National geographic cosmos episode 1 zzstream,living without electricity blogs,disaster preparedness north carolina jobs,latin american electricity consumption wikipedia - PDF 2016

Cosmos: A Spacetime Odyssey is a documentary television series which will be shown on the National Geographic Channel (NGC) and FOX.
Seth MacFarlane, the producer of this big project is a fan and enthusiast of astronomy and astrophysics. The media who attended the launch was able to have an exclusive viewing of the first episode and it was just mind boggling. This last week, when the nominations for the 66th annual Primetime Emmys were announced, Cosmos walked away with a ton of recognition. Stomping the latest in sci-fi and real science, Giant Freakin Robot is the place to be for everyone with an eye on the future.
With the help of Astrophysicist Neil deGrasse Tyson, any viewer has the capability to see the awe-inspiring beauty that exists in the cosmos. Japanese clothing brand superNova presents their latest collection for the Autumn Winter season of 2016.
The House 36 in Germany by Matthias Bauer Architects is formed to look like a mountain crystal.
The Russian designer Gosha Rubchinskiy is back in the scene with the premier of their Save and Survive collection.
The Aizome furniture collection is the latest creation of Tokyo based designer Ryota Yokozeki.
The House in Alpine Village by Skupaj Arhitekti offers a commanding view of the diverse glacial valley in Slovenia. The Beoplay A1 Portable Speaker from Bang and Olufsen shows off that they can still remain in the frontlines when it comes to the best speakers in the market.
Here comes the official release of the special work of Sasquatchfabrix on the Vans Sk8-Hi for Beams.
Design duo Neri & Hu creates the Utility Collection and the Cabinet of Curiosity for Stellar Works. Nike brings back the clean looks of the collegiate basketball sneakers with these Nike Retro Dunk High Michigan and UNLV editions. DKO Architects inserts the design of a floating box as addition to the facade of residences located in Melbourne, Australia.
Patrik Ervell releases his Spring Summer 2016 collection made up of a variety of menswear pieces that will truly go your cool way of style. Swipelife is the definitive one stop digital destination for all things menswear, auto, women, design and culture. BUF worked on 12 of the 13 episodes of COSMOS, A space-time Odyssey (episode 1 and episodes 3 to 13) and made a total of 260 VFX shots for the series which represent more than an hour of VFX.
The journey of SOTI takes the audience through various alien universes, as it jumps from one black hole to another, or when we are looking at future or distant places. BUF had to make a hyper macro view of a stellar nursery cloud containing atoms of iron, oxygen and carbon. We tried to enhance the randomness of the electrons, correctly placed on their quantum orbit around the atom nucleus, and using symbolic colors to distinguish them. For all the shots of Neil inside SOTI during this black hole crossing, we created a special persistence treatment to the foreground plate, in order to express the time distortion. Various sequences involved the creation of comets, traveling through space with their gaseous tail (in one shot, we are inside the trail), or falling and impacting the Earth. The Cosmos production asked BUF to provide several assets for a sequence of the future Cosmic Calendar. The Crab Nebula is one of the most beautiful cosmic objects and the idea of building it was a very exciting challenge.
A long shot of this sequence (more than 1 min) shows the position of the Crab Nebula in the Milky Way, its distance from our Solar System, and then pulls back to show the local galaxies cluster. BUF created some earth views, with various assets depending on its age : proto volcanic earth, primordial moon-like earth, Pangea earth, current earth. For this hologram sequence in SOTI, BUF animated almost the entire Universe to explore future scenarios. In addition to the Milky Way and Andromeda, BUF was asked to create several assets of galaxies that could be animated to show some internal motion of stars and dust during a hologram sequence in SOTI. To illustrate the cosmological phenomenon of gravitational distortion that bends the light rays near the massive galaxy clusters, we had to create a specific camera lens shader simulating a spatial distortion. Before a sequence about the Black Hole, Neil de Grasse Tyson makes a little detour by New York to explain the concept of gravity force. In the first shot, a cardboard box falls on the pavement and is crushed under a 3 G gravity force.
