#subsurface tv

[softestaura]

Bruna Marquezine for Vogue Brasil May 2023 issue photographed by Lufré

[roseverie]

JANUARY INSPO: (sources, in order of appearance shown: the lavalier heart necklace from doubletakeartistry.com.au, film: stealing beauty, givenchy spring 2003, endlesslyloveclub on ig, ngc1961 on ig, cameliafarhoodi on ig, brookelturnbull on ig, subsurface tv body piece, eyeswoon on ig and maria_bernad on ig)

[drainageteam01]

Types of Drainage

Drainage is a vital part of landscape design. It helps prevent soil erosion and protects plants and animals. It’s often out of sight, but it’s crucial to your property’s health.

The components of drainage systems include an outlet at the lower end; a main and submain ditches that collect water and convey it to outlets; and lateral drains, which remove water from the soil. Laterals can be arranged in either a uniform or random pattern.

Main Drains

Located in the deepest part of the pool or spa, main drains are designed to draw water into the recirculating pump. When working properly, this is a simple and effective way to provide drainage solutions.

Pool main drains work off of the suction created by the recirculating pump to suck water through them and into the PVC piping that leads to the skimmers and the pool or spa’s circulation system. Unfortunately, main drains have also been the cause of a fair share of tragedies in swimming pools and hot tubs, including human and animal entrapment deaths.

Because of this, main drains are required to comply with VGB regulations aimed at reducing the risk of entrapment. To do so, they must feature dual suction outlets, a safety vacuum release system, or a suction limiting venting system to break the pressure buildup or limit the amount of suction that can be created when the drain is blocked.

A main sewer line, which is sometimes referred to as a sewage line, is the large-diameter pipe that all your smaller drain lines connect to. Wastewater from your showers, sinks, garbage disposal, and toilets all make their way down these lines to the sewer system or septic tank outside your home. If the main line becomes clogged, all the fixtures within your home will be affected. Often, this is the most obvious sign of a major problem that will require professional plumbing services to resolve.

Mud Drains

A mud drain, or area drain, can be used to help mitigate a muddy paddock problem by channeling surface and subsurface water to another location. They consist of a small underground catch basin with one or more drain pipes. A metal or plastic grate covers the drain in the ground, and the pipe(s) carry runoff water to some termination point-typically a street curb, municipal storm drain, or retaining area.

If a mud drain is not maintained properly, the piping can be blocked by sludge and other materials, which will reduce its efficiency in mitigating muddy conditions. Blocked drains can be flushed using a rubber drain bladder that attaches to a garden hose and when turned on shoots a blast of water into the pipe to dislodge any obstructions.

When constructing your drainage system be sure that the trench has good slope (1% grade or better) to ensure gravity does all of the work of channeling water away. Also be sure to use proper drain fill material. 1-1/2" clean natural round gravel provides the best permeability to allow water to flow freely and minimize blockages.

Be sure to check with your local utilities before starting any digging projects. The locations of buried electrical, telephone and TV cables and gas piping may influence your drainage plan. If you cannot get clearance, consider other drainage solutions such as trenching with Lighthoof.

Inclined Pipes

The inclined pipe is a common particle-conveying structure and is widely used in many industries such as boiler combustion, oil refining and solar thermal power generation. In these systems, the inclined pipe is often equipped with a valve that regulates the particle mass flow rate. During the conveying process, the descending particles oppose gravity by either creating lift and entraining the bubbles (dilute phase) or by sliding friction against the pipe wall (solids phase).

The different characteristics of the flow phenomenon in an inclined pipe-valve system can cause significant pressure fluctuations and severe vibration of the system. The aim of this study was to experimentally investigate the dynamic pressure and displacement features in an inclined pipe under varying particle mass flow rates with different valve positions. The results showed that the downward gas-solid two-phase flow in an inclined pipe could be characterized by three distinct flow patterns: creeping stratified flow, upward channeling flow and dense phase fluidization flow.

Statistical analysis of the interface wave type map reveals that the wavy interface shape is significantly dependent on the inclination and azimuthal angle of the inclined pipe. The interface wave height distribution and the liquid film thickness decrease with increasing inclination angle, while the interfacial waves attain higher amplitudes and lower propagation velocities with inclination. It is also shown that the Limit of Stationary Deposit Velocity increases with the inclination angle.

Subsurface Drains

Drains can provide drainage solutions for a wide range of conditions. The type of drain to use depends largely on the soils in the area being drained. Refer to soil maps available from natural resources or Cooperative Extension Service offices, and dig test pits where necessary.

A properly designed system will provide years of trouble-free operation as long as it is properly planned, constructed, and maintained. The design should be based on the water table level desired and a drainage coefficient, or rate of removal, selected for the field.

The location and spacing of drains depend on the soil types and conditions. In sandy soils, for example, drains should be spaced about 200 to 300 feet apart. In moderately permeable or clay soils, they may be spaced closer together, depending on the drainage coefficient selected.

Each drain should have a proper surface-water inlet, which can be a metal cone grate or a metal mesh, to float debris and protect the bottom of the drain. Inlets should be located on grades sloped away from the field to prevent silt and other materials from building up around them. A sediment trap should be used where water flows into a drain from above.

