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Weekly vlog no. 2 - Ring Djursland, Nomex underwear and Giveaway - Duration: 1:35.
hi everyone a few exciting updates this week first of all my first race is on
it's less than two weeks from now and will take place at a local track with
unpronounceable name Ring Djursland here's how it looks and this is a fairly
short track with not too many turns this is fairly simple they're also quite fun
thanks to the elevation changes
second I will be actually borrowing most of the
stuff that needs for the race including the car itself I will be also borrowing
my race suit but I had to buy a few things and one of them is this Nomex
underwear that supposed to help me survive extreme heat and fire in the event
that I crash and the car goes fire so good thing
look it even has the socks
which is very cool
finally as you know Irohazaka video is out and I hope you guys enjoy watching it
remember to subscribe to my Instagram
there is a giveaway taking place and there is still time to participate
and if you don't want to miss the race remember to hit the subscribe button
thanks for watching see ya
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Khloe Kardashian Shares New Picture of Daughter True on Memorial Day - Duration: 3:39.
Khloe Kardashian Shares New Picture of Daughter True on Memorial Day
Khloe Kardashian gave fans another look at daughter True Thompson in a special Memorial Day Snapchat post.
Kardashian shared an image of herself cuddling with True, who is seen from the back of her head. She is wearing a pink band with a flower on it.
Kardashian also added a special bear ears filter, with fur made out of the American flag. She added a banner reading Memorial Day to complete the image.
Kardashian also celebrated Memorial Day with a solemn message on Twitter that was widely praised by her fans. Thank you to ALL of the brave men and women who have made the ultimate sacrifice for us, she wrote.
This is not the first photo of True the 33-year-old Kardashian has shared. When True turned 1-month-old, Kardashian shared a brief clip of the newborn bobbing her head up and down.
On Saturday, she shared another photo of True, adding the caption Mommys Little Love.. On Monday, Kardashian also shared a look at Trues nursery in the Cleveland home where boyfriend Tristan Thompson lives.
Although Thompson was at the center of a cheating scandal the same week True was born in April, Kardashian has reportedly been trying to give him another chance for the sake of their child.
Things are more complicated now that there is a child involved, but it was causing more stress on Khloe by being in limbo with Tristan, a source recently told E! News.
Khloe decided that the back and forth and indecisiveness on what they were going to do was taking a toll on her. She wants to brush things under the rug and move forward..
Khloé is feeling nothing but happiness right now. She is head over heels in love with her little girl — she is just consumed with love. Absolutely nothing else matters, another source told PEOPLE in April.
However, Kardashian has also sent cryptic tweets about kindness and healing, which many have thought to be about her relationship with Thompson. On Saturday, Kardashian replied to that speculation, telling fans her messages were getting twisted into something they are not.
Wild that people assume you're speaking about something and they run with it. Anything and everything gets twisted into something it's completely not, she tweeted. Lord, I'm remembering how much I loved my social media break LOL..
Some of the ambiguous messages included You will never ever regret being kind to someone and Its all about who you look for in a crowded room. Thats where your heart belongs to..
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Watch: Jang Jae In Opens Up About Her Life Story In Artistic "Seoul Noir" MV
Jang Jae In has opened up about her life story with the release of Seoul Noir!. The lyrics of Seoul Noir tell the story of Jang Jae Ins growing pains since she moved to Seoul when she was 18 years old.
Comparing the scars she has gained from life to a noir film, Jang Jae In wrote her own lyrics to give an honest look into her life. Soompi. Display. News. English. 300x250. Mobile. English. 300x250. ATF.
When talking about her song, Jang Jae In explained, Seoul Noir contains contains my story and all of the growing pains I experienced since I moved to Seoul. Everyone goes through growing pains in their own ways.
I am still learning how to be wise..
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MUSE Hi-Vision Laserdisc: The Blu-ray of 1994 - Duration: 12:25.
It is time to end the series on Laserdisc.
I know, I know, it's tragic, but I've been putting it off and and its long overdue.
