During an earnings call on November 29th, CEO of AT&T Communications John Donovan effectively signed the death warrant for satellite television in the United States. Just three years after spending $67 billion purchasing the nations’s largest satellite TV provider, DirecTV, he made a comment which left little doubt about the telecom giant’s plan for the service’s roughly 20 million subscribers: “We’ve launched our last satellite.”
The news might come as a surprise if you’re a DirecTV customer, but the writing has been on the wall for years. When the deal that brought DirectTV into the AT&T family was inked, they didn’t hide the fact that the actual satellite content delivery infrastructure was the least of their concerns. What they really wanted was the installed userbase of millions of subscribers, as well as the lucrative content deals that DirecTV had already made. The plan was always to ween DirecTV customers off of their satellite dishes, the only question was how long it would take and ultimately what technology they would end up using.
Now that John Donovan has made it clear their fleet of satellites won’t be getting refreshed going forward, the clock has officially started ticking. It won’t happen this year, or even the year after that. But eventually each one of the satellites currently beaming DirecTV’s content down to Earth will cease to function, and with each silent bird, satellite television (at least in the United States) will inch closer to becoming history.
From the banks of levers and steam gauges of 1927’s Metropolis to the multicolored jewels that the crew would knowingly tap on in the original Star Trek, the entertainment industry has always struggled with producing imagery of advanced technology. Whether constrained by budget or imagination, portrayals usually go in one of two directions: they either rely too heavily on contemporary technology, or else they go so far in the opposite direction that it borders on comical.
But it doesn’t always have to be that way. In fact, when technology is shown properly in film it often serves as inspiration for engineers. The portrayal of facial recognition and gesture control in Minority Report was so well done that it’s still referenced today, nearly 20 years after the film’s release. For all its faults, Star Trek is responsible for a number of “life imitating art” creations; such as early mobile phones bearing an unmistakable resemblance to the flip communicators issued to Starfleet personnel.
So when I saw the exceptional use of 3D printing in the Netflix reboot of Lost in Space, I felt it was something that needed to be pointed out. From the way the crew made use of printed parts to the printer’s control interface, everything felt very real. It took existing technology and pushed it forward in a way that was impressive while still being believable. It was the kind of portrayal of technology that modern tech-savvy audiences deserve.
It left such an impression that we decided to reach out to Seth Molson, the artist behind the user interfaces from Lost in Space, and try to gain a little insight from somebody who is fighting the good fight for technology in media. To learn how he creates his interfaces, the pitfalls he navigates, and how the expectations of the viewer have changed now that we all have a touch screen supercomputer in our pocket.
It seems to be a perennial feature of our wider community of hackers and makers, that television production companies come up with new ideas for shows featuring us and our skills. Whether it is a reality maker show, a knockout competition, a scavenger hunt, or any other format, it seems that there is always a researcher from one TV company or another touting around the scene for participants in some new show.
These shows are entertaining and engaging to watch, and we’ve all probably wondered how we might do were we to have a go ourselves. Fame and fortune awaits, even if only during one or two episodes, and sometimes participants even find themselves launched into TV careers. Americans may be familiar with [Joe Grand], for instance, and Brits will recognise [Dick Strawbridge].
It looks as if it might be a win-win situation to be a TV contestant on a series filmed in exotic foreign climes, but it’s worth taking a look at the experience from another angle. What you see on the screen is the show as its producer wants you to see it, fast-paced and entertaining. What you see as a competitor can be entirely different, and before you fill in that form you need to know about both sides.
A few years ago I was one member of a large team of makers that entered the UK version of a very popular TV franchise. The experience left me with an interest in how TV producers craft the public’s impression of an event, and also with a profound distrust of much of what I see on my screen. This prompted me to share experiences with those people I’ve met over the years who have been contestants in other similar shows, to gain a picture of the industry from more than just my personal angle. Those people know who they are and I thank them for their input, but because some of them may still be bound by contract I will keep both their identities and those of the shows they participated in a secret. It’s thus worth sharing some of the insights gleaned from their experiences, so that should you be interested in having a go yourself, you are forewarned. Continue reading “Hacking On TV: What You Need To Know”→
The Hackaday 10th anniversary was an awful lot of fun, and part of what made it awesome was all the cool things that the community brought to the event. We hadn’t really had a chance to get down to meet the guys from TwoBitCircus before now but they were more than happy to bring along their excellent Hexacade machine. The 6-player custom built arcade game that was an absolute blast!
After the party TwoBitCircus’ fearless leaders [Brent Bushnell] and [Eric Gradman] invited us over to their space for a quick look at their workshop, and to give us a personal invite to the Hacker Preview day for their upcoming STEAM Carnival. No this isn’t Steam as in Steam-punk, but STEAM as in Science Technology Engineering Art and Mathematics.
Their space is really quite amazing, part of The Brewery Art Colony near downton Los Angeles. The building is actually an old steam power plant with incredibly high ceilings. The TwoBitCircus crew is now about 30 people all building interactive games and art pieces for events. They call themselves a digital circus and a lot of their work harkens back to old carnival games of yore with a new digital twist.
[Eric] and [Brent] spared a few minutes to give us a quick run down of what sort of games to expect at the STEAM Carnival. There will be a wide array of entertainment: giant marble runs controlled by see-saws, whack-a-mole/twister mashups on huge glowing button walls, laser based foosball, and the more extreme immolation dunk tank! It will be a most entertaining and educational event. The main public days are on the weekend of 25th – 26th of October, but there is an invite only hacker preview for the local community on Thursday October 23rd which we will be attending. If you’d like to go to the main event, use the code HACKADAY for $5 off the ticket price of $25.
What was most interesting about TwoBitCircus for me as a maker of things was how these guys have turned their hobby into a thriving events business. Brent tells us that they’ve been at this for 8 years now and the company has been around for 3. They’re doing pretty well too, making incredible things for some of the biggest companies around. This really is the best possible job for any inventive hacker sort, building crazy stuff all day for people to play with! I left the place feeling incredibly envious.
Check out the photos below for some impression of the sort of craziness you might see at the carnival!
[Matt and Jason Tardy], who make up the musical performance duo known as AudioBody, were recently featured on Make: explaining how they put on one of their trademark segments. The most popular portion of their show features color changing tubes of light which the pair spin and fling around not unlike a higher-tech version of the Blue Man Group. While the visuals are pretty slick, the technique behind it is far simpler than most people initially imagine.
As you can see in video below, the tubes look to be nothing more than simple white lights. As the brothers work through their performance however, the tubes switch from white to blue and back again with a liquid-like transition between the colors.
The [Tardys] say that most people peg a microcontroller or other complex electronics as the source of their light wizardry, but the real answer is much simpler. Embedded in the end of each tube is a bright LED flashlight. A sliding blue filter positioned inside the tube provides the silky smooth transition between colors – no fancy electronics required.