Each drain should be blinded and backfilled before work is suspended for a day, to protect the drain from damage during the construction process. The drain should be backfilled to a grade that is determined to give it the capacity required for the area being drained. Breathers should be provided to vent the drain and to assure maximum flow.

[cnilocates]

Washington & Oregon States Most Reliable Communication, Tv, Phone, Fiber Optic, And Satellite Utility Locating Service Provider

At C-N-I Locates LTD, we utilize cutting-edge technology to locate communication lines, tv, phone, fiber optics, satellite cables, surveillance systems, security systems, alarm systems, and numerous other utilities with our utility detection services. Locating communications before performing subsurface work is crucial to prevent accidental damage to these vital utility networks. Accurate identification and marking of communication lines, such as phone lines, fiber optic cables, and TV cables, ensure their integrity and uninterrupted service. Read more:- https://cnilocates.com/blog/washington-oregon-states-most-reliable-communication-tv-phone-fiber-optic-and-satellite-utility-locating-service-provider/

[wishing-for-release]

hiii!

last song: achilles come down by gang of youths

favorite colour: blue

last book you finished: dune

last tv show i watched: uhhh idk i dont really enjoy watching shows

sweet/spicy/savoury: yes.

relationship status: taken

last thing i googled: subsurface scattering lmao

current obsession: uhhhh no comment

looking forward to: tbh nothing really, im just surviving for now

tags: @tooth-is-very-tired @soontobe-onlyamemory open tags

10 people i’d like to get to know better

tagged by @bubonicbabybell <3

Last song: meat is murder by the smiths

favorite color: orange 🍊

last book i finished: bliss montage

last tv show i watched: supernatural (s12)

sweet/spicy/savory: savory? i honestly dont have a preference

relationship status: single

last thing i googled: stardew valley wiki 💀

current obsession: dead poets society + the sims 4

looking forward to: halloween! and nanowrimo

tagging > @laceyc0bwebs @thelifeofagirl @chiiiiiiiiiiiiiii (i have no other mutuals and am lowkey scared to tag people i follow so sorry this is supposed to be 10)

[canmom]

although the tl;dr would probably be: coloured specular highlights are 100% the shit, especially for characters with darker skin tones. whether you’re lighting a film (some recent tv shows figured this out with great results, i recall reading an article) or drawing/painting.

like, skin is shiny! and for lighter skin tones that kind of gets swamped by the big diffuse reflection and subsurface scattering components, but for darker skin tones, the speculars become really important.

also while i’m at it, your shadows usually shouldn’t be the exact same hue as your midtones/highlights. the exact details of how it works realistically are a little complicated (because you take into account the colour of the light source, the average colour of ambient light and ambient occlusion, and the “camera”’s white balance setting)

but a lot of like novice digital artists will just put black shapes with low alpha (no shame! I used to do it that way too), and it turns out you can jump up several rungs of appeal just by picking a shadow colour that is slightly different in hue - slightly bluer, slightly redder, depends what mood you’re going for but probably opposite direction to your highlights.

[spaceexp]

United Launch Alliance Atlas V Rocket Launches with NASA's Mars Perseverance Rover

ULA - Atlas V / Mars 2020 Perseverance Rover launch poster. July 30, 2020

Image above: A United Launch Alliance Atlas V 541 rocket lifts off from Space Launch Complex 41 at Cape Canaveral Air Force Station in Florida on July 30, 2020, at 7:50 a.m. EDT, carrying NASA’s Mars Perseverance rover and Ingenuity helicopter. The rover is part of NASA’s Mars Exploration Program, a long-term effort of robotic exploration of the Red Planet. The rover’s seven instruments will search for habitable conditions in the ancient past and signs of past microbial life on Mars. The Launch Services Program at Kennedy is responsible for launch management. Photo Credit: NASA.

Image above: A United Launch Alliance Atlas V 541 rocket lifts off from Space Launch Complex 41 at Cape Canaveral Air Force Station in Florida on July 30, 2020, at 7:50 a.m. EDT, carrying NASA’s Mars Perseverance rover and Ingenuity helicopter. Photo Credit: NASA.

Mars 2020 launch

Perseverance completes Successful Spacecraft Separation Just over an hour into its flight, Perseverance is now officially on its way to Mars.

Perseverance completes Successful Spacecraft Separation. Image Credits: ULA/NASA TV

A key milestone — spacecraft separation — has taken place. The official call just came in: “And we have successful separation of Mars 2020 with the Perseverance rover.”

Mars 2020 spacecraft separation and acquisition of signal

Perseverance ‘Calls Home’ to Confirm Mars is the Next Stop Today’s final critical milestone — acquisition of signal — has been achieved. In essence, Perseverance has phoned home to let us know it’s officially on the way to Mars. “This signifies that JPL’s (NASA’s Jet Propulsion Laboratory) deep space network has locked on to the spacecraft, which is on its journey to Mars,” said NASA Launch Manager Omar Baez, from the agency’s Launch Services Program. “Everything appears to be going nominally. Today’s count went beautifully.” Mars Perseverance Mission Overview

Image above: This artist's concept shows the sky-crane maneuver during the descent of NASA's Curiosity rover to the Martian surface. The Mars mission launching in 2020 would leverage the design of this landing system and other aspects of the Mars Science Laboratory architecture. Image Credits: NASA/JPL. The Mars Perseverance rover mission is part of NASA's Mars Exploration Program, a long-term effort of robotic exploration of the Red Planet. The Mars Perseverance mission addresses high-priority science goals for Mars exploration, including key questions about the potential for life on Mars. The mission takes the next step by not only seeking signs of habitable conditions on Mars in the ancient past, but also searching for signs of past microbial life itself.

