#Composite Director / Editor: GA

[emocatgirl]

[thewarmestplacetohide]

Dread by the Decade: Gaslight

👻 You can support me on Ko-fi! ❤️

★★★★½

Plot: After moving into the home of her murdered aunt with her new husband, a woman begins to fear she is losing her mind.

Review: Though a bit more Hollywood than the original, it remains both a stirring murder mystery and disturbing exploration of psychological abuse.

Remake of: Gaslight (1940) Source Material: Gas Light by Patrick Hamilton Year: 1944 Genre: Psychological Horror, Mystery Country: United States Language: English Runtime: 1 hour 54 minutes

Director: George Cukor Writers: John Van Druten, Walter Reisch, John L. Balderston Cinematographer: Joseph Ruttenberg Editor: Ralph E. Winters Composer: Bronisław Kaper Cast: Ingrid Bergman, Charles Boyer, Joseph Cotten, Angela Lansbury, Barbara Everest, May Whitty

-----

Story: 4/5 - Tense, steady, and heartbreaking, though there are a few too many coincidences.

Performances: 5/5 - Bergman and Boyer are incredible, their toxic dynamic portrayed to a painfully realistic degree, and the rest of the cast is also excellent.

Cinematography: 5/5 - Perfect lighting and composition.

Editing: 4.5/5 - Enhances the slow but purposeful pacing.

Music: 4/5

Effects & Props: 3.5/5 - The jewels look a bit fake but everything else is solid.

Sets: 5/5 - Ornate and stunning.

Costumes, Hair, & Make-Up: 5/5 - Absolutely gorgeous. The costuming and hair for Paula is especially remarkable.

Trigger Warnings:

Very mild violence

Domestic and emotional abuse

Misogyny (period appropriate)

Mentions of institutionalization

Classism (period appropriate)

[jcmarchi]

Hydrogen Emissions Within the Orion Constellation - Technology Org

New Post has been published on https://thedigitalinsider.com/hydrogen-emissions-within-the-orion-constellation-technology-org/

Hydrogen Emissions Within the Orion Constellation - Technology Org

Today, Columbia released the first data set from a new, high-resolution astronomical survey of the night sky.

Swirling hydrogen emissions and stars in an area of the night sky known as the cone nebula. The MDW Survey took the image and shows a region included in today’s data release.

The data includes coordinates, calibration, and other information that will make a night sky survey, which was created by three amateur astronomers, useful as a resource for both the public and the astronomy community.

The data released today offers new detail on the hydrogen emission from gas and stars in and around the Orion constellation; Columbia aims to release similar hydrogen data on the entire night sky from the Northern Hemisphere later this year, and from both hemispheres in 2025.

The new night sky images were collected by the “MDW Hydrogen-Alpha Sky Survey,” a unique high-resolution survey of the entire night sky collected with H-alpha imaging.

H-alpha is a light wavelength emitted by hydrogen. Because hydrogen is the most abundant element in the universe, this kind of imaging allows astronomers to better understand star formation and star death, among other important astronomical phenomena.

IC 2118, a giant cloud of gas and dust also known as the Witch Head Nebula. H-alpha emissions, which are observed over most of the Orion constellation, are shown in red. This H-alpha image was taken by the MDW Survey and is included in today’s data release.

The survey was created by the late David R. Mittelman (BUS’81), a Boston-based amateur astronomer and two fellow amateur astronomers, Dennis di Cicco and Sean Walker, current and former editors of Sky and Telescope Magazine. The team managed the project from New England using remotely operated telescopes stationed at an observatory that Mittelman founded in New Mexico. Over the years, data from the survey has contributed to several papers on supernovae remnants far from the galactic plane.

Columbia faculty, students, postdocs, and post-baccalaureates have partnered with founders di Cicco and Walker to calibrate and disseminate the data and ensure the outcome meets academic quality standards. This includes providing precise sky positions to each pixel in the image, and ensuring the brightness of the emission is calibrated to known standards.

Mittelman, who died of brain cancer in 2017, received an MBA from Columbia Business School; his wife, Michele, received a master’s in public health from Columbia. They met in a math class while at Columbia and both graduated in 1981. David Mittelman endowed an astronomy professorship and supported scholarships and the astronomy program at his alma mater, Middlebury College. Mittelman founded a total of three observatories: The David Mittelman Observatory where the MDW Survey is underway, and two others in Massachusetts and Colorado. “The concepts of how much can be learned through the analysis of light were stunning intellectual revelations that have bounced around in my mind for years,” he said of his first encounters with astronomy as a college student at the time the endowed Middlebury professorship was announced.

A composite image of what the night sky would look like if our eyes had deep H-alpha vision, taken from team member Dennis di Cicco’s house in Massachusetts.

The new partnership between the Michele and David Mittelman Family Foundation and Columbia was first initiated when David Sliski, the project director for the David Mittelman Observatory in New Mexico, contacted David Kipping, a professor of astronomy at Columbia University. The pair had first met when Sliski was working at Harvard, where Kipping was a postdoctoral researcher. “The support students receive from faculty goes beyond just their years in the classroom, and those bonds allow for the possibility of new partnerships like this one,” said Sliski.

The Department of Astronomy at Columbia University has decades of expertise in survey science, including GALFA-HI, SDSS, the GALEX space telescope, and the Kepler space telescope, making it an ideal partner to maximize the return of the survey.

The foundation’s partnership with Columbia furthers astronomical research and science education in two ways. Columbia astronomy professors David Schiminovich and Mary Putman, together with Columbia students and former students Noor Aftab, Andrew Zhang, Colin Holm-Hansen and Julia Homa, are calibrating the data and releasing it to the public so that it can be used for astronomical research around the world.

A digital composite image of a portion of the night sky included in today’s data release. The MDW Survey took the image and shows highly structured hydrogen emission in the region. Team member Sean Walker digitally removed stars from the image.

“This complete view of the sky in warm hydrogen will shape our understanding of the Milky Way and how it changes due to stellar activity,” said Putman.

The partnership will also have a lasting impact through the endowment of two undergraduate summer research positions in the Columbia astronomy department.

“Our new partnership with the Michele and David Mittelman Family Foundation is a real boon, both in terms of bringing important new data to the scientific community, and in ensuring that Columbia undergraduates have access to the best research opportunities in the field,” said Greg Bryan, chair of Columbia’s astronomy department.

Source: Columbia University

You can offer your link to a page which is relevant to the topic of this post.