Many new subscribers have perhaps not seen any of my Laserdisc series, and I'll place
a link to the playlist down below.
As the fastest recap possible,
Laserdiscs were the first optical disc format, predating the CD by four years, and they held
up to an hour of excellent quality video--nearly that of DVD--with CD quality digital sound.
They never achieved great success in the US or really all of Europe due to the high cost of the system
and the inability to record television shows on them, but in Japan they were pretty successful
reaching about a 10% market penetration.
I'd also like to just throw in here because I keep forgetting to do so, I'm on Twitter
now @TechConnectify.
That's only the second time I've mentioned that and I've had it for two months now.
I'm really good at this!
Now, this final video on the format goes over three things: One, the discs popularity in
karaoke, two the Japan-only Squeeze LD format and Three, the MUSE high definition Laserdisc.
We'll start with that because that's what's the title and thumbnail said.
Japan, being Japan, was way ahead of the rest of the world when it came to high definition
television.
As an American, I think of HD as being a product of the early 2000's, especially with the
introduction of Blu-Ray and HD-DVD in 2006 providing the first form of high definition
home video.
That is of course only if you don't count the first D-Theater D-VHS releases from 2002.
And I am aware that the first HD broadcast in the US took place in 1996, but adoption
didn't really take off until 2004-2005.
But in Japan, a new analog High Definition standard began test broadcasts in 1989 via
satellite, and it was in development as far back as 1979.
This standard was called MUSE, which was a sloppy acronym for Multiple sub-Nyquist Sampling Encoding.
NHK, the national broadcasting company in Japan, preferred the name Hi-Vision.
The actual specifics of MUSE are very very complicated and involve some strange sampling
techniques to increase the resolution that go way over my head.
Apparently it's not strictly analog but also includes some digital sampling that is
limited by movement within the frame and it's just real weird so please visit some of the
links down below if you'd like to learn more.
But in simple terms, MUSE produced a video source nearly equivalent to today's 1080i resolution.
With 1,125 lines transmitted, of which 1035 were visible, you could call the resolution 1035i.
And similar to NTSC, it used a 60 hz refresh rate.
To get the MUSE signal on a Laserdisc required tweaking the format somewhat.
The most significant twist was the adoption of a red laser.
If you thought DVD was the first format to use the red laser, think again.
Just as the pits in a DVD are smaller and allow for more data on the disc compared to
a CD, the smaller pits of MUSE laserdiscs allowed for a higher bandwidth analog signal
than a conventional Laserdisc.
Hi-Vision Laserdiscs used the same CAV and CLV flavors of your standard discs, but due
to a higher linear speed required--apparently the pits were still the same length, just
squished closer together-- CAV discs used a smaller portion of the disc, with the inner
radius being pushed out 76 millimeters.
And CLV discs used the entire face of the disc, but the inner portion was read at 2,700 RPM.
My word.
That is ridiculous.
OK, just as a reminder, these discs weigh a tad over 200g, or just under half a pound.
And a consumer piece of A/V equipment would get this massive disc spinning at 2,700 RPM.
If the disc were rolling, it would be travelling at 152.6 kilometers per hour, or about 95
miles per hour.
In your living room.
For more context into this absurdity, a standard Laserdisc spins at up to 1,800 RPM and already
that seems too fast for comfort.
Just listen to this player spin a disc up.
[loud, building whirring noise, with a bassy vibration]
To be fair, this old beast is louder than
newer players, but newer players are still plenty frightening when their covers are off.
[mechanical sounds as transport engages with disc]
[Slightly less loud whirring noise, but still at unsettling speeds]
Now imagine that 50% faster.
Yikes.
Anyway, even though Japan was early for HD, and MUSE Laserdisc was among the earliest
ways to get HD content, it was the Laserdisc of Laserdiscs.
Adoption was very poor, and the players were mighty expensive.
Plus, they required a separate MUSE decoder to actually create a component output to send
to your TV.
But still, near 1080i video on a disc in the mid nineties?
