to full color. You're saying you've got full color gamut right now? Hans Feil: Yes, but also in our case, it was a very long long route too. The first paper of Rob Hayes and Johan Feenstra from Phillips Research was from 2003, so 19 years ago, this nature paper, where they're first showing to the world electro wetting display, or at least the concept and some examples. So that's 19 years ago and since then we are working very hard on progressing technology, making better making it possible to manufacture displays and so forth. So it's also a very long route. So what's the tie, if there is one to Phillips? Hans Feil: Right now, there is no tie except that we are located here in Eindhoven, what they call High Tech Campus, Eindhoven and it used to be the same campus, but smaller from Phillips Research in the old days. So the technology originally, the effect of switching oil droppers, was initially invented here a few hundreds of meters a away from the place where I'm standing now. Am I remembering correctly that you have a background with Phillips as well? Hans Feil: That's correct, yeah. I worked what they call the Phillips Research Labs since 1988 in various functions, but mostly quite scientific work in the old days, when it was a very scientific lab. And then I worked for a number of years in battery technology, lithium polymer batteries, and by the end of the 90s, and I got in touch of the guys who started this electro wetting displays, I think in 2004, so I'm 18 years active in electro wetting displays already. So like you said, it has been a bit of a road then? Hans Feil: Yes, sure. When did Etulipa start? Hans Feil: I'll share a bit of history. At Phillips, when we were working on electro wetting display technology, we did a spinoff called Liquavista, you may have heard the name. It was early 2006 and a little bit prior to that, there was interest from the German automotive mirror manufacturer, a very big one, who wanted to see if this technology could be used for rear view auto dimming mirrors, and at that time it looked very promising. In fact, after co-founding Liquavista, half a year later, together with an old colleague, I cofounded Miortech and Miortech was dedicated to use this electro wedding display technology for rearview mirrors. So by the end of 2006, we started this company, Miortech, trying to make the mirrors. Turned out to be that technology was not as fast as we hoped so there was a lot of development work to do. We really had to go back to the drawing table. In fact, we found out that there was a better way of making electro wetting displays with a different architecture that solved most of the initial problems. We patented that and then we started making prototypes of this mirrors, but basically it was a little bit too late, the market evolved and these automotive companies didn't want to really want it anymore. But also in fact, if you're trying to make a mirror with small oil droplets or small cells, there's also always some light scattering from this droplets and so we could never get this mirrors fully free from haze. It was always a little bit of haze, so it was not good enough. So by the end of 2012, so it was almost 10 years ago, we said these mirrors are no good. It's a display technology. We have our own patented way of making electro wetting displays, maybe there are display companies who are interested in, for instance, licensing this technology, the way that we make the devices. Turns out to be not so easy, but at some point of time, we were asked, “Can't you make outdoor display with this technology?” And in fact, that's the sweet spot of electro wetting display. If you really want to have bright, reflective colors, you need CMY, the stack of cyan, magenta, yellow. Just black and white display plus color filters is just not bright enough because you are throwing away two third of the light and so for reflective, you need CMY, and this stack has always a certain thickness because of the glass thickness, which also mean that it limits the the pixel density that you can reach. The rule of thumb is that the the thickness of the stack, CMY is roughly in the same range as the pixel size. And for outdoor displays, if you have a 10 millimeter pixels that's pretty good, that's pretty high resolution already. So we made a few samples with CMY, very simple samples. And we went along to outdoor display companies, including Daktronics at the time, it was 2013 or 2014 or something like that and we showed it to the folks at Daktronics and they liked it. So they said this looks promising, of course, it was very early days, we just had samples. But since then, we have worked together with Daktronics. They became a shareholder, supporting us all the way, step by step from small displays to black and white displays to full color displays that we have right now. So the story started in 2013, when we stopped the mirrors and said, okay, we need to move to outdoor displays with this, and I think it was a good bet. Did you find yourself going in the direction of outdoor displays because of market size or was it more the case of a company in Daktronics that specializes in large format, outdoor displays, was interested in it and therefore you had an automatic market partner? Hans Feil: No, the funny thing is, when we were still at Phillips and we were looking for what kind of markets we would first do with Liquavista, with the technology. I did some research on different markets and I found out that outdoor display markets was in the sweet spot of the technology. But then, and we are talking about 2005 or something like that, the venture capitalist who invested in Liquavista really want to go in mobile displays. So it was at a time when Nokia was still big and the market was growing so reflective displays for cell phones was the automatic market and we put aside the outdoor display at that time. So talking about my first PowerPoints I had and spreadsheet about market sizes for electro wedding displays for outdoor was already in 2005, so I had it always in my back of the minds and I had presentations ready when we made the switch. That's the reason why we visited Daktronics and a few others. So we didn't make the move to outward display just because of Daktronics, we had chosen for outdoor displays and it just fits with Daktronics. So just like LED displays, the kind that are manufactured by Daktronics primarily, these displays have a pixel pitch, correct? Hans Feil: Correct. So there's a gap between each pixel basically? Hans Feil:. Yes, they're point sources, sort of. And right now it's 10 millimeters, which in LED terms would sometimes be referred to as P10 or something, but I'm reading that you anticipate that you can get it down to 2.5mm? Hans Feil: Yes, that's correct. We already have made samples with TFT back planes with 2.5mm pixel pitch. So right now we have P10, so that are the first displays that we're making but the next stop would be 2.5 millimeter and also larger tiles. At P10, that's very competitive with conventional billboards that you would see on the side of a road and up above a building, that sort of thing. 