Volvo Project - Part 2 [ February 7th, 2011 ] By: Mark Ozimek Posted in » Ramblings

I mentioned in part 1 that I have a hard time making up my mind. This is the story of how I came to decide what turbo should get bolted up to the engine to get me to where I want to go. Be forewarned: A lot of text lies ahead. I’ll do my best to be interesting as I tell the (not so) enthralling tale.

As a point of reference in all this, for those who are unfamiliar with the Volvo powertrain, the stock shortblock seems to be good for around 600hp without sleeving, assuming the engine tune is good and heat is managed properly. Beyond that, the cylinder liners have a tendency to crack where they touch the next cylinder. The 5 speed transmission, M56H, is reliable for around that much as well, and can handle more, although gear and bearing life is rapidly declining at that point.

Originally, I was aiming for around 350whp, maybe a bit more, with a 56 trim Garrett GT2871R tucked away behind the engine. Let’s take a look at how the engine matches up with the compressor map. I made some very basic and incorrect assumptions that will get me into a ballpark estimation, such as the pressure ratio across the turbine being equal to the pressure ratio across the compressor. That will give a rough feel for where the boost threshold lies.

This is at 21psi, with a 7000rpm rev limit. Because I am looking to make this last a reasonably long time, I am choosing to keep the shaft speed around 90% of the maximum listed on the compressor chart. For the GT2871R, this is a whopping 120,000rpm! This allows for some special circumstances, like driving up mountains, to avoid overspeeding the turbo to hit the higher PR needed to get target boost in thinner air.

Anyway, onto the actual graph. As you can see, this turbo looks pretty well matched to the engine I want to build, although it is just a bit on the small side for peak power. The spool-up is based on the 0.64 A/R turbine housing flow curve that Garrett provides. Volvo uses a T3 flanged manifold, so I would get this turbo with the T3 based 0.63 A/R turbine housing, but that shouldn’t noticeably change spool.

That is just about enough airflow for about 400bhp without pushing the turbo too hard, or around 340whp. Being a FWD car, that seemed pretty reasonable figure. More would only really be usable at very illegal speeds, or on a pretty high speed track. The real nice thing about the GT2871R was that it should be making as much boost as I wanted by around 3000rpm, which is perfect for the highway, where the engine sits at 3000rpm as the car cruises at 75mph in 5th gear. Stepping up to a GT3071R or GT3076R will bring the boost up to 3500-3750rpm, which may be a bit too late for my tastes, despite the possibility of a bit more power and a cooler running engine from less exhaust restriction on a small turbine wheel.

I thought I had my turbo picked out, and had everything picked out to support it; ATP ultimate internal wastegate, the actuator, an adapter flange, the hose kit needed to get all the fluids to and away from it, the whole nine yards.

Fast forward a few months, and Garrett announces the GTX3582R, 3076R and 3071R. With a redesigned compressor wheel, they give about a 20% boost in max airflow from each turbo over the GT turbos they replace. Curiously enough, they switched from 12 split blades to 11 equal height. That will certainly affect how the compressor wheel performs. Plus they added “extended tips”, which basically just makes the compressor wheel bigger than its advertised exducer size.

Older “GT” compressor wheels look like this:

Newer GTX:

The basic sizes of the wheels remained about the same, and overall efficiency didn’t change noticeably. The general operating window got pushed to higher PR and more flow, including shifting the surge line up. By by pushing the compressor map to the right with the same turbine wheel, the compressor will be operating in a slightly less efficient spot during spool-up. I suspect this will push the boost threshold up in the RPM range a bit, as there will be more energy required from the turbine to compress the same amount of air to the same PR.

Despite previously ruling it out because of the spool time, the GTX3071R seemed like more viable alternative. It suddenly offered a much higher power potential without a significant impact on spool from before. Despite being “slow” compared to the 2871R, I reasoned that having boost by 3500-3750rpm could be doable for a DD. That still left me with about half of my total RPM range in boost, which is far from being a spiky peak hp dyno monster.

Not long after that, I found out about BorgWarner’s EFR line. There were a couple things that I really liked about what BW did with them. First, they made a really light turbine wheel, and kept the size up. This improves the turbine efficiency, and increases the amount of torque the exhaust gas should be exerting on the turbo shaft. This, along with the reduced rotating mass compared to the typical Inconel turbine wheel, should greatly improve transient response, and reduce backpressure a lot while keeping a configuration that still allows a respectable boost threshold.

In playing around with Matchbot, it seems that the EFR7064 will spool around 2750-3000rpm, and the 7670 will spool around 3250-3500rpm. As far as turbo performance goes, the 7064 stacks up pretty well against the GT2871R; similar boost threshold, potentially faster transient response, and can supply a few extra lb/min of airflow at the top end. The Garrett is better than the BW at lower pressure ratios. The most pressure I want to run on the GT2871R is about 21psi, from what we saw on the chart before. The improved performance of the 7064 at higher PR and higher flow means that I could run about 25psi and get a reasonable improvement in power without compromising the spool.