That's pretty wild.
Today, these MUSE Laserdisc players are highly sought after for numerous reasons.
First is probably their collectability and relative rarity.
And trust me, they aren't common.
As I write this, on eBay there's a player with an asking price of $1800, and someone
else wants nearly $4000 for theirs.
Discs are also hideously expensive, commanding $300 or more.
But aside from their novelty, they are among the best laserdisc players available.
These players used their red laser to read standard NTSC laserdiscs too, and the shorter wavelength
of the laser means it could read discs more easily.
Scratched and worn discs play better on a MUSE machine.
Really, all discs play better on MUSE machines because the red laser almost entirely eliminates
crosstalk, and its more advanced electronics produce a better output.
Moving on then, for those that aren't already aware, karaoke is a BIG deal in many parts
of Asia.
Much of Laserdisc's success came from Asia at large, and some of this was due to its
seemingly perfect alignment with the karaoke business.
Karaoke, after all, began in Japan.
Pioneer was involved in the karaoke business to a surprising degree, apparently producing
many of the music videos used in karaoke machines.
Which, of course, were made very flexible with the use of Laserdiscs.
Pioneer made various models of Laserdisc jukeboxes that could hold 50 or more discs.
These machines, with catalogs of up to 100 hours of material available all in one place,
helped make Laserdisc the format of choice for karaoke machines.
To be clear, though, there were and are many different types of karaoke venue; those that
would have one of the Laserdisc jukeboxes were probably in a small percentage of the
total.
Still, laserdisc as a format was used fairly widely.
Now, if you weren't aware, a large innovation in Karaoke was the development of the CD+G
format, that's compact disc-graphics.
Using the rarely-used subcode channels of an audio CD, the CD+G was able to store basic
graphics (16 colors at a resolution of 300 X 216) alongside the audio.
Karaoke machines displayed these graphics, which were usually lyrics, while playing a disc.
Laserdisc received a similar extension.
The LD-G addition wasn't quite as impressive, though.
Info on its specifics is sparse, but it appears it was more along the lines of a closed-captioning
system, with white text on black boxes resembling the standard line 21 decoding we have here
in the States.
The actual data was hidden in the audio stream.
While it wasn't as impressive as CD-Graphics...
it's a Laserdisc so it has full motion
video going on already.
Plus, the LD-G standard supported 16 different data streams, so multiple languages of lyrics
or subtitles could be supported.
Whether or not LD-G made its way into karaoke is unclear, but it's still pretty neat.
Well, it seems as though this final installment will be pretty short.
I suppose it is pretty much a "here's three other things we haven't talked about
Laserdisc yet!" episode.
Hmm.
Well anyway, the third and final thing is what we are going to refer to as "Squeeze LD"
because that's what it's called.
Just as DVD can store the video on discs anamorphically,
whereby the image is squeezed in from side
to side, Laserdisc could do it too!
But only in Japan.
And only sometimes.
So as a refresher, the reason why this is a good idea is that for widescreen displays,
it really helps if the content going to them is also widescreen.
We could create a new 16:9 video standard, but sending a 16:9 signal to a 4:3 display
might get messy.
What we want is something that would be compatible with both.
Anamorphic widescreen is a way to use the existing 4:3 video standard for widescreen
in a non-destructive way.
In a DVD, if the disc is made using anamorphic widescreen, the actual video looks like this.
If this signal is going to a widescreen display, A DVD player will send this as is, and the
TV will stretch that image out to fill itself in.
If you don't have a widescreen TV, then the DVD player will squish the image downward
and add letterboxes to the top and bottom to restore the correct aspect ratio.
Of course you can encode the video with the letterboxing, but then you're wasting much
of the resolution on black bars.
This means to fill a widescreen display, you have to zoom it in.
And if you make these chunks go offscreen, you're making all of that resolution just
go away.
By using anamorphic widescreen, none of the image is lost, it just becomes stretched.
To use digital terms, it takes pixels that should be square and stretches them sideways
into rectangles.