 Mars Perseverance rover. Image Credits: NASA/JPL-Caltech

The Mars Perseverance rover introduces a drill that can collect core samples of the most promising rocks and soils and set them aside in a "cache" on the surface of Mars. The mission also provides opportunities to gather knowledge and demonstrate technologies that address the challenges of future human expeditions to Mars. These include testing a method for producing oxygen from the Martian atmosphere, identifying other resources (such as subsurface water), improving landing techniques, and characterizing weather, dust, and other potential environmental conditions that could affect future astronauts living and working on Mars.

Diagram Credits: NASA/JPL-Caltech

The mission is timed for a launch opportunity in July/August 2020 when Earth and Mars are in good positions relative to each other for landing on Mars. That is, it takes less power to travel to Mars at this time, compared to other times when Earth and Mars are in different positions in their orbits. To keep mission costs and risks as low as possible, the Mars 2020 design is based on NASA's successful Mars Science Laboratory mission architecture, including its Curiosity rover and proven landing system.

Image above: In February 2021, NASA's Mars 2020 Perseverance rover and NASA's Ingenuity Mars Helicopter (shown in an artist's concept) will be the agency's two newest explorers on Mars. Both were named by students as part of an essay contest. Image Credits: NASA/JPL-Caltech.

Image above: This illustration shows Ingenuity awaiting takeoff on Mars. NASA’s aviation experts in atmospheric flight shared their experience with the helicopter’s designers to help ensure the technology demonstration on the Red Planet will be a success. Image Credits: NASA/JPL-Caltech. Related articles: Jezero Crater, Landing Site for the Mars Perseverance Rover https://orbiterchspacenews.blogspot.com/2020/07/jezero-crater-landing-site-for-mars.html A New Video Captures the Science of NASA's Perseverance Mars Rover https://orbiterchspacenews.blogspot.com/2020/07/a-new-video-captures-science-of-nasas.html 6 Things to Know About NASA's Ingenuity Mars Helicopter https://orbiterchspacenews.blogspot.com/2020/07/6-things-to-know-about-nasas-ingenuity.html 7 Things to Know About the Mars 2020 Perseverance Rover Mission https://orbiterchspacenews.blogspot.com/2020/07/7-things-to-know-about-mars-2020.html For more information about the mission, go to: https://mars.nasa.gov/mars2020/ Mars Perseverance Rover: http://www.nasa.gov/perseverance Images (mentioned), Videos, Text, Credits: NASA/Linda Herridge/James Cawley/NASA TV/SciNews. Best regards, Orbiter.ch Full article

[holythingmilkshake]

Boxing Streams - Reddit

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[winchesterbrotherstan]

Kong: Skull Island- Brothers

Pairing: Eventual Reg Slivko x Irene Conrad Brown (OC)

Jack Chapman x Irene Brown (brother-sister relationship)

James Conrad x Irene Brown (brother-sister relationship)

Summary: An ex-mercenary and his younger adopted sister get themselves into a mess because they want money from the US government

Warnings: cursing, crying, etc

Word Count: 2777

SAIGON, VIETNAM

I caught the ball as it bounced back from the wall. James had gone out for the night, and he refused to let me come with him. It was already enough that he had brought me out to Saigon with him. The hotel room was cramped, with one bed, a wooden chair, and a TV that didn’t work perched atop a large dresser with drawers that only pulled halfway out. James and I kept our stuff in bags anyway. I had finished reading The Time Machine, and only read halfway through The Island of Doctor Moreau because it was rather horrifying. James told me he’d be back rather late, so I was to lock the door and go to sleep at a reasonable time.

I sighed deep as I threw the bouncy ball again, only this time it bounced onto the floor instead of onto the bed. I let it go and rolled onto my stomach. James had been decommissioned for the past week and a half, but he didn’t want to talk much about the war. It was understandable. I had never been to war, but I had seen things as simple as photographs that had shook me to my core. I couldn’t imagine what being out there fighting would be like.

I realized my body was falling asleep while my mind was still running, which was unsurprising. James and I had spent the day exploring the city. He had almost forced me into picking something out from a store, because my birthday was coming up soon. I responded with a cheesy classic.

“All I want is for you to stay home.”

He ate that one up. James had basically been taking care of me since I was barely a teenager. That was when my father married his mom. My father had died a year or two after, and his mother three months after, of grief. I was thirteen by the time that happened, but James was much older. He could’ve taken me to an orphanage or left me on my own. He took me in instead. He joined British Special Forces three years after he brought me to live with him. He was decommissioned two years later, which brings us to today. I had been living basically on my own for that time, but somehow my brother always found a way to make sure I had enough of everything to get by.

I jerked up when I heard the door open.

