27 Mar 01:21

Entertainment Effects Group.Blade Runner.Unreleased Model Shop...

Entertainment Effects Group.

Blade Runner.
Unreleased Model Shop Photographs (1981-1982).
Part 2/3.
27 Mar 00:45

Entertainment Effects Group.Blade Runner.Unreleased Model Shop...

Entertainment Effects Group.

Blade Runner.
Unreleased Model Shop Photographs (1981-1982).
Part 1/3.
26 Mar 23:53

As crypto wars begin, FBI silently removes sensible advice to encrypt your devices

by Cory Doctorow

The FBI used to publish excellent advice about encrypting your devices to keep your data secure when your stuff is lost or stolen; this advice has been silently dropped now that FBI Director James Comey is trying to stop manufacturers from using crypto by default. Read the rest

26 Mar 21:09

TPP leak: states give companies the right to repeal nations' laws

by Cory Doctorow

A new Wikileaks-published leak from the secretive Trans Pacific Partnership (TPP) treaty reveals a January 2015 draft "Investment Chapter" of the agreement, where the investor-state dispute settlement (ISDS) mechanisms are set out. They allow companies to repeal nations' environmental, health and labor laws. Read the rest

26 Mar 20:01

Girl with a Pearl Earring and Point-and-Shoot Camera

by newjohnston
26 Mar 19:10

Greatest chew toy of all time. (photo via mike_pants)

Greatest chew toy of all time. (photo via mike_pants)

26 Mar 18:47

Facile Synthesis of Pure 1,6,7,12-Tetrachloroperylene-3,4,9,10-tetracarboxy Bisanhydride and Bisimide

by Rajeev K. Dubey, Nick Westerveld, Ferdinand C. Grozema, Ernst J. R. Sudhölter and Wolter F. Jager

TOC Graphic

Organic Letters
DOI: 10.1021/acs.orglett.5b00562
26 Mar 14:20

Realized C–H Functionalization of Aryldiazo Compounds via Rhodium Relay Catalysis

by Lin Qiu, Daorui Huang, Guangyang Xu, Zhenya Dai and Jiangtao Sun

TOC Graphic

Organic Letters
DOI: 10.1021/acs.orglett.5b00674
28 Mar 14:05

The Gays Are Free to Discriminate Against Christians in Hilarious 'Religious Freedom' Parody Video

by Kyler Geoffroy


Sorry, but the Church of Harvey Fierstein has a strict "No Christians" policy.



28 Mar 04:45

Цитата #433049

Моя сегодняшняя переписка с мужем:

xxx: кто-то на нашей машине на боковом стекле *опу нарисовал :(
yyy: это был я. И это - яблоко...
28 Mar 01:18

(photo via josh_the_human)

(photo via josh_the_human)

28 Mar 01:06


27 Mar 23:14


27 Mar 21:14


27 Mar 18:25

Mesoporous ZSM-5 Zeolite-Supported Ru Nanoparticles as Highly Efficient Catalysts for Upgrading Phenolic Biomolecules

by Liang Wang, Jian Zhang, Xianfeng Yi, Anmin Zheng, Feng Deng, Chunyu Chen, Yanyan Ji, Fujian Liu, Xiangju Meng and Feng-Shou Xiao

TOC Graphic

ACS Catalysis
DOI: 10.1021/acscatal.5b00083
27 Mar 17:35

micdotcom: Watch: Jon Stewart helps Fox News celebrate their...

27 Mar 17:20

Phosphine-Catalyzed Enantioselective Intramolecular [3+2] Annulations To Generate Fused Ring Systems

by Sarah Yunmi Lee, Yuji Fujiwara, Atsuko Nishiguchi, Marcin Kalek and Gregory C. Fu

TOC Graphic

Journal of the American Chemical Society
DOI: 10.1021/jacs.5b01985
27 Mar 14:34

pixelartus:Eitr System: PC Year: TBA Developer: Eneme...



System: PC

Year: TBA

Developer: Eneme Entertainment

Website: eitrthegame.com / forums.tigsource.com

Video: Gameplay Video

Description: “Eitr is an Action RPG which takes inspiration from games such as Path of Exile, Dark Souls and Diablo. The game will be challenging and require timing and precision to progress through the environments. Players will need to use a combination of blocking, combos, buffs and positioning to succeed in battle.”

