Recently finished the second Raspberry Pi based handheld games console - this one based around a RasPi3 and a Sega Gamegear.
Saturday, June 24, 2017
Wednesday, June 07, 2017
Politicians and social commentators keep throwing up this idea that encryption is;
- Bad (the bolt-hole for terrorists/paedophiles)
- Somehow controllable (back doors, side doors) by the state.
It's clear that people like Amber Rudd either have no idea (or more likely choose to have no idea) about the nature of data encryption. If you want a little primer I did an intro around a year ago and so thus armed you can explain the difference between symmetric and public-key crypto like a pro!
A few points are worth noting;
- Cryptography is maths - all of the algorithms currently in use are published and a decent proportion of computer-science or maths graduates could implement them in code.
- WhatsApp and everyone else that offers end-to-end crypto probably rely on the underlying crypto-primitives provided by the OS - only a fool tries to re-invent the wheel (particularly WRT cryptographic functions)
- If you could (and most crypto experts doubt it is achievable) devise a secure public-key algorithm with a back/side-door access how can we trust any public body to not let the private back-door key get out? Five years down the line we discover that some other nation-state has had access to all the private conversations? There is much precedent for this; remember last month's NHS attack was done with code written by and subsequently lost from the NSA. Examples of large governmental bodies loosing data they really didn't want to mislay are legion.
- Compromised encryption & identity algorithms will spell the end of eCommerce. No bank will want to expose themselves to that kind of risk.
- How do you oblige software writers (who may be anywhere in the world) to use the crypto-crippled algorithm?
- How do you oblige "bad guys" to use the crypto-crippled software?
The outcome will be that only people who aren't concerned about security will use the crypto-crippled version of the popular chat/speech apps. Encryption exists outside of laws & countries and people who want privacy (for whatever reason) now have the means to achieve it. No nation state can now stop that.
WRT point 3 (above) I have heard non-technical people say something like "Silicon Valley is full of very clever people - they can figure it out. We were able to put a man on the moon fifty years ago..."
Well, putting a man on the Moon is one thing, putting a man on the Sun is entirely different - and that's what you're asking for, whether you choose to believe the people who actually understand cryptography or not.
Tuesday, June 06, 2017
It's been nearly a decade since the 17th Edition came into force.
I'll post more as I get familiar with the draft, but here is the intro stolen from the IET site;
Currently at the committee-stage the 18th Edition will come into force at the end of 2018. The request for comments runs through until the end of August and is well worth signing up to the BSI to read the proposal and have a say if you see anything of note.
The most interesting change (for me) is section 8 - energy efficiency. All the changes to sections 4 onwards are better definitions and tighter specs for RCDs and earth leakage etc which are all very important but build on principles that are well established.
I'll post more as I get familiar with the draft, but here is the intro stolen from the IET site;
New section - energy efficiency
The worldwide need to reduce the consumption of energy means that we have to consider how electrical installations can provide the required level of service and safety for the lowest electrical consumption. The draft proposals enable a client to specify the level of energy efficiency measures applied to an electrical installation. Installations can also be awarded points for energy efficiency performance levels, for example, transformer efficiency. These points can be added together with points for efficiency measures to give an electrical installation an efficiency class, ranging from EIEC0 to EIEC4, depending on the number of points awarded. The new section will cover several energy efficient areas, such as electric vehicles, lighting, metering, cable losses, transformer losses, power-factor correction, and harmonics.
Thursday, May 11, 2017
Monday, March 13, 2017
I've now done a couple of Sony BVM-X300 (4k/HDR OLED panel) monitors for HDR-TV deliverables to the BBC. The Beeb are behind the Hybrid Log Gamma standard, currently at 1.2 for broadcast. It's benefits over Dolby's 10-bit version of their Vision HDR system (also called DolbyPQ) are many and rather splendidly the DVB as well as most manufacturers are now behind HLG. I'll write further about why a scene-referred system is a better bet for domestic TV than a display-referred one (like DolbyPQ) but I just wanted to get down some notes on monitor calibration for HLG.
So first up you need to get the monitor into HDR mode (the correct one! As of v.2 firmware the X300 supports several; the camera gammas; CLog, CLog2, SLog & SLog3 as well as the deliverable standards; SMPTE-2084 (DolbyPQ) as well as SMPTE-2100 (HLG 1.2).
You'll notice the EOTF setting (lit. "Electronic - Optical Transfer Function") is NOT set for HLG 1.2; this available but in the current v. 2.0 firmware it is wrong. Select HLG (Variable), click the know again and dial in 1.2
Next up display a 50% grey field (100% can't be done as the monitor power-limits to stop 1,000Cd/m2 being displayed across a lot of the screen) and point your probe at the display. Remember that unlike DCI-P3 we are still at the 6504K white point of tele. However - at 50% grey we should be seeing low-50's Cd/m2 being emitted from the screen.
You might have previously heard Sony's "best practise" (sic) advice of setting 50% grey to 100Cd/m2 but this is wrong. Look at the graph; this is the result of profiling an X300 (and they all seem to do it consistently) and notice what happens over the last couple of hundred Candelas at the top end. If you set 50% grey to 100Cd/m2 you get loss of detail in the specular highlights. For the correctly 1.2 HLG curve you need to set 50% to around 50Cd/m2 to 55Cd/m2- remember the Y-axis on this graph is logarithmic.