“You didn’t lock it?” Blue eyes squinted at me.

“I was going to, I promise. I’m not even asleep yet, Jay.” I stifled a yawn.

He gave me a deadpan face, locking both locks on the door as loudly as possible. His face softened as he pushed me over, making room for himself to sit down next to me.

“What’s up?” I could tell something was bugging him.

I felt my heart drop to my stomach. He wasn’t going back to war, was he?

“Irene, listen … you know I’ve been decommissioned.” He trailed off, picking stray hairs off the blanket as he avoided my glances.

“Yeah, and?”

He sighed, contemplating something. I scratched at my finger, increasingly nervous.

“I’ve been offered a job.” He blurted.

I looked up. Why was he so slow about telling me that?

“Where?” I heard the weak sense of betrayal in my own voice.

He looked up to meet my eyes. I felt like I was on the verge of holding back tears as he stuttered.

“A-ah-an island. An uncharted island in the South Pacific.” He averted his gaze back down.

I paused before speaking, more aggressive than I wanted to be. “You’re ex-special forces, what do they need you for? Who even needs you?”

He sighed. “It’s a group of scientists, Ire. Look, they need me to be their tracker, essentially. It’s only supposed to take a week, and I could leave you wi-”

“No.” I stopped him, feeling my own face contort into one of despair.

“Irene.” He raised an eyebrow at me.

“You did not already say yes.” I felt the tears well in my eyes.

His face mirrored mine, sadness and what was probably regret on his features.

“Jay, you’ve only been back a week, and you’re leaving again?” I cried.

“Irene, I didn’t think it would upset you so much.” He pulled me to him, hugging me.

I slumped against him and whimpered. If he was going, he was taking me with him. I would guilt him into it if I had to.

“Irene, I’m so sorry.” He mumbled, rubbing circles on my back.

I curled up tighter. “James, please don’t leave me.”

“Bitsy, I-I…” He trailed off.

I pulled back far enough to look up at him.

“Take me with you.” I urged with tear-stained cheeks.

He met my eye, which was a mistake on his part. I frowned again, letting my shoulders drop. He sighed through his nose before finally breaking.

“Fine. I’ll tell them you’re good with jungles and animals.” He let his hand drop on the bed.

“And?” I smiled a little.

“And that we’re a package deal.” He narrowed his eyes at me.

“Thank you, thank you, thank you!” I threw myself at him, hugging him tightly.

He hugged back with a grunt, taken off guard by my excitement.

“We’re leaving in a few hours, so pack up whatever’s lying around.”

I finally pulled away from the hug, ready to shove my toothbrush and two books into the bag.

“And the island might be extremely dangerous. So when we get there, stick to me, okay?” He was serious about that part, because he grabbed my hand and practically made me promise.

I nodded. “Okay.”

He broke into a smile. “Now pack and get some sleep, I have a feeling you aren’t going to like the plane ride.”

BANGKOK, THAILAND

“James Conrad. This is my younger sister Irene. I need her skill for the biological aspect of tracking.” James spoke to the blond man in a Landsat uniform.

“Oh, no. You can’t bring her with you.” The man answered rather snarky.

“I don’t think you understand. We’re a package deal. If she can’t go, you don’t get me.” James reached back to grab my hand, which I gladly gave with a squeeze.

The man eyed me before sighing. “Fine, whatever. You take responsibility for her.”

James scoffed. “Of course I will. She’s my sister.”

The man rolled his eyes, but James just pulled me past, pushing me ahead of him and holding onto my hand.

“Jay, I don’t know which way we’re going.” I mumbled back over my shoulder.

He pointed ahead, “Follow the soldiers.”

I caught sight of who he was talking about, the group of tall men dressed in army green. I followed loosely, but I stopped when they did. I looked back at James, then to the man that was standing at the start of the boat’s ramp.

James took my hand again, this time leading the way. I stood off to his side as we waited for the men to finish talking to him. As they began to walk away, and James approached the man, one of their hats fell to the ground. I bent down to pick it up before the wind could take it away. I realized how close I was to the guy who’s hat it was once I stood up. I bit my lip, suddenly anxious.

“Here.”  I pushed the hat in his direction.

He grinned toothily before taking it. “Thank you, miss.”

I felt my cheeks heat up, but I was sure that he couldn’t see considering it was dark and he was at least half a foot taller than me.

“Slivko, stop flirting with the girl and get! We’ve got things to do!” The man that James had been talking to yelled.

The guy, who was more likely my age than actually a man, winked before scampering off, following the rest of the army men. James pulled on my wrist, breaking my attention.

“You’ve just gotta stick with me, but other than that Colonel Packard over there don’t care that you’ll be joining us.” He explained.

I nodded, following him up the ramp and avoiding the glare of the colonel.

                                                            ***

I leaned against the same wall James leaned against. I scratched at my wrist, uncomfortable around all the Landsat people and the soldiers. I wasn’t sure what we were waiting on, and the loud cranking of the projector in the middle was making my skin crawl. James noticed this, and ruffled my hair.

“This should only take a few minutes, and it’s just a briefing. After this you can hole yourself up in the room if you want to.”

I scoffed and pushed his hand off, narrowing my eyes at him. “I don’t want to hole myself up. I’m just a little antsy.”

