Knallende Kleuren
\nVPRO Noorderlicht \/ 25 min \/ 28-12-1999
\nIeder jaar komen in augustus vuurwerk enthousiasten vanuit heel Amerika en daarbuiten samen op de bijeenkomst van de PGI (Pyrotechnics Guild International). Het is een week van vriendschap, competitie en natuurlijk elke avond overweldigend vuurwerk. Op deze bijeenkomsten tonen vuurwerk amateurs na een jaar voorbereiding hun nieuwste vondsten. De PGI conventie vormt de wieg van innovaties aan vuurwerk.<\/p>\n
tekst van de uitzending:<\/p>\n
VPRO NOORDERLICHT – TRANSCRIPT
\nAFLEVERING ‘KNALLENDE KLEUREN’
\nUITZENDING 28 DEC 1999
\nDOOR JOS WASSINK<\/p>\n
LEADER NOORDERLICHT<\/p>\n
ONTSTEKING FLITSKRUID<\/p>\n
DR. CLIVE JENNINGS-WHITE
\nCHEMICUS, SALT LAKE CITY
\nThat’s a green flash powder that was published by John Steinberg, the president of the Pyrotechnics Guild International. And the way it works is it has Barium nitrate as the principle component and that, the barium, provides the green colour, and the nitrate part provides the oxygen for the combustion.<\/p>\n
VUURWERK MET TITEL: KNALLENDE KLEUREN<\/p>\n
DR. CLIVE JENNINGS-WHITE
\nI remember when I was a small child I was always transfixed when looking at fireworks and they seemed to be the ultimate magic. They make time stand still. And to be able to find out about this magic and create it, to have a partnership with nature in producing fire is just such an enthralling entrancing thing to do.<\/p>\n
IN KELDERLAB: MIXEN EN BOUWEN SPUITERS<\/p>\n
CLIVE (OFFSCREEN):
\nFireworks are basically an art that has a large amount of scientific technical know-how that goes into it. So for example, if one knows about the different combinations of chemical elements that produce various effects, that’s an essential prerequisite in order to design new kinds of fireworks.
\nOver the years one acquires gradually more knowledge in the scientific aspects and also the craftsmanship and technical aspects of making fireworks and so one gradually acquires more skill and makes more complex devices and really there’s no end to what one can do. One’s only limited by one’s imagination.<\/p>\n
AFSTEKEN SPROEIERS<\/p>\n
IN DE KELDER BIJ CHEMICALIENKAST
\nThis shell contains pretty much all the chemicals that will be used in making fireworks. By themselves they’re essentially inert. You could take a blowtorch to almost any of them and nothing would happen. It’s when you mix them together in various conditions, that you’re able to produce these different coloured fires or different kinds of sparks.<\/p>\n
GROTE SPROEIER OP COMPETITIE; PRIJZENKAST<\/p>\n
CLIVE TOONT EEN VUURWERKWIEL:
\nThis is the required wheel component of the ground display competition. It requires you to have a wheel as part of that competition.
\nEach of these little tubes is lighted. These are called lances and they contain a coloured fire in this case they’re magenta and as the wheel spins, these lances are arranged in a spiral, so it will produce the impression of an ever expanding spiral as it spins.<\/p>\n
LADEN AUTO EN RIJDEN<\/p>\n
CLIVE OFFSCREEN:
\nOne of the ways I like to develop my techniques in fireworks is to participate in the Pyrotechnics Guild International’s competitions. I find that by talking to the other competitors, there’s both a huge sense of camaraderie and those are the people who will share their secrets and give you new ideas and designs and further your own expertise.<\/p>\n
WIJD BERGSHOT LANDSCHAP UTAH<\/p>\n
PGI VUURWERK VELDJE<\/p>\n
DR. ARTHUR R. TILFORD,
\nJURYLID PGI, ZINGT:<\/p>\n
Yo ho, yo ho, a pyro’s life for me.
\nWe kindle and char, inflame and ignite,
\nLight up, me Pyro’s, yo ho.
