Move Out Cleaners San Diego | https://www.maidjustright.net (619) 940-5495

Move Out Cleaners San Diego | https://www.maidjustright.net (619) 940-5495

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An office environment is made up of multiple valuable items; there’s electronics, furniture, carpets to name a few. The more regularly they are maintained, longer they will last. Dust buildup can cause computers and printers to malfunction. Stains can ruin the look of carpets. Cleaning service in San Diego can give you a thorough and timely cleanup that will prolong the life of your office supplies.

Maid Just Right
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Posted by maidjustright520 on 2018-06-27 12:08:11

Tagged:

Cell Phone Mobile Dual SIM PPT, GPS, t Proximity Sensor Accelerometer Sensor Gravity Sensor Light Sensor Waterproof Dustproof Drop-resistant SHOCK PROOF Waterproof Smartphone with WiFi GPS | Water Proof | Triband Camera | Cell Phone Shop | Buy Cell Phone

Cell Phone Mobile Dual SIM PPT, GPS, t Proximity Sensor Accelerometer Sensor Gravity Sensor Light Sensor Waterproof Dustproof Drop-resistant SHOCK PROOF Waterproof Smartphone with WiFi GPS | Water Proof | Triband Camera | Cell Phone Shop | Buy Cell Phone

Check here: heartlessrevenge.tumblr.com/post/82183497474 to buy Cell Phone Mobile Dual SIM PPT, GPS, t Proximity Sensor Accelerometer Sensor Gravity Sensor Light Sensor Waterproof Dustproof Drop-resistant SHOCK PROOF Waterproof Smartphone with WiFi GPS | Water Proof | Triband Camera | Cell Phone Shop | Buy Cell Phone | Latest Cell Phone | Cell Phone Deal | Cell Phone Unlock | New Cell Phone | Extreme Sports | Hiking | Military Issue | Skiing | Hunting | Sports | Go Pro OS Version: Android 4.0 CPU: Qualcomm Snapdragon MSM8225 Dual Core GPU: Adreno 203 GPU Processor Speed (max): 1.15GHz RAM: 512MB 2G: GSM 850/900/1800/1900 MHz 3G: WCDMA 900/2100 MHz Wi-Fi: 802.11 b/g/n Bluetooth GPS Google Play Adobe Flash Portable Wi-Fi Hotspot (3G Tethering) IP68 Waterproof: 30 Minutes Immersion in 2 Meters of Water Shockproof, Dust Proof 5 Megapixel Rear Camera (Interpolation 8MP) + 0.3 Megapixel Front-Facing Camera Mic and Speaker Memory Internal: 4GB Micro SD Card up to 32GB Media Formats: Video: MPEG4, H264, H263, MP4, 3GP, 3G2, MP4 Audio: WAV, MP3, AAC, WMA, MIDI Picture: BMP, PNG, GIF, JPEG eBook: PDF, TXT via heartlessrevenge heartlessrevenge.tumblr.com/post/82183497474

Posted by htcon3 on 2014-04-09 11:23:22

Tagged: , best , htc , products , phone , tablet , buy

Board Games

Board Games

26:52 Technology

I wasn’t sure what to do with this theme, so looked around our "office" and saw a bunch of computer parts lying on a table. I put the mother board inside my lightbox, shot it, and then shot a heat sync and fan. I merged three images that I took and this is how it ended up. That’s technology too, right?
Not something I would normally do, but it was fun anyway 🙂

Posted by charhedman on 2018-06-27 02:16:24

Tagged: , 52 week theme challenge group , Technology , mother board , heat sync , fan , bokeh , board games , remote , digital , CPU , Macro , a bit dusty…I think it’s going to end up in recycling

4 Tricks Miranda Lambert Used to Lose It

4 Tricks Miranda Lambert Used to Lose It

4 Tricks Miranda Lambert Used to Lose It

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Posted by New York State Youth Leadership Council on 2017-05-02 11:13:37