“Almost done, Bitsy.” He motioned at the man who had taken his place at the front of the room.

“Hello and welcome. I’m Landsat Field Supervisor, Victor Nieves.” He had an awkward posture, but smiled anyway as he pointed to the blond guy from earlier.

“This is my colleague Steve Woodward, our data wrangler.” There was a light chuckle from the Landsat team, but James remained stoic and I noticed a few soldiers roll their eyes.

The projector cranked again. “Our expedition takes us to a place every nautical trade route known to man has avoided for centuries.”

An image of an island popped up, shaped somewhat like a skull.

“As our satellites show, the island is surrounded by a perpetual storm system, allowing it to remain hidden from the outside world.”

That doesn’t sound right.

I felt James shift his posture, but my eyes remained on the projections as they changed.

“But with Colonel Packard’s helicopter transport, we will be the first to break through to the other side.”

My eyebrows furrowed. This sounded very much like something out of a twisted horror movie.

“We’re also pleased to be joined, for the first time, by the resource exploration team, led by Mr. Randa and accompanied by biologist Miss San and geologist Mr. Brooks.”

“Aren’t those the guys that hired you?” I whispered over my shoulder at James.

“Yeah.” He whispered back, eyes still narrowed.

He didn’t like this either.

Nieves continued, “Our focus will be on the island’s surface, theirs, what lies beneath. Mr. Brooks.”

The man with glasses stepped up to the front of the room.

“Simple, really. We’ll use explosions to shake the earth and create vibrations, helping us to map the subsurface of the island.”

The projection changed again.

“We’ll fly in over the south shore and then strategically drop seismic charges to better help us understand the density of the Earth.”

I hadn’t exactly gone through any type of geological science in high school, but I understood the words “seismic charges” and it raised some concern.

“You’re dropping bombs?” James spoke up.

All eyes turned to him, including mine. I would’ve never actually spoken aloud in a room full of people, but James didn’t care. And I trusted him to make sure things were safe before getting involved.

“Mmm.. S-scientific instruments.” Mr. Brooks countered.

“You hear that, boys? We’re scientists now.” A voice called from the rows of soldiers.

Even though he was sitting low in his chair, I could tell it was the one that had dropped his hat earlier.

Slivko, I think?

The soldiers laughed, but the Landsat people didn’t seem amused. I’m sure James would have laughed, had Mr. Brooks not dodged his question about the bombs.

“You guys are not scientists.” Steve muttered.

I rolled my eyes.

“We’ll then land and make basecamp for ground excursions led by Mr. Conrad and Miss Brown.” Nieves gestured our way.

I glanced up at James. He met my eyes, his face softer now. I shot a face at him, one screaming “I am definitely not a tracker!!” He only shook his head.

“Major Jack Chapman.” Nieves stepped aside.

My eyes snapped up.

Before my father had married James’s mother, he had dated a few women. One of those women had been Elise Chapman. They dated for a few years, during the prime of my childhood. Her son Jack had become my best friend. My dad moved me away after a few years, never really telling me what had happened between them. Jack and I would write each other letters, but after a few years he stopped answering. I hadn’t talked to Jack in two years.

But here he was now, about to tell us whatever it was he had to tell us about this possibly lethal island.

He stepped up and took the pointer from Houston, “All right, once on this island-” he caught my eye.

I shivered, seemingly unable to pull my eyes away. James clasped a hand onto my shoulder. He knew all about Jack, just like he knew about every detail of my life.

Jack snapped himself out of it and started talking again.

“Once on the island, the storm’s interference will block all radio contact with the ship. That means we’ll be by ourselves.”

The projector again. I swallowed hard.

“Three days later, the refuel team will meet us here on the North end of the island. That may be our only safe departure window for an unknown period of time.” He glanced back my way.

“So, tip for everybody. Don’t miss it. Please.” His eyes came back around, but it seemed that James caught him this time.

Jack looked away, and he didn’t look back again.

                                                           ***

“James, where are you going?” I asked as he turned to leave the room.

“I want to check something out. Why don’t you stay here, catch up with Chapman?” He tried to pull himself from my grip.

“James, I haven’t seen him since I was a kid.” I grabbed at his wrist again.

He sighed and faced me, hands on my shoulders. “It’ll be okay.”

I bit down hard and closed my eyes, sighing hard through my nose.

“Okay.” My voice was quiet.

“I’ll see you up in the room later?” He patted my cheek.

I nodded, slowly letting go of his wrists.

“Be careful.” I mumbled.

He kissed my forehead. “Of course, you too.”

I heard someone clear their throat from behind me. I breathed hard before turning myself around.

“Hey Irene.” Jack stood there, a gentle smile on his face.

I looked up at him. “Hey, Jack.”

“How’re you, kid?”

I broke into a grin, unsure of what else to say. He gingerly pulled me into a hug.

“I missed you, ya know.”

I hugged back, nodding even though I knew he couldn’t see it. “I missed you too.”

“Colonel told us ‘Conrad’, but I didn’t even think it could be your brother.” Jack finally pulled away, hands on my shoulders.

I only shrugged. “I didn’t exactly think I’d see you here either.”