The cracked sidewalk was designed separately and then rigged to a grid animated with a cloth simulation, reacting to the fire hydrant squashing. For some of Neal's explanations in SOTI, we had to provide some hologram animations showing the behavior of a blue giant star and its black hole companion.
For an overview sequence presenting the Solar System, BUF had to make 2 shots of the Jupiter planet, seen near and inside the Great Red Spot, aka Jupiter's Eye.
This category includes many different shots with various purposes : some of them are showing specific cosmic places (the Eta Carina nebula, the Crab nebula, the Emission nebula, the Rosette nebula, the Orion nebula) and others are more generic nebulae, cloudy colorful cosmic postcards. This representation of a pulsar needed some fluid simulations and a hair shader to simulate the magnetic distortions. This sequence illustrates how humanity is emitting radio signals through space, symbolized with bubbles that are spread out and reach the neighboring stars. To have parallax in some starfield shots, we generated some volume filled with particle stars, paying special attention to obtain a natural distribution, and analyzing various astrophotographies to find the right density of stars and color variations.
The solar system genesis sequences awarded to BUF represented very challenging shots, full of gigantic events, proto planets and asteroids colliding with each other or being bombarded with comets, birth of the moon, in the cosmic landscape of the dust and smoke primordial accretion disc. Many shots involve the Spaceship Of The Imagination because the production wanted it to be the visual signature of the Cosmos series. To create the massive supernovae explosions shots, we started to study some nebulae in the final state of a gigantic fluid explosion. This category of shots encompasses some sequences showing the Universe from a scale that reaches the limit of the visible universe. We are beginning the shot at the scale of the Milky Way and the camera pulls back to embrace the surrounding galaxies cluster at 100000 times wider scale.
The camera continues to pull out, showing wider set of galaxies clusters to reach the limit of the visible universe, end of our cosmic address.


At this scale, we decided to represent the Universe as a fractal structure colored by the density of the galaxies. Another challenge here was to make, in a single shot, a 3D camera journey that would cover such a huge scale change.
There is also one shot about the multiverse theory, showing thousands of various universes as drops of water in an huge waterfall. BUF created a complex environment of the Venus planet, from the space point of view, from the satellite altitude, at the high atmosphere level, with the tormented sea of sulfur dioxide clouds, and from the SOTI flight over the cloudy landscape until reaching the rusting decomposing hulk of the Soviet Venera 13 spacecraft. The challenge here was to build this environment using very few reference images, as only a couple of photos were taken by the Russian satellite after its landing before dying quickly in this hellish place.
In order to optimize navigation on our website, we recommend to use the latest version of Internet Explorer, Google Chrome, Safari or Firefox. Maria Isabel Garcia expressed how she couldn't be more happy and more proud that National Geographic chose The Mind Museum as the place for their TV show launch. Cosmos: A Space-Time Odyssey tells us how human beings developed their concept of the laws of nature and their place in the universe. Surprising that we might be way into a program like this that explores the bigger questions of science and the universe, isn’t it? In an unusual cross-platform release, Cosmos aired on 90 National Geographic channels, as well as more than 120-Fox-branded stations across the world. By midseason, Cosmos became the most watched program in the history of the network, eclipsing the previous record holder Brain Games.
The show’s 12 nominations tied it with acclaimed narrative series like HBO’s vaunted True Detective and Netflix’s Orange is the New Black. The premiere episode of Cosmos: A Spacetime Odyssey (Check Fox and National Geographic Channels for local scheduling) did not disappoint on the spectacular and was widely well-received from fans and critics alike. In line with it, NASA also came up with their own set of unruffled images of their own missions that were also seen and highlighted on the show. It was made to meet the demands of any interior design scenario, whether the priority is the functionality or the aesthetics. With the creative leading of designer and brand founder Taku Yamaguchi, anyone can surely depend on these outfits to warm up during the coldest of seasons. The short sleeve shirt is made with the use of dead stock cotton fabric with prints everywhere. Aside from his Fall Winter 2016 lineup, it also comes with a short film that shows all the hard work backstage. The pieces included in the line are inspired by the world’s oldest dyeing material, indigo.