2.5 means you could have it as a sidewalk level display that somebody would be able to view quite nicely from say 10 feet away? Hans Feil: Yes, exactly, like bus stops, sidewalks and that kinda stuff. Yeah. Do you have to get even tighter than that, and is it possible if you wanted to do print and bus schedules and things like that? Hans Feil: If we want to go to smaller pixel sizes, what's needed is somewhat thinner glass. So right now, the glass that we use is 0.5 millimeter and we have a stack of number of pieces of glass but if you go glass that's 0.2 millimeter or 0.3 millimeter, we can go to pixel sizes of 1 or 1.5 millimeter. Is that something that's possible, or it's not even developed yet by the glass manufacturers? Hans Feil: Oh no, the glass is there. There's even thinner. Basically, we do it step by step, but the glass is there. So this isn't a wish, it's just a when? Hans Feil: Yeah, exactly. There are many things that are a when. These units are, again, similar in certain respects to LED displays in terms of they have cabinets or tiles, and they stack together? Hans Feil: Correct. What are the sizes of these tiles, and are there limitations as to how many you can put together or is it modular and it can be as big as you want? Hans Feil: It's modular. The the tiles that we have right now are roughly 10 inch, and we have six tiles in one panel. That's how we build the displays that we have here in our backyard. And the next step with 2.5 millimeter, we're looking for 21 inch tiles so there'll be bigger tiles and smaller pitch, but there are no limits in how big you can make the displays of it. It's just metal scaling up the electronics and it's all modular. With the video support, I read that right now you're demonstrating animations and not full color video. Is there a reason for that or is just a matter that that's what makes sense right now? Hans Feil: Yeah, that it's mostly electronics development. There are two parts to this, one is the uniformity of the tiles. We are constantly improving the uniformity so the gray scales and the gray scale definitions become better and better, so that's what's needed, and the electronics development is a separate thing since we have to see how fast we can make the electronics work with the number of gray levels we have. Right now, it's designed with 7 bits color so you can have 128 droplet sizes per color, which for reflective is very much, to be honest, the uniformity is not so good that we can really make this one on the 128 droplet sizes very precise. It's a little bit less but that's all about scaling up the electronics. In the advertising world, generally speaking for digital out-of-home advertising, they're not using full motion anyways, except for spectaculars in Times Square and those big wrap arounds and so on. There's one heck of a lot of deployed stock that is just digital posters basically? Hans Feil: Yeah, for example, along freeways, you're not allowed to do any animation and so on. So as long as you can address full color and have the clarity that people want, they're happy? Hans Feil: Yeah, with the first display out here, it was a test for us to see what's the color space that we can see, what's the impression that we have, and so far we are quite happy. In fact, all the visitors that come along, many of them do not have very high expectations because they don't know what to expect with reflective colors and the the veterans, so to say, who have seen reflective displays before, they know when colors are dull. But everybody was surprised when they walk outdoor and see what we have in terms of color and brightness. People are amazed. I believe I saw that these displays can handle 15,000 lumens, that's the maximum brightness? Hans Feil: To be honest, we didn't measure it exactly yet. That really depends on how much sun comes on it. It scales perfectly with the with the amount of sunshine in the environment. It's like when you have newspaper, I don't have to tell you, of course, that newspaper in the bright sun is very bright but because your eyes are accommodated to the brightness of the environment, you don't do not really notice that it's so bright and that's the same with our display. In fact, here's a funny story, the cameraman who made his shots for the video clip that we have, he was he was used to taking shots of video or display and he suddenly realizes that he didn't have to adjust all his systems when the sun goes behind the cloud, the display didn't become less bright because the trees and the grass, et cetera, also became less bright. It was then when he realized, okay this is different from what I've seen so far because LED displays are brighter compared to the surroundings all the time. Yeah. It's wildly different, it's the opposite of outdoor LCDs, which are the primary things used for display totems to advertise street furniture, that kind of thing. They're always battling the sun, they've gotta be at least 2500 nits to eve overpower glare and so on, and you're saying, the brighter it is, the better it's gonna get? Hans Feil: Oh yeah, it's fine. But also, today's very gray weather here and I've been there with visitors when it was raining in and it still looked pretty good. It's only when it's getting really dark, likewhen the sun goes down, then you really notice. But it's the same with your eReader. At some point of time, you realize, okay, now I do not see enough contrast anymore, I have to switch on my back light or front light or whatever you have. That backlight or front light, whatever it may be, that's running off of a battery that's charged by solar collectors, right? Hans Feil: Yeah, that's correct. So you can be completely autonomous from electrical power grid, but is there enough power out of that battery to do cellular connectivity for updates? Hans Feil: Yes, sure. In fact, the trailer that we have out here, that was designed to have an LED display mounted on it, so that there's a little bit big battery, but it's one solar panel, a lead acid batteries in this trailer. In fact, we have never charged this one, never. Previously we had a black and white display on it and with our color display, the power consumption of our display is so low, we don't need to charge it. One thing I noticed in the reference photos is that the units have seams. It reminds me of 5-10 years ago when the LCD manufacturers every year would come up with some definition or description of even narrower bezel or seams in between the displays, and when LED came along, that got of a lot interest just because the seams went away, and people who were designing spaces were saying, okay, I wanna use LED instead, because there are no seams. Are you getting any pushback about that about the seams that exist and will those with time go away? Hans Feil: Pushback is a big word, but people do notice the seams, and although the seam here that we have here is smaller than the width of one pixel, so if you walk to the display, of course you see the seam, and we prefer to have narrow seams or no seams, but you can see the seams. If you walk away, they become less noticeable, and if you cannot discriminate between individual pixels anymore, then the seams are also becoming very thin or hardly visible. With LED display, if you walk toward the display, at some point of time, you can see the individual LEDs, right? The image breaks down and it become little light dots. And in our case, you start noticing the seam more and more. If you're really standing in front of it, of course you'll see many seams, but when you walk away on to say 30-50 feet for P10 pixel then it's hardly noticeable anymore. But again, of course, everybody wants to have thinner seams or no seams. So we have a program working on that to get them thinner, less noticeable. And also in future, when we go to larger tiles, seams will become thin. We had a big outdoor advertiser here in Holland who who used our 100 square meters screens with P10 pixels, and said that this solution would be good, and not to worry about the seams very much because for 100 square meter display, you're standing 50 meters away or even more, and you won't see the seams anymore. Where's the product at, are you now shipping