[recentanimenews]

Sabikui Bisco Light Novel Series Reveals Anime Adaptation Plans

  This weekend's Kadokawa Light Novel Expo event has already brought with it a ton of new announcements, and one of the latest concerns writer Shinji Cobkubo and illustrator K Akagishi's Sabikui Bisco series. The light novels are officially getting an anime adaptation, with Atsushi Ikariya directing at anime studio OZ.  

  The announcement included a teaser trailer, visual, and more staff and cast reveals. First up, here's the promo: 

    Visual:

    Cast members include: 

  Bisco Akaboshi - Ryota Suzuki (Yu Ishigami in KAGUYA-SAMA: LOVE IS WAR)

Milo Nekoyanagi - Natsuki Hanae (Tanjiro Kamado in Demon Slayer: Kimetsu no Yaiba)

Pau Nekoyanagi - Reina Kondo (Nikaido in Dorohedoro)

Chiroru Ochagama - Miyu Tomita (Riko in Made in Abyss)

  STAFF

  Original Creator

Shinji Cobkubo

  Director

Atsushi Ikariya (animation director on episodes of Katanagatari, Akame ga KILL!) 

  Assistant Director

Daisuke Mataga (animation director on Ergo Proxy, The Devil is a Part-Timer!)

  Series Composition

Sadayuki Murai (Knights of Sidonia)

  Character Designs

Ai Asari

Ikariya

  Chief Animation Directors

Ai Asari

Norie Igawa

  Composers

Takeshi Ueda

Hinako Tsubakiyama

  Main Animators

Yutaka Matsubara

Momoko Kawai

  Art Director

Masakazu Miyake

  Art Design / Creature Designs

Yoshihiro Sono

  Color Key Artist

Emi Chiba

  Compositing Director of Photography

Tsubasa Takagi

  Editor

Yoshiaki Kimura

  Music Production

Flying Dog

  Sound Director

Kisuke Koizumi

  Animation Production

OZ

  Volume 1 cover:

    Sabikui Bisco managed to top both the new work list and overall ranking for the Kono Light Novel ga Sugoi (This Light Novel is Amazing) guidebook in 2019. The story is set in a world ravaged by a plague-like wind that caused everything to rust and corrode. Bisco Akaboshi is a mushroom hunter who teams up with a doctor named Milo to hunt down Sabikui, a medicinal mushroom that's said to be a possible cure for the rust, which will also help save Milo's sister from the condition. 

  Via Anime News Network

    -------

Joseph Luster is the Games and Web editor at Otaku USA Magazine. You can read his brand new comic, MONSTER FLIGHT, at subhumanzoids. Follow him on Twitter @Moldilox.

By: Joseph Luster

[moongrogcaweb]

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[aion-rsa]

The French Dispatch Review: Wes Anderson’s Love Letter to Journalists

https://ift.tt/eA8V8J

There’s a line early on in Wes Anderson’s The French Dispatch that will surely make any room full of journalists howl in amusement. Sitting at his desk, and under the typical kind of droll bewilderment we associate with Anderson heroes, Bill Murray’s editor of the film’s eponymous magazine exclaims, “She was told to turn in a few hundred words. This story is 14,000!”

Anyone who’s ever worked in a newsroom can feel seen by a throwaway line like that. Which is of course by design since Anderson’s new film exceeds being simply a love letter to the press; it’s a fawning portrait of adoration for the printed word in general, and The New Yorker in particular. Because in spite of the film’s intentionally embellished setting in Anderson’s current home of France, The French Dispatch, as both a fictional periodical and a film, is a painstaking recreation of the real wit and urbane conviviality we associate with that magazine. It’s a film filled with human interest stories, quizzical languor, and the occasional earnest epiphany. It also isn’t afraid to run long.

However, as with many an issue of The New Yorker, some of its stories will generate a naturally greater interest than others, which can be more of a bug than a feature when Anderson’s publication is also trying to build a larger, cohesive narrative through its many vignettes and storytelling cul-de-sacs.

Beyond the interstitial (and occasionally interluding) grind of daily life at the Dispatch, Anderson’s 10th film is primarily a triptych depicting the insulated world of Ennui-sur-Blasé, a fictional grand old city that’s as stereotypically French as that name implies. It was there that Arthur Howitzer Jr. (Murray) moved as a young man in the early 20th century, convincing his Kansas newspaperman father that the folks on the great plains needed monthly reports from the South of France. Quickly nurturing one of the most cosmopolitan reputations out of the Midwest, Howitzer’s The French Dispatch is a titan of prestige by the 1970s—which is when the film’s latest issue, with the articles that comprise our film’s vignettes, is going to print.

Among those stories are “The Concrete Masterpiece” by J.K.L. Berensen (Tilda Swinton), an art critic who’s turned the life story of psychopathic murderer, but brilliant artist, Moses Rosenthaler (Benicio Del Toro and Tony Revolori at different times in his life) into a bemusing treatise on the war between art and commerce. Meanwhile Frances McDormand’s Lucinda Krementz guides us through “Revisions to a Manifesto,” and her questionable reporting and support of a student uprising led by the young Zeffirelli (Timothée Chalamet) who is outraged, OUTRAGED!, that he is not allowed into his school’s female dormitories. Finally, Roebuck Wright (Jeffrey Wright) provides the strangest review to ever come out of food criticism when “The Private Dining Room of the Police Commissioner” turns into an unlikely kidnapping and hostage scenario.

Ever a visual perfectionist, Anderson imbues The French Dispatch with so many sumptuous sequences that it is probably his most decadent feast for the eyes to date. The film continues the adroit compositions and perfect symmetrical lines of his previous work, but it also attempts to surpass it. Recall The Life Aquatic scene where Anderson creates a life-sized diorama of all the rooms on Murray’s ship? I counted at least two sequences in Dispatch that did the same, including with a similarly bisected airplane. And remember the storytelling significance between the shifting aspect ratios in The Grand Budapest Hotel? Every “story” in The French Dispatch plays even more ambitiously with that trick while also throwing in punctuation marks of color or animation in its otherwise largely black and white, 4:3 presentation.

The French Dispatch truly does appear to be Anderson’s most richly composed film in the sense that nearly every frame is so densely populated with details and subtle visual quips that only when folks have the ability to pause the film will half of them become discernible. For Anderson’s longtime fans, it’s luxuriant—to the point of hedonism.

However, the way it feeds its essentially anthological storytelling structure proves much more cluttered.