But of course Laserdisc isn't digital so there aren't pixels.
Let's not go down that path…
Squeeze LD was perhaps the first time anamorphic widescreen was found in home video.
But it was rare for players to be able to unsqueeze the image--few Laserdisc players
had the ability to self-letterbox like any DVD player can.
So unless you had a 16:9 television, which was a rare thing even in Japan while Laserdisc
was still current, a Squeeze LD would actually really suck.
As you can imagine they aren't particularly common, and they were never released in the States.
Well, that about covers it.
I think we said all there is to say about Laserdisc.
Except no!
There's one more thing!
A bonus fact!
There WERE recordable Laserdiscs!
And in at least three varieties.
Just like the CD-R is a thing, so was the LD-R. Except they were really called RLV for
Recordable Laser Videodisc.
Now, Wikipedia tells us with no accompanying citation that these were developed and marketed
by the Optical Disc Corporation in 1984.
I've linked some forum threads down below which shed some light on the issue, and it
could be that fewer than 10 machines ever existed which could write to these RLVs.
But, once written, they were compatible with standard Laserdisc players, just as a CD-R is
with any old CD player.
Usually.
The second variety was actually re-writable.
The Pioneer VDR-V1000 was a behemoth of a machine, equipped with 2 lasers to enable
reading in one place while writing in another, and the caddy-protected discs had a theoretical
lifespan of one million re-writes.
But, this thing was definitely for professional use only, with a retail price of £25,000.
Discs, though, were quite the bargain at only £800.
Sony developed a third, almost unrelated writable video standard called CRV, which rather than
being a midsize crossover...
I mean a re-writable disc, was a write-once read-many format, but it only held 24 minutes
per side.
It was mainly used as a video backup system in the professional market.
Interesting, CRV stands for Component Recordable Video disc, which makes me wonder if it stored
component signals rather than composite.
Perhaps that would explain its reduced runtime.
There might have been more recordable versions of Laserdisc out there, but information on
them is scarce.
A lot of info for this video came from forum threads on the Laserdisc archive, the Laserdisc
Database, and even CED magic.
I've put some links down below if you'd like to take a look at these conversations.
I believe I owe particular thanks to Disclord for his knowledge.
Well now, that is all I have to say about Laserdisc.
I'm sure we'll look at it again in some fashion, especially as I want to get this
machine working again, but I think I've compiled everything you might want to know
about the format into video form, if I do say so myself.
Well, I'm sure that's not true, but hopefully most of it.
As always, thank you so much for watching.
And thank you to everyone who supports this channel on Patreon,
especially these fine individuals.
I know I've said this before, but support from Patreon literally is what keeps these
videos coming.
Very soon this channel will become my full-time job thanks to the amazing support you've pledged.
Thank you.
If you are interested in supporting the channel too, please check out my Patreon page.
Thank you for your consideration, and I'll see you next time!
-------------------------------------------
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AI UX | Empower People to Achieve Unique Goals | Intel Software - Duration: 3:02.
This is AI:UX, a mini series focused on 10 guidelines that
were created for all those that are involved in the design
and development of AI based systems.
I am Daria Loi.
And today, I talk about guideline number seven.
Make people feel unique.
And empower them to achieve their unique goals.
Part of human nature is the need to feel special
and to be acknowledged as an individual.
During many interviews, people describe their need
to feel unique throughout their technological interactions.
Feeling too predictable makes them feel uncomfortable.
Not only do people want to feel unique
when they interact with AI, but they
want AI to empower them to achieve their goals,
especially if those goals seems out
of reach too burdensome or complex.
My research shows that AI usages that make
people feel connected with each other
as well as cared for make them feel acknowledged, unique,
stronger, and empowered to achieve personal goals that
are meaningful to them.
It is well known in literature that social connectedness has
a positive impact on people's wellness
and ability to proactively engage
with the world around them.
Knowing that what you need, want, and do matters,
and makes a difference.