Tagged: , dream act , immigrant youth

Mac mini (Late 2005) Processor Heatsink

Mac mini (Late 2005) Processor Heatsink

I’ve used Mac mini’s a lot in my business and personal life. It’s great to be able to put such a small Mac wherever you want it and they rarely if ever have any problems.
In fact the only problem I’ve ever had with them is that they can end up getting a bit dirty especially if one has pets such as cats or dogs around.
When this 1.33GHz model tarted having some stability issues I disassembled it and cleaned it. The heat sink was almost completely blocked by a combination of hair and dust that fell away during disassembly.
© 2008 Malagent

Posted by Malagent’s Synthetic World on 2008-02-28 05:36:42

Tagged: , Apple , Computer , Mac mini , G4 , motherboard , MLB , Logic Board , Maintenance , cleaning , dirty , dirt , dust , processor , CPU , heatsink , Components , Service

Workshop do grupo Lab-oca

Workshop do grupo Lab-oca

Workshop do grupo Lab-oca

Lab-oca workshop

FILE PRIX LUX é um prêmio internacional que será concedido a profissionais na área das linguagens eletrônico-digitais. Trata-se de um prêmio para a arte do século XXI, uma iniciativa inédita na América Latina. A premiação ocorrerá em 26 de julho de 2010, no teatro do SESI – São Paulo, juntamente com a exposição do FILE 2010.
O FILE PRIX LUX concederá sete prêmios (primeiro lugar, segundo lugar e cinco menções honrosas) para cada uma das três categorias, oferecendo assim 21 prêmios em dinheiro no valor total de 285 mil reais. Além da seleção do júri, haverá votação popular que será feita através do site do FILE PRIX LUX. As categorias são: Arte Interativa, Linguagem Digital e Sonoridade Eletrônica.
Para saber mais sobre o FILE PRIX LUX acesse: www.fileprixlux.org

FILE PRIX LUX is an international prize that will be granted to professionals in the area of electronic-digital languages. It is an award for the art of the 21st century, an unprecedented initiative in Latin America. The award ceremony will happen on July 26, 2010, in the SESI – São Paulo theater, along with the FILE 2010 exhibition.
FILE PRIX LUX will grant seven prizes (first place, second place, and five honorable mentions) to each of three categories, thus offering 21 prizes in money, in the total amount of 285,000 reals. Besides the jury’s selection, there will be a popular vote through the FILE PRIX LUX website. The categories are: Interactive Art, Digital Language, and Electronic Sonority.
More information about FILE PRIX LUX can be found at: www.fileprixlux.org

FILE PRIX LUX is an international prize that will be granted to professionals in the area of electronic-digital languages. It is an award for the art of the 21st century, an unprecedented initiative in Latin America. The award ceremony will happen on July 26, 2010, in the SESI – São Paulo theater, along with the FILE 2010 exhibition.
FILE PRIX LUX will grant seven prizes (first place, second place, and five honorable mentions) to each of three categories, thus offering 21 prizes in money, in the total amount of 285,000 reals. Besides the jury’s selection, there will be a popular vote through the FILE PRIX LUX website. The categories are: Interactive Art, Digital Language, and Electronic Sonority.
More information about FILE PRIX LUX can be found at: www.fileprixlux.org

Indicados ao prêmio | Nominees

ARTE INTERATIVA | INTERACTIVE ART

As an artist, I need to rest – Sonia Cillari – Holanda | Netherlands

Building Music – Play the Magic: Julio Obelleiro, Alberto García, Jorge Cano & Pedro Enriquez – Estados Unidos | United States

Chorus – UVA: United Visual Artists – Reino Unido | United Kingdom

Compass Phone – Hayeon Yoo – Coréia do Sul | South Korea

CPU (Central Processing Unit) – 1n0ut: Robert Praxmarer & Reinhold Bidner – Áustria | Austria