The one display I had previously followed the Sony advice for was sufficiently out of it's linear range that the dark-greys drifted red minutes after I finished adjusting the monitor and (like all OLEDs) the noise in their blacks is sufficient to make the final tweak to 6504k hard work - the Klein probe was having to average over 32 reads to accommodate the OLED panel. Remember - the K10A is accurate to less than 0.001 0>Cd/m2 and not the 1.0 Cd/m2 it reads at 10% up the curve of HLG 1.2
So - once you have those under your belt you can PLUGE the display to set blacks correctly for the room (what did I say about scene/display referred?!) and then set about getting the deep greys and the 50% colour balance correct. I've done this now on two X300s with BBC R&D engineers in attendance and they have given this method their blessing!
For a probe I was using a Klein K10A with Klein's own ChromaSurf software. If I get the chance to profile an X300 for myself I will do it with LightSpaceCMS - still the choice of champions for display profiling and LUT-building. They also have an excellent article introducing HDR.
Friday, February 24, 2017
For me the last ten or twelve years has seen an almost 100% move to on-demand radio listening. The only live radio I listen to is the Today Programme on Radio 4 whilst having breakfast; I do put Six Music on at the workshop for the wiring guys, but for me (even shows produced for radio) are consumed as downloads. Here are the things about music that I never miss.
- BBC Mastertapes - John Wilson presents artists talking about how they recorded a classic album. The show slips in two ("The A Side" and "The B Side") with Wilson doing the interview in the first half hour and then the assembled fans asking questions in the second. Wilson is clearly a music fanatic and never fails to engage with the artist. It comes from BBC Maida Vale and there are currently 74 hours for you to catch up on! Billy Bragg's "Talking with the Tax Man about Poetry" was the first episode back in 2012 and the glorious thing about it is I've discovered some records I never knew about and been really surprised by how much I enjoyed artists I thought were not my thing. Rufus Wainwright is a prime example. The artists always do a minimal arrangement of the well known numbers off the album their talking about and so of course the format tends to favour performers who can do it live.
- Between the Liner Notes - A podcast (not produced for radio) that takes some aspect of the music industry and devotes an hour to it. Really engaging and has a big radio rockumentary production feel. For me - a Gen X'er coming of age in the eighties the episode on MTV is required listening.
- Music City Roots - this is a "proper" radio show out of Nashville. I like it because Mike Farris has a show (which sometimes makes it into the podcast feed) but the main man is Jim Lauderdale who is a real champion of Alt-country and Americana.
- Sodajerker on Songwriting - Sodajerker is a songwriting team from Liverpool in the United Kingdom. Founded by co-writers Simon Barber and Brian O’Connor who, like most jobbing musos, have to suppliment their work with teaching and podcasting. They have had some great guests in their (so far 97) shows. In classic podcast fashion the length varies and the best one so far (for my money) has been Paul Simon although I've enjoyed all of them (check out ep.80 - Marcus Miller).
- The Bored-Again Christian podcast - a notable mention even though he stopped making shows five years ago. I discovered a few artists via this podcast; Sufjan Stevens and Danielson to name a couple.
Podcasting is the answer to the dumb mass-market HeartFM/TalkFM/LBC type radio. It's no coincidence that you don't get anything like this kind of treatment of musicians and who they do on commercial radio.
Friday, February 17, 2017
I've been building a little RaspberryPi-in-an-old-Gameboy project for running lots of old console and handheld games. RetroPie is a superb project that unifies all of this and makes it very easy.
See my first video here.
3.5" Analogue Composite LCD
3w Class D audio amp:
Monday, January 16, 2017
As I often tell people; a LUT can only reduce the dynamic range of a display. For the most part that needn't matter, particularly if you have the whole of the DCI-P3 (or a decent chunk of Rec.2020) in your monitor. Applying a look-LUT to simulate a delivery style is one thing but increasingly people see LUTs as the first answer to monitor calibration rather than getting the display to as close-as-possible before profiling/creating a LUT. Hugh and I did a podcast on the subject.
A problem I've recently discovered with a monitor's internal Rec.709 LUT is that although the monitor has a huge gamut in it's native mode (which you can see from this recording of ChromaSurf's output) but the 709 presets have trouble.
Notice how it can reach a full green value of 0.1879, 0.7317 (Rec.2020 calls for 0.170,0.797); you'd think there would be absolutely no trouble getting Rec.709 right, and in fairness the primaries are fine. BUT, when I use both primary and secondary colour ramps;
I wind up with some distinctly funny looking banding in the secondary colours.
On this 'phone photo it is particularly noticeable in the yellows, but it's there in the cyan and magenta ramps as well. The fault isn't there when the monitor is in native mode (or indeed P3, NTSC or EBU), only Rec.709 (ironically the only colour space we really need for TV!).
So, I'll have to profile it in native mode and spin a 17-point 709 LUT as the one from the manufacturer is clearly got problems.
Another way of stress-testing a LUT is to use the TrueColor LUT stress test image.