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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...

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Michigan Storm Chasers

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19,421 просмотров • 9 месяцев назад •via X (Twitter)

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Here’s an example of auroral beads which form before substorm onset. If you see them, it’s a signal to get ready for something big! From underneath the auroral oval, they will usually appear to the south and represent the auroral arc which will explode and expand towards the pole. From mid-latitudes, auroral beads typically look like pillars on the horizon and form on the auroral arc closest to you/furthest in the sky. Beads can evolve into “curls” and there can be many of these little curly forms marching across the sky. Not everything that looks like a bead is technically an auroral bead, though. Auroral beads only last a few minutes and form before the aurora intensifies. They brighten very quickly, too. If the bead-like forms don’t follow these basic requirements, they may just be a random lump of Aurora.
1:55

Here’s an example of auroral beads which form before substorm onset. If you see them, it’s a signal to get ready for something big! From underneath the auroral oval, they will usually appear to the south and represent the auroral arc which will explode and expand towards the pole. From mid-latitudes, auroral beads typically look like pillars on the horizon and form on the auroral arc closest to you/furthest in the sky. Beads can evolve into “curls” and there can be many of these little curly forms marching across the sky. Not everything that looks like a bead is technically an auroral bead, though. Auroral beads only last a few minutes and form before the aurora intensifies. They brighten very quickly, too. If the bead-like forms don’t follow these basic requirements, they may just be a random lump of Aurora.

Vincent Ledvina

28,394 просмотров • 10 месяцев назад

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)
3:32

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)

DepressedBergman

107,518 просмотров • 4 месяцев назад

Brian Harpole appears quite confident that no flash will be captured on camera, thereby refuting the exploding mic theory. I learned something important. 💥 The immediate flash from a small amount of PETN lasts between 1 to 5 microseconds. - Flash Duration: Lasts 1-5 microseconds (millionths of a second). - Standard Camera Shutter: Stays open for at least 250 microseconds (at 1/4000s speed), making it 250 times too slow to capture the flash without washing out or blurring. - Human Eye Processing: Takes 100,000 microseconds (0.1 seconds) to reset. The Human Illusion: Persistence of Vision Your eye doesn’t actually see the flash in real-time. Instead, the blinding light overloads your retina. Your brain stretches that tiny microsecond burst into a 0.1-second afterimage. Essentially, you’re seeing the “ghost” of the flash left behind in your own eye. In other words, the only reason the human eye “sees” the flash from an explosion like that is because our brains create an optical illusion. We do not and would not ever see the flash from a small amount of PETN on camera, even if you can see it with the naked human eye, without the use of highly specialized equipment. Brian's argument here is very deceptive.
0:34

Brian Harpole appears quite confident that no flash will be captured on camera, thereby refuting the exploding mic theory. I learned something important. 💥 The immediate flash from a small amount of PETN lasts between 1 to 5 microseconds. - Flash Duration: Lasts 1-5 microseconds (millionths of a second). - Standard Camera Shutter: Stays open for at least 250 microseconds (at 1/4000s speed), making it 250 times too slow to capture the flash without washing out or blurring. - Human Eye Processing: Takes 100,000 microseconds (0.1 seconds) to reset. The Human Illusion: Persistence of Vision Your eye doesn’t actually see the flash in real-time. Instead, the blinding light overloads your retina. Your brain stretches that tiny microsecond burst into a 0.1-second afterimage. Essentially, you’re seeing the “ghost” of the flash left behind in your own eye. In other words, the only reason the human eye “sees” the flash from an explosion like that is because our brains create an optical illusion. We do not and would not ever see the flash from a small amount of PETN on camera, even if you can see it with the naked human eye, without the use of highly specialized equipment. Brian's argument here is very deceptive.