CubeBrowser – Ludwig Zeller – Reino Unido | United Kingdom

CybeRITMO – Tuti Fornari – Brasil | Brazil

Digitie – Marianne Schmidt – Alemanha | Germany

Diorama Table – Keiko Takahashi & Shinji Sasada – Japão | Japan

Dune – Studio Roosegaarde: Daan Roosegaarde – Holanda | Netherlands

Ferrofluid Magnetoscope – Michael Flynn – Estados Unidos | United States

Flaneur Symphony – Keith Lam – China | China

Frame Seductions – Pierre Proske – França | France

Geogoo – Jodi: Joan Heemskerk & Dirk Paesmans – Holanda | Netherlands

Guten Touch – Multitouch Barcelona: Dani Armengol, Roger Pujol, Xavier Vilar & Pol Pla – Espanha | Spain

I wanted to see all of the news from today – Martin John Callanan – Reino Unido | United Kingdom

Light Calligraphy – Luo, He-Lin & Chen, I- Chun – Taiwan (R.O.C.) | Taiwan (R.O.C.)

Living Light – The Living: David Benjamin & Soo-in Yang – Estados Unidos | United States

Luzes relacionais (Relational Lights) – Ernesto Klar – Estados Unidos | United States
Mood Tail – Tseng,Wei-Chieh – Taiwan | Taiwan

Ocean of Light : Surface – Squidsoup: Anthony Rowe, Gareth Bushell, Christopher Bennewith, Liam Birtles & Ollie Bown – Nova Zelândia, Reino Unido e Austrália | New Zeland, United Kingdom and Australia

PISO – Rejane Cantoni & Leonardo – Brasil | Brazil

Public Epidemic Nº1 – Olle Cornéer & Martin Lübcke – Suécia | Sweden

Roy Block – Sebastian Schmieg – Alemanha | Germany

Salt Lake – Yacine Sebti & Tom Heene – Bélgica | Belgium

SARoskop – Martin Hesselmeier & Karin Lingnau – Alemanha – Germany
S-ICI/is it here? – Fred Périé – França | France

Sign after the X – David Clark, Marina Roy & Graham Meisner – Canadá | Canada

Slomo – Creative Advisor Group: John Paul Bichard & Magnus Jonsson – Suécia | Sweden

Sniff – Karolina Sobecka – Estados Unidos | United States

Space Invaders – Multitouch Barcelona: Dani Armengol, Roger Pujol, Xavier Vilar & Pol Pla – Espanha | Spain

Strings – Myrto Karanika & Jeremy Keenan – Reino Unido | United Kingdom

SuperFluidity – Electronic Shadow: Naziha Mestaoui & Yacine Aït Kaci – França | France

The Travels of Mariko Horo – Tamiko Thiel – Alemanha | Germany

The Trend Is Your Friend – Sylvia Eckermann and Gerald Nestler. Sound by Peter Szely – Áustria | Austria

V+ – Jonas Bohatsch – Áustria | Austria

Virtual Ground – Andrew Hieronymi – Estados Unidos | United States

Vitalino – Jarbas Jácome – Brasil | Brazil

SMSlingshot – VR/Urban: Patrick Tobias Fischer, Christian Zöllner, Thilo Hoffmann & Sebastian Piatza – Reino Unido | United Kingdom

Waves – Daan Brinkmann & Hugues Bruyère – Holanda | Netherlands

WAVO – Kazushi Mukaiyama & Masaki Maeda – Kazushi Mukaiyama & Masaki Maeda

SONORIDADE ELETRÔNICA | ELECTRONIC SONORITY

2x (Power of two) – Jorge Luis Crowe – Argentina | Argentina

Archetypal Sound Installation (ASI) – Sung, Heng – Taiwan | Taiwan

Camera Lucida: Sonochemical Observatory – Evelina Domnitch & Dmitry Gelfand – Holanda | Netherlands

Disc. – Muk – Áustria | Austria

Experimental Music-Instruments – Yoshi Akai – Japão | Japan

From Dust Till Dawn – Markus Decker, Dietmar Offenhuber & Ushi Reiter – Áustria | Austria

HEARTCHAMBERORCHESTRA – TERMINALBEACH: Erich Berger & Peter Votava – Finlândia | Finland