Aligned with that, AI systems that focus on companionship,
social connectedness, and mediated social interactions
all offer great design and development opportunities.
This means focusing on applications that connect
instead of isolating its users.
It means offering systems that focus
on those that have less access to social connectedness.
Imagine the opportunities of designing smart home systems
to provide social connectedness to senior citizens.
It also means developing services and systems
that focus on true personalizations,
catering to the specific needs of a specific individuals,
versus offering one size fits all solutions that
were designed for a typology of users instead of a real person.
Imagine designing applications that leverage voice
based systems to offer companionship
to those that, due to reduced mobility,
have less opportunities to directly interact
with the world around them.
Imagine services leveraging audiovisual equipment
to enable someone to have enriched
social interactions, despite physical or economical
limitations.
Imagine an intelligent system that
remembers what you want to achieve,
and that contextually prompts and encourages you,
suggesting the best way forward, given time, situations,
and even the emotional state you're in.
Thanks for watching.
Don't forget to like this video and subscribe.
I will see you next week on Tuesday for more AI:UX.
-------------------------------------------
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John F. Kennedy on Art & Politics | 1962 Remarks on Behalf of a New National Cultural Center - Duration: 6:58.
Mr. Stevens, Mrs. Gardner, Mr. Vice President, Mr. Chief Justice, ladies and gentlemen:
This is a notable occasion for all of us here in Washington and around the country,
and I am very happy to greet all of you who have come and who are taking part in this great effort.
I hope that you're as proud of it as I am.
And we're particularly pleased to have with us as our guest tonight from Augusta, Georgia,
the man under whose administration this project was started and who has given it wholehearted support--ladies and gentlemen, General Eisenhower.
[ Applause ]
General, I am sorry we are not all there with you.
I want to assure the officials of my administration tonight that this demonstration of support for the arts
is modest and painless compared to what has been required of past governments and past administrations.
In 1664, Louis the XIV, in his own efforts to encourage the arts,
donned brilliant tights and played in a drama called "Furious Roland" before a happy court.
Moreover, he drafted the highest offices of his administration for the play
so that, according to an account, all clad in brilliant tights themselves they passed before the Queen and the Court.
This was suggested tonight but for some reason or other the committee turned it down.
But we are glad to be here in any case.
And we are glad to be the guests of honor of the representatives of much of the finest in American culture and much of the finest in American life.
And we are very much indebted to all the artists who have so willingly taken part in this work tonight.
For when Thomas Jefferson wrote that the one thing which from the heart he envied certain other nations,
and that was their art, he spoke from a deep understanding of the enduring sources of national greatness and national achievement.
But our culture and art do not speak to America alone.
To the extent that artists struggle to express beauty in form and color and sound,
to the extent that they write about man's struggle with nature or society,
or himself, to that extent they strike a responsive chord in all humanity.
Today, Sophocles speaks to us from more than 2,000 years.
And in our own time, even when political communications have been strained,
the Russian people have bought more than 20,000 copies of the works of Jack London,
more than 10 million books of Mark Twain,
and hundreds and thousands of copies of Hemingway, Steinbeck, Whitman, and Poe;
and our own people, through the works of Tolstoy and Dostoievsky and Pasternak
have gained an insight into the shared problems of the human heart.
Thus today, as always, art knows no national boundaries.
Genius can speak at any time, and the entire world will hear it and listen.
Behind the storm of daily conflict and crisis, the dramatic confrontations, the tumult of political struggle,
the poet, the artist, the musician, continues the quiet work of centuries,
building bridges of experience between peoples,
reminding man of the universality of his feelings and desires and despairs,
and reminding him that the forces that unite are deeper than those that divide.
Thus, art and the encouragement of art is political in the most profound sense,
not as a weapon in the struggle,
but as an instrument of understanding of the futility of struggle between those who share man's faith.
Aeschylus and Plato are remembered today long after the triumphs of imperial Athens are gone.
Dante outlived the ambitions of 13th century Florence.