or is it still in R&D? Hans Feil: No, we are now in the testing phase. So we have it out here in the backyard. The next display will be made and shipped to South Dakota for evaluating by Daktronics and their customers. By the end of the year, we are targeting to have a production capacity with our partner, URT in Taiwan, for 50 square meters per year, which isstill not much, but it's doable. And then early next year, we think the first display will be used by first customers here in the region because turns out there are parties that connected to us that have been waiting for low power display for many years but they couldn't go anywhere because the only thing that they had was LED, right? And now they have this option which some of them were looking for it for many years already. We have a client who, every two years, was making calculations about power consumption of the display and every two years he was disappointed that it was never low enough, and now suddenly he got in touch with us and said, this is what I need. So he'll probably use a number of our displays in the first half of next year. Are the upfront costs for this going to be higher than that for the upfront cost of conventional LED displays for the same footprint and are the savings more on the backend because you're not using power? Hans Feil: Yeah, that's correct. Right now, we are making them in small quantities So the price is not really reflecting how it can be. But indeed, there is a huge savings in situations where people have to make a connection to the grid, which can take months before they can get a connection, and it's also very often very expensive. We had one small, black and white display in a New York City bus stop, it turns out to be that the solution with our displays in that bus stop with a solar panel and a battery was 30% cheaper than the original version with LED displays, which were connected to the grid. This connection to the grid and all the work that, that goes along it and permits and so forth, make it very expensive. So even when there was a battery added and a solar panel added, and our display was more expensive than the LED one, it was much cheaper to have reflective displays. It was also new for us at that time. So going forward into 2023, if I am a outdoor media company in, let's say Australia, and I want to buy this, am I going to be buying it through Daktronics, or will you be licensing this more broadly than that? Hans Feil: Most likely through Daktronics. Probably the first smaller smaller display here in the region, we will install ourselves because that's more convenient, it's nearby, et cetera. But once this becomes bigger and more mature, it's our goal, our business plan that we will be creating the panels and Daktronics will make displays with those panels and sell them worldwide. And as you scale up maybe the existing manufacturer in Taiwan who right now might be a contract manufacturer doing small lots, you would figure it out from there what kind of manufacturing capacity you'd need? Hans Feil: Yeah. So for now that they have enough capacity, there should be no problem. We are open for talks, the whole consortium of URT, Daktronics and ourselves, if there are any other major display company who says, okay, I also want to adopt electro wetting displays, because we always believe if we want to make this successful, we should not really keep it all for ourselves. And there's lots of money to be made,-without a lot of grief-in licensing. Hans Feil: Yeah, we're open to do anything that's reasonable. But there are many in fact, maybe all the major display companies that at some point of time tried making electro wetting displays and did R&D but they found it very difficult and stopped with it. We have our own technology, what we call second generation technology with different approach and we solved all those problems that were there with the first generation electro wetting displays. It has taken some time, but it's worked quite well now. I'm looking forward to seeing it at some point, somewhere. I hope I don't have to go to South Dakota in the middle of the winter, but you never know. Hans Feil: Well, you could also come here, but I'm not sure if you are in Europe anytime soon. Yeah, well, Eindhoven has a better football team than Brookings South Dakota, so that would be a better trip for me. Anyway, thank you very much for spending some time with me. Hans Feil: Yeah, I'm very glad that I got opportunity from you to talk about this. And I hope you can watch our display anytime soon, either here or in the US somewhere. Seeing is believing, in fact, and reflective is just different. Yeah. I completely buy into the idea that it's one of those things that it's interesting to read and to hear about in a podcast, but to walk up and see it is where you're gonna close the deal. Hans Feil: Yeah, exactly. All right, thanks again. Hans Feil: Thank you very much, and hope to see you soon.
In our final episode, we discuss the importance of policy, and the need to understand how complex and different systems can impact on the mental wellbeing of multicultural young people and families. We discuss joint policy work between Orygen and the Centre for Multicultural Youth and other organisations and learn from our guests' insights into the mental health system and ways to bring about change. GUESTS:Dave Baker, principal policy advisor at Orygen; Willow Kellock, policy officer with the Centre for Multicultural Youth; Sobur, an intern at CMY who hosts a social group for young women in Melbourne TJ, youth participation program manager at Orygen who is also involved with other community projects. FURTHER INFORMATION: Let's Talk webpage“Responding together. Multicultural young people and their mental health.” Centre for Multicultural Youth - Centre For Multicultural Youth (cmy.net.au)Embrace framework. © 2021 OrygenThis publication is copyright. Apart from use permitted under the Copyright Act 1968 and subsequent amendments, no part may be reproduced, stored or transmitted by any means without prior written permission of Orygen.Suggested citation Let's talk. Youth mental health, culture and identity. Melbourne: Orygen; 2021.Disclaimer This information is provided for general educational and information purposes only. It is current as at the date of publication and is intended to be relevant for all Australian states and territories (unless stated otherwise) and may not be applicable in other jurisdictions. Any diagnosis and/or treatment decisions in respect of an individual patient should be made based on your professional investigations and opinions in the context of the clinical circumstances of the patient. To the extent permitted by law, Orygen will not be liable for any loss or damage arising from your use of or reliance on this information. You rely on your own professional skill and judgement in conducting your own health care practice. Orygen does not endorse or recommend any products, treatments or services referred to in this information.Orygen acknowledges the Traditional Owners of the lands we are on and pays respect to their Elders past and present. Orygen recognises and respects their cultural heritage, beliefs and relationships to Country, which continue to be important to First Nations people living today.Orygen is funded by the Australian Government Department of Health.
Në ye mɛn pane Victoria keka nɔŋ ɣän cë keek liep benë ke yïn lɔ toom të kenë yin toom. Nyuɔl Madut Bol alui kenë akutë CMY kuka tɔ̈ ke nɔŋ ajuiɛɛr ben kuɛɛt ku pane Junub tɔ̈ në Melbourne lɛ̈k ago raan lɔ toom. Na tɔ̈ në South East ëë Melbourne kanë biän tueŋ, ke nyïn kɔɔr ba ye ɣänkɛ̈ piŋ kuba lɔ thïn.
