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Shortly before midnight, we had multiple reports sent in of an extremely bright green flash in the sky to the north. We went back in our database of Aurora cameras to find the culprit… and here it is!! The Manistee camera had the best angle as the object streaked... show more
19,432 views • 11 months ago •via X (Twitter)
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![World Labs co-founder Justin Johnson says Atlas can recreate the famous "Bullet Time" shot from The Matrix with iPhones: "The way they did that shot is they had a ring of hundreds of cameras. [Neo] fell over in the studio, they had hundreds of cameras viewing that angle on a green screen, and then they used those hundreds and hundreds of cameras to make that famous shot in The Matrix." "Now with Atlas, we can do this with as few as three cameras. No studio capture, no green screen, no expensive calibration. We can literally stick three iPhones on tripods and use these to take video of something happening." "From those three iPhone videos, we can then reframe the shot and imagine, like, freeze time, have the camera fly in as the milk is splashing up, and get these amazing frozen-time views. We can do this with just a couple cameras." Justin Johnson](https://image.24vids.com/tw-2095940012932215128/amplify_video_thumb/2095939956116275200/img/rlkYDR5mc8AE3ZAl.jpg)
![Alfonso Cuarón on how this continuous shot in "Children of Men" (2006) was clinched in the final attempt & the "Miracle" that occurred while filming: "Interviewer: When Theo runs into a hollowed-out bus in that shot, blood splatters on the camera lens. Can you tell me how that happened? Cuarón: Initially, there was going to be blood splatter on the lens when they ki!!ed Julianne Moore. We were going to add that digitally. But long story short — or long story long — is that for [the refugee camp] shot, we had like 14 days to shoot the whole set piece, except by day 12 we hadn’t rolled cameras yet. As you can guess, by day three that you don’t shoot camera, they send a production guy from the studio to visit you. By the sixth day that you haven’t done it, the creative executive comes to visit you. Well, by the time that you reach the 11th day, the head of the studio is there. That kind of stuff. And the problem is that we had only two shots a day to do the thing. The morning, then you have to reset the explosions, the screams, the whole thing. Five hours to reset. So you only have another shot right before the light goes away. And the problem is that, we could not extend it to the 15th day, because there was already a commitment with the army or something, one of those things. So we are in the 13th day, and in the afternoon, we do our first shot. Then after a minute and a half, it just was wrong. So we had to reset for the next day. The next morning we do the first take, and everything is perfect, and we’re about to reach the end. We were running towards getting inside the building, when [camera operator] George [Richardson] tripped, and so the camera fell. So we only had one more shot for one more before we have to move out. It was the end of my career. Interviewer: Were you panicking at that point? Cuarón: You know, at that point, you’re just focusing. Interviewer: Okay, so you get to the final attempt at the shot. Cuarón: And when we arrived at the bus, the camera goes in, and blood splatters the lens. With my little monitor, I see that I cannot see anything. I yell, “Cut!” But an explosion happens at the same time, so nobody hears me. And that gives me time to think, “Look, I have to roll to the end.” So we kept on going. When we said, “Cut,” Chivo [Emmanuel Lubezki] starts dancing like crazy. And I was like, “No, it didn’t work! There’s blood!” And Chivo turns to me and says, “You stupid! That was a miracle! The blood goes here, not with Julianne Moore!” Yeah, that was supposed to go in the other scene, but it happened here." ("The Vulture Transcript: Alfonso Cuarón on Children of Men", Abraham Josephine Riesman, Vulture, 2017)](https://image.24vids.com/tw-2042334232484208645/amplify_video_thumb/2042330703938105344/img/RcQKm8w4kF22_dtd.jpg)