Travis

72,221 просмотров • 1 месяц назад

SOUND UP FOLKS 🔊 YOU GOTTA PROTECT THE PLAYERS FROM THEMSELVES! If the message being sent with the 3 game suspension is “Safety first” … then where was that judgement on safety when this went on for 15 seconds??? It wasn’t a judgement call situation folks!! Blow the whistle!! 20 000 camera’s in the building, and everyone and their mother had their cameras out to see the best player in the world do what he does best in the dying seconds… instead we subscribe to that crap! The safety of the players is number one… in our business protecting the stars from those type of situations is important. This situation isn’t good for the players or the game! We need to see our best players every night!! Unacceptable! #nhl #hockey #mcdavid #oilers #canucks Thoughts?
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SOUND UP FOLKS 🔊 YOU GOTTA PROTECT THE PLAYERS FROM THEMSELVES! If the message being sent with the 3 game suspension is “Safety first” … then where was that judgement on safety when this went on for 15 seconds??? It wasn’t a judgement call situation folks!! Blow the whistle!! 20 000 camera’s in the building, and everyone and their mother had their cameras out to see the best player in the world do what he does best in the dying seconds… instead we subscribe to that crap! The safety of the players is number one… in our business protecting the stars from those type of situations is important. This situation isn’t good for the players or the game! We need to see our best players every night!! Unacceptable! #nhl #hockey #mcdavid #oilers #canucks Thoughts?

P.K. Subban

211,043 просмотров • 1 год назад

THE BOYS MERCH IS DROPPING AT Spencer's!! We are going retail for the FIRST TIME EVER!! You can find our exclusive Boys Collection at any Spencers, in store and online across the US from 13 October
0:54

THE BOYS MERCH IS DROPPING AT Spencer's!! We are going retail for the FIRST TIME EVER!! You can find our exclusive Boys Collection at any Spencers, in store and online across the US from 13 October

The Boys

317,621 просмотров • 2 лет назад

Regarding love scene in Fukuoka 🌸 At that time, I remember we only had one hour left. We had to leave the location already. We did everything and told the actor to stay really focused. I’m sorry about that it was kind of against our usual style. We did the blocking very quickly, knowing the actor was tired, but we had to move really fast. Change costumes, then come back blocking 1234. We divided everything into three parts. The actor had to keep the emotions smooth across all three parts. During filming, the cameraman had to set up the camera and also shoot handheld. We were racing against time. From what we could see, there weren’t any cuts at all. It was done by moving the camera while the actor performed in reverse. After finishing, the cameraman almost collapsed because it was extremely exhausting and physically demanding. There was no dedicated blocking crew. The people adjusting the lights were me and P’Aof, watching the monitor. All the assistants had to help block the background, working around the camera, moving this way, going down there, “Jo, go again,” “Down there,” “Jo,” “TeePor, one more take,” “Back two steps,” “Blocking,” “Come back,” something like that, until we finally finished. When we finished filming, there were only about 10 minutes left until the very last shot had to be completed. Even though we didn’t get all the direction we originally planned, everything had to be rethought on the spot because of time constraints. With just the last 5 minutes remaining, we finished it. Then everyone on the team, me, P’Aof, and the actor hugged each other. I lay down on the floor, and the cameraman put the camera down and lay down too. It was completely exhausting. It felt like we had used up all our breath in that moment. And then I officially announced that filming was wrapped, really wrapped. Everyone started crying, and it felt like it ended right there. Then the actor hugged each other and we went around apologizing and thanking the Japanese staff one by one. After that, we sat together in the room, thanking and hugging each other. We hugged because it was a success, it was done. After that, only the editing team was left, who had to rush the edit to meet deadlines like the Songkran release. In the end, everything went well. It was an exhausting memory, everyone, but it’s a very good memory. // Didn’t expect that it might only be a few short minutes, but all the effort and sweat were worth it. The behind-the-scenes staff, as well as TeePor, everyone did an amazing job 🥹🥹🥹 Respect 🫡
2:48