Goethe stands serenely above the politics of Germany,
and I am certain that after the dust of centuries has passed over our cities,
we, too, will be remembered not for victories or defeats in battle or in politics,
but for our contribution to the human spirit.
It was Pericles' proudest boast that mighty Athens was the school of Hellas.
If we can make our country one of the great schools of civilization,
then on that achievement will surely rest our claim to the ultimate gratitude of mankind.
Moreover, as a great democratic society, we have a special responsibility to the arts,
for art is the great democrat calling forth creative genius from every sector of society,
disregarding race or religion or wealth or color.
The mere accumulation of wealth and power is available to the dictator and the democrat alike.
What freedom alone can bring is the liberation of the human mind and spirit
which finds its greatest flowering in the free society.
Thus, in our fulfillment of these responsibilities towards the art
lie our unique achievement as a free society. Thank you.
[ Applause ]
-------------------------------------------
MUSE Hi-Vision Laserdisc: The Blu-ray of 1994 - Duration: 12:25.It is time to end the series on Laserdisc.
I know, I know, it's tragic, but I've been putting it off and and its long overdue.
Many new subscribers have perhaps not seen any of my Laserdisc series, and I'll place
a link to the playlist down below.
As the fastest recap possible,
Laserdiscs were the first optical disc format, predating the CD by four years, and they held
up to an hour of excellent quality video--nearly that of DVD--with CD quality digital sound.
They never achieved great success in the US or really all of Europe due to the high cost of the system
and the inability to record television shows on them, but in Japan they were pretty successful
reaching about a 10% market penetration.
I'd also like to just throw in here because I keep forgetting to do so, I'm on Twitter
now @TechConnectify.
That's only the second time I've mentioned that and I've had it for two months now.
I'm really good at this!
Now, this final video on the format goes over three things: One, the discs popularity in
karaoke, two the Japan-only Squeeze LD format and Three, the MUSE high definition Laserdisc.
We'll start with that because that's what's the title and thumbnail said.
Japan, being Japan, was way ahead of the rest of the world when it came to high definition
television.
As an American, I think of HD as being a product of the early 2000's, especially with the
introduction of Blu-Ray and HD-DVD in 2006 providing the first form of high definition
home video.
That is of course only if you don't count the first D-Theater D-VHS releases from 2002.
And I am aware that the first HD broadcast in the US took place in 1996, but adoption
didn't really take off until 2004-2005.
But in Japan, a new analog High Definition standard began test broadcasts in 1989 via
satellite, and it was in development as far back as 1979.
This standard was called MUSE, which was a sloppy acronym for Multiple sub-Nyquist Sampling Encoding.
NHK, the national broadcasting company in Japan, preferred the name Hi-Vision.
The actual specifics of MUSE are very very complicated and involve some strange sampling
techniques to increase the resolution that go way over my head.
Apparently it's not strictly analog but also includes some digital sampling that is
limited by movement within the frame and it's just real weird so please visit some of the
links down below if you'd like to learn more.
But in simple terms, MUSE produced a video source nearly equivalent to today's 1080i resolution.
With 1,125 lines transmitted, of which 1035 were visible, you could call the resolution 1035i.
And similar to NTSC, it used a 60 hz refresh rate.
To get the MUSE signal on a Laserdisc required tweaking the format somewhat.
The most significant twist was the adoption of a red laser.
If you thought DVD was the first format to use the red laser, think again.
Just as the pits in a DVD are smaller and allow for more data on the disc compared to
a CD, the smaller pits of MUSE laserdiscs allowed for a higher bandwidth analog signal
than a conventional Laserdisc.
Hi-Vision Laserdiscs used the same CAV and CLV flavors of your standard discs, but due
to a higher linear speed required--apparently the pits were still the same length, just
squished closer together-- CAV discs used a smaller portion of the disc, with the inner
radius being pushed out 76 millimeters.
And CLV discs used the entire face of the disc, but the inner portion was read at 2,700 RPM.
My word.
That is ridiculous.
