Testing Severely Neglected VHS Tapes And CDs

Check your tape for spider nests before rewinding. (Credit: Brady Brandwood, YouTube)
Check your tape for spider nests before rewinding. (Credit: Brady Brandwood, YouTube)

Physical media has a certain amount of durability associated with it, a quality which is naturally determined by the way that they’re stored. Generally this does not involve being abandoned on the porch of a dilapidated, abandoned house where the elements and any passing critter can have their way with it.

Exactly how playable would these VHS tapes and CDs still be? Whether it was out of a sense of burning curiosity, or for a similar reason that [Brady Brandwood] has a habit of adopting former seafood critters like lobsters as adorable pets, these items got recently collected and put to the test.

Normally VHS tapes are kept safely in a little sleeve or box in a dry, cool place, similar to CDs and DVDs. These particular items had however been left for at least a decade out in the open amidst the ransacked remains of abandoned homes. This meant that the VHS tapes were full of dirt and debris, and at least in one case with a spider nest that jammed up the thrift-store VHS/DVD combo player.

The CDs were cleaned and tried in a G5 iMac, with the obvious results there being that as long as the shiny layer with the data was intact, they worked fine. While a damaged disc tried to play somewhat, even the amazing audio CD error-correcting algorithms can not compensate for see-through gashes.

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This is an image that would have been difficult to chroma key by hand.

CorridorKey Is What You Get When Artists Make AI Tools

You may not have noticed, but so-called “artificial intelligence” is slightly controversial in the arts world. Illustrators, graphics artists, visual effects (VFX) professionals — anybody who pushes pixels around are the sort of people you’d expect to hate and fear the machines that trained on stolen work to replace them. So, when we heard in a recent video that [Niko] of Corridor Digital had released an AI VFX tool, we were interested. What does it look like when the artist is the one coding the AI?

It looks amazing, both visually and conceptually. Conceptually, because it takes one of the most annoying parts of the VFX pipeline — cleaning up chroma key footage — and automates it so the artists in front of the screen can get to the fun parts of the job. That’s exactly what a tool should do: not do the job for them, but enable them to enjoy doing it, or do it better. It looks amazing visually, because as you can see in the embedded video, it works very, very well.

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The Tragic Demise Of The Technirama Prism-Based Anamorphic Lens

A commercial Delrama prism-based anamorphic lens for large cameras. (Source: Mathieu Stern, YouTube)
A commercial Delrama prism-based anamorphic lens for large cameras. (Source: Mathieu Stern, YouTube)

Although to the average person a camera lens is just that bit of glass you stick on the front of the camera to make stuff appear in focus, there’s a whole wide world out there of lens designs and modifications with enough variety to make your head spin. Some of these designs make a big impact, while others fade away again, sometimes at the whims of film makers and photographers. Prism-based anamorphic lenses are an oddity that recently [Mathieu Stern] got his hands on. (Video, embedded below.)

During the 1950s and 1960s there was a bit of a competition between anamorphic formats, which use special lenses that ‘squeeze’ a larger image so that widescreen movies could be recorded on standard 35 mm film. By using the same lens for recording and playback, the result was a mostly distortion-free image. Here the Technirama format by Technicolor who teamed up with Dutch company De Oude Delft (‘Old Delft’) to produce the prism-based Delrama lenses that fit on existing lenses for cameras and projectors.

The last gasp of the Delrama anamorphic lenses. (Credit: Mathieu Stern, YouTube)a
The last gasp of the Delrama anamorphic lenses. (Credit: Mathieu Stern, YouTube)a

Despite having a clearly superior, distortion-free image than the cylindrical lenses of the competition, Technirama got pushed out of the commercial market, leaving De Oude Delft to try and interest the consumer market for Delrama with 8 and 16 mm adapters. These latter are the ones that [Mathieu] got his hands on and tried out with a DSLR camera.

Troublesome with these Delrama adapters is that their silver mirrors tend to degrade over time, and they also turned out to be rather fragile, which are both things that made consumers sour on them. Another challenge was the fixed four meter focus that’s great when you’re using it with a projector, but terrible for up-close shots. All of these issues resulted in Delrama fading from the market by the 1970s until all that remains are these remnants of a format that once was used to film some of the biggest Hollywood movies.

