Technology

Advanced Imaging Reveals a Computer 1,500 Years Ahead of Its Time

Thanks Laird, an ancient relic worthy of Indiana Jones? Absolutely!:hat:

X-rays and advanced photography have uncovered the true complexity of the mysterious Antikythera mechanism, a device so astonishing that its discovery is like finding a functional Buick in medieval Europe.

In 1900, some divers found the wreck of a Roman vessel off the Greek island of Antikythera. Among the other treasures remanded to the Greek government was an unassuming corroded lump. Some time later, the lump fell apart, revealing a damaged machine of unknown purpose, with some large gears and many smaller cogs, plus a few engraved words in Greek. Early studies suggested it was some type of astronomical time-keeping device – researcher Derek J. de Solla Price laid the groundwork by establishing initial tooth counts and suggesting that the device followed the Metonic cycle, a 235-month pattern commonly used to predict eclipses in the ancient world.

The complexity of the mechanism shows that ancient humans were capable of intellectual and engineering feats that boggle our modern minds (and it puts the lie to all those "ancient astronaut" theories). The upheavals of war and natural disasters over 2,000 years have probably caused us to lose many more works and wonders that will never be found.

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Decoding an Ancient Computer: Greek Technology Tracked the Heavens [Scientific American].

Part 1:

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RedeemedChild

New member
Rocket Surgeon said:
Advanced Imaging Reveals a Computer 1,500 Years Ahead of Its Time

Thanks Laird, an ancient relic worthy of Indiana Jones? Absolutely!:hat:




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Now if George Lucas and Steven Spielberg were to utilize a quest for this thing in the next Indiana Jones movie we'd all be happy campers! Far better than a Crystal Skull now that I look back in retrospect.
 
Holographic Projector

I think I'm going to watch Raiders in 3-D REALLY soon!(y)

With Kinect controller, hackers take liberties
Mr. Kreylos, who specializes in virtual reality and 3-D graphics, had just learned that he could download some software and use the device with his computer instead. He was soon using it to create “holographic” video images that can be rotated on a computer screen. A video he postedon YouTubelast week caused jaws to drop and has been watched 1.3 million times.

Mr. Kreylos is part of a crowd of programmers, roboticists and tinkerers who are getting the Kinect to do things it was not really meant to do. The attraction of the device is that it is outfitted with cameras, sensors and software that let it detect movement, depth, and the shape and position of the human body.

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Add a few more Kinects...
 
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Indy's brother

New member
I saw this recently, too. The guy is definitely moving in the right direction! You are probably familiar with this video then, with the wii-mote. Granted, his image was rendered in 3D to begin with, but I'd be interested to see what it would look like with just a regular 2D image....

Oh, and regarding the Antikythera mechanism, what other artifact would it be linked with? Since Indy can't really quest for it, as it was already found when he was only a year old or so...
 
Indiana Jones USB Flash Drive

No hat...but still a nice stocking stuffer.

Indiana-Jones-Flash-Drive2.jpg


Indy's brother said:
...regarding the Antikythera mechanism, what other artifact would it be linked with?
That's just it, maybe it's the key to another machine or like the headpiece to the Staff of Ra. Either way it's pretty cool, and it's real.
 
The Raiders March on a 1901 Lester Player Piano

A great combination of old and new technologies! Would like to know if it interpreted audio or "read" sheet music though...


John Terison demonstrates The Raiders March from Indiana Jones, composed by John Williams, as played on a 1901 Lester player piano via MIDI interface. Magnetic actuators were installed in the piano to allow it to play MIDI files from the MacBook Pro.

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Indy's brother

New member
Rocket Surgeon said:
A great combination of old and new technologies! Would like to know if it interpreted audio or "read" sheet music though...




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In my youth I spent several short years as a concert pianist (not kidding), and this is truly impressive to me. To duplicate this live, would require either two pianos and two players, or one piano with three pianists on one very crowded bench.
:cool:
 

IAdventurer01

Well-known member
Indy's brother said:
To duplicate this live, would require either two pianos and two players, or one piano with three pianists on one very crowded bench.
:cool:

I was thinking the same thing! While not a concert pianist by any means, I'm fairly accomplished at the art. When I first was listening I was trying to figure out if I had a new - really good - arrangement on my hands. Then I looked at the number keys being played at once and said screw it. ;)
 
"Jeopardy!: IBM Challenge"

Montana Smith said:
And if the machine should win...

Should we start forming the resistance already?

I...will...resist.

Does life imitate art?