1:10 - LACMA curator Susie Ferrell discusses the museum's current exhibit “Legacies of Exchange: Chinese Contemporary Art from the Yuz Foundation”. The exhibit examines the premise of cultural exchange and how Western art and brands have influenced Chinese art in the present and recent past.25:37 - Artist Zoe Walsh discusses their work. Walsh is an up and coming Los Angeles-based artist whose brightly colored works walk a fine line between abstraction and figuration while delving into issues related to trans spectatorship.56:02 - The week's top art headlines
加入【摄影早自习群】加叶梓私人微信：nihaoyelaoshi（暗号：喜马拉雅）早安，我是叶梓，今天是摄影早自习陪伴大家的第1630天，今天想回答一下大朱同学和施达同学在前几天早自习里的一个提问，今天是有挑战的，今天要讲这个东西比较难讲清楚，各位可以挑战一下，看能不能听得懂。他们的问题是这样子的，他们看我讲解互补色和对比色，然后发现我用色轮跟他们以前看的不一样，我这个色轮120度角上的三个基础颜色是红黄蓝，他们以前看到的是红绿蓝，他们觉得用“两个不同的色轮推导出的结果当然很不一样，我到底遵循哪个比较好？”今天我进一步做一个解释。首先还是讲一个基础的问题，所谓色轮都是人造的，人编的。所以编法有好几种，现在比较常见的有三种，就是红黄蓝、红绿蓝以及黄品青。一会我们再细想它们的区别。现在还有一个基础问题要先了解清楚，这个色轮就是我画一个轮子，把颜色首尾相接摆在一起，相邻的两个颜色一相加就能在中间加出一个新的颜色来。这个摆法到底怎么摆呢？我们有这么个约定，就是要把三原色放在里面，呈120度角，也就是在圆里面画一个正三角形，三个顶点上各放上一个原色，原色就是最基础的颜色。其他的颜色靠这个原色给兑出来。色轮是什么色轮，跟三原色很有关系。三原色有三种，第一种是光的三原色，也叫加法三原色，是我们熟知的RGB（红绿蓝）；还有减法三原色，就是印刷的三原色，是青品黄（CMY）；还有一种三原色是幼儿园的小朋友都知道的，是红黄蓝，那不是有个幼儿园就叫红黄蓝吗？对吧？这三个三原色都是有道理的，你不能说哪个是正确的，没有这个说法，但是这里面确实有两个色轮是“科学”的，还有一个是“感觉”的，他们不分高下，他们各有各的用。科学的色轮是红绿蓝和黄品青的色轮，熟悉色光的混色原理的同学可能会知道，不同颜色的光兑在一起的时候会形成新的颜色，而在光里我们只要取得三种颜色的光，就可以兑出万紫千红来，通过不同的亮度的配比就能调出来。是什么呢？红、绿和蓝。就是我们耳熟能详RGB（Red、Green、Blue），三个基础的光的颜色，就叫光的三原色。然后你把这种三原色放到色轮的里边的三个顶点上去，最远的地方上去，它就是光的三原色色轮，RGB色轮。还有一种三原色是从刚才那三原色里衍生出来的。你看看刚才RGB色轮里红色的对面是什么颜色？它是青色；绿色的对面什么颜色？品色；蓝色对面什么颜色？黄色。这是三组互补色。但是你把这三个原色对面的颜色摘出来以后，你会发现青品黄这个可以组成一个新的色轮，它叫做减法色轮，也可以叫做印刷的色轮。也就是说在一张白纸上，白纸原本是反射着所有颜色的光的，所以它混色成白，但是在白纸上我们减去红绿蓝三个颜色以后，得到的就是青品黄，然后它是减了以后的结果，刚才是加法的世界，现在是减法的世界。青品黄的这种减法的混色原理被广泛应用在我们的印刷领域里面。所以我们也可以说青品黄三原色和红绿蓝三原色，其实就是一个硬币的两面，是一体的，一回事，只不过他们应用的场景不同。比如说咱搞摄影，如果说谈的是这个相机去捕捉光线这件事儿，或者是说在屏幕上显示色彩这件事儿，那我们得用RGB色轮，也就是红绿蓝色轮，光的色轮，加法色轮。如果你是在谈印刷到相纸上的颜色的时候，我们要使用的是青品黄的色轮，CMY的色轮。最后一种比较奇怪的，其实也是大家最最熟悉的，很多人都知道的红黄蓝这个三原色。是怎么来的呢？首先你会发现它和青品黄非常像，青跟蓝之间其实很接近了，然后品跟红之间其实也是很接近的，其实它就是青品黄的一个修正版本，朝着什么方向修正了，朝着一个更典型的人的感知色的方向去修正了。品色很多人不知道什么颜色，但是大红大家总知道吧？红更熟悉嘛，所以用红替代品；青色很多人都不知道什么颜色，青色是什么颜色，是吧？那是蓝和绿之间的一个颜色，太模糊，讲不清楚，干脆用蓝替代。所以红黄蓝是一种连幼儿园的小朋友都知道的简易的三原色。当然它有一个毛病，就是它没有那么科学，所以你真用红黄蓝的颜料去画画的时候，你会发现有的颜色它兑起来不是那么的准确。我们为什么还要使用这种三原色以及由这个三原色所制造出来的色轮呢？原因很简单，因为我们是人，我们要讲感觉，我们要创作一个艺术作品，最后是给人看，是要讲究我们观众的感觉的。所以感觉很重要。红黄蓝色轮，我们也把它叫做美术三原色色轮以及色彩心理三原色色轮，它是用来分析人对色彩的心理感受的，会比刚才所说的两个色轮都更好用。我们什么时候要用它呢？其实对于摄影来说，它的用途非常的广泛，尤其是在分析一张照片，它的色彩如何阐述了它的主题，如何给我们带来情绪，我们肯定要用到红黄蓝色轮，另外我们在拍照的现场要决定怎么构图，把黄放进来多少，绿放出去多少，颜色怎么配色……做配色考量的时候，我们也得要用红黄蓝的色轮。我在我那套写了10年的摄影教材里边（现在还没出版），我在色彩一册里最主要的使用的就是红黄蓝色轮来对摄影作品做分析，来做摄影作品的配色的范例。但是提到色彩的显示和相机对色彩的捕捉时，我们得使用红绿蓝也就是RGB色轮，如果提到打印的时候，我们得用CMY黄品青色轮。最后再举个例子，不然大家越听越晕了。比如说现在这张照片严重偏黄，我想让它回归到正常的色彩上来，白墙不要那么黄的话，我要往里加的是蓝色，这个时候要使用的是红绿蓝三原色以及它的色轮，在红绿蓝的色轮里面黄色对面就是蓝色，它俩是一组互补色，所以加进蓝就能抵消黄，使它变回白色来。这个道理再简单不过了。偏黄的照片 © 叶梓增加蓝以后的画面 © 叶梓但是我们去分析一张照片，说这张照片它是夜景拍的，华灯初上，天是湛蓝的，这时候它形成的是一组互补色的关系，为什么是互补色？因为天是蓝的灯是橙色的，这个时候我们使用的就不再是红绿蓝的色轮了，是红黄蓝的色轮。在这个轮里边你会发现蓝色的对面不是黄色，是橙色。它们在人的心理感受上代表着最寒冷的和最温暖的两极，这个道理很简单，就是因为红色是温暖的，黄色也是温暖的，两个相加得到的橙是非常温暖的。橙和蓝在我们心理上是一组互补色。© 叶梓哎呀，我知道你们听得也辛苦，其实我讲的也不轻松。作为摄影人来说，我们要学的色彩的知识真的是很多，光是色轮和三原色，就有三个不同的，三种标准三种工具。我们还真得都会，都得用，只不过是用在不同的时候。关于这个知识如果要深入的讲就没完了，今天早自习就聊这么多，想深入点学习的可以去学我的系统化的摄影大课“自由摄影师”，阅读原文戳进去就可以看得到。如果想看书的，就等我的最新的这一套教材出来，现在正在插图过程中，相信不久以后就可以出版了。到时候我们一定会在微信公众号“摄影早自习”里面来通知大家。感谢你的聆听，今天是摄影早自习陪伴大家的1630天，我是叶梓，每天早上6:30，微信公众号“摄影早自习”，不见不散。