Regarding love scene in Fukuoka 🌸 At that time, I remember we only had one hour left. We had to leave the location already. We did everything and told the actor to stay really focused. I’m sorry about that it was kind of against our usual style. We did the blocking very quickly, knowing the actor was tired, but we had to move really fast. Change costumes, then come back blocking 1234. We divided everything into three parts. The actor had to keep the emotions smooth across all three parts. During filming, the cameraman had to set up the camera and also shoot handheld. We were racing against time. From what we could see, there weren’t any cuts at all. It was done by moving the camera while the actor performed in reverse. After finishing, the cameraman almost collapsed because it was extremely exhausting and physically demanding. There was no dedicated blocking crew. The people adjusting the lights were me and P’Aof, watching the monitor. All the assistants had to help block the background, working around the camera, moving this way, going down there, “Jo, go again,” “Down there,” “Jo,” “TeePor, one more take,” “Back two steps,” “Blocking,” “Come back,” something like that, until we finally finished. When we finished filming, there were only about 10 minutes left until the very last shot had to be completed. Even though we didn’t get all the direction we originally planned, everything had to be rethought on the spot because of time constraints. With just the last 5 minutes remaining, we finished it. Then everyone on the team, me, P’Aof, and the actor hugged each other. I lay down on the floor, and the cameraman put the camera down and lay down too. It was completely exhausting. It felt like we had used up all our breath in that moment. And then I officially announced that filming was wrapped, really wrapped. Everyone started crying, and it felt like it ended right there. Then the actor hugged each other and we went around apologizing and thanking the Japanese staff one by one. After that, we sat together in the room, thanking and hugging each other. We hugged because it was a success, it was done. After that, only the editing team was left, who had to rush the edit to meet deadlines like the Songkran release. In the end, everything went well. It was an exhausting memory, everyone, but it’s a very good memory. // Didn’t expect that it might only be a few short minutes, but all the effort and sweat were worth it. The behind-the-scenes staff, as well as TeePor, everyone did an amazing job 🥹🥹🥹 Respect 🫡

ѕ тα я я у ✨

125,237 просмотров • 3 месяцев назад

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!
1:36

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!

DepressedBergman

12,439 просмотров • 23 дней назад

Heard there was a new taco spot in town and had to see for myself! When you order you can pick from the different cuts of pork - I had the maciza, costilla, and mejilla. It was so good I went up for seconds!! Don't miss @carnitasramireznyc when you're in the East Village!
0:20

Heard there was a new taco spot in town and had to see for myself! When you order you can pick from the different cuts of pork - I had the maciza, costilla, and mejilla. It was so good I went up for seconds!! Don't miss @carnitasramireznyc when you're in the East Village!

Padma Lakshmi

87,716 просмотров • 2 лет назад

UPDATE: Charlie Kirk 🚨 Muzzle Flash: Second Shooter Location, Reflection, or Both? This video captures a flash on a window right as Charlie Kirk was shot. Let’s break this down… follow the numbers on the videos. #1. This video shows what appears to be a muzzle flash, just as Charlie is shot, leading people to believe the shooter was to Charlie’s right.. Notate the people to the left of the flash #2. This photo shows the location of the flash. Notate people to the left, on a middle-landing on a staircase. #3. This photo shows a clearer image showing both the middle-landing and the same location of the flash. It is a window. #4 . This video shows the building behind Charlie, which is a long hallway. This debunks any claims the shot came from here. — I zoom in where Charlie was — I zoom in on staircase — I zoom in on the window/flash — I zoom in on where suspected shooter was #5. I notate the flash reflection angles. — Video angle #1 notated — two reflection paths notated in relation to Video angle #1. 1. Reflection angle shows where we were told the shooter was. 2. Reflection angle shows mirrored angle, obviously where there is no reports of a shooter being in. 🔻 Final conclusion: This to me is very likely a muzzle flash reflection from a far off location. I am unsure of the reflection angle however, but this can be 100% proven if someone were to recreate the angles… maybe with a flash camera. If anyone is willing to, or has the means to do this (safely), this will either prove the shot came where the FBI said it came from, or it will prove there was a second shooter, in the direction of the mirrored angle.
0:16

UPDATE: Charlie Kirk 🚨 Muzzle Flash: Second Shooter Location, Reflection, or Both? This video captures a flash on a window right as Charlie Kirk was shot. Let’s break this down… follow the numbers on the videos. #1. This video shows what appears to be a muzzle flash, just as Charlie is shot, leading people to believe the shooter was to Charlie’s right.. Notate the people to the left of the flash #2. This photo shows the location of the flash. Notate people to the left, on a middle-landing on a staircase. #3. This photo shows a clearer image showing both the middle-landing and the same location of the flash. It is a window. #4 . This video shows the building behind Charlie, which is a long hallway. This debunks any claims the shot came from here. — I zoom in where Charlie was — I zoom in on staircase — I zoom in on the window/flash — I zoom in on where suspected shooter was #5. I notate the flash reflection angles. — Video angle #1 notated — two reflection paths notated in relation to Video angle #1. 1. Reflection angle shows where we were told the shooter was. 2. Reflection angle shows mirrored angle, obviously where there is no reports of a shooter being in. 🔻 Final conclusion: This to me is very likely a muzzle flash reflection from a far off location. I am unsure of the reflection angle however, but this can be 100% proven if someone were to recreate the angles… maybe with a flash camera. If anyone is willing to, or has the means to do this (safely), this will either prove the shot came where the FBI said it came from, or it will prove there was a second shooter, in the direction of the mirrored angle.