\nWe fire up the goodies, we’re really a fright,
\nLight up, me Pyro’s, yo ho.<\/p>\n
With sulfur and charcoal and Nitre we mix
\nThen ram the mess in a tube,
\nSlap on a stick and garnish the nose,
\nAnd prime up the ens with a fuse!<\/p>\n
Y ho, yo ho, a pyro’s life for me.<\/p>\n
LANGE RIJ OPGETOGEN MENSEN WACHT<\/p>\n
DR JOHN STEINBERG,
\nVOORZITTER PGI:
\nThe Pyrotechnics Guild International is an organisation that tries to provide a home for people who like fireworks in any aspect. Some of us enjoy purchasing consumer fireworks, some enjoy doing fireworks shows, there are very talented artists her who make fireworks. Whatever someone’s interest is in fireworks, we try to create an environment where all of us can come together and entertain each other and enjoy all the magic that can be created through pyrotechnic artistry.<\/p>\n
CLIVE BEZOEKT INSCHRIJVINGSBUREAU<\/p>\n
DR JOHN STEINBERG VERVOLGT:
\nWe here at the PGI, our members have developed things like strobing stars, the stars that blink on-and-off, and very fine blue colours, effects based on ammonium perchlorate that first saw their genesis in the pyrotechnist hobbyist community and these types of things are developed experimentally and if applicable, stable and safe are then used in the commercial world.<\/p>\n
BOM-INCIDENT<\/p>\n
ROBERT WESTFALL, TEXAS:
\nThe difference between a rocket and a bomb is a split second. It’s just a matter of timing. If you’re doing it right, the fuel is very hot, it’s very common when you start with these to have them explode. Especially when you’re working up a new rocket engine. If you’re doing things right actually they will explode. And the trick is to tune down your performance to get a mix that is right on the rugged edge. You want to get the very best performance without actually blowing up. It’s like a race car engine. If you’re not running right on the edge, and risk to blow up your engine, you’re not gonna win. And that’s what’s involved here.<\/p>\n
TOONT RAKET:<\/p>\n
Whereas it went in easily, it comes out fairly hard.
\nHere we go. And that’s one of the rockets that I’m gonna compete with tonight. You see this is the top of the rocket and we’ll go directly into the effect we’re going to do from here and this is the engine side.<\/p>\n
ROBERT WESTFALL LANCEERT RAKET
\nI didn’t hear much delay in the sound, it didn’t get that high. I’ve got to make enough altitude because this is a very hangy effect. If I hit the ground, I loose points, so I’ve got to get high enough so that my effect doesn’t come back to the ground but I’ve got to keep it low enough so that the judges can see it. That’s the idea in this particular design.<\/p>\n
INTRO MARKT<\/p>\n
CLIVE JKENNINGS-WHITE VERTELT WAT-IE ZOEKT:
\nWell, I want some of the basic chemicals. Potassium nitrate is the one I use the most and some Potassium perchlorite and charcoal is the most common fuel. So those are the ones I run out of all the time, so that’s the thing I want to to get. But I want to to look at everything cause you never know what you might find as an unusual item. Like this course magnesium, you don’t often see something like that. So, you know, you never know what You might find to produce some interesting effect that you don’t often see.<\/p>\n
DIALOOG MET VERKOPER:
\n– Chinese gourmet mmhh. You can see..
\n– Tjis is real close to the Swedish.
\n– Cool. I gues I’ll take these.
\nDo you have any airflow charcoal?<\/p>\n
BIJ VRACHTWAGEN WORDEN MELKPOEDER BOMMEN GEMAAKT:
\nDIALOOGJE:
\n– I’ve never even seen this before.
\n– What is it?
\n– It’s cream war, makes a huge fireball.
\n– Is is milk powder?
\n– Yes. The black powder fluffs it up and then it just takes off. It’s just like a grain explosion, you know, does a really nice job, you’ll be impressed.<\/p>\n
VOLG FRANK COLLUCCIO,
\nLEGION FIREWORKS, NY
\nThese are some of the shells I’m gonna shoot from centre. There’ll be one shell from here and then two from the outside and then three from the outside.
\nThese are very large cylinder shells and they need steel to contain them, to give them a good lift. You wanna them to come out of the gun, of the mortar.<\/p>\n
FRANK TOONT ZWARE BOM:
\nThis is 11-timed salute. There’s all flash in here that’s why we need them to come out of steel, we lift it very high because there’s eleven timed reports and you need airspace and air time.<\/p>\n
FRANK PAKT EEN ANDERE:
\nThis is an eight inch charcoal crossette, it’s gonna break out with seventy five tailed stars and at the end of their burn time, they’re gonna break and make seventy five more little tails and it just fills the sky.<\/p>\n
OPBOUW GROUNDDISPLAY<\/p>\n
CLIVE TIJDENS OPBOUW GROUND DISPLAY
\nOFFSCREEN: My principle skills and interests in fireworks are perhaps in the production of colours and in the use of those colours in ground display in particular where I like the freedom of imagining how things will be put together.<\/p>\n
I think I would describe myself as a minimalist in fireworks.<\/p>\n
I don’t really go for the very large kind of fireworks or things that are very complex. I like to see what I can do with the barest amount of materials.<\/p>\n
CLIVE ON-SCREEN:
\nNot many people compete in these ground displays I think one of the reasons is that I got here early in the morning to set this up and I’m still working here at seven-thirty. So, it’s been ten hours of work so far to set it up and I’m almost finished, but there’s no other category of competition that is even remotely this amount of work.<\/p>\n
INTRO SHELL WORKSHOP<\/p>\n
ROLF HALVERSON, WISCONSIN:
\nWe started by rolling the stars yesterday and they’re the colour you see in the sky, the little it of colour moving are called stars This would probably be red -it’s either red or green- and then it’s a glitter on the outside so when the shells breaks it’ll leave a glitter trail and then turn to the colour at the end.