The film’s wrap-around narrative about the Dispatch itself is Anderson at his most whimsical and familiar; it is therefore unlike most anthology films in that I suspect the film’s bookends will be most viewers’ favorite bits. But other than one other brief amuse-bouche of an “essay”—the Owen Wilson-led short, “The Bicyclist,” which is essentially a table-setter—the dry whimsy usually associated with the filmmaker is mostly supplanted by a more wistful melancholy befitting Ennui’s name.

That marriage between light and dark, and absurd and dreary, works best in “The Concrete Prison” when Del Toro’s self-loathing modern art painter and his obsession over his muse/prison guard Simone (Léa Seydoux) is sardonically juxtaposed with the lustful capitalism of Julian Cadazio (Adrien Brody), who is the businessman who makes Moses an internationally sought after artist. The pure cynicism in the tale, and the way Cadazio plainly demands “a double standard” be applied to a great artist who may have “accidentally” decapitated a bartender, is only complemented by the vignette’s flashes of color and anamorphic framing whenever Moses’ art is viewed onscreen. Beauty drowning out rapacity.

It’s a concept strong enough that it could’ve easily been a feature-length Anderson film. And yet, by contrast, “Revisions of a Manifesto,” barely has enough gas to sustain its less than 30 minutes of floorspace. That article’s similar experiments with color and form, and even French New Wave influences, feel more arbitrary than inspired, with the resolution ultimately reading as glib. In this way, the whole film suffers from being Anderson’s most detached and remote work to date. To be sure, it is as personal a tale as any for the filmmaker, with it not being hard to imagine the Texan-born child of the ‘70s growing up in his own American heartland backyard and dreaming of cosmopolitan living through episodic narratives arriving each week in the latest issue of The New Yorker.

But perhaps for that reason, the only characters with any genuine sympathy and emotional resonance are a few of the journalists, particularly Murray’s editor and Wright’s final essayist, who’s off-the-record conversations with the boss give the movie some fledgling pathos. There are overarching themes, of course, about the sanctity of art and narcissism of youth, but in a slighter work it becomes fairly muddled.

But even as a minor experience in the director’s oeuvre, The French Dispatch is still a worthwhile one: a treat to discover in the mailbox for those already subscribing to Anderson’s catalogue (myself included). It’s just for this issue, the illustrations buoy articles that you might’ve otherwise skimmed.

The French Dispatch premieres at the New York Film Festival on Oct. 2. It opens in the U.S. and UK on Oct. 22. 

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The post The French Dispatch Review: Wes Anderson’s Love Letter to Journalists appeared first on Den of Geek.

from Den of Geek https://ift.tt/3l0hTiT

[otakunews01]

Hataraku Saibou TV anime Teaser PV. Airs July 2018 (David Production). 

Key Visual

Kenichi Suzuki (JoJo's Bizarre Adventure, Drifters) is directing the anime at David Production, and Yuuko Kakihara (Tsuki ga Kirei, Persona 4 The Animation) is in charge of series composition, and both Suzuki and Kakihara will pen the scripts. Takahiko Yoshida (Welcome to the NHK, Yowamushi Pedal) is designing the characters and is also credited as chief animation director, while Kenta Mimuro is credited as cell character designer, prop designer, and animation scene animation director. Keiko Tamaki is credited for sub-character design. Kenichiro Suehiro (Re:Zero, Girls' Last Tour) is composing the music at MAYUKO.

Other staff include:

Art Setting: Yoshihiro Sono, Koji Hashiguchi

Art: Atelier PLATZ

Color Setting: Aiko Mizuno

Director of Photography: Yuki Oshima

3D CG Director: Yutaka Nakajima

Editor: Kiyoshi Hirose (editz)

Sound Director: Jin Aketagawa

Sound Production: MAGIC CAPSULE

Produce: Yuma Takahashi

Animation Producer: Go Wakamatsu

Production: Aniplex, Kodansha, David Production

[jamesspringfield-blog1]

2001 Space Odyssey – Filmic Silence

Intro

Filmmakers must learn to use sound and music to enhance scenes. Part of this toolkit is filmic silence (the absence of sound). Filmic silence is contrasting tool. Strong in moments where we expect music to swell, where its absence draws our attention deeper.

“Silence can be the loudest of noises, just as black, in a brilliant design, can be the brightest of colors.” Quote from Alberto Cavacanit (Bihl, 2017, page 13)

The focus of this paper will be filmic silence. I will analyze how 2001: A Space Odyssey (1968) by director Stanley Kubrick uses filmic silence in the Hal server room scene.

Silent Films, Photoplay and Cue Sheets

Silent films were accompanied first by improvisational music, photoplay music, cue sheets and finally the Vitaphone system. Books like Motion Picture Moods (1924) and Encyclopedia of Music for Picture (1925) by Erno Rapee proves combining image with sound to invoke the intended emotional via narrative cueing has always been important to filmmakers. With this context, the absence of sound becomes a tool, just like music.  

Importance of Emotion

Walter Murch presents a concept in his book In the Blink of an Eye called the Rule of six. It’s a priority table to be used to inform the decisions of a film-editor. Do not sacrifice item one for item two and so on down the list, in hopes that this will improve the overall film.

Since emotion, music and sound is so intertwined, and if we trust the theory, being able to master the aspect of sound has huge implication for the rest of a film as a product.  

Composition and Structure

In music, a verse naturally leads into a chorus, so must calm moments be followed by intense sequences, creating a roller coaster of emotional experience. In the classic Omaha Beach scene from Saving Private Ryan the intensity is broken up with sudden dips into the water, where most of the sound disappears, allowing audiences small breaks in between the intense action. The editing must fit the overall composition of the film in question.

2001 Space Odyssey executes on the same idea, but on the broader scale. The moments before the reveal of Black monoliths are revealed are always calm, but slowly the music ramps up. It continuously builds up to an uncomfortable climax which ends in abrupt silence. The intensity needs its opposite to fit the composition. A low followed by a high followed by a low again; almost like the three-act structure, but on a smaller scale.

Hal and David Bowman

Another toolkit available to a filmmaker is color-palette. Its equivalent in sound design is called sound-palette. 2001: A Space Odyssey is dynamic in its overall soundscape, however, the scenes with Hal are sparce and muted. There’s mostly ambient sound and dialogue, making the scenes with Hal feel heavily diegetic. The audience and the characters hear the same thing, only the ambience changes according to the room the shot is in. Drawing our attention to the details of the dialogue and the subtlety of the character acting.