ITINERÁRIO DO SAL – MISO ENSEMBLE: Miguel Azguime, Paula Azguime, André Bartetzki & Perseu Mandillo – Portugal | Portugal

Laptork – Laptork: Esteban Insinger & Fabian Kesler –Argentina | Argentina

LEMURtron – LEMUR: League of Electronic Musical Urban Robots & Eric Singer – Estados Unidos | United States

Light Frequency Fingertips – Robert Mathy – Áustria | Austria

METROBANG – Vinil Bass Sequencer – Ricardo Brazileiro – Brasil | Brazil

netBody:“Augmented Body and Virtual Body II” – Suguru Goto – França | France

Omnibusonia Paulista – Vanderlei Lucentini – Brasil | Brazil

POWEr – Artificiel: Alexandre Burton & Julien Roy – França | France

Reflection Eternal – Matthias Kassmannhuber – Áustria | Austria

Reler – Raquel Kogan – Brasil | Brazil

RGB Music RENGA: 999 Views of Skyscrapers from Great Lawn in Central Park, New York City – Kenji Kojima – Estados Unidos | United States

Silent Percussion Project – Jaime E Oliver LR – Peru | Peru

Soundcities – stanza – United Kingdom

The Baghdad Monologue – Alejandro Viñao – Reino Unido | United Kingdom

Tongue Music: The Sound of a Kiss – Hye Yeon Nam – Estados Unidos | United States

Truce: Strategies for Post-Apocalyptic Computation – Robin Meier & Ali Momeni – França | France

Wet Sounds – Spax – Reino Unido | United Kingdom

LINGUAGEM DIGITAL | DIGITAL LANGUAGE

abcdefghijklmnopqrstuvwxyz for iPhone – Joerg Piringer – Áustria | Austria

ArtFem.TV – Evelin Stermitz – Áustria | Austria

Binary Glove – Pete Hawkes – Estados Unidos | United States

BioBodyGame – Rachel Zuanon & Geraldo Lima – Brasil | Brazil

Breathing – Guto Nóbrega – Brasil | Brazil

CONNECT – Andreas Muxel – Alemanha | Germany

Death Death Death – Death Death Death – Estados Unidos | United States

Dreams in High Fidelity II – Spot – Estados Unidos | United States

GenePool – Eric Parren – Holanda | Netherlands

Hakodate Luminart – Hakodate Luminart Project – Japão | Japan

Hi! A real human interface – Multitouch Barcelona: Dani Armengol, Roger Pujol, Xavier Vilar & Pol Pla – Espanha | Spain

Marvim Gainsbug – Jeraman & Filipe Calegario – Brasil | Brazil

Mediaflow – MARS: Media Arts Research Studies: Monika Fleischmann & Wolfgang Strauss – Alemanha | Germany

Of How We Have To Leave Doubts Expectations And The Unachieved – André Gonçalves – Portugal | Portugal

RESCATE – Gabriela Golder – Argentina | Argentina

RYO 5000 – YOUNG-HAE CHANG HEAVY INDUSTRIES: Young-hae Chang & Marc Voge – Coréia do Sul | South Korea

SOLAR – Rejane Cantoni & Leonardo Crescenti – Brasil | Brazil

Southern Ocean Study # 1.0 – Corby & Baily, Jonathan Mackenzie – Reino Unido | United Kingdom

Tardigotchi – SWAMP – Douglas Easterly, Matt Kenyon & Tiago Rorke – Nova Zelândia | New Zealand

The First Poetry Space Shuttle Landing on Second Life – Caterina Davinio, Mirko Lalit Egger & Riccardo Preziosi – Reino Unido | United Kingdom

Tuvalu Visualization Project – Hidenori Watanave Laboratory, Tokyo Metropolitan University & NPO Tuvalu Overview – Japão | Japan

