There was a time when all TVs came with only an antenna socket on their backs, and bringing any form of video input to them meant dicing with live-chassis power supplies. Then sets with switch-mode supplies made delving into a CRT TV much safer, and we could bodge in composite video and even RGB sockets by tapping into their circuitry. For Europeans the arrival of the SCART socket gave us ready-made connectivity, but in the rest of the world there was still a need to break out the soldering iron for an RGB input. [Jacques Gagnon] is in Canada, and has treated us to a bit of old-school TV input hacking as he put an RGB socket on his JVC CRT set.
Earlier hacks had inventive incursions into discrete analogue circuitry, but on later sets such as this one the trick was to take advantage of the on-screen-display features. The signal processing chip would usually have an RGB input with a blanking input to turn of the picture during the OSD chip’s output. These could be readily hijacked to provide an RGB input, and this is the course taken here. We see a VGA socket on the rear panel going to a resistor network on a piece of protoboard stuck in a vacant space on the PCB, from which a set of lines then go to the signal processing chip. The result is a CRT gaming monitor for retro consoles, of the highest quality.
Combat robots have been a thing for a while, but we don’t normally get a close look at the end results of the sort of damage they can both take and deal out. [Raymond Ma] spent time helping out with season four of BattleBots and wrote about the experience, as well as showed several pictures of the kind of damage 250-pound robots can inflict upon each other. We’ve embedded a few of them here, but we encourage you to read [Raymond]’s writeup and see the rest for yourself.
The filming for a season of BattleBots is done in a relatively short amount of time, which means the pacing and repair work tends to be more fast and furious than slow and thoughtful. [Raymond] says that it isn’t uncommon for bots, near the end of filming, to be held together with last-minute welds, wrong-sized parts, and sets of firmly-crossed fingers. This isn’t because the bots themselves are poorly designed or made; it’s because they can get absolutely wrecked by the forces at play.
Combat robotics has been around for as long as people have been able to give a power tool some wheels and point it towards an opponent. Flying bots are even getting into the scene nowadays, with DroneClash leveraging the explosive growth of the drone industry to take the action into the air.
With the Raspberry Pi and a digital modulator, he’s got the only house on the block that’s wired to show The Simpsons all day. He has absolutely no control over which episode plays next, he can’t pause it, and its in presented in standard definition (a nightmare for anyone who grew up in the Netflix era) but a familiar viewing experience for the rest of us.
The key to this project is the Channel Plus Model 3025 modulator. It takes the feed from the antenna and mixes in two composite video sources on user-defined channels. All [probnot] had to do was find a channel that wouldn’t interfere with any of the over-the-air stations. The modulator has been spliced into the house’s coax wiring, so any TV connected to the wall can get in on the action. There’s no special setup required: when he wants to watch The Simpsons he just tunes the nearest TV to the appropriate channel.
Providing the video for the modulator is a Raspberry Pi, specifically, the original model that featured composite video output. While the first generation Pi is a bit long in the tooth these days, playing standard definition video is certainly within its capabilities. With a USB flash drive filled with a few hundred episodes and a bit of scripting it’s able to deliver a never-ending stream direct from Springfield. There’s still that second channel available on the modulator as well, which we’re thinking could be perfect for Seinfeld or maybe The X-Files.
Guitar amplifiers are a frequent project, and despite being little more than a simple audio amplifier on paper, they conceal a surprising quantity of variables in search of a particular sound. We’ve seen a lot of them, but never one quite like [Nate Croson]’s CRT TV guitar amplifier. The LM386 doesn’t just drive the speaker, he’s also using it to turn the TV into a crude oscilloscope to form a visualisation of the sound.
The video showing this feat is below the break, and it puts us in a quandary due to being short on technical information. He’s driving the horizontal coils with the TV’s 50 Hz sawtooth field timebase, and the vertical ones with the audio from the LM386. We aren’t sure whether he’s rotated the yoke or whether the connections have been swapped, but the result is certainly impressive.
So given that there’s not quite as much technical detail as we’d like, why has this project captured our interest? Because it serves as a reminder that a CRT TV is a bit more than a useless anachronism, it’s a complex analogue device with significant and unique hacking potential. The older ones in particular provide endless possibilities for modification and circuit bending, and make for a fascinating analogue playground at a very agreeable price. It’s worth pointing out however that some of the voltages involved can make them a hazardous prospect for the unwary hacker. If you’re interested though, take a look at our dive into an older model.