IBM recently created a supercomputer named Watson that will compete against humans in the "Jeopardy!: IBM Challenge."

Humans have often speculated about computers: What exactly can we make them do? How smart can we make them? Is there a limit to what they can do? When will they rule us all?

At the moment, we're just having fun competing against them – and losing.

The other two contestants? Previous "Jeopardy!" champions Ken Jennings, who won 74 consecutive matches, and Brad Rutter, who won a record-breaking $3.3 million as a contestant. The televised match will air in February, but today IBM offered a teaser in a three-round test battle.

Watson gets its information from myriad encyclopedias, dictionaries, books, and other sources of information it has digested. According to IBM, Watson has access to the equivalent of 200 million pages of content.

Watson also works just like a human contestant would: he has a buzzer and answers in the form of a question. Although as a bonus for the audience, the top three answers that Watson believes are correct are projected on a screen, giving insight into its decision-making process.
 

Montana Smith

Active member
Rocket Surgeon said:
Does life imitate art?

IBM recently created a supercomputer named Watson that will compete against humans in the "Jeopardy!: IBM Challenge."

We must end this now.

We need names and adresses.

Yet... human vanity will always win out. We'll always believe that we can control the machine. Until that day when we realize that we've created a virus with no cure. And when that happens we'll be ruled by the machine, as demonstrated in Little Britain:

computer_says_no.jpg


(!)
 
Remote Controlled Snake from National Geographic

I realize that I am too little too late for April Fool?s Day, but this Remote Controlled Snake would be a good prank to pull for anyone who is afraid of snakes, like Indiana Jones, for example.

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This wouldn?t be the first time that we reported on remote controlled snakes. About a few years ago, we covered an RC Snake from IWOOT (I Want One Of Those), and it had a weird set of wheels underneath its jaw. This doesn?t appear to be the case with this guy, which is made from the real nature pros at National Geographic.

The National Geographic Remote Controlled Snake is about 20 inches long and runs on 2 AA batteries. It is able to move with a ?life-like slithering action?, but it does something that isn?t very life-like as its eyes light up.

Yeah, that eyes lighting up feature would scare any ophidiophobe (someone who is afraid of snakes). Right now, it is available with the Banana Boa and the Green Mamba, and I am glad that there is no cobra model after that incident at the Bronx Zoo.

You should be able to get one of these snakes on the National Geographic site now. the Banana Boa is about $39.99 and the Green Mamba is $36.99.
 
Top filmmakers offer fervent endorsements of the movie theater

George Lucas, James Cameron and Jeffrey Katzenberg tell a Las Vegas convention of movie theater owners that the viewing format will always be popular and that 3-D will be a boon to sales.

Digital filmmakers forum at Caesars Palace in Las Vegas during CinemaCon.

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Even in the distant future in a galaxy far, far away, there will still be movie theaters.

"Star Wars" filmmaker George Lucas, a pioneer in digital technology, offered an impassioned show of support for a century-old institution: the movie theater.

"What you bring to the table is a great venue," Lucas told an enthusiastic group of theater owners Wednesday in Las Vegas. "Movie theaters represent a social art form you can't get on an iPhone and you can't get on the TV.... Man is a social animal — we want to enjoy things together. And that's what a theater is."

Lucas' comments drew loud applause from the crowd gathered at the industry's annual convention, CinemaCon. Theater operators have been grappling with a sharp falloff in attendance and ticket sales this year, fueling debate about long-term challenges facing theaters, including rising competition from entertainment in the home.

Speaking at a panel on the future of cinema, Lucas said theaters had bright prospects even as they face more competition from alternative forms of entertainment, such as video games and video on demand.

"Movie theaters, will never, ever go away," he said.

That sentiment was also expressed by fellow Hollywood heavyweights "Avatar" director James Cameron and DreamWorks Animation Chief Executive Jeffrey Katzenberg, who were also on the panel.

All three filmmakers called on theaters to do more to woo customers, improve customer service and offer more alternative content, such as live sporting events and concerts. They also suggested offering theatergoers dinner along with a movie.

"Bring together seeing a movie and getting a meal," Katzenberg said. "I think it's the next blockbuster."

The filmmakers predicted that 3-D filmmaking would continue to stimulate growth in the business, saying the technology was still in its infancy. "I totally believe that 3-D will eventually take over, just like color did," Lucas said.

Lucas and Cameron plan to release 3-D versions of their films "Star Wars Episode I: the Phantom Menace" and "Titanic."