In the end though, I ended up settling on the EFR 7670. Here are the operating points found through the matchbot program, targeting a peak boost of 30psi, the points are at 2750, 3000, 3250, 3500, 6000 and 8000rpm. As you can see if you can squint hard (or right click and open the image to see the original size), it can make 30psi by 3500rpm and hold it to 8000rpm without overspinning the turbo:

I decided that having full boost by 3500rpm, going through the peak efficiency islands of the compressor wheel, and a potential for 500+whp was a good compromise, despite being more power than I should really be trying to push out of the block, and even more than I should be trying to put down to the front wheels of a street car. Logic be damned, I’m gonna do what I want! Plus, the EFR series has the distinct advantage of having a built-in recirculating BOV, and a high-flow IWG with an actuator that comes with the turbo. Those two things save enough money to make the higher cost of the EFR worthwhile.

So, one step of the project out of the way! I know what turbo I’m going with now. It’s time to make the rest of the engine support my goals. I’ll save that for part 3, since this is already a tl;dr post.

How To Film Your Driving: Interior Shots [ February 25th, 2009 ] By:Charles Smith

Last time I went through a basic run-through of setting up the camera and what not. Now let’s figure out some angles to film with. If you pick the wrong angle your viewers stop watching for a number of reasons: the driving seems too slow, there is nothing interesting in the shot, it makes the viewer sick, they’re tired of the same view everyone else is showing. 

Picking the right angle(s) makes any footage that much better. The viewer will start to pick up on the feel of speed (matters in racing videos) and they will keep their attention focused on your video (rather than your YouTube comments).  

If you are filming racing events you are going to be limited to angles by how versatile they are. You can only put so many cameras on a car (or on a track) and editing in footage from non-race events would confuse people. If you are filming to cut pieces together for a highlight-esque reel you can get a lot more creative with your angles. First lets cover some basic effects of angles:

Basic Effects
The inside and outside of the car require different placements for the same effect, they’re essentially opposites. The higher inside the car you are, the faster it will seem, while being on top of the car will make it seem painstakingly slow. This is because you need a reference to feel speed. Inside the car, if the camera is in your lap you might have clouds or reflections off of the windows as a reference. Clouds are far from the car, making it seem slower. While if the camera (or even your eyes) were higher up and looking down onto the ground close to the car, the perceived speed increases because the speed reference is moving that much more.

Getting the camera too high outside the car results in cutting off the close speed references and again makes the viewer focus on the ones that are far away (horizon). Unless you angle the camera down and can include closer ground. 

I think of it this way: including mostly ground is like an extreme close-up, it increases the energy of the frame. Including mostly sky/non-moving parts is like a wide shot, it reduces the energy of the frame. 

Now lets cover your bread and butter angles:

Behind the Driver(s)
Behind the DriversThis is one of the more common, especially in Rally, shots to see. It includes both drivers from behind. But height placement and angle from vertical are the most important aspects of this shot. You will hardly ever see a non flat setup of this shot as it will confuse the viewer and make them feel like the car is rolling (even when it is not).

Most of the action comes from the windscreen and whatever is on the other side of it. However, the drivers do provide an acceleration reference with their heads, but that is besides the point. So getting the camera up high enough in the rear of the car is the best idea as you want to see some of the road and at least the horizon. A low shot with no horizon/ground is one of the more boring shots available. Not only can we barely see the human aspect of the racing, but there is hardly any perceivable speed.

Good example of this shot.
A great example incliding Colin McRae’s wild driving.

Cop Car Shot
Cop Car Style ShotThe POV view, the driver/passenger view, whatever you call it, includes almost none of the interior and at least some of the car for reference. This angle is great because it lets the viewer think they are driving or a passenger. It includes a good amount of ground for speed and some of the car to remind the viewer that this was filmed in a car and not on Superman flying super-low.

This angle is subject to some problems. In bad weather much of the view can be obstructed by rain/mud/snow on the windscreen. The more centered this is in the windshield the less likely that problem is.

Example of this shot. I included too much of the interior and not enough of the outside in this shot, but it’s acceptable. The setup was largely due to the limitations of camera and camera mount. Now that I use a lipstick style camera much better shots can be setup.
Better framing of the same shot in the same car.

Facing the Driver(s)
One shot many people like to see is of the driver’s face. This even applies to full face helmets. Seeing the helmet, or the face connects the viewer with the driver. This shot is even more effective for open face helmets. It really highlights the driver’s concentration and sometimes hilarious facial responses. It can even show off the wheel work (which is plenty in most racing).

When framing people, the two thirds rule really helps. Keep their eyes about 2/3rd up in the frame. If the shot is from the side, give them what’s called lookspace. Lookspace means there is space in the frame in front of their face (to where they’re looking). It may seem obvious to put the back of their head at one end, but I’ve seen some awkward framings. A tip: don’t zoom in too much, get the bottom of the frame to include at least their shoulders or chest.