There were aspects of the designs that agreed to the rules of the Slovenian Institute for the Protection of Cultural Heritage in respect to the architecture preservation of the Alpine villages. The sneakers are made with top navy suede with white leather lining and some contrast stitching.
It will bring you back to the days when the Nike Dunk Highs were the shoe option for all NCAA players from mid to late 80s.
The original look of the exterior has been maintained with the new and old blend of aesthetics given more emphasis with the latest insertion. This was a challenging shot, more in a representation and artistic point of view than technically wise. The challenge here was to render visually this kind of place of the universe where space, time and physical laws are dramatically different.
For each frame, we mixed up to 30 different frames, randomly picked around it, in the future and the past interval. We used procedural displacement mapping for the rendering of the comet itself, procedural volumetric shaders for its vapor tail, and some dynamic simulations for the impacts. We made 4 elements (future Sun, collision between Andromeda galaxy and the Milky Way, an elliptical galaxy and a generic nebula) and computed for 8 shots that another vendor (Atomic Fiction) integrated in the final compositing.
We started with modeling the global exterior shape of the nebula and used it to generate particles, defining their color and density by using a photo of the nebula mapped on the model. To simulate the Big Bang, the Big Crunch and the infinite expansion theories, we started from the current state of the Universe, large cluster of galaxies built from a fractal tree distribution with thousands of particles textured with galaxies' photos.
After a casting of 8 interesting galaxies, we built assets using a sandwich of textured cards and a bunch of particle stars.
For our full 3D galaxy cluster, we used as reference the astrophotographies of the Coma Galaxy cluster. We had to create a couple of examples of hyper gravity environment and apply them to ordinary objects. The idea was to enhance the unusual gravity by a strange behavior on those very light elements that fall curtly on the ground and squeeze. After numerous simulation tests and different technical approaches, we chose to use a high viscosity liquid simulation.
To build this gigantic vortex with that is the size of 3 earths, we decided to see it as canyons of clouds, almost solid at this scale. Built from a spiral fractal tree, many layers were generated : various size of stars and star clusters, clouds and dust, pink nebulae, hot heart made of dust particles and dark tendrils based on hair shaders textured with cosmic clouds.
Based on astrophotography references, the challenge here was to dimentionalize and build assets in order to travel around or through the nebulae. We also made an hypothetical alien signal (based on strange attractor textures), that crosses the trajectory of the Earth. The reflective ship was animated flying in various environments, and when Neil was visible in the shot, we composed a CGI SOTI around the shot set.
The Sun, mapped with animated procedural textures, is dressed with the typical tendrils of ejected gas, built from hair curves. So we created several dynamic simulations, mixed and retimed them in order to finish in a similar shape to some nebulae references, such as the Crab Nebula. This structure was created using several layers of fractal sponge textures, and these layers were used to generate the density of galaxies. In most of computer graphics softwares, one cannot animate a camera in a scene from 1 to 10 power 26 meters.
Procedural textures were used to generate the universes, inside reflective spheres that were animated using a liquid simulation. So we had to match these well-known references of a ground and volcanic close up, and imagine the rest of the landscape.


The new series is produced by Seth MacFarlane and will premiere on March 9, 2013 with a total of 13 episodes on its first season.
In the new version, they also made certain updates and revealed new insights about the universe. We also suspect that many of you out there in Internet land enjoyed Cosmos as well, but we aren’t the only ones, as the series drew the biggest worldwide audience the National Geographic Channel has ever wrangled.
Especially considering the big worldwide ratings, this seems like a possibility, but in a society where science is far too often equated is some sort of mystical misinformation or superstition, the fact that we got one season seems like a minor miracle. Hopefully between this critical recognition and worldwide viewer base, we’ll get to go on more Neil deGrasse Tyson-guided adventures through the galaxy. The ratings following the debut episode proved that space exploration is growing in pop culture. The sofa is broken own into different trimmings like the side tables, the foot rests and the trays.