But they also cautioned that Hollywood risks going overboard by rushing to convert too many movies to a 3-D format. This year alone the release of nearly 40 3-D films is expected. .

"I'm concerned about anything that erodes the market," Cameron said. "Bad 3-D is one of them."

George Lucas has announced his satisfaction with the efforts to date to convert The Phantom Menace to 3D.

The job of adding an extra dimension to Jar Jar Binks has been handed to Prime Focus, according to the Hollywood Reporter. The firm previously used its "proprietary View-D 2D-to-3D process" on Clash of the Titans, resulting in a "cheeseball conversion", as Hollywood mogul Jeffrey Katzenberg described it.

Lucas, though, appears confident that Prime Focus can make a better hash of The Phantom Menace. He said in a statement: "It was incredibly important to me that we have the technology, the resources and the time to do this right. I'm very happy with the results I've been seeing on Episode I."

Industrial Light & Magic's visual effects supervisor, John Knoll, will be keeping an eye on things. He said: "Getting really good results from stereo conversion requires a lot of attention to detail, and it is imperative that you take the time to get it right – and that's just what we're doing

"We're taking a different approach than you might expect. George's vision has been to add dimension to the film in subtle ways. This isn't a novelty conversion, with things jumping out at the audience; our goal has been to enhance the classic Star Wars theatrical experience, utilizing the latest cinematic tools and techniques."

The Phantom Menace in 3D is due to hit cinema screens on 10 February next year
 
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Montana Smith said:
Well, they couldn't make a worse hash than Lucas himself made of it!
George is definitely our generation's William Randolph Hurst, editing not only his professional output but his personal history as well...

I found a GREAT article I want to share, but the Indy Cast comes first...so it will have to wait.
 

Montana Smith

Active member
Scientists make teleportation breakthrough

Scientists make teleportation breakthrough

Yahoo! News

Boffins from Japan and Australia have made a huge scientific breakthrough by successfully teleporting packets of light from one area to another. Skip related content

The mind-bending project, led by Noriyuki Lee at the University of Tokyo, could lead to the creation of super-powerful quantum computers and revolutionise the telecommunications industry.

The team managed to teleport wave packets of light by destroying them in one place and re-creating them in another.

It's an incredible process that means transmitting large volumes of complex quantum information could be quicker than is currently possible.

The quantum physics term behind this experiment is 'entanglement'. It means that two particles can be bonded in such a way that even when separated by large distances, they are still linked. So what happens to one affects the other.

The team linked packets of light to half a pair of entangled particles. They destroyed one of the particles and the light itself, leaving just one remaining particle. This particle still contained detailed information about the light which they could then use to rebuild the original particle.

'Schrodinger's cat'

The process involves 'Schrodinger's cat'. Unfortunately it's not a real feline, but a hypothetical experiment first carried out in the 1935.

Schrödinger envisioned in a cat in a sealed box with a small amount of radioactive material and a Geiger counter measuring radiation. If the atom decayed the counter would release cyanide into the box and kill the cat.

According to quantum mechanics, the cat is neither dead nor alive. Until someone opens the box both possibilities exist. It's supposed to illustrate how in quantum mechanics particles can exist in suspended states of multiple possibilities.

The team at the University of Tokyo were able to put the light wave in a 'Schrödinger's cat' state with the help of a machine simply called 'The Teleporter', and make it have two opposite phases at the same time.

Professor Elanor Huntington, who was part of the research team, told ABC News: "What we've done is take a macroscopic beam of light and put it into a quantum superposition, which is extremely fragile, and teleported that from one place to another."

Doing this demonstrates that - for the first time - blocks of complex quantum information can now be carried by light.

"If we can do this, we can do just about any form of communication needed for any quantum technology," she said.

Unfortunately the breakthrough doesn't mean we'll ever be able to transport human beings, Star Trek style. At present even bacteria is far too complex to be transported.

Written by Orlando Parfitt

http://uk.news.yahoo.com/38/20110415/tsc-scientists-make-teleportation-breakt-98fda55.html
 
The Army Had Their Own AT-AT Years Before George Lucas Invented His
Kat Hannaford — Years before Lucasfilm created the AT-AT and Boston Dynamic's Big Dog terrified the world, the US Army was working with General Electric on the "Walking Truck" project, basically a large walker which was controlled by a lever-pushing operator.

Called the Cybernetic Anthropomorphous Machine (or CAM for short), the walker may not have been used by the US Army in combat on rough terrains, but the idea was certainly explored by them in the early '60s, as the video here shows.