The filmic silence reaches its apex as the character David Bowman begins dismantling Hal. Usually, this would be the moment where the score swells as the dual between Hal and David commences. Yet, all we hear is David’s breath, the gas travelling in his suit and Hal’s pleading. Drawing us ever closer to David who is limited on oxygen in a claustrophobic environment, and sadness upon seeing and hearing an entity lose its sense of self, one memory module after another. Hal’s voice becoming deeper as the waveform of his voice gets stretched to indicate his slipping mind, because a longer waveform means lower frequency. The volume of the gas in David’s suit rises as the scene climbs towards its climax, slowly dissipating, but never completely towards the end of the scene.

Astronauts are trained to be calm in disastrous situations. The filmic silence is the perfect touch from Kubrick to demonstrate and characterize David’s silent determination. It also serves to enhance the audience’s relationship to David. So, when David is in that server room, the audience is right there with him. As Hal begins to sing, there’s no triumphant words to the villain, just a somber sadness as Hal slowly dies.

Part of removing film score is add realism to the scene in question. This is important to remember compositionally because Kubrick contrast an hour of emotional realism with Hal with 20 minutes if surrealism that could be a paper all its own.

Conclusion Using sound to enhance the intended emotion has been a goal since silent films and mastering Murch’s Rule of Six is key in creating connection between audience member and filmmaker.

“I found out that silence really isn’t that noticeable for a person that isn’t embedded in sound” – (Bihl, 2017, page 26)

Filmic silence is then negative space, meaning whatever else is on screen becomes ever more important. Kubrick demonstrates this by using filmic silence to characterize, show realism, add humanity to a machine and enhancing the focus on the tiniest details of dialogue and subtlety of the character’s actions. The lack of narrative cueing strengthens the moments independence. So, “Less is more”.

Literature list: V Renée. (2016, Nov 30) 6 'Rules' for Good Cutting According to Oscar-Winning Editor Walter Murch, https://nofilmschool.com/2016/11/6-rules-good-cutting-according-oscar-winning-editor-walter-murch https://nofilmschool.com/sites/default/files/styles/article_superwide/public/walter_murch.png?itok=_nV0M7BM

Erik Bihl. (2017) The captivating use of silence in film: How silence affects the emotional aspect of cinema, https://www.diva-portal.org/smash/get/diva2:1114407/FULLTEXT02

Jourdan Aldredge. (2017, Aug 24) Understanding the Importance of Silence in Filmmaking, https://www.premiumbeat.com/blog/importance-silence-filmmaking-projects/

Sideways. (2019, May 31) How Silent Films Invented the Soundtrack, https://www.youtube.com/watch?v=gUTlUFrJai8

Erno Rapee. (1924) Motion Pictures Moods (warning; large PDF), https://www.sfsma.org/ARK/22915/motion-picture-moods/

Erno Rapee. (1924) Encyclopedia of Music for Pictures, http://www.sfsma.org/ARK/22915/rapees-encyclpoedia-of-music-for-pictures/

[recentanimenews]

High School Prodigies Have It Easy Even in Another World - Crunchyroll Fall 2019 Spotlight

  New to Crunchyroll's Fall 2019 Simulcast Lineup is High School Prodigies Have It Easy Even in Another World! The Project No. 9 adaptation of the light novel series written by Riku Misora and illustrated by Sacraneco is coming soon, so read on for a complete breakdown. 

    Navigation

Launch Info

Official Trailers

Synopsis

Characters and Cast

Staff

Additional Info

    Launch Info

Launch Time: Fall 2019

Territories: Worldwide ex. Asia

  Official Trailers

    Synopsis

Seven high school students are involved in an airplane crash. When they woke up, they found themselves in a parallel world where magic and beastmen exist. Of course, they panicked at their sudden unexpected predicament... or not? Instead, they create a power plant in a world that doesn't have electricity, they did a little extra work and managed to take economic control over a metropolis, they managed to repay their gratitude to some oppressed citizens by upending a corrupt government, and basically do whatever they feel like?!

  You probably guessed by now, but these high school kids aren't normal. They are all high school prodigies who stood at the top of the fields of politics, economics, science, and medicine.

  This is an otherworldly revolutionary tale featuring the Earth's dream team of individuals with superior intellect and technology being thrown into a world where super technology doesn't exist.

Characters and Cast

  Tsukasa Mikogami

VA: Yusuke Kobayashi (Subaru Natsuki in Re:Zero − Starting Life in Another World)

Ringo Oohoshi

VA: Rina Hidaka (Silica/Keiko Ayano in Sword Art Online)

  Shinobu Sarutobi

VA: Natsumi Hioka (Kotoha in Mitsuboshi Colors)

  Keine Kanzaki

VA: Hisako Kanemoto (Ikamusume in Squid Girl)

    Aoi Ichijo

VA: Sayaka Kaneko (Aiko in Idol Time PriPara)

    Prince Akatsuki

VA: Shizuka Ishigami (Stella in Vermillion in Chivalry of a Failed Knight)

    Masato Sanada

VA: Junji Majima (Kimihito Kurusu in Monster Musume)

    Riruru

VA: Yuuki Kuwahara (Kaguya Shirayuri in Aikatsu Friends!)

    Winona

VA: Mai Nakahara (Nagisa in Clannad)

  Elk

VA: Hiro Shimono (Conny in Attack on Titan) 

  Rue

 VA: Chinami Hashimoto (Chiyo in Prison School)

  Jeanne du Leblanc

VA: Sayaka Senbongi (Madoka in Ahiru no Sora) 

    Oslo El Gustav

 VA: Jouji Nakata (Kirei in Fate/Zero)

  Staff

  Director

Shinsuke Yanagi (The Ryuo's Work is Never Done!)

  Series composition

Deko Akao (Noragami)

  Character designer/Chief animation director

Akane Yano (The Ryuo's Work is Never Done!) 

Sound Production

Bit Promotion

  Sound Director

Satoshi Motoyama

  Music Production

Pony Canyon

  Producer

Dreamshift

Animation production

Project No.9 (The Ryuo's Work is Never Done!)

  Additional Info

  The original High School Prodigies Have It Easy Even In Another World! light novels are published in Japan by SB Creative under their GA Bunko imprint, and an English language version is also available from Yen Press. 

  Volume 1 cover:

     Official website

Twitter

    -------

Joseph Luster is the Games and Web editor at Otaku USA Magazine. You can read his webcomic, BIG DUMB FIGHTING IDIOTS at subhumanzoids. Follow him on Twitter @Moldilox. 

By: news+feed@crunchyroll.com

[deniscollins]

As Climate Disasters Pile Up, a Radical Proposal Gains Traction

If you were on a Congressional advisory committee, would you recommend that the government invest millions of dollars to study solar climate intervention or solar geoengineering, which entails reflecting more of the sun’s energy back into space — abruptly reducing global temperatures in a way that mimics the effects of ash clouds spewed by volcanic eruptions: (1) Yes, (2) No? Why? What are the ethics underlying your decision?