He chuckled and shook his head. “You haven’t grown since you were twelve, have you?”

“Shut up.” I shoved him, laughing.

We both quieted down quickly. I sighed, twiddling with my fingers.

“How’s Billy?” I asked. Last time Jack had written to me, Billy was four years old.

Jack perked up at the mention of his son. “He’s doing good. Gracie’s sent me a few photographs. I can show you later if you’d like. He looks just like his momma.” He gushed.

“Well I would hope so. Jack, you’re uglier than a dog. I would feel bad if the poor kid looked like you.”

It was a teasing lie, of course. Jack was what I considered pretty, with dark hair that he always styled up at the front, tiny freckles that you could only see if you were close enough, and eyes that switched between shades of green like nobody’s business.

He narrowed his eyes at me. I narrowed mine right back before breaking out into another fit of laughter. He messed my hair up.

“Where’d your brother go? I was planning on introducing myself.” He hesitated on the word brother, but forced it out anyways, looking around the room.

I wasn’t exactly about to tell him that James had gone to snoop around the ship, so I just shrugged again.

“Not sure, he told me I should stay and talk to you. I don’t really think you need to formally introduce yourself, though. He knows all about you.”

Jack nodded. “I see. Do you wanna meet the rest of the boys? I’ve got a feeling they’ll just love you.” He extended his hand to me.

I smiled and took it. “Sure.”

Previous: N/A

Next: Photographs and Flirts

[softestaura]

Beanie Boylston wearing ‘The Butterfly Effect’ Subsurface knit dress

[grinning-tiger]

TV Animation and the Outsourcing Model on Fast & Furious: Spy Racers

Over the past year I had the amazing opportunity to work at DreamWorks TV Animation! Production for CG TV series has been quite different than working as an artist on specific movies or shows due to the team here at DreamWorks TV acts as a hub and uses an outsourcing model, like most TV studios, to get the work done. Most of the work is outsourced to Canada and Asia (India, Taiwan, Korea, and Thailand as a few) so the work is more akin to being a lead or a manager instead of doing specific shot work.

Unlike our big feature film counterparts, TV budgets tend to be smaller. Maybe this comes from a past history of where cartoons are thought of as shows just for children and thus doesn’t need the higher quality? Maybe it is just because TV shows go on for so long it is unsustainable for each episode to have feature quality and the budget has to last for the entirety of however long the show is first planned? Nonetheless, DreamWorks TV has started to question that notion of if TV has to be low budget and low quality forever and if it can be pushed forward. A lot of the preconceived notions of the quality of CG TV shows were that the texturing tends to be simpler, hair is just painted geometry, no subsurface, simple lighting, and subpar animation. I was pleasantly surprised to find that, while not quite at feature quality then, DreamWorks TV shows such as Madagascar, Boss Baby, Puss in Boots, and Kung Fu Village have started to go that extra step. There are actual hair curves, grass, and even skin shaders with subsurface! That was already all in the past though. After recently just turning 5 years old, DreamWorks TV wants to take the step even further and produce an even higher quality tier of shows. Thus, entering Fast & Furious: Spy Racers and later on Jurassic World: Camp Cretaceous.

Working with outsourcing studios has been a very different pipeline as it is somewhat more akin to being a lead. A lead for a large group of people very far away and probably will never see. We generally don’t light shots in house and instead do a lot of front-end work such as look and feel reviews and approvals, technical reviews, and master lighting key characters, the transits, and sets. We figure out what the lighting style of the show is, such as the light angles, colors, intensities, and shadow softness for all different times of days and scenarios (day, morning, night, sunset, twilight, overcast, lights on, lights off, alarm, rave party, etc). There are a lot of episode and each episode has a lot of shots so it is not quite possible to shot light everything from scratch. Instead we build light rigs and create presets (for both Maya and Nuke) so that our overseas studios will have something to start from. When the director says a shot should have a certain time of day’s lighting, such as Day or NightLightsOn, the shot artist can pick it out from the presets saved in our tools and automatically apply the values for all the different lights to get the specific preapproved look. The presets should help take the shot to about 80% - 90% complete and the last percentages will be shot finaling and the last beautifications.

That was just the fun art part. In addition to being a lighting and compositing artist, I was also assigned to be a point person on the show, giving me more responsibilities. At DreamWorks TV, in addition to each show team, we have a HUB department that functions as a central area supporting all the shows. I’ve helped out on The Epic Tales of Captain Underpants and Dragons: Rescue Rider for example. Being a point person means being assigned to a specific show and being the liaison between the HUB department and the show’s team. We do things such as reviewing work the comes in from the overseas studios, run the reviews of internal assets with supervisors, go to model pack and tech check meetings with the other departments, and solve technical issues that come up with the oversea studios.

Here is some of the assets that I was responsible for that showed up in the first season! Lit a lot of characters, cars, and sets, and did some R&D for the hologram effect of the spy watches and build a Nuke gizmo that can be used repeatedly.

[nsduo]

Kevin just watching a little tv. I wanted to practice perspective with this, but when I started coloring, I thought it would be a challenge to practice subsurface scattering (in his ear). Really proud of how this turned out.