Unlike the AT-AT walkers, a human had to actually sit in the CAM and control the walker using hydraulic levers. Its strength seems pretty high, considering it can kick a small Jeep aside with ease, but according to the video it was possible to be gentle too, with the operator able to feel the resistance when the walker's foot was touching an object.

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A.D.D. - someone still loves you!

SUNNYVALE, Calif., Aug. 30, 2011 /PRNewswire via COMTEX/ -- Kaleidescape, Inc., the market leader in movie servers, today unveiled Kaleidescape Scenes, a revolutionary new feature of the Kaleidescape System that puts the most memorable moments of your movie collection at your fingertips. Kaleidescape experts have hand-picked more than 4,000 of the funniest, scariest, most action packed and emotionally charged scenes from over 700 of the most popular movies, and more are being added each day. Kaleidescape System owners can now experience their own movies in a completely new way, by scene surfing the movies in their collection. These entertainment "snacks" are perfect for those times when you don't have two hours to watch an entire movie.

"I rediscovered Indiana Jones running from the boulder in Raiders of the Lost Ark, and then jumped immediately to Casablanca's 'Here's Looking at You Kid'," said Greg Young, a Kaleidescape owner from Clovis, CA. "My Kaleidescape System reconnected me with these movies and many more."

"The way the scenes are organized makes it simple to give a fantastic demo, whether I'm selling to a client or the client is showing his theater to a friend," said Jim Goodrich of CineLife, LLC in Honolulu, HI. "Kaleidescape Scenes showcase the power of the system like never before."

"In the past, watching a movie was a two-hour commitment I could rarely make," said Michael Malcolm, Founder, Chairman, and CEO. "Now it's possible to spend as little as a few minutes exploring my collection, and it can be a social experience I share with family and friends."

Kaleidescape Scenes are available today, to every Kaleidescape System, in KEAOS 4.2, and the scenes database is part of the exclusive Kaleidescape Movie Guide. KEAOS and Movie Guide updates are distributed automatically, without dealer or customer intervention.

Kaleidescape designs and manufactures the world's leading DVD and Blu-ray movie servers, products that deliver the premier movie-watching experience for your home. The Kaleidescape System, renowned for its intuitive user interface, presents your entire collection of movies on any TV in any room, and forever changes the way you enjoy movies. Kaleidescape's innovative products and services are protected by 67 patents issued and pending. Founded in 2001 and headquartered in Sunnyvale, California, Kaleidescape sells its movie servers through custom audio and video installers throughout the world.

All we see is video gaga...
 
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Technicolor Completes Acquisition of Laser Pacific

Laser Pacific?s upcoming and current postproduction work includes Martin Scorsese?s "Hugo," as well as "Mad Men" and "The Good Wife."

Technicolor completed its acquisition of Hollywood-headquartered post house Laser Pacific.

Its recent restoration projects include Raiders of the Lost Ark, Hoffa and The French Connection.

The roster of colorists at Laser Pacific includes Dave Cole and Mike Sowa (digital intermediate/features); Tim Vincent and Gareth Cook (broadcast); and Lou Levinson and Brian McMann (restoration).

With the acquisition, they become part of Technicolor?s Los Angeles-based team of colorists, a few of which includes Jill Bogdanowicz, Mike Hatzer and Tony Dustin (digital intermediate/features); and Sparkle and Scotty Klein (broadcast).

Paris-headquartered Technicolor offers a range of services for the creation, management and delivery of entertainment content, ranging from postproduction to Blu-Ray authoring and digital cinema distribution.

Technicolor?s agreement to acquire Laser Pacific was announced on July 27, and at that time, plans called for the Laser Pacific to be rebranded as Technicolor.

Laser Pacific was formed more than 25 year ago, joining several former companies including Pacific Video and Laser Edit. The company, which later went public, has earned six Emmy awards for outstanding achievement in engineering development.

Laser Pacific was acquired by Kodak in 2003 for $30.5 million, and in April 2010 was sold for an undisclosed sum to HIG Capital, which also houses industry businesses PostWorks/Orbit Digital, Hula Post, Wexler Video and Coffey Sound.
 
Restoring Breakfast at Tiffany's on Blu-ray with Ron Smith


When it comes to classic films, Breakfast at Tiffany's is one of the best of the 20th Century. Starring Audrey Hepburn as the wild but charming Holly Golightly, Breakfast at Tiffany's has never gone out of style given its timeless romantic qualities.