As the effects of climate change become more devastating, prominent research institutions and government agencies are focusing new money and attention on an idea once dismissed as science fiction: Artificially cooling the planet, in the hopes of buying humanity more time to cut greenhouse gas emissions.

That strategy, called solar climate intervention or solar geoengineering, entails reflecting more of the sun’s energy back into space — abruptly reducing global temperatures in a way that mimics the effects of ash clouds spewed by volcanic eruptions. The idea has been derided as a dangerous and illusory fix, one that would encourage people to keep burning fossil fuels while exposing the planet to unexpected and potentially menacing side effects.

But as global warming continues, producing more destructive hurricanes, wildfires, floods and other disasters, some researchers and policy experts say that concerns about geoengineering should be outweighed by the imperative to better understand it, in case the consequences of climate change become so dire that the world can’t wait for better solutions.

“We’re facing an existential threat, and we need to look at all the options,” said Michael Gerrard, director of the Sabin Center for Climate Change Law at the Columbia Law School and editor of a book on the technology and its legal implications. “I liken geoengineering to chemotherapy for the planet: If all else is failing, you try it.”

On Wednesday, a nonprofit organization called SilverLining announced $3 million in research grants to Cornell University, the University of Washington, Rutgers University, the National Center for Atmospheric Research and others. The work will focus on practical questions, such as how high in the atmosphere to inject sunlight-reflecting aerosols, how to shoot the right size particles into clouds to make them brighter, and the effect on the world’s food supply.

Kelly Wanser, SilverLining’s executive director, said the world is running out of time, and protecting people requires trying to understand the consequences of climate intervention. She said the goal of the work, called the Safe Climate Research Initiative, was “to try to bring the highest-caliber people to look at these questions.”

The research announced Wednesday adds to a growing body of work already underway. In December, Congress gave the National Oceanic and Atmospheric Administration $4 million to research the technology. NOAA will also start gathering data that will let it detect whether other countries start using geoengineering secretly. And Australia is funding experiments to determine whether and how the technology can save the Great Barrier Reef.

“Decarbonizing is necessary but going to take 20 years or more,” Chris Sacca, co-founder of Lowercarbon Capital, an investment group that is one of SilverLining’s funders, said in a statement. “If we don’t explore climate interventions like sunlight reflection now, we are surrendering countless lives, species, and ecosystems to heat.”

One way to cool the earth is by injecting aerosols into the upper layer of the atmosphere, where those particles reflect sunlight away from the earth. That process works, according to Douglas MacMartin, a researcher in mechanical and aerospace engineering at Cornell University whose team received funding. “We know with 100 percent certainty that we can cool the planet,” Dr. MacMartin said in an interview.

What’s still unclear, he added, is what happens next.

Temperature, Dr. MacMartin said, is a proxy for a lot of climate effects. “What does it do to the strength of hurricanes? What does it do to agriculture yields? What does it do to the risk of forest fires?”

To help answer those questions, Dr. MacMartin will model the specific weather effects of injecting aerosols into the atmosphere above different parts of the globe, and also at different altitudes. “Depending on where you put it, you will have different effects on the monsoon in Asia,” he said. “You will have different effects on Arctic sea ice.”

Another institution getting money as part of the new initiative is the National Center for Atmospheric Research in Boulder, Colo., which is funded by the National Science Foundation and has what its researchers call the world’s most sophisticated earth system model.

The grant from SilverLining will pay for the center to run and analyze hundreds of simulations of aerosol injection, testing the effects on weather extremes around the world. One goal of the research is to look for a sweet spot — the amount of artificial cooling that can reduce extreme weather events, without causing broader changes in regional precipitation patterns or similar impacts.

“Is there a way, in our model world at least, to see if we can achieve one without triggering too much of the other?” said Jean-Francois Lamarque, director of the center’s Climate and Global Dynamics laboratory.

NOAA is starting its own research into solar geoengineering. And in August, the agency announced that it would begin measuring aerosol levels in the stratosphere, creating a baseline so the agency can tell if those levels change later.

One of the advantages of having that information, according to Troy Thornberry, a research scientist at NOAA who studies atmospheric composition and chemical processes, is that it would let NOAA determine if aerosol levels increase — a sign that some other country may be intentionally injecting aerosol without announcing it.

Injecting aerosol into the stratosphere isn’t the only way to bounce more of the sun’s rays back into space. The Australian government is funding research into what’s called “marine cloud brightening,” which is meant to make clouds more reflective by spraying saltwater into the air. The goal is to get salt particles to act as nuclei in those clouds, encouraging the formation of many small water droplets, which will increase the brightness of the clouds.

Australian researchers say they hope the technique can save the Great Barrier Reef. Rising water temperatures during so-called marine heat waves are accelerating the die-off of the reef, and making marine clouds more reflective may be able to cool water temperatures enough to slow or stop that decline.

In March, Daniel Harrison, a biological oceanographer at Southern Cross University in Australia, tested the technology by using 100 nozzles to spray water into the air.

“The results were quite encouraging,” Dr. Harrison said in a phone interview. One of the challenges, he said, will be using the technology on a large enough scale to make a difference. He estimated it would probably take 500 to 1,000 stations such as barges or platforms spraying water, or a smaller number of moving vessels, to cover the entire reef.

The University of Washington is also working on marine cloud brightening and was another recipient of a SilverLining grant. Sarah Doherty, program manager for the university’s Marine Cloud Brightening project, said the challenge would be building spray nozzles that consistently produce the right size particles. between 30 and 100 nanometers, and finding ways to prevent them from sticking together.

The project aims to understand how the clouds respond, and also predict the regional and global climate response. Dr. Doherty said her team hoped to field-test the spray system in the next 12 to 18 months.

“The whole idea of the research we’re doing,” she said, “is to make sure you don’t go out and inadvertently change things in a way that’s going to cause damage.”

[bhanupratapsinger-blog]

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[wigmund]

From NASA Image of the Day; April 19, 2017:

The Arrhythmic Beating of a Black Hole Heart

At the center of the Centaurus galaxy cluster, there is a large elliptical galaxy called NGC 4696. Deeper still, there is a supermassive black hole buried within the core of this galaxy.

New data from NASA’s Chandra X-ray Observatory and other telescopes has revealed details about this giant black hole, located some 145 million light years from Earth. Although the black hole itself is undetected, astronomers are learning about the impact it has on the galaxy it inhabits and the larger cluster around it.