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Running Video Through A Guitar Effects Pedal

Guitar pedals are designed to take in a sound signal, do fun stuff to it, and then spit it out to your amplifier where it hopefully impresses other people. However, [Liam Taylor] decided to see what would happen if you fed video through a guitar pedal instead. 

The device under test is a Boss ME-50 multi-effects unit. It’s capable of serving up a wide range of effects, from delay to chorus to reverb, along with compression and distortion and a smattering of others. [Liam] hooked up the composite video output from an old Sony camcorder from the 2000s to a 3.5 mm audio jack, and plugged it straight into the auxiliary input of the ME-50 (notably, not the main guitar input of the device).

The multi-effects pedal isn’t meant to work with an analog video signal, but it can pass it through and do weird things to it regardless. Using the volume pedal on the ME-50 puts weird lines on the signal, while using a wah effect makes everything a little wobbly. [Liam] then steps through a whole range of others, like ring modulation, octave effects, and reverb, all of which do different weird things to the visuals. Particularly fun are some of the periodic effects which create predictable variation to the signal. True to its name, the distortion effect did a particularly good job of messing things up overall.

It’s a fun experiment, and recalls us of some of the fantastic analog video synths of years past. Video after the break.

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A TV Transmitter From An STM32

Analog TV may have shuffled off its mortal coil years ago, but there are still plenty of old CRT TV sets around that could receive it. [Kris Slyka] has just such a device, and decided to feed it something from an STM32 microcontroller. An STM32G431, to be precise, and they’re doing it using the on-chip hardware rather than in software.

This unexpected feat is made possible by clever use of the internal oscillators and analog multiplexer. The video itself is generated using the MCU’s DAC, and fed into the on-board op-amp multiplexer which is switched at the VHF transmission frequency. This creates the required VHF TV transmission, but without audio. This component comes by abusing another peripheral, the internal RC oscillator for the USB. This is frequency modulated, and set to the required 5.5 MHz spacing from the vision carrier for the TV in question. It doesn’t (yet) generate the PAL color sub-carrier so for now it’s black and white only, but maybe someone will figure out a way.

We like unexpected out-of-spec uses of parts like these microcontrollers, and we especially like analog TV hereabouts. We marked its very final moments, back in 2021.

Making A CRT Spin Right Round, Round, Round

If you’ve got a decent CRT monitor, you can usually adjust the settings to make sure the image scans nicely across the whole display. But what if you could rotate the whole image itself? [Jeri Ellsworth] has shown us how to achieve this with an amusing mechanical hack.

The trick behind this is simple. On a standard CRT, the deflection yoke uses magnetic coils to steer the electron beam in the X and Y axes, spraying electrons at the phosphors as needed. To rotate the display as a whole, you could do some complicated maths and change how you drive the coils and steer the electron beams… or you could just rotate the entire yoke instead. [Jeri] achieves this by putting the whole deflection yoke on a custom slip ring assembly. This allows it to receive power and signal as it rotates around the neck of the tube, driven by a stepper motor. Continue reading “Making A CRT Spin Right Round, Round, Round”

Powering On A 1985 Photophone CP220 Videoconference System

The concept of remote video calls has been worked on since Bell’s phone company began pitching upgrading from telegrams to real-time voice calls. It wasn’t until the era of digital video and real-time video compression that commercial solutions became feasible, with the 1985 Image Data Corporation Photophone CP220 being an early example. The CP220 is also exceedingly rare due to costing around $25,000 USD when adjusted to inflation. This makes the teardown and repair on the [SpaceTime Junction] channel a rather unique experience.

Perhaps the coolest part of the device is that the manual is integrated into the firmware, allowing you to browse through it on the monochrome CRT. Unfortunately after working fine for a while the device released the magic smoke, courtesy of the usual Rifa capacitors doing their thing. This is why a full teardown was necessary, resulting in the PSU being dug out and having said capacitors swapped.

After this deal the device powered on again, happily accepting a video input and saving screenshots to the floppy drive before it was replaced with a FDD emulator running FlashFloppy firmware. Unfortunately no video call was attempted, probably because of the missing camera and having to set up a suitable POTS landline for the built-in modem. Hopefully we’ll see that in an upcoming video to see what we common folk were missing out on back in the day.

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