加入【摄影早自习群】加叶梓私人微信：nihaoyelaoshi（暗号：喜马拉雅）早安，我是叶梓，今天是摄影早自习陪伴大家的第1630天，今天想回答一下大朱同学和施达同学在前几天早自习里的一个提问，今天是有挑战的，今天要讲这个东西比较难讲清楚，各位可以挑战一下，看能不能听得懂。他们的问题是这样子的，他们看我讲解互补色和对比色，然后发现我用色轮跟他们以前看的不一样，我这个色轮120度角上的三个基础颜色是红黄蓝，他们以前看到的是红绿蓝，他们觉得用“两个不同的色轮推导出的结果当然很不一样，我到底遵循哪个比较好？”今天我进一步做一个解释。首先还是讲一个基础的问题，所谓色轮都是人造的，人编的。所以编法有好几种，现在比较常见的有三种，就是红黄蓝、红绿蓝以及黄品青。一会我们再细想它们的区别。现在还有一个基础问题要先了解清楚，这个色轮就是我画一个轮子，把颜色首尾相接摆在一起，相邻的两个颜色一相加就能在中间加出一个新的颜色来。这个摆法到底怎么摆呢？我们有这么个约定，就是要把三原色放在里面，呈120度角，也就是在圆里面画一个正三角形，三个顶点上各放上一个原色，原色就是最基础的颜色。其他的颜色靠这个原色给兑出来。色轮是什么色轮，跟三原色很有关系。三原色有三种，第一种是光的三原色，也叫加法三原色，是我们熟知的RGB（红绿蓝）；还有减法三原色，就是印刷的三原色，是青品黄（CMY）；还有一种三原色是幼儿园的小朋友都知道的，是红黄蓝，那不是有个幼儿园就叫红黄蓝吗？对吧？这三个三原色都是有道理的，你不能说哪个是正确的，没有这个说法，但是这里面确实有两个色轮是“科学”的，还有一个是“感觉”的，他们不分高下，他们各有各的用。科学的色轮是红绿蓝和黄品青的色轮，熟悉色光的混色原理的同学可能会知道，不同颜色的光兑在一起的时候会形成新的颜色，而在光里我们只要取得三种颜色的光，就可以兑出万紫千红来，通过不同的亮度的配比就能调出来。是什么呢？红、绿和蓝。就是我们耳熟能详RGB（Red、Green、Blue），三个基础的光的颜色，就叫光的三原色。然后你把这种三原色放到色轮的里边的三个顶点上去，最远的地方上去，它就是光的三原色色轮，RGB色轮。还有一种三原色是从刚才那三原色里衍生出来的。你看看刚才RGB色轮里红色的对面是什么颜色？它是青色；绿色的对面什么颜色？品色；蓝色对面什么颜色？黄色。这是三组互补色。但是你把这三个原色对面的颜色摘出来以后，你会发现青品黄这个可以组成一个新的色轮，它叫做减法色轮，也可以叫做印刷的色轮。也就是说在一张白纸上，白纸原本是反射着所有颜色的光的，所以它混色成白，但是在白纸上我们减去红绿蓝三个颜色以后，得到的就是青品黄，然后它是减了以后的结果，刚才是加法的世界，现在是减法的世界。青品黄的这种减法的混色原理被广泛应用在我们的印刷领域里面。所以我们也可以说青品黄三原色和红绿蓝三原色，其实就是一个硬币的两面，是一体的，一回事，只不过他们应用的场景不同。比如说咱搞摄影，如果说谈的是这个相机去捕捉光线这件事儿，或者是说在屏幕上显示色彩这件事儿，那我们得用RGB色轮，也就是红绿蓝色轮，光的色轮，加法色轮。如果你是在谈印刷到相纸上的颜色的时候，我们要使用的是青品黄的色轮，CMY的色轮。最后一种比较奇怪的，其实也是大家最最熟悉的，很多人都知道的红黄蓝这个三原色。是怎么来的呢？首先你会发现它和青品黄非常像，青跟蓝之间其实很接近了，然后品跟红之间其实也是很接近的，其实它就是青品黄的一个修正版本，朝着什么方向修正了，朝着一个更典型的人的感知色的方向去修正了。品色很多人不知道什么颜色，但是大红大家总知道吧？红更熟悉嘛，所以用红替代品；青色很多人都不知道什么颜色，青色是什么颜色，是吧？那是蓝和绿之间的一个颜色，太模糊，讲不清楚，干脆用蓝替代。所以红黄蓝是一种连幼儿园的小朋友都知道的简易的三原色。当然它有一个毛病，就是它没有那么科学，所以你真用红黄蓝的颜料去画画的时候，你会发现有的颜色它兑起来不是那么的准确。我们为什么还要使用这种三原色以及由这个三原色所制造出来的色轮呢？原因很简单，因为我们是人，我们要讲感觉，我们要创作一个艺术作品，最后是给人看，是要讲究我们观众的感觉的。所以感觉很重要。红黄蓝色轮，我们也把它叫做美术三原色色轮以及色彩心理三原色色轮，它是用来分析人对色彩的心理感受的，会比刚才所说的两个色轮都更好用。我们什么时候要用它呢？其实对于摄影来说，它的用途非常的广泛，尤其是在分析一张照片，它的色彩如何阐述了它的主题，如何给我们带来情绪，我们肯定要用到红黄蓝色轮，另外我们在拍照的现场要决定怎么构图，把黄放进来多少，绿放出去多少，颜色怎么配色……做配色考量的时候，我们也得要用红黄蓝的色轮。我在我那套写了10年的摄影教材里边（现在还没出版），我在色彩一册里最主要的使用的就是红黄蓝色轮来对摄影作品做分析，来做摄影作品的配色的范例。但是提到色彩的显示和相机对色彩的捕捉时，我们得使用红绿蓝也就是RGB色轮，如果提到打印的时候，我们得用CMY黄品青色轮。最后再举个例子，不然大家越听越晕了。比如说现在这张照片严重偏黄，我想让它回归到正常的色彩上来，白墙不要那么黄的话，我要往里加的是蓝色，这个时候要使用的是红绿蓝三原色以及它的色轮，在红绿蓝的色轮里面黄色对面就是蓝色，它俩是一组互补色，所以加进蓝就能抵消黄，使它变回白色来。这个道理再简单不过了。偏黄的照片 © 叶梓增加蓝以后的画面 © 叶梓但是我们去分析一张照片，说这张照片它是夜景拍的，华灯初上，天是湛蓝的，这时候它形成的是一组互补色的关系，为什么是互补色？因为天是蓝的灯是橙色的，这个时候我们使用的就不再是红绿蓝的色轮了，是红黄蓝的色轮。在这个轮里边你会发现蓝色的对面不是黄色，是橙色。它们在人的心理感受上代表着最寒冷的和最温暖的两极，这个道理很简单，就是因为红色是温暖的，黄色也是温暖的，两个相加得到的橙是非常温暖的。橙和蓝在我们心理上是一组互补色。© 叶梓哎呀，我知道你们听得也辛苦，其实我讲的也不轻松。作为摄影人来说，我们要学的色彩的知识真的是很多，光是色轮和三原色，就有三个不同的，三种标准三种工具。我们还真得都会，都得用，只不过是用在不同的时候。关于这个知识如果要深入的讲就没完了，今天早自习就聊这么多，想深入点学习的可以去学我的系统化的摄影大课“自由摄影师”，阅读原文戳进去就可以看得到。如果想看书的，就等我的最新的这一套教材出来，现在正在插图过程中，相信不久以后就可以出版了。到时候我们一定会在微信公众号“摄影早自习”里面来通知大家。感谢你的聆听，今天是摄影早自习陪伴大家的1630天，我是叶梓，每天早上6:30，微信公众号“摄影早自习”，不见不散。
Fiberygoodness Tiny Talks: Podcast for Fiber Artists and Yarn Lovers
Suzy and Arlene talk about colour, working with it, using multiple colours together, how to create new palettes, and general 'we love colour' fiber art stuff!Resources mentioned: Book - Confident Color by Leland Recommended to Arlene by an art teacher who taught classes on color theoryNew Pantone app: Pantone ConnectRGB to CMY
