You can then // index into the color palette using a simple 8-bit (one byte) value. Additionl notes on FastLED compact palettes: // // Normally, in computer graphics, the palette (or "color lookup table") // has 256 entries, each containing a specific 24-bit RGB color. // Some notes on the more abstract 'theory and practice' of // FastLED compact palettes are at the bottom of this file.ĬRGBPalette16 currentPalette TBlendType currentBlending Įxtern CRGBPalette16 myRedWhiteBluePalette extern const TProgmemPalette16 myRedWhiteBluePalette_p PROGMEM // FastLED provides a few pre-configured color palettes, and makes it // extremely easy to make up your own color schemes with palettes. Although this sketch has eight (or more) different color schemes, // the entire sketch compiles down to about 6.5K on AVR. // USING palettes is MUCH simpler in practice than in theory, so first just // run this sketch, and watch the pretty lights as you then read through // the code. // These compact palettes provide an easy way to re-colorize your // animation on the fly, quickly, easily, and with low overhead. This example shows several ways to set up and use 'palettes' of colors // with FastLED. #define LED_PIN 3 #define DATA_PIN 2 #define CLOCK_PIN 3 #define NUM_LEDS 120 #define BRIGHTNESS 64 #define LED_TYPE WS2801 #define COLOR_ORDER GBR CRGB leds If you use a power supply for your Arduino you can simple turn on the power to that and then the power to the LEDs and you are go! Please be sure to change the pin numbers in the program as shown in the code below. You also need to install the FastLED 3.1 Library to the computer you are programming the arduino with. There is an example video of this included above. And if that Travis Bickle had known how to dance, it’d probably be a toss-up as to which is the bigger downer.The Arduino can be programmed with the FastLED 3.1 NoisePlusPalette. But because it will forever be associated with John Travolta swaggering down the street to the insistent throb of The Bee Gees’ “Staying Alive,” we think of it differently than, say, Taxi Driver-even if Saturday Night Fever is only marginally less depressing. Like so many masterpieces of the 1970s, Saturday Night Fever is a sexual assault–filled, profane character study about outsiders living sad, sordid lives on the fringes of society. The story turned out to be completely made up by Kohn-but it nevertheless captured something poignant and powerful about the hopelessness and despair of that era in Brooklyn. The film that rocketed John Travolta to superstardom was based on a “nonfiction” New York magazine article by Nik Kohn called “Tribal Rites of the New Saturday Night,” about the role disco played in the lives and dreams of working-class Italian kids. Even that album went gold.īut though Saturday Night Fever-which is receiving a 40th-anniversary “director’s cut” Blu-Ray release on May 2-is remembered today as a feel-good disco movie, it’s actually a bracingly honest exploration of what it means to be young, horny, broke, and filled with intense feelings you can’t express and don’t understand. How big and broad was Saturday Night Fever’s appeal? In 1978, the Children’s Television Workshop released Sesame Street Fever-a parody whose cover features Grover in John Travolta’s signature pose and Ernie, Bert, and The Cookie Monster standing in for the Bee Gees. Its soundtrack was an even bigger smash-the best-selling album of all time, in fact, until the release of Michael Jackson’s Thriller. The white suit John Travolta’s upstart wears for the film’s climactic dance contest instantly became iconic, as did many of the movie’s shots and set pieces. 1977’s Saturday Night Fever, the low-budget ethnography about Italian guys in some of Brooklyn’s sketchier neighborhoods, wasn’t just a movie about disco: it was the movie about disco.
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