War of Internet Addiction – Corndog & Oil Tiger Machinima Team – China | China

Wizard of OS: The Fish Incident – Tom Jantol – Croácia | Croatia

Posted by FILE PRIX LUX on 2010-05-28 18:55:23

Tagged: , FILE , Festival Internacional de Linguagem Eletrônica , Electronic Language International Festival , São Paulo , Rio de Janeiro , Recife , Porto Alegre , prêmio , FILE PRIX LUX , arte e tecnologia , art and technology , prêmio de arte e tecnologia , art and technology prize , prize , opening cocktail , coquetel de abertura , file festival , Paula Perissinotto , Ricardo Barreto

Dinosaur (2000)

Dinosaur (2000)

Voices: A box office behemoth if there ever was one, “Dinosaur” is an eye-popping visual spectacle that serves up a vivid picture of what the planet might have looked like when reptiles ruled the Earth. But Disney’s summer heavyweight has an almost grotesquely touchy-feely take on prehistoric life, one that will please vegans and compassionate anti-Darwinians more than it will cinematic carnivores looking for some dramatic meat. Backed by humongous marketing and tremendous want-see among kids and animation fans, this technical marvel, which at a budget of somewhere between $ 150 million to $ 200 million must qualify as the most expensive film of all time on a cost-per-minute basis, appears poised to become one of Disney’s two or three biggest grossers ever and will enjoy life without end as a home entertainment title.

To modern audiences for which technological achievements usually count for far more than artistic ones and special effects coolness very often reps the most valuable possible B.O. component, “Dinosaur” definitely has what it takes. The startling visions of the first few minutes alone — a ferocious toothsome attack and a flight over huge herds of dinosaurs inhabiting magnificent actual landscapes — are enough to thrill any viewer as well as to serve notice that there’s never been anything quite like this before.

The visual splendors continue, to be sure, across the pacy 75 minutes of story time (seven minutes of credits follow). But it’s also the case that, somewhere around half-way through, you begin to get used to the film’s pictorial wondrousness — to take it for granted, even — and start to realize that the characters and story are exceedingly mundane, unsurprising and pre-programmed. Directors Ralph Zondag and Eric Leighton seem afraid to show anything that will be the least bit disturbing or upsetting to anybody. Sure, 5-year-olds will be momentarily frightened by the sight and sound of giant lizards roaring at them, but this is a dinosaur picture that’s petrified of showing death, for God’s sake , that shies away from all the grand elements that could have given it true stature and resonance: Majesty, terror, grandeur, tragedy and savage instincts in their most primitive state. Pic’s sensibility is closer to a “Sesame Street” lesson in caring and cooperation than to any monster favorite one could think of , from the original “The Lost World” and “King Kong” to “Jurassic Park” and even Disney’s own “The Rite of Spring” episode in “Fantasia.”

The great leap forward here lies in the incomparably “photorealistic” placement of computer generated creatures within real-world settings. Per the press materials, finished film includes more than 1,300 individual effects shots , and special attention was paid to such difficult-to-achieve illusions as detailed animal muscle movement, physical contact with water and dust, credible shadows and dinosaur p.o.v. shots. All the effort in these areas has paid off magnificently, to the extent that it’s safe to say that the bar has again been raised in this realm of CGI and effects-based pictures.

Would that one-tenth as much time and energy gone into developing more musculature and a few additional wrinkles for the storyline. Having begun life in 1988 as a script by Walon Green for Paul Verhoeven to direct as a live-action feature with effects by Phil Tippett (one need only think of “Starship Troopers” to imagine what that might have been like), screenplay as ultimately worked out by John Harrison and Robert Nelson Jacobs feels cobbled together with elements from the likes of “Tarzan,” “The Lion King” and, of all things, “Red River.” Result is synthetic rather than elemental, and with a pre-digested taste.

Situated about 65 million years ago, or late in the game as far as dinosaurs were concerned, tale makes use of a couple of scientific hypotheses in order to broaden its dramatic possibilities: That dinosaurs continued to live on Earth for quite some time after the presumed cataclysmic crashes of multiple giant meteors, and that there was a period when the large reptiles may have coexisted here with mammals.