[jingle-bones]

Movie number 59: The Neptune Factor aka The Neptune Disaster (Daniel Petrie, 1973). Bearing an uncanny resemblance to Hanna-Barbera’s 1972 animated tv series Sealab 2020, The Neptune Factor is a underwater adventure with an all star(ish) cast.

Subsurface research base Oceanlab is hit by an undersea earthquake, damaging the lab and leaving crew members stranded. Project head Walter Pidgeon enlists the help of submarine captain Ben Gazzara and chief diver Ernest Borgnine along with scientist Yvette Mimieux to survey for damage and rescue any survivors. However, the Oceanlab now lies at the bottom of an ocean trench and all manner of menacing sea creatures stand (swim?) between it and the rescue team.

Although partly filmed in the sea off Nova Scotia and in the Caribbean, it would appear that most of the trick photography was achieved in a studio; the effects are a mix of obvious model work and blown up footage of marine life. Edited in such a way that it is never completely convincing that men and monsters inhabit the same plane, as such, any sense of excitement that these sequences should have generated is lost.

Despite which, I feel it would be unfair to label the movie a total wreck. The earthquake scenes are impressive and Ernest Borgnine is always worth watching. As a whole, I did enjoy it but found parts of it rather dull, largely due to Daniel Petrie’s uninspired direction and a Jack DeWitt script which is short on thrills. This, more than anything, proves to be the movie’s undoing.

In an attempt to cash in on the then current craze for disaster movies the film was retitled The Neptune Disaster in some territories. However, it feels much closer to schlocky 70’s sci-fi than to the disaster genre. Sadly, The Neptune Factor is one of those movies where the poster art is more impressive than the actual movie; an ambitious underwater sci-fi ultimately waterlogged by a pedestrian screenplay and average special effects.

[polarisdownloads]

3d max free models

Texture assignment/editing 3ds Max offers operations for creative texture and planar mapping, including tiling, mirroring, decals, angle, rotate, blur, UV stretching, and relaxation Remove Distortion Preserve UV and UV template image export. Improved memory management in 3ds Max 2008 enables larger scenes to be imported with multiple objects. DWG import 3ds Max supports both import and linking of. NET managed code in 3ds Max outside of MAXScript. Added in 3ds Max 2008, it was the first component to facilitate. Scene Explorer has the ability to sort, filter, and search a scene by any object type or property (including metadata). Scene Explorer Scene Explorer, a tool that provides a hierarchical view of scene data and analysis, facilitates working with more complex scenes. These "Biped" objects have other useful features that help accelerate the production of walk cycles and movement paths, as well as secondary motion. This tool also includes robust editing tools for IK/FK switching, Pose manipulation, Layers and Keyframing workflows, and sharing of animation data across different Biped skeletons. The system works using a character rig or "Biped" skeleton which has stock settings that can be modified and customized to fit the character meshes and animation needs. Character Studio Character Studio was a plugin which since version 4 of Max is now integrated in 3ds Max it helps users to animate virtual characters. Plugin modules can be created entirely within MAXScript. Windows 7, Windows 8, Windows 8.1 and Windows 10įeatures MAXScript MAXScript is a built-in scripting language that can be used to automate repetitive tasks, combine existing functionality in new ways, develop new tools and user interfaces, and much more. Windows 98 (only 3dsmax 5) Windows 2000 and Windows XP When it was re-released (release 7), the product was again branded with the Autodesk logo, and the short name was again changed to "3ds Max" (upper and lower case), while the formal product name became the current "Autodesk 3ds Max". Later, the product name was changed to "3ds max" (all lower case) to better comply with the naming conventions of Discreet, a Montreal-based software company which Autodesk had purchased. It was released by Kinetix, which was at that time Autodesk's division of media and entertainment.Īutodesk purchased the product at the second release update of the 3D Studio MAX version and internalized development entirely over the next two releases. This version was also originally created by the Yost Group. After 3D Studio DOS Release 4, the product was rewritten for the Windows NT platform, and renamed "3D Studio MAX". The release of 3D Studio made Autodesk's previous 3D rendering package AutoShade obsolete. The original 3D Studio product was created for the DOS platform by the Yost Group, and published by Autodesk. 4.2 NURBS (Non-Uniform Rational Based-Splines).For its modeling and animation tools, the latest version of 3ds Max also features shaders (such as ambient occlusion and subsurface scattering), dynamic simulation, particle systems, radiosity, normal map creation and rendering, global illumination, a customizable user interface, new icons, and its own scripting language. It is also used for movie effects and movie pre-visualization. It is frequently used by video game developers, many TV commercial studios, and architectural visualization studios. It has modeling capabilities and a flexible plugin architecture and must be used on the Microsoft Windows platform.

It is developed and produced by Autodesk Media and Entertainment. English, German, French, Brazilian Portuguese, Japanese, Chinese, KoreanĪutodesk 3ds Max, formerly 3D Studio and 3D Studio Max, is a professional 3D computer graphics program for making 3D animations, models, games and images.