In some ways, this black hole resembles a beating heart that pumps blood outward into the body via the arteries. Likewise, a black hole can inject material and energy into its host galaxy and beyond.

By examining the details of the X-ray data from Chandra, scientists have found evidence for repeated bursts of energetic particles in jets generated by the supermassive black hole at the center of NGC 4696. These bursts create vast cavities in the hot gas that fills the space between the galaxies in the cluster. The bursts also create shock waves, akin to sonic booms produced by high-speed airplanes, which travel tens of thousands of light years across the cluster.

This composite image contains X-ray data from Chandra (red) that reveals the hot gas in the cluster, and radio data from the NSF's Karl G. Jansky Very Large Array (blue) that shows high-energy particles produced by the black hole-powered jets. Visible light data from the Hubble Space Telescope (green) show galaxies in the cluster as well as galaxies and stars outside the cluster.

Astronomers employed special processing to the X-ray data to emphasize nine cavities visible in the hot gas. These cavities are labeled A through I in an additional image, and the location of the black hole is labeled with a cross. The cavities that formed most recently are located nearest to the black hole, in particular the ones labeled A and B.

The researchers estimate that these black hole bursts, or “beats”, have occurred every five to ten million years. Besides the vastly differing time scales, these beats also differ from typical human heartbeats in not occurring at particularly regular intervals.

A different type of processing of the X-ray data reveals a sequence of curved and approximately equally spaced features in the hot gas. These may be caused by sound waves generated by the black hole’s repeated bursts. In a galaxy cluster, the hot gas that fills the cluster enables sound waves – albeit at frequencies far too low for the human hear to detect – to propagate.

The features in the Centaurus Cluster are similar to the ripples seen in the Perseus cluster of galaxies. The pitch of the sound in Centaurus is extremely deep, corresponding to a discordant sound about 56 octaves below the notes near middle C. This corresponds to a slightly higher (by about one octave) pitch than the sound in Perseus. Alternative explanations for these curved features include the effects of turbulence or magnetic fields.

The black hole bursts also appear to have lifted up gas that has been enriched in elements generated in supernova explosions. The authors of the study of the Centaurus cluster created a map showing the density of elements heavier than hydrogen and helium. The brighter colors in the map show regions with the highest density of heavy elements and the darker colors show regions with a lower density of heavy elements. Therefore, regions with the highest density of heavy elements are located to the right of the black hole. A lower density of heavy elements near the black hole is consistent with the idea that enriched gas has been lifted out of the cluster’s center by bursting activity associated with the black hole. The energy produced by the black hole is also able to prevent the huge reservoir of hot gas from cooling. This has prevented large numbers of stars from forming in the gas.

A paper describing these results was published in the March 21st 2016 issue of the Monthly Notices of the Royal Astronomical Society and is available online. The first author is Jeremy Sanders from the Max Planck Institute for Extraterrestrial Physics in Garching, Germany.

NASA's Marshall Space Flight Center in Huntsville, Alabama, manages the Chandra program for NASA's Science Mission Directorate in Washington. The Smithsonian Astrophysical Observatory in Cambridge, Massachusetts, controls Chandra's science and flight operations.

Read More from NASA's Chandra X-ray Observatory. For more Chandra images, multimedia and related materials, visit: http://www.nasa.gov/chandra

Editor: Lee Mohon

[otakunews01]

Akane Shimizu's Hataraku Saibou manga will be receiving a TV anime adaptation. Airs July 2018 (David Production). 

PV

Kenichi Suzuki (JoJo’s Bizarre Adventure, Drifters) is directing the anime at David Production, and Yuuko Kakihara (Tsuki ga Kirei, Persona 4 The Animation) is in charge of series composition, and both Suzuki and Kakihara will pen the scripts. Takahiko Yoshida (Welcome to the NHK, Yowamushi Pedal) is designing the characters and is also credited as chief animation director, while Kenta Mimuro is credited as cell character designer, prop designer, and animation scene animation director. Keiko Tamaki is credited for sub-character design. Kenichiro Suehiro (Re:Zero, Girls’ Last Tour) is composing the music at MAYUKO.

Other staff include:

Art Setting: Yoshihiro Sono, Koji Hashiguchi

Art: Atelier PLATZ

Color Setting: Aiko Mizuno

Director of Photography: Yuki Oshima

3D CG Director: Yutaka Nakajima

Editor: Kiyoshi Hirose (editz)

Sound Director: Jin Aketagawa

Sound Production: MAGIC CAPSULE

Produce: Yuma Takahashi

Animation Producer: Go Wakamatsu

Production: Aniplex, Kodansha, David Production

[automaticvr]

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[cambridgewritersworkshop]

For those writers, editors, and lit fans traveling to the 2020 AWP Conference (March 4-7) in San Antonio, TX this week, come stop by the Cambridge Writers’ Workshop’s AWP Bookfair Table at T2164! Also, check our CWW Creative Director Rita Banerjee’s panel “Dismantling the White Imagination: On Intimacy in Creative Nonfiction” featuring our Summer in Paris Nonfiction Faculty David Shields on Saturday, March 7 from 9-10:15 am in Room 205, Henry B. González Convention Center, Meeting Room Level (San Antonio, TX).

Course registration for our 2020 Spring in New Orleans Writing Retreat (March 19-22) and Summer in Paris Writing Retreat (July 16-21) is now live! Apply by March 10 for our NOLA Retreat and May 30 for our Paris Retreat on cww.submittable.com.

Our 2020 award-winning faculty includes essayist David Shields, playwright Stephen Aubrey, poet Diana Norma Szokolyai, and poet and essayist Rita Banerjee. 

Join the Cambridge Writers’ Workshop for our offsite reading at Rosella Coffee House (203 E Jones Ave, Suite 101) in San Antonio, TX! Featured readers include Rita Banerjee, Madeleine Barnes, Alex Carrigan, Kristina Marie Darling, Charlene Elsby, Adilene Hernandez, Tim Horvath, Samuel Kóláwọlé, Rachel Kurasz, and Mari Pack! Come celebrate with a gorgeous night of poetry, fiction, nonfiction, and speculative writing!  More info on the reading & featured authors below!