Latter state of affairs allows for the presence of some close-to-human stand-ins, a family of furry Lemurs that one day finds on their island a large, strange egg, delivered in stork-like fashion. The leathery looking beast that shortly issues forth is unlike anything they’ve ever seen, but Dad’s fear of anything different is overcome by the critter’s cuteness, and the Iguanodon known as Aladar soon grows up to be the Lemurs’ large-and-tall-sized pet, a sort of four-footed, toothless T-Rex cousin whose general happiness is undercut only when he realizes, a la Tarzan, that he’s never met a member of his own species.

Scarcely 20 minutes in, the heavens’ most fearsome fireworks show commences, as a cascade of meteors sets the world aflame. Making it across the sea, Aladar and the four Lemurs find a scorched landscape and, after being chased by some pesky snapping Raptors, they encounter, in a spectacular sequence, the great dinosaur migration, a large group of peaceful herbivores traversing the desert in the hope of finding the verdant original nesting ground.

So far, so good: Striking images, sympathetic protagonists and a subversion of expectations by having Armageddon come and go without ending the world or the movie. But it does basically represent the end of the picture’s freshness and dramatic imagination. Grudgingly allowed to join the group by its gruff leader Kron, himself an Iguanodon, Aladar and the Lemurs bring up the rear with the enormous and slow-moving Brachiosaur Baylene and the armor-heavy, sassy Styrachosaur Eema.

A sort of ill-tempered cross between Moses and John Wayne’s Tom Dunston in “Red River,” Kron drives his flock very hard, but he would seem to have no choice. Simply because it otherwise lacks a villain, pic pushes Kron toward this status by having him say that any stragglers must be sacrificed for the good of the community, as if this were somehow a barbaric attitude in the animal kingdom. But stern as he is, Kron never does anything to merit truly villainous proportions, and the film suffers from his uncertain portrayal.

At the same time, a predictable flirtation develops between Aladar and Kron’s sister Neera, who, in a precise replay of the climax of “Red River,” ultimately steps in to bust up a deadly struggle between her tyrannical brother and the young, right-minded upstart. By sticking with the group’s weaklings, Aladar manages to find the only way into the nesting ground, while incidentally showing how the group can stand up to two marauding meat-eaters. Kron, with his outmoded hard-line approach, is relegated to, uh, dinosaur status, suffering a fate befitting an old lion king.

The various creatures are brilliantly rendered; they interact credibly with one another and are integrated seamlessly into the backdrops. But as realistic and expressive as they are, they don’t engage the emotions any more directly than have many more cartoonishly rendered animated characters in the past. Vocalizations of the main characters — D.B. Sweeney as Aladar, Ossie Davis, Alfre Woodard, Max Casella and Hayden Panettiere as the Lemur family, Samuel E. Wright as Kron, Julianna Margulies as Neera, Joan Plowright as Baylene, Della Reese as Eeema and Peter Siragusa as Kron’s cohort Bruton — are uniformly lively and entertaining.

In a film in which the foreground technological wonders will be so widely noted, the superlatively chosen backgrounds should be mentioned; fantastic locations in California, Australia, Hawaii, Florida, Venezuela and Western Samoa have been combined to fashion the world of the late Cretaceous Period. James Newton Howard’s orchestral score is unusually good, and the sound work is expert.

A Buena Vista release of a Walt Disney Pictures presentation. Produced by Pam Marsden. Co-producer, Baker Bloodworth. Directed by Ralph Zondag, Eric Leighton. Screenplay, John Harrison, Robert Nelson Jacobs, based on an original screenplay by Walon Green. Story by Thom Enriquez, Harrison, Jacobs, Zondag. First unit

Todd McCarthy VARIETY 15 May 2000

Posted by Greenman 2008 on 2013-05-31 09:26:11

Tagged:

18.0615 Hubble Orion Nebulas2

18.0615 Hubble Orion Nebulas2

This image depicts a vast canyon of dust and gas in the Orion Nebula from a 3-D computer model based on observations by NASA’s Hubble Space Telescope and created by science visualization specialists at the Space Telescope Science Institute (STScI) in Baltimore, Md. A 3-D visualization of this model takes viewers on an amazing four-minute voyage through the 15-light-year-wide canyon.

