well thanks a lot for this information !
then some questions arise :
about the dark comp:
Is there any mathematical equation in order to create this?
I mean : to calculate the delay time thus the thcikness of the layer on
the
round star ? that would be a "log" equation as the more the diameter of
the
star grow the more the delay is: but then it has to be relative to the
size
of the shell and the power of the burst as it's directly linked to speed :
well do you know any modelisation software that can make predictable
pattern ?
So im looking for a software :)
"John Reilly" <strbeam@[EMAIL PROTECTED]
> a écrit dans le message de news:
ea094eaa-bb8a-4658-9d5a-6344ccae1a23@[EMAIL PROTECTED]
May 8, 5:52 am, "kjh" <k...@[EMAIL PROTECTED]
> wrote:
> that's awsome!
> I really wonder how they can make the shell to break and give one
> horizontal
> orbs and then 2 cross orbitals : coz it seems it's not a random
explosion
> !
> (of course some did not explode the " right " way. is it just luck or
> what?
> are you sure the pictures are not digitally enhenced?) how can we make a
> shell that will explode in the right position?? do they use something to
> balance the weight of the shell so on the fall it placed itself in a way
> that make the explosioon predictable ( heavy part of the shell down to
> earth ) ? Then I guess those are not round shell are they tend to spin .
> do
> you have any knwonledge about that?
> thanks.
> Ted.
>
> "John Reilly" <strb...@[EMAIL PROTECTED]
> a écrit dans le message de news:
> 3bd9ddd4-4940-43f8-b6d3-727695048...@[EMAIL PROTECTED]
>
>
>
> > Go to:
>
> >http://36arts.com/2008****nsakuhanabi/13.php
>
> > This site has been exceptional showing for some of the greatest
> > Japanese shells made.
>
> > The most recent are very good too!
>
> > John- Hide quoted text -
>
> - Show quoted text -
Ted,
All the shells in that video were single opening (no timed inserts).
The "delay" in the sequence of visual effects was only from the "dark"
burn composition in the later blooming stars. All the stars in the
sequence of each burst took fire from the intitial bursting charge and
any patterns that they assumed were in place at burst. The final
peony bloom in some of the shells was from the outermost stars layed
in against the round shell wall, and in this position, thy take the
most kinetic nergy of the bursting charge and therefore, fly the
farthest. You don't notice them until the color composition "fires up'
after being delayed by the "dark fire" outer layer of the stars. Same
with the orbital rings in sequence: the sequential appearance is
determined by the dark fire delay over the color, streamer or strobe
effect. Yes, all the shells in that video were spherical, although
the Japanese do stack cannister on ball or ball on cannister for
certain effects (in addition to the common "ball on ball" peanut shell
pseudo-multibreak)
The orientation of the shells at burst is usually a matter of luck, as
you surmise, although some Japanese makers attach "streamers" of
rope, ribbon fabric, etc. to provide drag to (hopefully) keep the
shell in a position relative to the bulk of the audience. The
"willow" shell is usually made as a half filled shell with a mild
break charge at the base of the peripheral stars and then the top
half of the shell is tightly packed with chaff, confetti paper, etc.
The bursting charge is only strong enough to seperate the two
hemispheres (NOT fracturing them into small pieces, as is necessary
for a warimono Chrysanthemum/Peony break) and lightly spread the stars
into the willow shape. The most im****tant thing is "settling" the
ball: bursting occurs at the lowest velocity of the shell's trajectory
when it is almost motionless. This gives the best pattern, but is
also more difficult to achieve.
John
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