Looking up from below the people also makes people look better, to an extent. An extreme up shot would be awkward but a camera placement at around neck level or a little below aimed upwards could add some depth and perceived good feelings about the driver(s) to the shot. 

Example with lots of lookspace. It gave me enough room to fit in the pedal shot, but this is more of a “I need to talk to the viewer” shot.
Great example with some tilt. Notice the walls for a speed reference. Because of how close they get to those walls, they can use them as a speed reference. 

Creative Inside Shots
There are so many interesting shots available to you, but most of them will involve either the moving components of the car (wheels, suspension, guages, etc…) or the people and the outside world. This is where your imagination as a producer comes into play. Some ideas for some more shots inside the car are:

  • Pedal Shots - get that footwork on camera.
  • Out Rear Window - if you’re kicking up a lot of dust, or leading the pack this shot can be really nice.
  • Guages-to-Driver - look through the steering wheel at the driver’s face. 
  • Helmet Camera - Strap the camera to the driver’s helmet. It shows you exactly where the driver is looking and how their head moves. You start to notice how far through the corners the driver is looking (quite far if they’re good).

So get at it and be creative. Just go out and play! Next time we’ll cover putting the camera outside of the car, but still attached to it.

 

February 25th, 2009 | 2 Comments

How To Film Your Driving: Setting the Camera Up in the Car [ January 19th, 2009 ] By:Charles Smith

This is a series on how you should film your driving and show the world what you’re doing. We’ve been getting lots of questions regarding camera setups and mounting options so what better way to exlpain it than with a series. In this entry you’ll learn how to setup a camera and explore some mounting options.

Camera Settings
When I refer to the camera I’m talking about a video camera, whether it is a camcorder, helmet camera, point and shoot digital camera in video mode or even a high end film camera. Our videos have been shot with a Canon Elura100 (camcorder) and a VIO POV.1 (helmet camera). We have used point and shoot cameras for pedal shots before we had the helmet camera but we were always disappointed with the quality.

Most cameras will have options either buried in software menus or are controlled by physical things (buttons, dials, rings). The most important one for driving is focus, specifically auto-focus. Turn off auto-focus. Since most of the shots you setup in a car are going to be static shots (the camera stays still in relation to the car) you just have to setup the focus of the camera once before you drive. With auto-focus on you can get all sorts of annoying focal length changes that may distract/annoy viewers. This gives you a chance to learn how to set focus on your camera too, which you must do if you turn auto-focus off.

Zoom out as far as you can. Zooming in multiplies the visual effect vibration of the camera has on the video.  Couple that with any camera that has digital zoom, in effect, lowers the quality/resolution of the video and you end up with some terrible looking video. You can always digitally zoom in later during editing.

Some cameras also have vibration compensation. Some do this really well, but most don’t. This is now in the realm of getting to know your camera, and the only way to know it is to use it. So here it is up to you, but try out both on and off and see which you prefer visually. For securely fastened cameras on stable mounts, vibration reduction usually does not help.

Mounting the Camera
Mounting the camera inside a car is a bit tricky. Most decent solutions will cost money. I forked over some dough for a Sticky Pod mounting system back when I bought the Elura. I am glad I did too, it has been more used than I thought it would be. I use the extra suction cup it came with to mount my helmet camera to the car. The full mounting system is still used for the Elura and has been used to make every single non-helmet cam video we’ve made (barring how to install vinyl stickers).  There is a downside to the suction cup style mounts: you have to have smooth surfaces like glass in and around the car.

However there are DIY mounting solutions far from the simplicity of duct tape. Threads all over the internet have talked about how to make a DIY headrest mount (fits on your head rest poles and is secured by the headrest). These provide 1 or 2 shooting positions but provide a “Driver’s View” for your video. These are also usually more secure than a suction cup mount.

If you’re filming with a full on race car I’ll assume you can make a mount that fits on your rollcage. Tube frames provide great mounting points using zip ties/clamps. Helmet cameras (lipstick cams) work great for tube frame mounts. This will let you get great shots of everything in the car including pedals, driver+dash, inside looking out shots, faces of the driver(s), etc… 

Sound Considerations 
On camcorders or any tape based camera there are spring loaded heads in there. Cars have a tendency to vibrate and those vibrations are passed through the mount to the camera. The big problem happens when your microphone is in the same area as the heads (such as with the Elura). The microphone picks up the vibration of the heads and any loose items in the camera, so consider picking up an external mic (example at amazon). I have, but before I did driving videos sounded terrible. Here is an example of the rattling:

Placing the microphone in different spots also gets you different sounds. With an external mic you can put it inside engine bays, near exhausts, near a window crack (so you get a wind buffeting sound for “speed”), etc… I’ve done it as an experiment inside the WRX’s intake and it ended up sounding pretty sweet. Here is that example:

So go grab your video camera and start playing! Make sure to focus on driving while driving and not the camera. You dont want to record a silly accident (but if you’re in one hope you’re recording).

That’s it for this entry into How To Film Your Driving. Next time we’ll talk about angles and and their effects. 

 

January 19th, 2009 | 2 Comments

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