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The 116 images NASA wants aliens to see

Here are all the photos flying through interstellar space on Voyager’s Golden Record.

When Voyager 1 and Voyager 2 launched into space in 1977, their mission was to explore the outer solar system, and over the following decade, they did so admirably.

With an 8-track tape memory system and onboard computers that are thousands of times weaker than the phone in your pocket, the two spacecraft sent back an immense amount of imagery and information about the four gas giants, Jupiter, Saturn, Uranus, and Neptune.

But NASA knew that after the planetary tour was complete, the Voyagers would remain on a trajectory toward interstellar space, having gained enough velocity from Jupiter’s gravity to eventually escape the grasp of the sun. Since they will orbit the Milky Way for the foreseeable future, the Voyagers should carry a message from their maker, NASA scientists decided.

The Voyager team tapped famous astronomer and science popularizer Carl Sagan to compose that message. Sagan’s committee chose a copper phonograph LP as their medium, and over the course of six weeks they produced the “Golden Record”: a collection of sounds and images that will probably outlast all human artifacts on Earth.

Voyager

 

Gaspar Noé Talks Love, 3D Sex, Drugs, and Intimacy

Six years after his groundbreaking, psychedelic epic ‘Enter The Void’, French Argentinian provocateur Gaspar Noé is back with his latest film – the shot in 3d, (very) sexually explicit ‘Love’. The story follows film student Murphy (Karl Glusman) who enters a intensely passionate relationship with the unstable Electra (Aomi Muyock) as they invite their attractive neighbor (Klara Kristin) into their bed. We sat with Noé to discuss the film’s range of critical reactions, working with non-actors performing actual sex and his process in creating one of year’s most controversial films.

Gaspar Noe

Watch the Filming of the Largest Film Stunt Explosion Ever from the Set of Spectre

SPECTRE has been awarded a Guinness World Records™ title for the Largest Film Stunt Explosion. Producer Barbara Broccoli, Daniel Craig and Léa Seydoux, accepted the record certificate in Beijing, China on behalf of winner Chris Corbould, who served as Special Effects and Miniature Effects Supervisor on SPECTRE. The explosion was filmed in Erfoud, Morocco and used 8418 litres of fuel and 33kg of explosives.

Spectre Explosion

How Facebook is Stealing Billions of Views

Facebook just announced 8 billion video views per day. This number is made out of lies, cheating and worst of all: theft. All of this is wildly known but the media giant Facebook is pretending everything is fine, while damaging independent creators in the process. How does this work?

The “Smarter Everyday” video mentioned:

Facebook

The tech of the art of The Peanuts Movie

Converting a beloved and iconic comic strip into a 3D animated feature is a considerable task – Blue Sky Studio opens up and shares some of their processes in bringing Peanuts to the Big Screen.

peanuts_featured

‘When in doubt, go back to the strip.’ That was The Peanuts Movie director Steve Martino’s mantra during production on Blue Sky Studio’s newest CG animated film, according to animation supervisor Scott Carroll, who fxguide spoke to recently at the VIEW Conference in Italy.

The strip Martino is referring to is, of course, Charles M. Schulz’s beloved Peanuts comic starring Charlie Brown, Snoopy and a host of familiar neighborhood characters. Blue Sky was determined to stay faithful to the 2D world of Peanuts despite the 3D world in which the film would exist. That meant coming up with a wave of artistic and technical solutions to still ensure the studio would always be going ‘back to the strip’.

So what were those 2D aspects of the comic strip (and several television specials) that Blue Sky wanted to preserve and how did studio tackle them in 3D?

While researching 50 years of Peanuts strips, Blue Sky quickly realized that Schultz (nicknamed ‘Sparky’) drew his characters from only limited camera angles and in proportions that worked for the particular frame they were in. But translating a Sparky-drawn character directly to 3D would immediately cause strange in-betweens and interpolations and cause the characters to go off-model. So Blue Sky had to work out 3D ways to echo the 2D drawings. The solution was effectively to retain thse front-on and profile views and occasionally sculpt and animate specifically to the camera.

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