27 Mar 07:11

Special Bulletin

by Doug
27 Mar 05:42


27 Mar 04:45

Цитата #433028

xxx: Поскань мне методичку )
yyy: нет
xxx: Ну меня не было
yyy: это теперь так называется? ты же с михой и его дружбанами почти с нг бухаешь
yyy: теперь это твои проблемы чувак
xxx: Грубо (
yyy: теперь это твои проблемки чувачок
27 Mar 04:38

Entertainment Effects Group.Blade Runner.Shimago-Domingo...

Entertainment Effects Group.
Blade Runner.
Shimago-Domingo Corporation Advertising Airship a.k.a. “The Blimp”.

In the words of Douglas Trumbull:

The last major item on the effects docket was the giant advertising blimp seen drifting languorously over the city from time to time. It was also among the last elements to be incorporated into the script. “The blimp is an extension of media advertising,” said Scott, “and in a way, it’s also kind of a throwback to my childhood during the second World War. My family was living in a suburb of London, and we had these barrage balloons flying overhead. In fact, there was a whole line of them on cables right across the southern seaboard in kind of a triangular wedge leading into London; and the idea was that the buzz bombs and the Messerschmitts would fly into these cables and be brought down or deflected off course before they could get to the city. I remember one of the balloons burst one night and settled over our house, and we woke up the next morning and thought it was still dark. So all that experience was still in the back of my mind; and I thought maybe in the future we might get back to that idea as an advertising medium. Already they’re talking about moving back to the old-fashioned idea of using blimps to carry cargo and passengers - for fuel reasons, mainly. So you could have a blimp that’s maybe four hundred feet long, with a major screen on it that’s two hundred feet across and a couple others a hundred feet each - that’s a lot of advertising power, especially if it’s really visual. They’d be anchored to the ground, and they’d slowly drift about like a big whale and they’d cover maybe twelve square miles - which is a lot when you consider the population density, but you’d probably still need twenty or thirty of them across a city of fifty or sixty million people.” “The initial idea,” said Douglas Trumbull, “was that the blimp would be this sort of big, dark shape that on the storyboard was drawn to look like a regular blimp with some kind of big illuminated signs on the body - very much like the Goodyear blimp. We thought, though, that the blimp ought to be a really strange-looking contraption, with big flat signs on it at various angles and a few lights on board. Ridley liked that approach, and so that’s the way we did it. It was always supposed to bejustkind of a background thing; but as it turned out, Ridley really fell in love with that blimp and kept ordering up more and more shots. And then he decided he wanted it to be bigger. Well, one of the things you tend to resort to to get scale is lots of tiny little lights. Lights on a miniature tend to look like windows; and therefore, if a little point of light looks like a window, then the overall shape must be very big. So Ridley asked for lots oflittle lights to be added to the blimp, plus a lot of antennas and stuff. As a result, it ended up looking kind of like a sleazy mothership - which the cognoscenti of the special effects business are probably going to have a good laugh over.” Shortly before he left the project, Wayne Smith had put together a small foam study mockup of the blimp as it was conceived at the time. “Originally, it was supposed to be just a throwaway type thing,” said Mark Stetson, “to be seen in the background a few times, and that was it. So we ended up putting it off and putting it off; and aside from Wayne’s foam and paper mockup, we didn’t put any more design effort into it at all for quite a long time. Then, after Bill George had gotten all his other vehicles done, he came to me and asked if I wanted him to build the blimp. I said sure. Aside from the fact that it was supposed to carry advertising signs and look kind of puffy and overinflated, we didn’t have a whole lot to go on. And at first we tried a number of things that just weren’t working, We tried making up a series of masonite templates, assembling them into kind of an x-y grid, and then stretching a sheet of styrene over the top and heating it to see if it would drape over this template grid into the form that we wanted. It didn’t. We tried it with heat and air. and that didn’t work either. We tried it with heat on wet rags to push it out and cool it into place, and it still didn’t work.” “The final form,” Bill George explained, “was fabricated by first building a box with the symmetrical centerline cut in the top. Curved ribs were then added to the inside. So essentially, what it ended up being was a negative skeleton of the intended shape. Next, a thin sheet of surgical neoprene rubber was stretched over the centerline hole in the top, and then filled with wet plaster. The weight of the plaster ballooned the latex between the ribs, spontaneously creating the inflated look. The blimp shape was about three feet long and ended up holding over a hundred pounds of plaster. And there were three of us, mixing plaster with our hands and filling it in, sure that at any moment the over-stretched latex would burst and spill wet plaster all over us, fortunately it didn’t, but I got so excited because it was working that I didn’t notice the plaster had hardened on my forearms. The process may seem like a lot of trouble, but the gentle intersecting curves would have taken weeks to sculpt or carve.” “We let the plaster set up for a few days,” Mark Stetson continued, “and then turned it upside-down and poured a thick rubber mold over it - just a throwaway - and got two quick castings out of it and slapped the thing together. At that point, Ridley reviewed it for the first time, and he was really kind of enchanted with it. But he started asking for lots of changes which I think meant that he really liked it. The advertising projection screens were changed. We added a bunch of bristling antennas around the outside, and lots of fiber optic lights. Mike McMillen and Rick Guttierez were working on it at that point, and Mike came up with a little chopper wheel between the fiber optic bundle and the light source so the little lights would flicker and blink. With the optics spread out across the blimp body and this flickering chopper wheel going, it was really starting to look pretty interesting. We presented it to Ridley again, and he liked it even better this time - but he wanted still more changes. for one thing, he wanted to change the scale so it would look twice as big. So we added more lights and detail pieces and built a new cabin. Dave Dryer also liked it a lot and had some of his own changes he wanted made. So it really went through three full generations of construction before it finally got on camera.” By this time, the old Army-surplus look that was the basis of the original concept had given way to something altogether different - summed up rather aptly by the model shop crew who collectively dubbed it the “mother-blimp.” At first it was intended that the black screens on which the advertising would appear would remain in place at all times. However, once the blimp made its way into the smoke room and began undergoing film tests, David Dryer devised a new approach. “Rather than having some kind of an opaque screen, we decided to have only a border, and nothing tangible within. Then, when it was energised and the advertising message appeared, it would do so kind of magically - almost from nowhere. The image would be kind of semitransparent and it would sputter a bit and zap on like some sort of holographic television. We did that by filming the fill-light passes and the practical light passes without the screen in place. Then, for the commercial pass, we’d insert a silk screen into that area and project our off-world footage - or whatever else the shot called for - onto that, so it seemed to exist in space within that border in front of the blimp.” As they had with the spinners, Don Baker and Tim McHugh accomplished most of the actual blimp photography.