MJTruthUltra

10,665,164 просмотров • 10 месяцев назад

HANGZHOU SIGNING AND SALES MEETING SUPPORT · PART 8 | 350 DRONE FORGING PERFORMANCE The idea of preparing a drone support for you has actually sprouted quietly as early as last year's birthday. We wanted to light up a night sky that belongs to you on that special day. However, at that time, limited by funds, geography and implementation conditions, this wish has never been realised. Since then, before every meeting in China, we have tried to promote the landing of drone support, but we have always been stranded again and again by multiple factors such as venue, approval and time. In fact, we never imagined that you would come to the scene in person. Originally, we planned to issue a support announcement on the day of the performance, invite Hangzhou offline Paca to watch, and start the live broadcast synchronously, so that more online Paca can witness it together. But the day before the performance, we received a notice from the organiser that you may clock in according to the schedule. At the same time, we were specially told not to release any support information in advance. Because the performance site is located in one of the landmark areas of Hangzhou, the flow of people is dense, and government activities will be held near the performance site on that day, the size of the crowd and the order of the scene must be strictly controlled. In order to avoid any possible negative effects, we finally decided to record and release with aerial images after the drone performance. It's rare that it's not a red-eye flight when we came to Hangzhou this time. It was almost six o'clock in the evening when we landed. We thought that your trip would be very busy today. You had to check in at the hotel, eat, and prepare for the next day's work, so we never expected that you would really appear. But you still came. Go directly from the airport to the drone show site No moment to stay and rest I personally witnessed the night sky that lights up for you. This night, 350 drones outlined ten pictures in the night sky: The starting point for us to know you - DR.Prem There is a symbol related to your role - violin With your name There is a phoenix in the meaning of your name. With your animal sculpt "Little Alpaca" With us - Paca There are also you and us All this You have seen it with your own eyes. And your smile It is the most beautiful starry sky we have ever seen. Tell me "I didn't expect someone to do this for me. Thank you again." And we also want to say Thank you I like you every day. Infected by your persistence, hard work, seriousness and kindness Unconsciously We are also with your company. Become a better self slowly. Become that Braver, more determined, and more loving the world "Better me" Because of your jumping heart, we It's the best gift you gave us. Everything we're doing Never need any response from you. Just hope When you encounter a low point one day in the future Don't be discouraged I can remember the drone light show this night. I remember that there used to be many people Attracted by your light, staying for you I also believe that there will be more people. Continue to understand you, like you and support you. May this memory At a certain moment Become your strength The future is long. And we It will always be ginnynatnicha #ginnynatnicha #ginnyspaca
1:01

HANGZHOU SIGNING AND SALES MEETING SUPPORT · PART 8 | 350 DRONE FORGING PERFORMANCE The idea of preparing a drone support for you has actually sprouted quietly as early as last year's birthday. We wanted to light up a night sky that belongs to you on that special day. However, at that time, limited by funds, geography and implementation conditions, this wish has never been realised. Since then, before every meeting in China, we have tried to promote the landing of drone support, but we have always been stranded again and again by multiple factors such as venue, approval and time. In fact, we never imagined that you would come to the scene in person. Originally, we planned to issue a support announcement on the day of the performance, invite Hangzhou offline Paca to watch, and start the live broadcast synchronously, so that more online Paca can witness it together. But the day before the performance, we received a notice from the organiser that you may clock in according to the schedule. At the same time, we were specially told not to release any support information in advance. Because the performance site is located in one of the landmark areas of Hangzhou, the flow of people is dense, and government activities will be held near the performance site on that day, the size of the crowd and the order of the scene must be strictly controlled. In order to avoid any possible negative effects, we finally decided to record and release with aerial images after the drone performance. It's rare that it's not a red-eye flight when we came to Hangzhou this time. It was almost six o'clock in the evening when we landed. We thought that your trip would be very busy today. You had to check in at the hotel, eat, and prepare for the next day's work, so we never expected that you would really appear. But you still came. Go directly from the airport to the drone show site No moment to stay and rest I personally witnessed the night sky that lights up for you. This night, 350 drones outlined ten pictures in the night sky: The starting point for us to know you - DR.Prem There is a symbol related to your role - violin With your name There is a phoenix in the meaning of your name. With your animal sculpt "Little Alpaca" With us - Paca There are also you and us All this You have seen it with your own eyes. And your smile It is the most beautiful starry sky we have ever seen. Tell me "I didn't expect someone to do this for me. Thank you again." And we also want to say Thank you I like you every day. Infected by your persistence, hard work, seriousness and kindness Unconsciously We are also with your company. Become a better self slowly. Become that Braver, more determined, and more loving the world "Better me" Because of your jumping heart, we It's the best gift you gave us. Everything we're doing Never need any response from you. Just hope When you encounter a low point one day in the future Don't be discouraged I can remember the drone light show this night. I remember that there used to be many people Attracted by your light, staying for you I also believe that there will be more people. Continue to understand you, like you and support you. May this memory At a certain moment Become your strength The future is long. And we It will always be ginnynatnicha #ginnynatnicha #ginnyspaca

