Joined in 2023 
82 
63 About this deal
Planet 4 – Danger Lever high, technological takeover on planet 4. Robots inhabit this alien. They seem really happy and loving. Tuesday 21st May, London: Cosmopolitan, the UK’s leading media brand for young women, has announced the return of its esteemed Cosmopolitan Influencer Awards with PANDORA, one of the biggest jewellery brands in the world. The ceremony, which will take place on 28th May 2019, is designed to recognise and champion the game-changing individuals who have taken social media by storm. I hosed the mud off expecting to find hole where the pivot bolt should have been – before it had corroded away and caused my current predicament. But there was no hole! No fragments of broken pivot bolt; nothing. Just a nicely cast aerofoil shaped lump of cast iron with cast-in trunnions on each side (trunnions are ‘protrusions’ commonly seen on old navy and military gun barrels which allow the barrel to pivot around them on the gun carriage to change the elevation of the gun). Planet 7 – Utopian Disturbance. Cloven animals wandering around a bit and eating grass, maybe the most boring of the planets. During the project the film's creator Andy kept a sketch book of his ideas, a kind of journal or jotter to help him remember.
The ceremony has nine categories, including Best Newcomer, Best Beauty Influencer and Influencer of the Year, with the winners chosen by a panel of high-profile judges, including: Alice Liveing, Lottie Tomlinson, Lou Teasdale, Megan Crabbe and Cosmopolitan Editor-in-Chief Claire Hodgson.
More press releases
On entering, Meiselas was immediately drawn to the upscale loft’s intricately decorated interiors. Dubbed the “Disneyland of Domination,” each of the club’s themed spaces was designed around a different fantasy, from the sumptuous furnishings of the Versailles room to the cold, clinical feel of the ‘medical chamber.’ It was, however, the complex and nuanced relationships between mistress and client, playing out across this imagined landscape, that most interested Meiselas. As with Carnival Strippers, which had opened up an unseen world and in doing so challenged the preconceived view of women who perform in the shows, Meiselas was drawn to exploring the experiences and motivations of both the club’s visitors and its staff. The onscreen rendering of Worthington was supposed to be a sort of digital sleight of hand—a human character inhabiting an alien body so that he could blend into an alien world, played by a human actor inhabiting a digital body in a digital world. To make the whole thing work, Worthington's performance, those subtle expressions that sell a character to the audience, had to come through the face of his Avatar. But after millions of dollars of research and development, the Avatar's face was not only lifeless, it was downright creepy. It "scared the crap out of me," Cameron recalls. "Horrible! It was dead, it was awful, it wasn't Sam. God, I thought. We've done everything right and this is what it looks like?"
Terry discovered another Pandora with the same sail number called RedStart, sailed here by Ian Curnow and his daughter, Emily. Photo: Green Sea Photography a b c d e f greg84 (May 25, 2012). "Diablo Swing Orchestra Pandora's Pinata". Sputnikmusic . Retrieved October 3, 2021. {{ cite web}}: CS1 maint: numeric names: authors list ( link) Anyway, 36 years later, Aphrodite – as she was when I bought her – was languishing in a corner in one of the yards in Maldon. She had been raced a bit judging by the twingers and tweaks she sported but now had a decent set of cruising sails with a roller reefing headsail. Her mast had been broken when her owner had lost control while lowering it and although the insurance company had sportingly paid out for a new mast and a set of standing rigging, I think her owner just lost heart and walked away. She had been standing, neglected, for a couple of years when I first saw her. For actors, the process of performing within an imaginary world, squeezed into a leotard while pretending to inhabit an alien body, is a challenge. Motion-capture technology is capable of recording a 360-degree view of performances, so actors must play scenes with no idea where the "camera" will eventually be. Weaver found the experience liberating. "It's simpler," she says. "You just act. There's no hair or makeup, nothing. It's just you and the material. You forget everything but the story you're telling." Directing within a virtual set is more difficult. Most directors choose their angles and shots on a computer screen in postproduction. But by then, most of the immediacy of the performance is lost. Cameron wanted to be able to see his actors moving within the virtual environments while still on the motion-capture stage (called the volume). So he challenged his virtual-production supervisor Glenn Derry to come up with a virtual camera that could show him a low-resolution view of Pandora as he shot the performances. When free, the swing keel trunnions bear down on the port and starboard trunnion plates allowing the swing keel to pivot as the uphaul rope is hauled or released.a b c J Salmeron (May 14, 2012). "Diablo Swing Orchestra – Pandora's Piñata". Metal Blast . Retrieved October 3, 2021.