The gang is back from a 2-3 week hiatus... we've gone through a tropical storm, a crazy election, and worst of all: Christian's travels. In this episode, we talk about the potential merits and flaws of the new Zeiss ZX1. Lightroom built into a camera is definitely innovative but is it practical? What would it be like to own a "Green Bubble Camera." We also pose the question... can a modern digital camera be a "forever" camera or will we be chasing rainbows forever due to technology? This and more on this episode of CMY!Relevant Links: Zeiss ZX1 (Official site) - https://www.zeiss.com/consumer-products/us/photography/zx1.html Zeiss ZX1 Overview (Digital Camera World) - https://www.digitalcameraworld.com/news/zeiss-zx1-is-it-coming-or-isnt-it Leica Q2 Monochrom (Official site) - https://en.leica-camera.com/Photography/Leica-Q/Leica-Q2-Monochrom Leica Q2 Monochrom Initial Review (DP Review) - https://www.dpreview.com/reviews/leica-q2-monochrom-initial-review Be sure to like, subscribe, and leave feedback in the comments! Thanks for watching!Follow us on the socials: CMY Instagram: https://www.instagram.com/cmy.cast/ Christian's Instagram: https://www.instagram.com/_christianarevalo_/ Marc's Instagram: https://www.instagram.com/soulsandstreet/ Yani's Instagram: https://www.instagram.com/peopleoflittlehavana/
It's a new week and like clockwork, Marc is considering buying and selling more stuff. Christian explains how minimizing his kit has made him a better photographer, or at least... simplified his process. And just because you know we can't get enough Leica talk, we discuss the upside of "investing" in Leica glass (refer to episode 7). This and more on episode 12 of CMY!Follow us on the socials:CMY Podcast Instagram: https://www.instagram.com/cmy.cast Christian's Instagram: https://www.instagram.com/_christianarevalo_/ Marc's Instagram: https://www.instagram.com/soulsandstreet/ Yani's Instagram: https://www.instagram.com/peopleoflittlehavana/
On this episode, the CMY guys discuss what makes the Leica Q2 a perfect* camera.*Terms and conditions may apply Follow us on the socials:CMY Podcast Instagram: https://www.instagram.com/cmy.cast Christian's Instagram: https://www.instagram.com/_christianarevalo_/ Marc's Instagram: https://www.instagram.com/soulsandstreet/ Yani's Instagram: https://www.instagram.com/peopleoflittlehavana/
We're on our TENTH episode of CMY! Thanks for tuning in and watching/listening! On today's episode, we discuss how newer camera technology compares to the prior generation of similar models... are incremental upgrades good enough reasons to upgrade to a newer camera? We're also taking bets on how long can Marc go without changing up his camera gear.Be sure to like, subscribe, and leave feedback in the comments! Thanks for watching!Follow us on the socials:CMY Podcast Instagram: https://www.instagram.com/cmy.cast Christian's Instagram: https://www.instagram.com/_christianarevalo_/ Marc's Instagram: https://www.instagram.com/soulsandstreet/ Yani's Instagram: https://www.instagram.com/peopleoflittlehavana/
