Other commenter touched on one definition so I’ll explain the other.
Take a bunch of pictures of the woods, put them in a computer and have it tell you the most common colors to generate the a pattern of the most commonly found colors. Boom digital woodland camo.
Theoretically you’re using actual colors taken from a (or several) environments that you intend to be in. As opposed to a few colors picked by an artist because the artist thought they’d be the colors in those environments.
As for the squares I think it was just an easy way to formulate a pattern digitally. Plus it seemed futuristic at the time.
There is a link in the opening post with some background on Dual Tex.
It was an early attempt at having a pattern methodically designed to have macro and micro patterns, aka “dual textures” to help it work at closer and further ranges.
The squares were (on most iterations, some more primative tests had eyeballed patterns) derived from using a grid to create the pattern, with a grid being useful to help design a pattern with a good spread of colors.
Macro patterning is important to the military since observation and initial engagements usually occur in the multiple hundreds of meters, which is why US Woodland is derived from ERDL that has been greatly enlarged. If a pattern achieves good macro patterning, then micro patterning can help it work at closer ranges. Generally micro patterning is more useful in environments with lots of depth in them like jungles or woods, which is why patterns for those environments tend to be more complex than desert patterns.
Later digital patterns for uniforms that were created with computer assistance, like CADPAT used squares for the same reason of ease of design, and because it is easier to print patterns with distinct shapes rather than gradients. Multicam is an example of a pattern that is newer than CADPAT, which is using gradients.
I don’t think you can actually hear the fundamental of the lowest note. It’s lowest note has a 16hz fundamental, and people can usually only hear down to around 60hz.
Near where I grew up there are these caves on a cliff side on the ocean. At the right time of day, the tide is such that the water rushes in and creates these amazing subsonic booms. You can’t hear them, but if you go down one of the walkways into the side of a cave, you can feel it. It’s crazy. Probably a similar thing.
Setenil de las Bodegas is a town (pueblo) and municipality in the province of Cádiz, Spain, famous for its dwellings built into rock overhangs above the Río Guadalporcún. According to the 2005 census, the city has a population of 3,016 inhabitants.
[…] The town extends along the course of the Rio Trejo with some houses being built into the rock walls of the gorge itself, created by enlarging natural caves or overhangs and adding an external wall.
also nice:
Setenil has a reputation for its meat products, particularly chorizo sausage and cerdo (pork) from pigs bred in the surrounding hills. As well as meat, it has a reputation for producing fine pasteles (pastries), and its bars and restaurants are among the best in the region. Its outlying farms also provide Ronda and other local towns with much of their fruit and vegetables.
Here is a video by Half as interesting that talks about the creation of digital camouflage and why the US’s army version sucks if anyone is interested.
The Dual Tex in the original post is mentioned in your video, but only in the barest passing.
The video seems like a very lacking overview of UCP. Even in its short runtime contains a least a few common mistakes, like identifying UCP as renamed Urban Track, and it doesn’t really talk about why the chosen colors were chosen. The chosen colors were a mistake, but an informative video about why a mistake was decided on is more productive that’s just pointing out the obvious.
This link is much better. It both identifies the flaws, and it illuminates the (admittedly mistaken) thought process behind the color choices of UCP.
My current view is that either the people running the tests only wanted a camo that blended perfectly into piles of gravel and old lady couches and absolutely nothing else, or they had legally blind people performing the tests. I strongly doubt this link will change my mind but I’ll give it a shot.
I have no idea if this is the same as the one at the Montreal Symphony Orchestra but for anyone else who was curious about the specs on this beast:
HEIGHT: 3.6 m (11.10 ft.)
LENGTH OF THE SOUNDBOARD (uppermost board): 2.06 m (6.76 ft.)
WIDTH OF THE SOUNDBOARD: 1.11 m (3.64 ft.)
LENGTH OF STRINGS: 2.18 m (6.56 ft.)
NUMBER OF STRINGS 3: (A-E-B)
DIAMETER OF STRINGS: 5/16 in. (7.94 mm). 1/4 in. (6.35 mm) et 3/16 in. (4.76 mm)
WEIGHT: 131,54 kg (290 lbs.)
NUMBER OF PARTS: There are hundreds of parts, of which 237 make up the complex mechanism of this precision instrument.
SPECIAL FEATURES: The octobass is the lowest-pitched and largest-sized instrument of the entire string family. The performer must climb up on a small stool in order to access the neck of the instrument, and it is only by means of levers and pedals - not with the hands that the strings can be reached and sounded. The octobass bow is longer and heavier than the bow of an ordinary string bass.
Apparently it can do as low as 25Hz. That would be badass to experience in person.
It still can be, roll a bard that only plays it. Your party and dm will probably hate you but it’s a funny one-off, or if they’re fun you can try to work around the limitations together like making str/dex checks to get it through a narrow cave. Even better, make it a halfling that needs a step stool to play it.
I’ve seen a youtube video on that Octobass once, and it was amazing. Having to climb some stairs to play this absolute beast was something that shocked me. And the levers to play it.
mildlyinteresting
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