Hasta La Motion!

DesignCollector Network Organises Game Changing Exhibition “Digital Decade: Cyberia” http://digitaldecade.net DesignCollector Network, founded and curated by Arseny Vesnin, will run a phygital exhibition,‘‘Digital Decade: Cyberia,” as part of its annual initiative to reveal upcoming artists working in the field of digital art. This year’s game changing ‘Cyberia’ theme challenges artists to reflect on the concept of a newborn digital “ethnos” that is going to change the common value system. The exhibition will take place from 25-27 August, at “Ugly Duck” on Tanner St in London. The Digital Decade group collaboration and exhibition has run successfully every year since 2013. Curated by Designcollector Network and partners, the first round of Digital Decade consists of an online collaboration where selected artists and open contest winners become the base of the second round. The second round, the exhibition, invites visitors and artists into a visual dialogue on geopolitical, environmental, social and even interstellar changes happening under an ongoing digital shift of humankind. The official concept of the Digital Decade 5 exhibition is, “Cyberia: the unknown territories: shaped by the digital ethnos.” This, ‘ethnos’ refers to the generation of digital people that are changing our world, and continuing to influence the common value system. As our world becomes increasingly digital, it ultimately changes to become a “Cyberia.” Selected artists from all over the world were invited to create a digital art piece to reflect this theme. The exhibition will showcase a variety of physical and digital works done in prints, VR and interactive and projection mapping installations, to create an incredible, immersive atmosphere of Phygital Art. 25 – 27 August, 2017 49 Tanner St, London SE1 3PL, UK Ugly Duck Loft Video: Ruslan Khasanov Music: Arseniy Sysoletin

Follow me: https://www.facebook.com/JesseWatsonPhotography https://instagram.com/jessewatsonphoto https://youtube.com/user/cyclemonkey?sub_confirmation=1 twitter.com/IamJesseWatson Timelapse video of the SpaceX Falcon 9 rocket launch from Vandenberg AFB as seen from Yuma, Arizona I’ve been following the SpaceX launches online for some time now and have been in awe of the footage I’ve seen. I found out about this specific launch from Vandenberg Air Force Base a few days prior to the event. I wanted to capture this amazing spectacle in a fashion that I haven’t seen previously, as most of what I have seen is cell phones video or news reels. This particular launch was close to my hometown in Yuma, Arizona, roughly 400 miles away but perfectly viewable for people in Arizona. I’ve one previous rocket launch years ago from White Sands Missile range in the morning time at sunrise and knew with the correct lighting from sunset that this launch had the opportunity to pop in a dramatic fashion. I scouted four locations that had foregrounds to add depth to the imagery and was uniquely inspiring to my hometown. Location choices were between a favorite local hiking mountain, the Imperial Sand Dunes, or a small hill that resides in the historic downtown area overlooking the city. I ended up choosing the location that overlooked the city, partially because it was the easiest to access with all of my time-lapse gear. I used The Photographer’s Ephemeris and Google Maps to help scouting and initial line up. I have never shot a rocket launch before, so I did not know exactly what to expect as far as exposure or precise location of the rocket in the horizon. I wanted to be prepared to capture comprehensive coverage of the spectacle. Therefore I packed four cameras and five lenses, to cover wide to telephoto details of the scene. Three of the cameras were rolling time-lapse and 1 was setup for telephoto video. I arrived about two hours before launch time (1827 Arizona time) to have my gear prepped and ready for action. I started rolling the time-lapse sequences about 45 minutes prior to launch to capture some lead in footage. 1827 came by and I didn’t see anything, I was a little disheartened at first thinking maybe it wouldn’t show up or that something happened and they did not launch, but continued to roll the time-lapses. Then after what seemed like ages, but in reality probably only a minute or two the Falcon 9 rocket blasted into the horizon and my cameras’ field of view. I was a little off target on my initial shot, but thanks to the high resolution aspect of shooting time-lapse on the Nikon D810 and wide angle lens, I was able to crop into the 6K time-lapse sequence and salvage the framing. I wrapped up a few minutes after the glowing contrail faded. I ended up shooting 2452 images and culled that down to 1315 images for the final project edited in Adobe After Effects and Adobe Premiere Pro. Tech Stuff: Big Camera x2: https://amzn.to/2hxEYvq Lens: https://amzn.to/2D3Xilb Lens:https://amzn.to/2ByB9eq Little Camera: https://amzn.to/2C3ifNE Lens:https://amzn.to/2BBCgKp Smaller Camera: https://amzn.to/2BFvlnb Lens: https://amzn.to/2BGtRcF Bag: https://amzn.to/2DaJ2Ha RRS and Manfrotto tripods Jesse Watson https://www.facebook.com/JesseWatsonPhotography https://www.instagram.com/jessewatsonphoto twitter.com/IamJesseWatson Email for licensing and rights: jessewatsonphotography@gmail.com