The Blade Runner Airship Hero Model was auctioned in 1998 at Christie’s for a minimum asking price of US$8000. It didn’t sell, and it remains in storage at Warner Brothers, as property of Tandem Productions (Bud Yorkin).

27 Mar 04:28

Assortativity in complex networks

by Noldus, R., Van Mieghem, P.

We survey the concept of assortativity, starting from its original definition by Newman in 2002. Degree assortativity is the most commonly used form of assortativity. Degree assortativity is extensively used in network science. Since degree assortativity alone is not sufficient as a graph analysis tool, assortativity is usually combined with other graph metrics. Much of the research on assortativity considers undirected, non-weighted networks. The research on assortativity needs to be extended to encompass also directed links and weighted links. In addition, the relation between assortativity and line graphs, complementary graphs and graph spectra needs further work, to incorporate directed graphs and weighted links. The present survey paper aims to summarize the work in this area and provides a new scope of research.

27 Mar 02:48

Back To The Well

Ads by Project Wonderful! Your ad could be here, right now.

This is starting to become a thing.

Emerald City Comic Con! Seattle! This weekend! I will be at the Topatoco booth on the sky bridge! Come say hi and buy some fun things!

27 Mar 01:33

Entertainment Effects Group.Blade Runner.Spinner Sequence...

Entertainment Effects Group.

Blade Runner.
Spinner Sequence VFX. 
Reference Polaroids & Photographs (Characters / Vehicle).