Come enjoy the clothing-optional pool and hot tub. We’ve contracted with a local renowned Chef to provide an amazing NYE dinner. And like our previous hotel takeovers, we designated the first floor as the party floor that could party to the break of dawn! The second and third floors are designated as quiet floors for more intimate get togethers with friends you know and friends you WILL know.Cameron wrote his first treatment for the movie in 1995 with the intention of pushing the boundaries of what was possible with cinematic digital effects. In his view, making Avatar would require blending live-action sequences and digitally captured performances in a three-dimensional, computer-generated world. Part action–adventure, part interstellar love story, the project was so ambitious that it took 10 more years before Cameron felt cinema technology had advanced to the point where Avatar was even possible. a b c heavytothebone2 (May 29, 2012). "Diablo Swing Orchestra - "Pandora's Piñata" (CD)". Metal Underground . Retrieved October 3, 2021. {{ cite web}}: CS1 maint: numeric names: authors list ( link) But it turns out there is no magic formula that can supplant hard work and lots of trial and error. After Cameron complained about the uncanny-valley effect, Weta spent another year perfecting the rig on Worthington's Avatar by tweaking the algorithms that guided its movements and expressions until he came alive enough to meet Cameron's sky-high standards. "It was torturous," Letteri admits. But when Weta was finished, you could pour the motion-capture data into the rig and it would come out the other side right. In fact, Cameron doesn't even like the term "motion capture" for the process used on Avatar. He prefers to call it "performance capture." This may seem like semantics, but to Cameron, the subtle facial expressions that define an actor's performance had been lost for many of the digital characters that have come before. In those films, the process of motion capture served only as a starting point for animators, who would finish the job with digital brush strokes. "Gollum's face was entirely animated by hand," says Weta Digital effects master Joe Letteri. "King Kong was a third or so straight performance capture. It was never automatic." This time, Cameron wanted to keep the embellishment by animators to a minimum and let the actors drive their own performances.
At Biphoria, we believe that everyone has the right to be themselves and to express their true identities. We strive to create a safe and welcoming space where everyone can be their authentic selves and connect with others who share similar experiences and identities. The 3D experience is at the heart of Avatar. (In fact, some suspect that Cameron cannily delayed the movie's release to wait for more theaters to install 3D screens—there will be more than 3000 for the launch.) Stereoscopic moviemaking has historically been the novelty act of cinema. But Cameron sees 3D as a subtler experience. To film the live-action sequences of Avatar, he used a modified version of the Fusion camera. The new 3D camera creates an augmented-reality view for Cameron as he shoots, sensing its position on a motion-capture stage, then integrating the live actors into CG environments on the viewfinder. "It's a unique way of shooting stereo movies," says visual-effects supervisor Stephen Rosenbaum. "Cameron uses it to look into the environment; it's not about beating people over the head with visual spectacle." This immersive 3D brings a heightened believability to Avatar's live-action sequences—gradually bringing viewers deeper into the exotic world of Pandora. In an early scene, Sully looks out the window as he flies over the giant trees and waterfalls of the jungle moon, and the depth afforded by the 3D perspective gives the planet mass and scale, making it as dizzyingly real for viewers as it is for him. Shooting the Virtual World Yet live-action 3D was hardly the biggest technical challenge. Only about 25 percent of the movie was created using traditional live performances on sets. The rest takes place in an entirely computer-generated world—combining performance capture with virtual environments that have never before been realized on film. Conjuring up this exotic world allowed Cameron to engage in "big-time design," he says, with six-legged hammerhead thanators, armored direhorses, pterodactyl-like banshees, hundreds of trees and plants, floating mountains and incredible landscapes, all created from scratch. He drew upon his experience with deep-sea biology and plant life for inspiration. Sigourney Weaver, who plays botanist Grace Augustine, calls it "the most ambitious movie I've ever been in. Every single plant and creature has come out of this crazy person's head. This is what Cameron's inner 14-year-old wanted to see." Plans for the swinger’s club, which is as yet unnamed, will be open to consultation until April 24. On the Pandora 700 swing keel variant a massive stub keel with a central slot is bedded to the hull with keel bolts in the usual way. The swing keel casting fits into the slot. The trunnions slide up into port and starboard ‘chimney’ slots which are cast into the interior sides of the slot in the stub keel. Once in position the swing keel is held by two trunnion plates, which close off the chimney slots beneath the stub keel. Over time the trunnions had worn and corroded their way through the retaining plates. Adrian and I managed to clean up and unscrew the three stainless steel M8 retaining screws securing each plate to the stub keel and remove them for inspection. They were not a pretty sight! Keel repairs
Documenting hidden worlds by collaborating with those who inhabit them has been a central part of Susan Meiselas’s practice from the very beginning. The approach has allowed her to capture scenes where the act of photographing could have easily become voyeuristic. First, at the small circuses and state fairs of 1970s America, where Meiselas was invited into the private dressing rooms of the carnival strippers; and later, in the covert spaces of the elite S&M club Pandora’s Box. The film—although "film" seems to be an anachronistic term for such a digitally intense production—takes place on a moon called Pandora, which circles a distant planet. Jake Sully, a former Marine paralyzed from the waist down during battle on Earth, has traveled to this lush, green world teeming with exotic, bioluminescent life to take part in the military's Avatar program. The human settlers are interested in mining Pandora's resources but can't breathe its toxic atmosphere, so to help explore the moon and meet with the native Na'vi who live there, Sully has his consciousness linked with a genetically engineered 9-foot-tall human–alien hybrid. Cameron's dual-sided personality has roots in his upbringing—the brainy sci-fi geek from Chippewa, Ontario, was raised by a painter mother and an engineer father. "It was always a parallel push between art and technology," he says. "My approach to filmmaking was always very technical. I started off imagining not that I would be a director, but a special-effects practitioner."
Great Deal 
New Comment