OK, just as a reminder, these discs weigh a tad over 200g, or just under half a pound.
And a consumer piece of A/V equipment would get this massive disc spinning at 2,700 RPM.
If the disc were rolling, it would be travelling at 152.6 kilometers per hour, or about 95
miles per hour.
In your living room.
For more context into this absurdity, a standard Laserdisc spins at up to 1,800 RPM and already
that seems too fast for comfort.
Just listen to this player spin a disc up.
[loud, building whirring noise, with a bassy vibration]
To be fair, this old beast is louder than
newer players, but newer players are still plenty frightening when their covers are off.
[mechanical sounds as transport engages with disc]
[Slightly less loud whirring noise, but still at unsettling speeds]
Now imagine that 50% faster.
Yikes.
Anyway, even though Japan was early for HD, and MUSE Laserdisc was among the earliest
ways to get HD content, it was the Laserdisc of Laserdiscs.
Adoption was very poor, and the players were mighty expensive.
Plus, they required a separate MUSE decoder to actually create a component output to send
to your TV.
But still, near 1080i video on a disc in the mid nineties?
That's pretty wild.
Today, these MUSE Laserdisc players are highly sought after for numerous reasons.
First is probably their collectability and relative rarity.
And trust me, they aren't common.
As I write this, on eBay there's a player with an asking price of $1800, and someone
else wants nearly $4000 for theirs.
Discs are also hideously expensive, commanding $300 or more.
But aside from their novelty, they are among the best laserdisc players available.
These players used their red laser to read standard NTSC laserdiscs too, and the shorter wavelength
of the laser means it could read discs more easily.
Scratched and worn discs play better on a MUSE machine.
Really, all discs play better on MUSE machines because the red laser almost entirely eliminates
crosstalk, and its more advanced electronics produce a better output.
Moving on then, for those that aren't already aware, karaoke is a BIG deal in many parts
of Asia.
Much of Laserdisc's success came from Asia at large, and some of this was due to its
seemingly perfect alignment with the karaoke business.
Karaoke, after all, began in Japan.
Pioneer was involved in the karaoke business to a surprising degree, apparently producing
many of the music videos used in karaoke machines.
Which, of course, were made very flexible with the use of Laserdiscs.
Pioneer made various models of Laserdisc jukeboxes that could hold 50 or more discs.
These machines, with catalogs of up to 100 hours of material available all in one place,
helped make Laserdisc the format of choice for karaoke machines.
To be clear, though, there were and are many different types of karaoke venue; those that
would have one of the Laserdisc jukeboxes were probably in a small percentage of the
total.
Still, laserdisc as a format was used fairly widely.
Now, if you weren't aware, a large innovation in Karaoke was the development of the CD+G
format, that's compact disc-graphics.
Using the rarely-used subcode channels of an audio CD, the CD+G was able to store basic
graphics (16 colors at a resolution of 300 X 216) alongside the audio.
Karaoke machines displayed these graphics, which were usually lyrics, while playing a disc.
Laserdisc received a similar extension.
The LD-G addition wasn't quite as impressive, though.
Info on its specifics is sparse, but it appears it was more along the lines of a closed-captioning
system, with white text on black boxes resembling the standard line 21 decoding we have here
in the States.
The actual data was hidden in the audio stream.
While it wasn't as impressive as CD-Graphics...
it's a Laserdisc so it has full motion
video going on already.
Plus, the LD-G standard supported 16 different data streams, so multiple languages of lyrics
or subtitles could be supported.
Whether or not LD-G made its way into karaoke is unclear, but it's still pretty neat.
Well, it seems as though this final installment will be pretty short.
I suppose it is pretty much a "here's three other things we haven't talked about
Laserdisc yet!" episode.
Hmm.
Well anyway, the third and final thing is what we are going to refer to as "Squeeze LD"
because that's what it's called.
Just as DVD can store the video on discs anamorphically,
whereby the image is squeezed in from side
to side, Laserdisc could do it too!