有三套三原色？你不是逗我的吧？早安，我是叶梓，今天是摄影早自习陪伴大家的第1425天。今天是周一，我们来聊点相对轻松的事情。说轻松好像不是很轻松，因为我们一般说起摄影里的美来，大家最关注的就是构图、色彩、光线，你会发现构图是最容易学的，一看就懂，一试就会；然后光线是相对比较难的，因为大家平时没关注，但是只要你开始关注了，学会观察光影关系了，这也不难；最麻烦的其实是色彩，甚至到今天还有很多人会认为色彩这个事就是见仁见智的，没啥好学的，没啥规律可言，不是的，它有很强的科学的属性，但是大家接触的少啊，所以这个还是有点难度。我们就不把怎么样配色、怎么样运用色彩往深了讲了，我们只给你讲一个最基础最基础的，你必须要知道的一个常识——“三原色”。有人可能一听到三原色就想关我的语音了，觉得我反正已经懂了，别急，你接着往下听，你会发现你根本不懂。三原色这个东西，它指的是三种基础的颜色，靠这三种颜色，咱们就可以勾兑、可以掺出所有其它的颜色来。光的三原色：红、绿、蓝 © 叶梓按照我们初中学的光学的基础知识，光的三原色可以分为红、绿和蓝，然后用三原色兑在一起就可以出现别的颜色。比如说红和绿加在一起出现黄，有人可能会奇怪“怎么越加越浅了呢？”对的，因为这是光嘛，红光和绿光叠加在一起，一个红色的手电筒和一个绿色的手电筒，这两个光叠在一起它就是黄色，所以红加绿等于黄；绿加蓝等于青，这个跟大多数人的想象是一样的；然后蓝加红它不是等于紫色，而是等于品色，品色是一种非常明亮的红偏一点紫的这么一种颜色。所以我们就得到了三种颜色，这三种颜色是黄、青、品，我们管这个叫做次色。以上就是最经典的光的三原色以及它们各自在一起“生的孩子”。这里我要补充一点，大家还有一个基础概念，就是这三个颜色如果全加在一起会怎么样？红加绿加蓝全加在一起的话肯定等于白光嘛！对吧？这也是一个基础常识，那如果三个颜色全没有会怎么样？那肯定是纯黑嘛，因为什么光都没有。好，有了以上的知识我们就可以继续往下走了。你有没有发现一件事情：这之前我们做的都是加法。就是在漆黑一片的环境中，我给它一个红光就加上了红光，再给个绿光，红再加绿等于黄光，它一直是在做加法的，这是光的三原色和它的应用的一个特性。但是我们如果是在一张白纸上用颜料作画，我们做的却不是加法。你以为是在白纸“加上”红颜料吗？不对。其实我们在做减法！你涂抹的根本就不是一种“红颜料”，你涂抹的是一种能吸收蓝、绿光的颜料，这种材质是因为吸收了蓝绿光，所以它反弹出来的只有红光呈现为红色，所以在纸张上、在画画或者是印刷的时候，我们做的其实是减法而不是加法。这样问题就来了，如果你手上有三支颜料，这三支颜料分别能吸收光的三原色：红、绿、蓝，那么它们会呈现什么颜色呢？我们来推演一下：反光三原色：青、品、黄 © 叶梓吸收红光的颜料，它实际上是反弹了绿光和蓝光，所以它呈现出来的是青色。而吸收绿光的颜料，因为反弹是红光和蓝光，所以呈现出来是品色。吸收蓝光的颜料，它反弹的是红光和绿光，所以它呈现的是黄色。这三管颜料下下去，在纸张上画出来的其实是青、品、黄三个颜色，也就是Cyan、Magenta和Yellow，也就是CMY。这样一来我们的光的三原色是RGB——Red、Green、Blue，反光三原色就变成了CMY了。那你可以想象，因为这个CMY三管颜色每一个都能吸收光的三原色的其中一种颜色，所以如果把这三个颜色全调在一起的话，它就吸收了红绿蓝所有光，那就是说它是黑色，这个当然是符合逻辑的，而且这也再次的提醒了我们在纸上用颜料作画其实是在做减法。你看，现在我们有了两种三原色：RGB（红绿蓝），然后是CMY（青品黄）。美术三原色：红、黄、蓝 © 叶梓但是这还没完，我们根据人对色彩的心理反应，包括部分的生理反应，我们把色彩又搞出了一个美术三原色，叫做红、黄、蓝。这个不是基于科学来做的三原色，是基于心理来做的三原色。那么如果你现在要基于三原色去进行色彩的研究，要由它来发展出色轮、色立体、色彩搭配的方案，那到底基于哪一个会更好呢？首先，每一个色轮都能发展出自己的色彩体系，但是对我们研究美术的人来讲，我们可能更愿意使用红、黄、蓝——就是美术三原色。因为使用它的时候跟人的心理反应更直接相关，跟观感更直接相关，也更容易来做色彩搭配。所以我们现在有了三个三原色，而你现在应该知道的是，这个美术三原色红黄蓝是我们学摄影的人或者学绘画的人最常使用的三原色的色彩体系的一个基础。这个话题其实只是整个色彩的理论的一个开端，这是一丁点内容，因为大家平时对色彩可能太陌生了，所以不太熟悉，但是没关系，我们可以一点一点的来慢慢学习。好吧，今天我们就先聊这么多。其实关于色彩的系统知识，我们在我们的大课“自由摄影师”里面有详细的讲解，有色彩这一章，大家可以戳“阅读原文”进去了解一下，这是一个222课的相当大的体系，相当全的摄影课程。有更多的摄影问题或者有什么想聊的，都欢迎在底部向我留言。今天是摄影早自习陪伴大家的第1425天，我是叶梓，每天早上6:30，微信公众号“摄影早自习”，不见不散。
有三套三原色？你不是逗我的吧？早安，我是叶梓，今天是摄影早自习陪伴大家的第1425天。今天是周一，我们来聊点相对轻松的事情。说轻松好像不是很轻松，因为我们一般说起摄影里的美来，大家最关注的就是构图、色彩、光线，你会发现构图是最容易学的，一看就懂，一试就会；然后光线是相对比较难的，因为大家平时没关注，但是只要你开始关注了，学会观察光影关系了，这也不难；最麻烦的其实是色彩，甚至到今天还有很多人会认为色彩这个事就是见仁见智的，没啥好学的，没啥规律可言，不是的，它有很强的科学的属性，但是大家接触的少啊，所以这个还是有点难度。我们就不把怎么样配色、怎么样运用色彩往深了讲了，我们只给你讲一个最基础最基础的，你必须要知道的一个常识——“三原色”。有人可能一听到三原色就想关我的语音了，觉得我反正已经懂了，别急，你接着往下听，你会发现你根本不懂。三原色这个东西，它指的是三种基础的颜色，靠这三种颜色，咱们就可以勾兑、可以掺出所有其它的颜色来。光的三原色：红、绿、蓝 © 叶梓按照我们初中学的光学的基础知识，光的三原色可以分为红、绿和蓝，然后用三原色兑在一起就可以出现别的颜色。比如说红和绿加在一起出现黄，有人可能会奇怪“怎么越加越浅了呢？”对的，因为这是光嘛，红光和绿光叠加在一起，一个红色的手电筒和一个绿色的手电筒，这两个光叠在一起它就是黄色，所以红加绿等于黄；绿加蓝等于青，这个跟大多数人的想象是一样的；然后蓝加红它不是等于紫色，而是等于品色，品色是一种非常明亮的红偏一点紫的这么一种颜色。所以我们就得到了三种颜色，这三种颜色是黄、青、品，我们管这个叫做次色。以上就是最经典的光的三原色以及它们各自在一起“生的孩子”。这里我要补充一点，大家还有一个基础概念，就是这三个颜色如果全加在一起会怎么样？红加绿加蓝全加在一起的话肯定等于白光嘛！对吧？这也是一个基础常识，那如果三个颜色全没有会怎么样？那肯定是纯黑嘛，因为什么光都没有。好，有了以上的知识我们就可以继续往下走了。你有没有发现一件事情：这之前我们做的都是加法。就是在漆黑一片的环境中，我给它一个红光就加上了红光，再给个绿光，红再加绿等于黄光，它一直是在做加法的，这是光的三原色和它的应用的一个特性。但是我们如果是在一张白纸上用颜料作画，我们做的却不是加法。你以为是在白纸“加上”红颜料吗？不对。其实我们在做减法！