\nYou would start with your shell halves one layer of stars in the shell half and then you put the break charge in the middle, which is a flash composition, it’s a higher energy it will make the shell break bigger in the air. And then we use methalyne chloride to soften up the plastic and actually weld the halves together. And then the lift charge is put on the bottom and when the shell is loaded in the gun, you light the fuse, that lights the lift charge on the bottom which in turn sends the shell out of the tube and lights a time fuse and then it burns through to the inside and lights that break charge. And that breaks the shell open, lights the stars and sends the stars out.<\/p>\n
CLIVE OVER GROUND DISPLAY
\nThe ground display is a very traditional English kind of display. Generally in the United States or Southern Europe you see a much more fast paced display with a lot of noise and mostly things in the air.
\nWith the traditional kind of techniques, I like to put something new in that nobody would have seen before.<\/p>\n
FRANK COLLUCCIO TOONT OPBOUW VUURWERK:
\nThis is the finale, you see a right side, a centre and a left side again. The right side and the left side are gonna burn at the same time, but they’re gonna have their airspace is different so that it saturates the sky.
\nThey start out three inch, go to four inch, five inch, six inch and eight inch salutes. Very noisy. It should go for about a minute. These people like noise, so do I.<\/p>\n
CLIVE OVER GROUND DISPLAY:
\nSo I’m gonna start up the electrical firing with the pole over there which has some fountains and some little wheels on it and it’s kind of an elegant design and as soon as that’s over there’ll be a little punctuation mark of a blue strobe mine that will suddenly go off, that’s a more sort of violent effect. And then back to a more graceful effect of this wheel and then following the wheel will be a large set piece which is to me the most exciting piece of the whole display.<\/p>\n
FRANK COLLUCCIO OVER FINALE:
\nAnd then when they’re all done, I’ll hit the last three salutes and that’ll be the end of the show. And hopefully it’ll be 26 minutes and 20 seconds. Ha-ha.<\/p>\n
ARENA LOOPT VOL
\nAVOND VALT<\/p>\n
IMPRESSIE GROUND DISPLAY
\nCLIVE JENNINGS-WHITE<\/p>\n
TOM ARCHER,
\nJURYLID PGI:
\nGround display, well obviously Clive was the only entrance tonight, but the standard was very very high. He had a slight problem with his flower wheel. BOEM BOEM…<\/p>\n
ONDERBREKING DOOR VUURWERK<\/p>\n
TOM ARCHER VERVOLGT:
\nThe flower wheel was slow to get going but once it did got going, was very good. I think he got a very high score on that, even though he was the only competitor he will get a very good score on that. I’ve no doubt he’s gonna take home a trophy.<\/p>\n
IMPRESSIE FINALE SHOW<\/p>\n
CLIVE KIJKT NAAR VUURWERK<\/p>\n
AFTITELING OVER FINALE
\nVPRO NOORDERLICHT – TITELS
\nAFL. ‘KNALLENDE KLEUREN’
\nUITZENDING 28 dec 1999
\nDOOR JOS WASSINK<\/p>\n
TITELS<\/p>\n
03:08 – 03:16 KNALLENDE
\nKLEUREN<\/p>\n
03:30 – 03:37 RB Dr Clive Jennings White
\nSalt Lake City<\/p>\n
07:50 – 07:57 RM Dr. Arthur R. Tilford
\njurylid PGI<\/p>\n
08:32 – 08:39 RB Dr John Steinberg
\nvoorzitter PGI<\/p>\n
11:09 – 11:16 RB Robert Westfall
\nTexas<\/p>\n
13:06 – 13:13 RB Dr Clive Jennings White
\nSalt Lake City<\/p>\n
15:13 – 15:19 LB Frank Colluccio
\nLegion Fireworks, NY<\/p>\n
17:50 – 17:56 RB Dr Clive Jennings White
\nSalt Lake City<\/p>\n
18:26 – 18:32 RB Rolf Halverson
\nWisconsin<\/p>\n
20:54 – 21:00 RB Frank Colluccio
\nLegion Fireworks, NY<\/p>\n
23:43 – 23:50 RB Tom Archer
\njurylid PGI<\/p>\n
25:05 ROLTITEL<\/p>\n
SAMENSTELLING & REGIE Jos Wassink<\/p>\n
CAMERA Willem Heshusius<\/p>\n
GELUID Charles Kersten<\/p>\n
MONTAGE Jac Verheul
\nMIXAGE Jack Bol
\nKLEURCORRECTIE ……………….
\nLEADER Bob Takes
\nREDACTIE Hansje van Etten
\nHilbert Kamphuisen
\nHarriet Leget
\nSimon Rozendaal
\nKarin Schagen
\nAnnemiek Smit
\nMarjan Tjaden
\nJacqueline de Vree
\nJos Wassink
\nGer Wieberdink<\/p>\n
MMV bestuur en leden van het
\nPyrotechnic Guild International
\nRutger Webb, TNO
\nDolf Haank<\/p>\n
PRODUCTIE Madeleine Somer
\nKarin Spiegel
\nEINDREDACTIE Rob van Hattum
\ncopyright VPRO 1999<\/p>\n