But only in Japan.
And only sometimes.
So as a refresher, the reason why this is a good idea is that for widescreen displays,
it really helps if the content going to them is also widescreen.
We could create a new 16:9 video standard, but sending a 16:9 signal to a 4:3 display
might get messy.
What we want is something that would be compatible with both.
Anamorphic widescreen is a way to use the existing 4:3 video standard for widescreen
in a non-destructive way.
In a DVD, if the disc is made using anamorphic widescreen, the actual video looks like this.
If this signal is going to a widescreen display, A DVD player will send this as is, and the
TV will stretch that image out to fill itself in.
If you don't have a widescreen TV, then the DVD player will squish the image downward
and add letterboxes to the top and bottom to restore the correct aspect ratio.
Of course you can encode the video with the letterboxing, but then you're wasting much
of the resolution on black bars.
This means to fill a widescreen display, you have to zoom it in.
And if you make these chunks go offscreen, you're making all of that resolution just
go away.
By using anamorphic widescreen, none of the image is lost, it just becomes stretched.
To use digital terms, it takes pixels that should be square and stretches them sideways
into rectangles.
But of course Laserdisc isn't digital so there aren't pixels.
Let's not go down that path…
Squeeze LD was perhaps the first time anamorphic widescreen was found in home video.
But it was rare for players to be able to unsqueeze the image--few Laserdisc players
had the ability to self-letterbox like any DVD player can.
So unless you had a 16:9 television, which was a rare thing even in Japan while Laserdisc
was still current, a Squeeze LD would actually really suck.
As you can imagine they aren't particularly common, and they were never released in the States.
Well, that about covers it.
I think we said all there is to say about Laserdisc.
Except no!
There's one more thing!
A bonus fact!
There WERE recordable Laserdiscs!
And in at least three varieties.
Just like the CD-R is a thing, so was the LD-R. Except they were really called RLV for
Recordable Laser Videodisc.
Now, Wikipedia tells us with no accompanying citation that these were developed and marketed
by the Optical Disc Corporation in 1984.
I've linked some forum threads down below which shed some light on the issue, and it
could be that fewer than 10 machines ever existed which could write to these RLVs.
But, once written, they were compatible with standard Laserdisc players, just as a CD-R is
with any old CD player.
Usually.
The second variety was actually re-writable.
The Pioneer VDR-V1000 was a behemoth of a machine, equipped with 2 lasers to enable
reading in one place while writing in another, and the caddy-protected discs had a theoretical
lifespan of one million re-writes.
But, this thing was definitely for professional use only, with a retail price of £25,000.
Discs, though, were quite the bargain at only £800.
Sony developed a third, almost unrelated writable video standard called CRV, which rather than
being a midsize crossover...
I mean a re-writable disc, was a write-once read-many format, but it only held 24 minutes
per side.
It was mainly used as a video backup system in the professional market.
Interesting, CRV stands for Component Recordable Video disc, which makes me wonder if it stored
component signals rather than composite.
Perhaps that would explain its reduced runtime.
There might have been more recordable versions of Laserdisc out there, but information on
them is scarce.
A lot of info for this video came from forum threads on the Laserdisc archive, the Laserdisc
Database, and even CED magic.
I've put some links down below if you'd like to take a look at these conversations.
I believe I owe particular thanks to Disclord for his knowledge.
Well now, that is all I have to say about Laserdisc.
I'm sure we'll look at it again in some fashion, especially as I want to get this
machine working again, but I think I've compiled everything you might want to know
about the format into video form, if I do say so myself.
Well, I'm sure that's not true, but hopefully most of it.
As always, thank you so much for watching.
And thank you to everyone who supports this channel on Patreon,
especially these fine individuals.
I know I've said this before, but support from Patreon literally is what keeps these
videos coming.
Very soon this channel will become my full-time job thanks to the amazing support you've pledged.
Thank you.
If you are interested in supporting the channel too, please check out my Patreon page.
Thank you for your consideration, and I'll see you next time!
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