你涂抹的根本就不是一种“红颜料”，你涂抹的是一种能吸收蓝、绿光的颜料，这种材质是因为吸收了蓝绿光，所以它反弹出来的只有红光呈现为红色，所以在纸张上、在画画或者是印刷的时候，我们做的其实是减法而不是加法。这样问题就来了，如果你手上有三支颜料，这三支颜料分别能吸收光的三原色：红、绿、蓝，那么它们会呈现什么颜色呢？我们来推演一下：反光三原色：青、品、黄 © 叶梓吸收红光的颜料，它实际上是反弹了绿光和蓝光，所以它呈现出来的是青色。而吸收绿光的颜料，因为反弹是红光和蓝光，所以呈现出来是品色。吸收蓝光的颜料，它反弹的是红光和绿光，所以它呈现的是黄色。这三管颜料下下去，在纸张上画出来的其实是青、品、黄三个颜色，也就是Cyan、Magenta和Yellow，也就是CMY。这样一来我们的光的三原色是RGB——Red、Green、Blue，反光三原色就变成了CMY了。那你可以想象，因为这个CMY三管颜色每一个都能吸收光的三原色的其中一种颜色，所以如果把这三个颜色全调在一起的话，它就吸收了红绿蓝所有光，那就是说它是黑色，这个当然是符合逻辑的，而且这也再次的提醒了我们在纸上用颜料作画其实是在做减法。你看，现在我们有了两种三原色：RGB（红绿蓝），然后是CMY（青品黄）。美术三原色：红、黄、蓝 © 叶梓但是这还没完，我们根据人对色彩的心理反应，包括部分的生理反应，我们把色彩又搞出了一个美术三原色，叫做红、黄、蓝。这个不是基于科学来做的三原色，是基于心理来做的三原色。那么如果你现在要基于三原色去进行色彩的研究，要由它来发展出色轮、色立体、色彩搭配的方案，那到底基于哪一个会更好呢？首先，每一个色轮都能发展出自己的色彩体系，但是对我们研究美术的人来讲，我们可能更愿意使用红、黄、蓝——就是美术三原色。因为使用它的时候跟人的心理反应更直接相关，跟观感更直接相关，也更容易来做色彩搭配。所以我们现在有了三个三原色，而你现在应该知道的是，这个美术三原色红黄蓝是我们学摄影的人或者学绘画的人最常使用的三原色的色彩体系的一个基础。这个话题其实只是整个色彩的理论的一个开端，这是一丁点内容，因为大家平时对色彩可能太陌生了，所以不太熟悉，但是没关系，我们可以一点一点的来慢慢学习。好吧，今天我们就先聊这么多。其实关于色彩的系统知识，我们在我们的大课“自由摄影师”里面有详细的讲解，有色彩这一章，大家可以戳“阅读原文”进去了解一下，这是一个222课的相当大的体系，相当全的摄影课程。有更多的摄影问题或者有什么想聊的，都欢迎在底部向我留言。今天是摄影早自习陪伴大家的第1425天，我是叶梓，每天早上6:30，微信公众号“摄影早自习”，不见不散。
In this episode of LIGHT TALK, the Lumen Brothers talk about everything from memorizing gel books to unintentional consequences. Join Steve, David, and Stan as they pontificate about: Steve's new show at the Undermain Theatre; Professor Stan's Neighborhood visits Mumbai; cueing with glasses or contact lenses; lasik; pirate lighting designers; how many families of color media must you learn; "Color pickers are Satan!"; the accuracy of color matching in consoles; mixing in RGB and CMY; the "Yale Swatch Book"; cable heating and catalytic converters; "The Cheeky Rigger of Scheffield" holiday fragrances; turning down shows that you have deep moral issues with; Martingales; and the porn industry moving to Florida. Nothing is Taboo, Nothing is Sacred, and Very Little Makes Sense.
How long have you been teaching the dreaded Red-Yellow-Blue color wheel? Are you getting a little tired of your kids mixing colors that look like mud? Have you thought "there's got to be a better way to do this"? Well, there is--and this episode is the right way to get started understanding and teaching color in a new way. In the first of a two-part episode, Maggie Maggio joins Tim to talk about why we should change our approach to teaching color (6:30), the shift from RYB to CMY (9:15), and why we need to be using a 3D model to help understand color (13:00). Resources and Links Kolormondo, the ultimate color tool Tim's article on Kolormondo More AOE color theory resources can be found here The Munsell Symposium Call for Artwork Munsell 2018 on Instagram
In this episode of LIGHT TALK with The Lumen Brothers, Steve, Stan, and David cover everything from the Red/Green Color Theory to Bialys to Die For! Join the guys as they pontificate about Broad Band Receptors, CMY vs. RGB, John Gleason, Morpheus Color Faders, Battling With and Taking Advantage of Amber Shift, "Fat Bastard!", GMOOT's, Reference Colors, The Golden Glow of Incandescent Light, Our Tools of Choice, and Puffs. Nothing is Taboo, Nothing is Sacred, and very little makes sense.
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