GinnyNatnicha_CN🇨🇳

75,350 просмотров • 3 месяцев назад

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
6:48

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

Holden Culotta

174,546 просмотров • 3 месяцев назад

SOMETHING JUST LIT UP THE SKY OVER INDONESIA… AND IT DIDN’T LOOK NORMAL A blazing object tore across the night sky — leaving a long, glowing trail that HELD as it moved. Not a quick flash. Not gone in a second. It stayed… stretching across the sky like something was breaking apart mid-flight. 👇 Did anyone else see this… or catch it from another angle? #MrMBB333 #Fireball #SkyEvent #Indonesia
0:30

SOMETHING JUST LIT UP THE SKY OVER INDONESIA… AND IT DIDN’T LOOK NORMAL A blazing object tore across the night sky — leaving a long, glowing trail that HELD as it moved. Not a quick flash. Not gone in a second. It stayed… stretching across the sky like something was breaking apart mid-flight. 👇 Did anyone else see this… or catch it from another angle? #MrMBB333 #Fireball #SkyEvent #Indonesia

Michael Bradbury

10,951 просмотров • 4 месяцев назад

We can confirm that the now viral video showing a fireball in the sky during Middle Tennessee’s violent and catastrophic tornadoes last weekend was indeed NES power equipment at our North Substation. Check out the footage from our security cameras. #NashvilleTornado2023 #Tspotter #Nashville #TennesseeTornado #TennesseeTornado2023
0:26

We can confirm that the now viral video showing a fireball in the sky during Middle Tennessee’s violent and catastrophic tornadoes last weekend was indeed NES power equipment at our North Substation. Check out the footage from our security cameras. #NashvilleTornado2023 #Tspotter #Nashville #TennesseeTornado #TennesseeTornado2023

Nashville Electric Service

362,227 просмотров • 2 лет назад

What if we could RECREATE the REFLECTION of the FLASH seen in the GLASS during the Charlie Kirk assassination? Literally recreate it on site. The timing of the flash seen in the reflection of the glass is what makes it so interesting. What else would cause a flash that bright in the middle of the day? This could at least determine a lot of good information and confirm or deny theories that are out there. Just to get an idea of where the FLASH came from, which could identify a possible shooter or 2nd shooter location. The reason I say this is because it lines up perfectly with the sound of the gun, meaning you see the flash first, then you hear the shot, which would make sense because light travels faster than sound. This way we could get an idea of where it came from in the first place and determine if it's a good lead or not and then check the crowd or building locations. It could be recreated with a camera flash or something with bright enough lumens. This could clear up at least one theory or confirm it and lead us in the right direction of where the shooter could have been. Please comment with your thoughts and ideas. We need to get someone out there to the location with the Proper equipment. At least we could confirm or deny some theories. Video in bottom left shows the flash.
0:52

What if we could RECREATE the REFLECTION of the FLASH seen in the GLASS during the Charlie Kirk assassination? Literally recreate it on site. The timing of the flash seen in the reflection of the glass is what makes it so interesting. What else would cause a flash that bright in the middle of the day? This could at least determine a lot of good information and confirm or deny theories that are out there. Just to get an idea of where the FLASH came from, which could identify a possible shooter or 2nd shooter location. The reason I say this is because it lines up perfectly with the sound of the gun, meaning you see the flash first, then you hear the shot, which would make sense because light travels faster than sound. This way we could get an idea of where it came from in the first place and determine if it's a good lead or not and then check the crowd or building locations. It could be recreated with a camera flash or something with bright enough lumens. This could clear up at least one theory or confirm it and lead us in the right direction of where the shooter could have been. Please comment with your thoughts and ideas. We need to get someone out there to the location with the Proper equipment. At least we could confirm or deny some theories. Video in bottom left shows the flash.