![Béla Tarr on how the concept of time works in "Sátántangó" (1994): "Interviewer: Did you have any problems when you first wanted to make the film in the ‘80s? How did you start work on the film? Tarr: It was mostly a political problem. We couldn't start in the ‘80s because of censorship from the communist government at the time, but by the early ‘90s it became possible to do it and it took four years to do, from 1990 to 1994. You have to understand. This man [Lázsló] was living in the Hungarian lowlands, and he saw a lot of things in the reality of how people were living, and of course he transformed it and created this beautiful novel. I understood when I started working on this project that I cannot do any kind of adaptation. I had to go back to the Hungarian lowlands, like him. I had to see how life is going on out there, and I had to find the film language, I had to figure out how I can get the same stuff that he did in the novel. By the end, I spent two years in the Hungarian lowlands filming, I can tell you I know all the houses, I know all f***ing roads, I know everything in this part of the country. By the end of my time there I could find the way to film and afterwards we could use the dramaturgical structure of the novel, and of course we did not have a script, we had only the novel and my vision. That's all we had. Interviewer: What about the sense of time that you found in that place? Tarr: Hey man, if you are sitting in the Hungarian lowlands, I'm sure it's the same in the desert in, let's say, Arizona, when you are out there: there is no time, no distance anymore, you can go hours, weeks, and you don't see anything. You are out of time; you have a different sense of time then when you are living in a town. And so, the slowness of the drama came from this. You know, you have to understand that first you have to know the life of the places and then afterwards you have a feeling for how you have to film it." ("I Am Interested in the World, Not Just in Filming It": Béla Tarr on "Sátántangó", David Perrin, MUBI, 2019) P.S: Remembering the great Hungarian filmmaker, Béla Tarr, on his 71st birthday!](https://image.24vids.com/tw-2079603226740240527/amplify_video_thumb/2079603023488393216/img/IEj2Kv_pmR80s54i.jpg)
![Bob Lazar allegedly watched people fly a UFO at Area 51. “They knew how to fly it.” “The craft had a corona discharge glow on the bottom and lifted off silently up into the sky … ” And it had one shocking, anomalous effect that still perplexes him to this day: As Lazar watched, his supervisor Dennis Mariani told him to go stand directly underneath the craft. “I walked out underneath it and … I looked up, and I couldn’t see the craft.” “I thought it flew away.” “Then he said to come back, and I walked back.” “I see the edge of the craft.” “If you move, you can see it, and if you walk underneath it, you can’t.” “So you can clearly see it’s bending the light.” “You can see the sky above the craft, so you can see that it’s in its little envelope.” Lazar was also convinced that someone was actually inside the craft as it flew. “I did notice there was a … VHF radio.” “And they’re in communication.” “It made me almost positive that there was somebody in the craft.” He heard a voice coming “from the VHF radio, but presumably coming from the craft.” “They must have had some instrumentation set up in the craft, because he was monitoring something.” “I was stuck on the fact that, how is a radio wave of getting into the craft?” “This doesn’t even make any sense.” “It should be distorted by the gravity wave going around it.” “Clearly, they’ve had a lot of time with this craft already.” “It could have been decades for all I know.” “They knew how to fly it.” “These guys were somewhat proficient with it.” Jesse Michels asked Lazar if that means that we actually have “alien reproduction vehicles, or UFOs that humans can fly?” Lazar: “I do not think so, no.” Michels: “So you think we can test these things and use them in rudimentary ways, but we don’t understand how they work?” Lazar: “It’s like the analogy … you can go back to the 1800s and drop off a motorcycle with the keys in it.” “If you tinker with it long enough, someone’s gonna turn the key and it’s gonna start.” “Eventually … they’ll become proficient at driving it.” “But when it runs out of fuel, we’re done.” “And … they can’t even make that plastic fender.” “I think that’s where we are [with UFOs].” “We had some knowledge of that, but I think if we had developed that technology, we would’ve absolutely already seen it.” Jesse Michels American Alchemy](https://image.24vids.com/tw-2044820504888914237/amplify_video_thumb/2044820163837431809/img/cA3Ioaya2xve_hPi.jpg)