In this Video We take a look into how an internet connected speaker system could be leaking out information about its owner to a potential attacker. New types of IoT Devices come out every year, in this case we are looking at two of the leading IoT speaker companies and some of the potential security issues with these devices. Over the course of the video we will show how this information can be leveraged in an attack.
By Stephen Hilt
See: http://blog.trendmicro.com/trendlabs-security-intelligence/the-need-for-better-built-in-security-in-iot-devices

Download link: http://www.romhacking.net/hacks/3784/

In the coming days I’ll have a bunch of coverage of the visual effects of Star Wars: The Last Jedi, based on a visit I made to ILM London just before Christmas. First up is a look at that stunning and surprising hyperspace moment when Vice Admiral Amilyn Holdo (Laura Dern) slams the Raddus – mid-hyperdrive – into Supreme Leader Snoke’s ship, the Supremacy.

The resulting white streak of an explosion is a heart-wrenching moment of sacrifice played out in complete silence. Overall visual effects supervisor Ben Morris from ILM initially thought the sequence might involve a ton of complex destruction effects simulations, but director Rian Johnson had something else in mind.

Ben Morris (overall visual effects supervisor): That scene was in the script, and I read that with my VFX producer Tim Keene when we were trying to quantify the entire film and work out where to put the work. And I sat there and went, ‘Oh my God, what are we going to do? It’s going to be epic! It’s going to be Bayhem! It’s the full works!’ – because it sounded like a huge destruction scene.

So we sat there and we ticked every box on the spreadsheet, meaning, it was going to involve all the hardest work. Then we had a chat with Rian, and I didn’t lay anything on him as a preconception, I just said, ‘Where do you think we’re at with this?’ He actually sat there and said, ‘I’m not sure, but I actually want to do the complete opposite of what the audience might expect.’

Rian said, ‘This is about sacrifice, this is an incredible moment that one of the key resistance fighters is willing to give her life. I’m thinking of just doing the whole thing in silence.’ At which point I was like, ‘Wow! Okay.’

We started working with some of the animation team in London, mainly with the art department here – with ILM art director Kevin Jenkins, and concept artist Luis Guggenberger – we spent ages trying to work out what this was. We looked at all sorts of natural phenomena. What we were trying to do is work out what infinitely fast means. ‘Cuts like a hot knife in butter’ was Rian’s phrase, and ‘ ‘serenely beautiful.’

You kind of get into the atomic level things. We looked at particle physics photography in cloud chambers, and the way that multiple atoms will hit each other, they’ll fracture, you have exit waves that spray. We got into that groove, and then in terms of conveying massive energy but in a very simple and beautiful way, we started saying, ‘It’s got to be bright, it’s got to be magnesium ribbon, it’s like chemistry classes.’

I think one of the really clever things is, usually with star destroyers in space, we all remember those as black background with white ships, and that tends to be the rule of thumb. What Luis did was turn the entire thing on its head. He said, ‘What happens if space is so full of debris and fine particularity that it becomes white and the star destroyers become silhouettes, and backlit?’

And also, ‘What happens if it’s so intense that we have to do a massive stop-down on the exposure?’, which gives you an entirely different look of photography. So Luis rendered something and then put this searing white line in. He took all of the colour out of the image, and Rian just walked in and went, ‘That’s it. That’s it. That is it. Let’s work with that.’

For us it was a bit of a journey, and then ILM Vancouver picked it up, and I think it’s everything that’s good about visual effects and filmmaking and sound design and editing. It’s powerful, it’s strong. The audience don’t expect it. For me it’s something new that hasn’t existed in a Star Wars film. It’s a stunning piece of work, and it’s entirely inspired by Rian’s determination to do the complete opposite of what the audience would expect.