Its name was taken from the millenary japanese tradition that has a long history dating back to 1300 years ago. The brand takes hints from Tunisian craftsmanship as also a way to pay tribute to the heritage of Jean Touitou. Other details include white lace, white rubber foxing, gum rubber outsole plus the elastic strap all across the tongue. The furniture range comprises of armchairs and a good selection of utility chairs among others. This created an opportunity for BUF to provide a more creative representation of space : cloudy nebula designed in a cathedral of smoke, tripods green nebulae, bubbly universe made of fractal spheres, gigantic electric arcs, or psychedelic full-blown roller coaster ride down the infinite regress.
How show what could not be shot due to it's infinitesimally small size, yet still make it understandable and scientifically correct? The black hole asset essentially consists of a dust accretion disk made of particles and procedural textures, of a blue energy column made of ejected particles, a ring of violent particle activity on the event horizon (dynamic fluid simulation), and finally of a black sphere in the center (the simplest asset of all). After having built the fire hydrant mesh with the correct thickness inside it (we used blue prints), we voxelized it and filled the plain parts with particles.
To ease the process, we chose to work with procedural modeling, and created special manipulation tools to design and animate the huge cyclonic shapes. For some shots showing a time-lapse of our galaxy during millions of years, this asset was animated with a procedural coiling that simulates the physical laws revealing the dark matter. Various approaches were used depending on the shot, from simple cards textures, smoke particles, sprites, metaballs, hair shaders, procedural shaders. A special tool was written to allow us to control the density of comets' impacts on planets, with automatic reverse animation of the comet. At the end of the production, the client needed to re-shoot some additional sequences for some episodes, with Neil speaking in the spaceship. In a sequence about the end of the Sun, we animated its growth and the destruction of Mercury and Venus, using fluid simulations.
So we had to create an exponential movement for the camera that allowed us to interlock different scenes as “Russian dolls”.
We built a vast smooth and volcanic surface, using various earth volcano or moon crater height maps. I've always been interested in these things and this show is really something that I would enjoy watching. They put into one great structure the good amount of technical installation to it with the complementing balance of the transparent glass. Many tests were made for the event horizon aspect, where particles approach the speed of light, but also where time is paradoxically slowed down to zero.
We were very careful to optimize the rendering cost, specially for those using volumetric shaders.
For the time-lapse of the moon aggregation, we created a procedural reverse animation, ejecting particles from a sphere filled with debris.
The problem was that the set did not still exist at this time, several months after the end of the main shooting. We also made some shots showing a red giant star, shedding a river of incandescent gas onto its white dwarf companion. Because most of the explosion shots were quite long (often more than 15 seconds), we had to choreograph various events to keep them violent, interesting and spectacular to see all throughout the shot. The resulting structure of this process provides a “quasistatic” state : the set of galaxies seems to be randomly distributed in space, but a subtle dynamic structure can be perceived.
The biggest challenge was to make the audience feel the terrible Venusian atmosphere, made of dense carbon dioxide, with an atmospheric pressure 92 times the Earth's and temperature of at least 460 °C.
A special shader was created to simulate the cloudy nature of the model, using translucency. For example, the journey into the Eta Carina nebula is a 2.5 minutes shot, so a rendering cost of 10 minutes per frame will imply 23 days of computing time ! For the biggest collisions, we used a liquid simulation dressed with incandescent debris, that fit better with the scale. We were asked to recreate in CGI the interior of SOTI and compose Neil shot on a green screen.
We used an initial flash of light, a blast, the ejection on material through space coming from fluid simulation, secondary explosions supposed to be coming from electromagnetic echos, and subtle apparition of nebula and smoke structures.
So we designed various atmospheric layers (clouds, fog, sulfuric gas chimney) to reduce the visibility.
Upon this model, we designed many paths flowing along the canyon walls to lead the particles of smoke.
In one of those shots, we created a complex extension set, with the camera turning around Neil, inside and outside of SOTI, in a full CGI landscape of rice paddy fields.
To render the high pressure, we added a strong lens distortion with extreme chromatic aberrations, as if the scene was shot through the porthole of a submarine.



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