  Featured Readers:

Rita Banerjee is the Executive Creative Director of the Cambridge Writers’ Workshop and editor of CREDO: An Anthology of Manifestos and Sourcebook for Creative Writing (C&R Press, May 2018).   She is the author of the poetry collection Echo in Four Beats (Finishing Line Press, March 2018), which was nominated for the 2019 Lenore Marshall Poetry Prize at the Academy of American Poets, featured on the Ruth Stone Foundation podcast, and named one of Book Riot’s “Must-Read Poetic Voices of Split This Rock 2018”, and was selected by Finishing Line Press as their 2018 nominee for the National Book Award in Poetry.  Banerjee is also the author of the novella “A Night with Kali” in Approaching Footsteps (Spider Road Press, 2016), and the poetry chapbook Cracklers at Night (Finishing Line Press, 2010).  She is the co-writer and co-director of Burning Down the Louvre (2020), a documentary film about race, intimacy, and tribalism in the United States and in France.  She received her doctorate in Comparative Literature from Harvard and her MFA in Creative Writing from the University of Washington, and she is a recipient of a Vermont Studio Center Artist’s Grant, the Tom and Laurel Nebel Fellowship, and South Asia Initiative and Tata Grants.  Her writing appears in the Academy of American Poets, Poets & Writers, PANK, Nat. Brut., The Scofield, The Rumpus, Painted Bride Quarterly, Mass Poetry, Hyphen Magazine, Los Angeles Review of Books, Electric Literature, VIDA: Women in Literary Arts, AWP WC&C Quarterly, Queen Mob’s Tea House, Riot Grrrl Magazine, The Fiction Project, Objet d’Art, KBOO Radio’s APA Compass, and elsewhere. She is the Director of the MFA in Writing & Publishing program at the Vermont College of Fine Arts and an Associate Scholar of Comparative Literature at Harvard.  She is currently working on a novel, a book on South Asian literary modernisms, and a collection of lyric essays on race, sex, politics, and everything cool.  Her writing is represented by agents Jeff Kleinman and Jamie Chambliss of Folio Literary Management.

Madeleine Barnes is a poet and visual artist from Pittsburgh living in Brooklyn. She is a doctoral fellow at CUNY’s Ph.D. Program in English, and the recipient of a New York State Summer Writers Institute Fellowship, two Academy of American Poets prizes, and the Princeton Poetry Prize. Her second chapbook, Light Experiments, is forthcoming from Porkbelly Press this year, and her protest embroideries were recently featured in Boston Accent Lit. She serves as Poetry Editor at Cordella Magazine.

Alex Carrigan is an associate editor with the American Correctional Association. He has edited and proofed the anthologies CREDO: An Anthology of Manifestos and Sourcebook for Creative Writing (C&R Press, 2018) and Her Plumage: An Anthology of Women’s Writings from Quail Bell Magazine (2019). He has had fiction, poetry, and media reviews published in Quail Bell Magazine, Life in 10 Minutes, Realms YA Fantasy Literary Magazine, Mercurial Stories, Lambda Literary Review, Stories About Penises (Guts Publishing, 2019) and the forthcoming anthologies Closet Cases: Queers on What We Wear (Et Alia Press, 2020) and Whale Road Review (Summer 2020). He currently lives in Alexandria, VA.  

Kristina Marie Darling is the author of thirty books, including Look to Your Left: The Poetics of Spectacle (University of Akron Press, 2020); Je Suis L’Autre: Essays & Interrogations (C&R Press, 2017), which was named one of the “Best Books of 2017” by The Brooklyn Rail; and DARK HORSE: Poems (C&R Press, 2018). Her work has been recognized with three residencies at Yaddo, where she has held both the Martha Walsh Pulver Residency for a Poet and the Howard Moss Residency in Poetry; a Fundación Valparaíso fellowship; a Hawthornden Castle Fellowship, funded by the Heinz Foundation; an artist-in-residence position at Cité Internationale des Arts in Paris; three residencies at the American Academy in Rome; two grants from the Whiting Foundation; a Morris Fellowship in the Arts; and the Dan Liberthson Prize from the Academy of American Poets, among many other awards and honors. Her poems appear in The Harvard Review, Poetry International, New American Writing, Nimrod, Passages North, The Mid-American Review, and on the Academy of American Poets’ website, Poets.org. She has published essays in The Kenyon Review, Agni, Ploughshares, The Gettysburg Review, Gulf Coast, The Iowa Review, and numerous other magazines. Kristina currently serves as Editor-in-Chief of Tupelo Press and Tupelo Quarterly, an opinion columnist at The Los Angeles Review of Books, and a contributing writer at Publishers Weekly.

Charlene Elsby, Ph.D., is the Philosophy Program Director at Purdue University Fort Wayne. Her first novel, HEXIS, was published by CLASH Books. Her second novel, AFFECT, is forthcoming with The Porcupine’s Quill.

    Adilene Hernández is a queer, Latina writer and educator with roots in Atlanta, GA. She earned her B.A. in Creative Writing from Knox College, and she aspires to continue her studies through an M.F.A. program. She is an alumna of the Winter Tangerine Workshop and Cambridge Writers’ Workshop. She is currently at work on her first two novels, both of which focus on family ties and identity in the Latinx culture.

              Samuel Kọ́láwọlé was born and raised in Ibadan, Nigeria. His work has appeared in AGNI, Gulf Coast, Washington Square Review and Consequence amongst other literary journals. Samuel was a finalist for the 2018 Graywolf Prize for Africa and winner of the 2019 Editor-Writer Mentorship Program for Diverse Writers. His fiction has been supported with fellowships, residencies, and scholarships from the Norman Mailer Centre, International Writing Program at the University of Iowa,  Columbus State University’s Carson McCullers Center for Writers and Musicians, Clarion West Writers Workshop, Wellstone Centre in the Redwoods California, and Island Institute. Samuel was educated at the University of Ibadan, Nigeria and holds a Master of Arts degree in Creative Writing with distinction from Rhodes University, South Africa and an MFA in Writing and Publishing at Vermont College of Fine Arts, USA. His debut novel The Road to Salt Sea is forthcoming from Amistad/Harper Collins.

        Rachel Kurasz is a PhD student at Northern Illinois University where she is studying rhetoric/composition and Graphic Novels/Comic Books.  Rachel earned her MFA in Creative Writing from Roosevelt University under the guidance of Christian TeBordo and Kyle Beachy. Rachel also was a Fall 2017 AWP writer to writer under mentor Laura Creedle.  Rachel is currently querying and writing her first graphic novel series entitled “weirdos”.

  Mari Pack is a poet and writer from the suburbs of Washington, D.C. She has an MA from the University of Toronto, and is a current MFA candidate at Hunter College.

        We look forward to seeing you at AWP 2020!