The SCIF

108,760 просмотров • 10 месяцев назад

After starting the year with 2 top 10s to qualify for the Arnold Palmer and The Players, Joel Dahmen missed both those cuts and had to get an Uber to Monday Qualifying for the Valspar. He missed at qualifying, but got in the field anyway as an alternate and now has shot rounds of 72 and 70 to make the cut. After the round, he spoke about how grounding life on the PGA Tour can sometimes be: “Look, life on the PGA Tour is amazing. Wouldn't trade it for anything but also people probably don't see behind the scenes as much and so I got the family on the road, which is great, but it also can be difficult when you drive across the state on Sunday, get into a new place, you have to unpack, get them all ready, got to get groceries in the house, all those little things, thankfully my wife does most of that. “But then I had a 9:30 tee time and it was about an hour away and we didn't have another car. So I didn't have time to grab another one. So it was just Uber was the best option and yeah, so it's a lot different from, you know, the steak and wine and The Players clubhouse and an amazing week to driving to Brooksville to Monday. “And I hadn't had to do that in a while, thankfully, but the game humbles you quickly but also can recenter you and ground you and, yeah, I mean I didn't play well there on Monday either, but you knew I had a good chance of getting in the field and so it was nice little reset to hit some striped range balls on not a perfect golf course and realize how lucky we are to be out here on tour.” He’s currently 65th on the FedEx Cup Standings and will be hoping to go low this weekend and improve on that.
1:41

After starting the year with 2 top 10s to qualify for the Arnold Palmer and The Players, Joel Dahmen missed both those cuts and had to get an Uber to Monday Qualifying for the Valspar. He missed at qualifying, but got in the field anyway as an alternate and now has shot rounds of 72 and 70 to make the cut. After the round, he spoke about how grounding life on the PGA Tour can sometimes be: “Look, life on the PGA Tour is amazing. Wouldn't trade it for anything but also people probably don't see behind the scenes as much and so I got the family on the road, which is great, but it also can be difficult when you drive across the state on Sunday, get into a new place, you have to unpack, get them all ready, got to get groceries in the house, all those little things, thankfully my wife does most of that. “But then I had a 9:30 tee time and it was about an hour away and we didn't have another car. So I didn't have time to grab another one. So it was just Uber was the best option and yeah, so it's a lot different from, you know, the steak and wine and The Players clubhouse and an amazing week to driving to Brooksville to Monday. “And I hadn't had to do that in a while, thankfully, but the game humbles you quickly but also can recenter you and ground you and, yeah, I mean I didn't play well there on Monday either, but you knew I had a good chance of getting in the field and so it was nice little reset to hit some striped range balls on not a perfect golf course and realize how lucky we are to be out here on tour.” He’s currently 65th on the FedEx Cup Standings and will be hoping to go low this weekend and improve on that.

Flushing It

480,728 просмотров • 4 месяцев назад

Charlize Theron reveals that every room in the house she grew up in in South Africa had steel doors because of the violence, as the country was on the brink of civil war. We had gone to see a movie, and my dad had taken the key to the side door, not even the front door, the front steel door. Every room in our house had a steel door. So if you got in through the front door, the kitchen had a steel door that you had to unlock, because that’s the kind of violence we were living in. Nonsensical violence. Like, violence that you couldn’t reason with. It just… I mean, our country was on the brink of civil war. It was frightening.
0:39

Charlize Theron reveals that every room in the house she grew up in in South Africa had steel doors because of the violence, as the country was on the brink of civil war. We had gone to see a movie, and my dad had taken the key to the side door, not even the front door, the front steel door. Every room in our house had a steel door. So if you got in through the front door, the kitchen had a steel door that you had to unlock, because that’s the kind of violence we were living in. Nonsensical violence. Like, violence that you couldn’t reason with. It just… I mean, our country was on the brink of civil war. It was frightening.

Ruzy.hl

9,230,369 просмотров • 17 дней назад