Credit: NASA, G. Bacon, L. Frattare, Z. Levay, and F. Summers (STScI/AURA)

Take an exhilarating ride through the Orion Nebula, a vast star-making factory 1,500 light-years away. Swoop through Orion’s giant canyon of gas and dust. Fly past behemoth stars whose brilliant light illuminates and energizes the entire cloudy region. Zoom by dusty tadpole-shaped objects that are fledgling solar systems.

This virtual space journey isn’t the latest video game but one of several groundbreaking astronomy visualizations created by specialists at the Space Telescope Science Institute (STScI) in Baltimore, the science operations center for NASA’s Hubble Space Telescope. The cinematic space odysseys are part of the new Imax film "Hubble 3D," which opens today at select Imax theaters worldwide.

The 43-minute movie chronicles the 20-year life of Hubble and includes highlights from the May 2009 servicing mission to the Earth-orbiting observatory, with footage taken by the astronauts.

The giant-screen film showcases some of Hubble’s breathtaking iconic pictures, such as the Eagle Nebula’s "Pillars of Creation," as well as stunning views taken by the newly installed Wide Field Camera 3.

While Hubble pictures of celestial objects are awe-inspiring, they are flat 2-D photographs. For this film, those 2-D images have been converted into 3-D environments, giving the audience the impression they are space travelers taking a tour of Hubble’s most popular targets.

"A large-format movie is a truly immersive experience," says Frank Summers, an STScI astronomer and science visualization specialist who led the team that developed the movie visualizations. The team labored for nine months, working on four visualization sequences that comprise about 12 minutes of the movie.

"Seeing these Hubble images in 3-D, you feel like you are flying through space and not just looking at picture postcards," Summers continued. "The spacescapes are all based on Hubble images and data, though some artistic license is necessary to produce the full depth of field needed for 3-D."

The most ambitious sequence is a four-minute voyage through the Orion Nebula’s gas-and-dust canyon, about 15 light-years across. During the ride, viewers will see bright and dark, gaseous clouds; thousands of stars, including a grouping of bright, hefty stars called the Trapezium; and embryonic planetary systems. The tour ends with a detailed look at a young circumstellar disk, which is much like the structure from which our solar system formed 4.5 billion years ago.

Based on a Hubble image of Orion released in 2006, the visualization was a collaborative effort between science visualization specialists at STScI, including Greg Bacon, who sculpted the Orion Nebula digital model, with input from STScI astronomer Massimo Roberto; the National Center for Supercomputing Applications at the University of Illinois at Urbana-Champaign; and the Spitzer Science Center at the California Institute of Technology in Pasadena.

For some of the sequences, STScI imaging specialists developed new techniques for transforming the 2-D Hubble images into 3-D. STScI image processing specialists Lisa Frattare and Zolt Levay, for example, created methods of splitting a giant gaseous pillar in the Carina Nebula into multiple layers to produce a 3-D effect, giving the structure depth. The Carina Nebula is a nursery for baby stars.

Frattare painstakingly removed the thousands of stars in the image so that Levay could separate the gaseous layers on the isolated Carina pillar. Frattare then replaced the stars into both foreground and background layers to complete the 3-D model. For added effect, the same separation was done for both vi

Posted by barbara.bellowsterranova on 2018-06-16 23:59:50

Tagged: , NASA , Hubble , Hubble 3D , Orion Nebula , HST , Goddard , Goddard Space Flight Center , GSFC

18.0615 Hubble Orion Nebulas3

18.0615 Hubble Orion Nebulas3

This image depicts a vast canyon of dust and gas in the Orion Nebula from a 3-D computer model based on observations by NASA’s Hubble Space Telescope and created by science visualization specialists at the Space Telescope Science Institute (STScI) in Baltimore, Md. A 3-D visualization of this model takes viewers on an amazing four-minute voyage through the 15-light-year-wide canyon.