Making its debut on Blu-ray for the first time on September 20, Breakfast at Tiffany's has never looked or sounded better now that Paramount has given the Blake Edwards directed classic a new 50th Anniversary treatment. Featuring the Oscar winning song "Moon River" by Henry Mancini and Johnny Mercer, Breakfast at Tiffany's boasts an impressive 5.1 DTS-HD audio track that brings the sounds of 1960s New York City to life like never before.

Ahead of the Blu-ray release of Breakfast at Tiffany's 50th Anniversary Edition, TheDeadbolt went one-on-one with Ron Smith, Vice President of Preservation and Restoration at Paramount, to learn more about how Breakfast at Tiffany's was restored, the process of restoration, how Smith and his team handled the famous party, and the approach to bringing Audrey Hepburn to life on 50th Anniversary Blu-ray.

THE DEADBOLT: What was the overall direction that you established for the restoration?

RON SMITH: Well, we wanted to use the original negative as the source. We wanted to use the latest scanning technology, which includes an add-on device that reads the dirt on the negative, if you will, and allows you to eliminate the spots and dirt automatically and manually.

An infrared device reads the negative and creates a channel that shows you where all of the dirt is and you get rid of 90 percent of it on the first pass. So basically, we tried to limit the amount of time that we spent picking at dirt by doing it automatically and spent more time on the actual finessing of the film and color correction.

THE DEADBOLT: What was the condition of the original source?

SMITH: It's had dupes cut into it over the years, unfortunately, which is not unusual. It's very difficult to smooth those images out, especially when you're going from the negative, because it's very obvious where it's cut in. If you went down a couple of generations, everything tends to even out but it's a little bit harder to tell. But when you cut into the negative and look at it, these sections, the dupe sections cut in, they stick out like a sore thumb.

So getting those things to match the rest of the film was very difficult. Actually, the hardest part was the first two minutes of the film, the main titles of the film.

THE DEADBOLT: How did you get the main titles to stand out so much?

SMITH: Well, in the past we actually used a textless background and then recomposited the titles on a separate pass. But as we were figuring out how to do that, our colorist, a guy named Tim Peeler, would continue to play with the opening credits.

The biggest problem was color breathing and density breathing. Everytime a title comes on, the density just shifts to such a great degree that it's disconcerting to say the least. What he did was built in about 150 to 160 color changes, literally each little event in that minute and a half or two minutes.

The more he kept working on it, and everytime I would see it, I was like, "You know what? This looks pretty good!" So we ended up not taking it apart and putting it back together. Basically, based on what he had done, the main titles are the original just with a lot of color correction in it.

THE DEADBOLT: How did you approach the the party sequence? Was that a big challenge for you?

SMITH: It's an interesting scene - and also one of my favorites - because it starts with a shot of Martin Balsam looking through the birdcage, talking to a stuffed parrot. The shot continues on for about two or three minutes without a cut. It's just masterful not only in the way it's blocked by Blake Edwards but just in the way the lines are delivered by Martin Balsam. It's just genius.

So trying to keep all of that even, because he goes from the birdcage to the wall to the door to the kitchen, back across the room to the door to the kitchen, and just kind of evening it out and making it flow was the hardest part with that one shot.

THE DEADBOLT: How did you approach Audrey Hepburn as compared to the other characters?

SMITH: Audrey, when you have a character like this, you stick with her. In other words, everything else could suffer if it has to. Basically, we made every attempt to make her look stunning and just get all of her lighting and coloring as good as it could be. And then we kind of worried about George Peppard. [laughs] No offense.

It's just that I didn't want to use any windows or any fancy tricks. I tried to do this as straight as possible. These days you can make anything any color, you can separate half of the screen, and we really tried to avoid that. I don't think we did much of any of that. But on the first two or three passes, I'm like, "No windows, no fancy stuff. We're just going to do this straight up!" Audrey, she can pull it off because she's just stunning.

THE DEADBOLT: How do you deal with colors of the 1960s to make them more contemporary for today's audiences?

SMITH: Well, you actually try to make them appear as they were when the film came out. What happens to film is that it fades, the prints fade, and it just doesn't look as snappy as when it was originally photographed. We were lucky enough to have a print that we acquired many years ago, a Technicolor dye transfer print, so we used that as a color reference.

THE DEADBOLT: What are some of the other titles that you're working on?

SMITH: My department has put together an incredible presentation of Wings from 1927. We're also working on Raiders of the Lost Ark, not for Blu-ray but for theatrical presentation prepatory.
 
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