We all know the feeling of watching a movie set in a galaxy far, far away and seeing something that makes us say, “That’s not realistic at all!” The irony of watching human actors dressed up as alien creatures prancing across a fantasy landscape and expecting realism is lost on us as we willingly suspend disbelief in order to get into the story; seeing something in that artificial world that looks cheesy or goofy can shock you out of that state and ruin the compact between filmmaker and audience.
Perhaps nowhere do things get riskier for filmmakers than the design of the user interfaces of sci-fi and fantasy sets. Be they the control panels of spacecraft, consoles for futuristic computers, or even simply the screens of phones that are yet to be, sci-fi UI design can make or break a movie. The job of designing a sci-fi set used to be as simple as wiring up strings of blinkenlights; now, the job falls to a dedicated artist called a Playback Designer who can create something that looks fresh and new but still plausible to audiences used to interacting with technology that earlier generations couldn’t have dreamed of.
Seth Molson is one such artist, and you’ve probably seen some of his work on shows such as Timeless, Stargate Universe, and recently Netflix’s reboot of Lost in Space. When tasked to deliver control panels for spacecraft and systems that exist only in a writer’s mind, Seth sits down with graphics and animation software to make it happen.
Join us as we take a look behind the scenes with Seth and find out exactly what it’s like to be a Playback Designer. Find out what Seth’s toolchain looks like, how he interacts with the rest of the production design crew to come up with a consistent and believable look and feel for interfaces, and what it’s like to design futures that only exist — for now — in someone’s imagination.
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Over the past few years the number of reported near misses between multirotors, or drones as they are popularly referred to, and aircraft has been on the rise. While evidence to back up these reports has been absent time and again.
We’ve looked at incident reports, airport closures, and media reporting. The latest chapter comes in the form of a BBC documentary, “Britain’s Next Air Disaster? Drones” whose angle proved too sensational and one-sided for the drone manufacturing giant DJI. They have penned an acerbic open letter to the broadcaster (PDF link to the letter itself) that says that they will be launching an official complaint over the programme’s content. The letter begins with the following stinging critique:
As the world’s leader in civilian drones and aerial imaging technology, we feel it is our duty on behalf of the millions of responsible drone users around the globe, to express our deep disappointment at the BBC’s negative portrayal of drone technology and one-sided reporting based on hearsay.
It then goes on to attack the tone adopted by the presenter in more detail : “overwhelmingly negative, with the presenter frequently using the words ‘catastrophic’ and ‘terrifying’.“, before attacking the validity of a series of featured impact tests and highlighting the questionable basis for air proximity incident reports. They round the document off with a run through the safety features that they and other manufacturers are incorporating into their products.
Over the past few years we have reported on this issue we have continually made the plea for a higher quality of reporting on drone stories. While Britain has been the center of reporting that skews negatively on the hobby, the topic is relevant wherever in the world there are nervous airspace regulators with an eye to any perceived menace. These incidents have pushed the industry to develop additional safety standards, as DJI mentions in their letter: “the drone industry itself has implemented various features to mitigate the risks described”. Let’s hope this first glimmer of a fight-back from an industry heavyweight (with more clout than the multirotor community) will bear the fruit of increased awareness from media, officials, and the general public.
If you have experienced software defined radio (SDR) using the ubiquitous RTL SDR dongles, you are missing out on half of it. While those SDRs are inexpensive, they only receive. The next step is to transmit. [Corrosive] shows how he uses DATV Express along with a Lime SDR or a Pluto (the evaluation device from Analog Devices) to transmit video. He shows how to set it all up in the context of ham radio. An earlier video shows how to receive the signal using an SDR and some Windows software. The receiver will work with an RTL SDR or a HackRF board, too. You can see both videos, below.
The DATV Express software has plenty of options and since SDR if frequency agile, you ought to be able to use this on any frequency (within the SDR range) that you are allowed to use. At the end, he mentions that to really put these on the air you will want a filter and amplifier since the output is a bit raw and low powered.