Credit: NASA, G. Bacon, L. Frattare, Z. Levay, and F. Summers (STScI/AURA)

Take an exhilarating ride through the Orion Nebula, a vast star-making factory 1,500 light-years away. Swoop through Orion’s giant canyon of gas and dust. Fly past behemoth stars whose brilliant light illuminates and energizes the entire cloudy region. Zoom by dusty tadpole-shaped objects that are fledgling solar systems.

This virtual space journey isn’t the latest video game but one of several groundbreaking astronomy visualizations created by specialists at the Space Telescope Science Institute (STScI) in Baltimore, the science operations center for NASA’s Hubble Space Telescope. The cinematic space odysseys are part of the new Imax film "Hubble 3D," which opens today at select Imax theaters worldwide.

The 43-minute movie chronicles the 20-year life of Hubble and includes highlights from the May 2009 servicing mission to the Earth-orbiting observatory, with footage taken by the astronauts.

The giant-screen film showcases some of Hubble’s breathtaking iconic pictures, such as the Eagle Nebula’s "Pillars of Creation," as well as stunning views taken by the newly installed Wide Field Camera 3.

While Hubble pictures of celestial objects are awe-inspiring, they are flat 2-D photographs. For this film, those 2-D images have been converted into 3-D environments, giving the audience the impression they are space travelers taking a tour of Hubble’s most popular targets.

"A large-format movie is a truly immersive experience," says Frank Summers, an STScI astronomer and science visualization specialist who led the team that developed the movie visualizations. The team labored for nine months, working on four visualization sequences that comprise about 12 minutes of the movie.

"Seeing these Hubble images in 3-D, you feel like you are flying through space and not just looking at picture postcards," Summers continued. "The spacescapes are all based on Hubble images and data, though some artistic license is necessary to produce the full depth of field needed for 3-D."

The most ambitious sequence is a four-minute voyage through the Orion Nebula’s gas-and-dust canyon, about 15 light-years across. During the ride, viewers will see bright and dark, gaseous clouds; thousands of stars, including a grouping of bright, hefty stars called the Trapezium; and embryonic planetary systems. The tour ends with a detailed look at a young circumstellar disk, which is much like the structure from which our solar system formed 4.5 billion years ago.

Based on a Hubble image of Orion released in 2006, the visualization was a collaborative effort between science visualization specialists at STScI, including Greg Bacon, who sculpted the Orion Nebula digital model, with input from STScI astronomer Massimo Roberto; the National Center for Supercomputing Applications at the University of Illinois at Urbana-Champaign; and the Spitzer Science Center at the California Institute of Technology in Pasadena.

For some of the sequences, STScI imaging specialists developed new techniques for transforming the 2-D Hubble images into 3-D. STScI image processing specialists Lisa Frattare and Zolt Levay, for example, created methods of splitting a giant gaseous pillar in the Carina Nebula into multiple layers to produce a 3-D effect, giving the structure depth. The Carina Nebula is a nursery for baby stars.

Frattare painstakingly removed the thousands of stars in the image so that Levay could separate the gaseous layers on the isolated Carina pillar. Frattare then replaced the stars into both foreground and background layers to complete the 3-D model. For added effect, the same separation was done for both vi

Posted by barbara.bellowsterranova on 2018-06-16 23:59:49

Tagged: , NASA , Hubble , Hubble 3D , Orion Nebula , HST , Goddard , Goddard Space Flight Center , GSFC

Terraformed Mars

Terraformed Mars

Every so often I dust off my "Living Mars" textures and try and update it. This is the latest.

Mars Altimetry: NASA/Goddard Space Flight Center/MOLA Team, Source: astrogeology.usgs.gov/search/details/Mars/GlobalSurveyor/…

Posted by Kevin M. Gill on 2018-06-13 15:21:52

Tagged: , Mars , Living Mars , Terraforming , Computer Graphics , CGI , Space