Join the Cambridge Writers’ Workshop at AWP 2020!! For those writers, editors, and lit fans traveling to the 2020 AWP Conference (March 4-7) in San Antonio, TX this week, come stop by the…

[melodramatic--blog]

GOD’S KINGDOM | FILM

**Dim the lights, click fullscreen and pop on a pair of good headphones for the full theatrical experience.

GOD’S KINGDOM | Short Film

Jack and Ella travel alone, taking the path less trodden. Dishevelled and dirty they keep away from people, towns and cities, off the grid. They are hiding and on the run, but from what and why?

QUOTES

Ian Durkin – Vimeo Staff Pick Curator – “Gripping short. Great production.”

Rob Munday – Directors Notes / Short of the Week – “Your work never fails to impress.”

Luke Rodriguez – Modern Horrors – “We all know that genre producers love turning these things into features, and God’s Kingdom is practically begging for it.”

MGDSQUAN – Horror Society – “Hollywood will come banging on his door one day, I guarantee you”

Jay Creepy – Severed Cinema – “His eye for pacing and detail grows along the way to be nothing short of awesome.”

Jack Bottomley – UK Film Review – “Soulsby has delivered a most interesting film and I can only pray we shall see more good things on the horizon.”

FILM FESTIVALS

Imagine Film Festival, Amsterdam

BIFFF – Brussels International Fantastic Film Festival

Grimmfest, Manchester

CPIFF – Crystal Palace International Film Festival

Shorts on Tap, London

The Royal Television Society Awards, West of England – Winner Best Composer and Best Sound

CAST

Alistair Petrie – (Rogue One: A Star Wars Story, Rush, The Night Manager) Anthony Flanagan – (The Terror, Versailles, Red Riding: The Year of our Lord 1974) Mark Wingett – (Quadrophenia, Snow White and the Huntsman, The Bill) Paul Hurstfield – (Dead Man’s Shoes) Jack Johns – (Call the Midwife, Maigret Sets a Trap) Robert Goodman – (Gangs of New York, Joan of Arc) Rod Glenn – (Ripper Street, American Assassin, The Hippopotamus) Amanda Foster – (Die Another Day, Harry Brown, World War Z) Introducing Leah Rhodes

CREDITS

Writer / Producer / Director – GUY SOULSBY Producer – JOE BINKS Director of Photography – NICHOLAS BENNETT 1st AD – TRISTAN HEFELE 1st AD – DAN GIBLING 1st AD – ANDREW POTTER Production Manager – FELIX JUDE WEST Camera Assistant – TOBY ROTHWELL Camera Trainee – JOE SALKEY Art Director – NOAM PIPER Production Sound – RUSSELL EDWARDS Production Sound – STEVIE HAYWOOD Boom Op – THOMAS MARKWICK Wardrobe – SAMMY CORNEILLE SFX Make Up – ROBBIE DRAKE Make Up – JO TURNER Make Up – PAULA J MAXWELL Casting – ANDREW MANN @ FRUITCAKE Casting – MATT ZINA @ THE YORKSHIRE SCHOOL OF ACTING Chaperone – KADY RHODES Armourer – NEIL MOUNTAIN SFX – ROWLEY SFX Runner – MICAH HARBON Runner – JAMES MAZUR Storyboards – JAMES HUSBANDS Catering – MICHAEL KERNALL CATERING Accommodation – BAROLIN FARM GUEST HOUSE Northumbria Cars – PHIL TERNENT Camera Equipment – FOCUS 24 Playback – TAKE TWO FILMS Film Poster – TOM MAC

THE NATIONAL TRUST

Head of Filming and Locations – HARVEY EDGINGTON Visitor Experience & Marketing Manager – ALEXA MORTON Marketing Officer – AIMEE RAWSON

BRADFORD COUNCIL / LEA

Children’s Services – TARA WATSON Children’s Services – TRACEY JEFFREY Children’s Services – NEIL HELLEWELL

IMMANUEL COLLEGE

Head Teacher – MRS TILLER Head Teachers PA – MRS GRAY Pastoral Support Assistant (Attendance) – JUDIE HEANEY

CUT & RUN

Executive Producer – KAYT HALL Producer – MAGGIE McDERMOTT Editor – NICK ARMSTRONG Edit Assistant – MEREL SCHUURMAN

JOGGER STUDIOS

Film Colourist – YOOMIN LEE Digital Compositor – RICHARD HARRIS Digital Compositor – PAVEL IVANOV Digital Compositor – ANDY BROWN Digital Compositor – DAVIDE PASCOLO

UNIT

Executive Producer – KEVIN DOCHERTY Trailer Colourist – SCOTT HARRIS Flame Op – ANDREW CURTIS MCR – ADRIAN THOMAS

AUTOMATIK

Digital Compositor – VIKRAM CHADHA VFX Supervisor – SEBASTIAN BARKER Producer – JENNIFER THOMPSON

STORMBORN STUDIOS

FX TD – GORAN PAVLES

VISUAL EFFECTS

FX Artist – MARTIN MIROLA FX Artist – JOEL LELIEVRE 3D / Digital Compositor – JIMMY LOTARE Digital Compositor – NICHOLAS HURST Digital Compositor – OLIVER NEWBOULD Digital Compositor – ALAN PRADO

ECHOIC AUDIO

Composer – SAM FOSTER Composer – DAVID JOHNSTON Sound Designer – OWEN HEMMING-BROWN

SLATE & ASH

Musical Sound Design – SIMON ASHDOWN Musical Sound Design – WILL SLATER

EVOLUTIONS

Producer – GABRIEL WETZ Rerecording Mixer (Final Mix) – WILL NORIE

FOUND

Executive Producer – MIKE SHARPE

STUDIO OUTPUT

Executive Producer – IAN HAMBLETON

CREDIT SEQUENCE

PUSH VFX

VFX Supervisor, Lighting, Shading & Compositing – PEDRO MOTTA Houdini TD, Additional Lighting and Shading – JOAO AGOSTINHO 3D Modelling – JOAO JACINTO Compositing – DUARTE GANDUM Concept & Pre-vis Development – RICHARD HALLSWORTH

CREDIT MUSIC

Music and lyrics by Michael Malarkey Performed by Michael Malarkey, Kent Aberle, Brandon Bush, Jenn Cornell, Benji Shanks, Kevin Spenser Produced by Michael Malarkey, Brendon Bush and Tom Tapley Recorded and Mixed by Tom Tapley Recorded at The Projector Room, Decatur, GA Mastered by Billy Joe Bowers Courtesy of Cap On Cat Records

Managed by Danny Keir at Sound Diplomacy Likes: 90 Viewed:

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