[paleogenetica]

Cap 159 : Expertos no aceptan Pinturas de Edad del Hielo en Colombia

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Los Colombianos somos muy dados a creer en Cosas absurdas y utópicas, Teorías fantasiosas y especulativas sin ninguna base fáctica. Vivimos en un Mundo como “Pantagruel y Gargantúa”. Unos Gigantes buenos pero graciosos y ridículos que inventó el Francés François Rabelais 1483-1553  quien vivió su Niñez y Adolescencia oyendo hablar de los Descubrimientos contemporáneos y asombrosos de Cristóbal Colón. Y se burló de Europa y del Clero y de los Monjes, con Fantasías de Hadas, Duendes, Objetos Mágicos y Locura.

Aquí en Colombia no nos falta sinó el Barón de Munchaussen para que le creamos todas las Mentiras. Como dice el Experto en Rock Art Jeff LaFave en esta Página y en el Video, hay mucha “Hype e Hipérbole” con la Edad de Hielo de las Pinturas de la Amazonia Colombiana.

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Expertos muy serios en el Mundo del Arte Rupestre y lo que llaman en Inglés “Rock Art” no tragan entero las Declaraciones de “Edad del Hielo” o Final del Pleistoceno y Comienzo del Holoceno para las Pinturas Rupestres en Acantilados de la Amazonia Colombiana ( Farallones del Chiribiquete en Departamento del Guaviare ). Los Expertos extienden la Duda a mucho del Arte Rupestre de América Latina.

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De un importante Website sobre Pintura Rupestre saco Imágenes y traduzco mal traducido Retazos de Texto.

También vea el Largo pero muy fructífero Video de Jeff LaFave en la Parte de Abajo de esta Página. Jeff LaFave quiere mucho a Colombia y es Amigo de esta Nación, pero este gran Experto Conferencista y Profesor de Arqueología no puede aceptar la “Hype e Hipérbole” de adscribir Fechas de “Edad de Hielo” a unas Pinturas sin haberle aplicado Pruebas de Laboratorio de Física Avanzada, de gran Análisis y Seriedad.

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Mission Statement:

The American Rock Art Research Association (ARARA) is a diverse community of members with wide-ranging interests who are dedicated to rock art preservation, research, and education in order to communicate to a broad audience the significance of rock art as a non-renewable resource of enduring cultural value and an important expression of our shared cultural heritage.

ARARA has held its annual conferences in Arizona, California, Colorado, Nevada, Montana, New Mexico, Oregon, Texas, Utah, Wisconsin, Wyoming, and Idaho, and in Casas Grandes, Mexico, and Winnipeg, Manitoba. Among ARARA's publications are American Indian Rock Art containing papers from the annual conferences, the quarterly newsletter La Pintura, and occasional papers or monographs. The Archaeological Research Institute at Arizona State University in Tempe, Arizona, houses ARARA’s archives and research library.

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Membership Year 2020 Volume 46, Number 4 December 2020

La Pintura

The Official Newsletter of the American Rock Art Research Association Member of the International Federation of Rock Art Organizations Color Us Skeptical By Amy Gilreath and Ken Hedges

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https://arara.wildapricot.org/resources/Documents/La%20Pintura/LP-46-4.pdf .

Esto se supone que es un Mastodonte, de acuerdo a Entusiastas que adscriben Edad del Hielo a algunas Pinturas de la Sierra del Chiribiquete :

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Esta Imagen que sigue se supone que es un Perezoso Gigante de la Edad de Hielo hace 12,000 Años.

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Los Autores del Artículo en la Revista “La Pintura” consideran que el Fechamiento de Edad de Hielo de un Yacimiento Arqueólogico cercano ( sin Pinturas ) no se puede extender a las Pinturas sobre las Paredes de estos Farallones. Eso es mala Practica condenada universalmente en Arqueología. Y también hay Yacimientos Cerámicos muy cercanos, lo cual sugiere que podrían no ser del Fin del Pleistoceno o Comienzos del Holoceno ( Epoca en la cual estamos ).

También el Arqueólogo Francés Jean Guffroy era muy cauto prudente y moderado Ese gran Antropólogo amaba mucho a los Indígenas y quería una Ciencia muy prudente  y avanzada del Futuro para decider sobre la Antiguedad de esos inmensos Tesoros de Arte del Perú de los que estaba enamorado, Arte que todos envidiamos por su Belleza y Significado desconocido.

Jean Guffroy murió de 64 años de edad. Formado en Europa, Guffroy se especializó en torno a la Prehistoria con Grandes de Francia y estudió mucho a Europa antes de volverse un gran LatinoAmericanista. No le gustaban los Fechamientos y Dataciones del Arte Prehistórico que fueran audaces, locos, aventureros y poco científicos. En Europa aprendió a ser modesto y temperado para luego compartir con los LatinoAmericanos. Era muy generoso y bondadoso con los Alumnos.

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De la Revista “La Pintura” :

If you had previously read ARARA’s March 2020 issue of La Pintura (45[1]:5–9), specifically Jeff LaFave’s article, “2020 Rock Art Travels in Colombia,” some part of this “new” news rang familiar. (Back issues of La Pintura are available to the public on ARARA’s website.) After rereading LaFave’s article, our reply to inquiring friends went something like, “Early last year I read about this rock art concentration and saw photographs of some of these spectacular panels, but I hadn’t heard about it being this old nor about how some of the images are interpreted as extinct megafauna.” 

As described by LaFave, he and several other ARARA members visited the area in January 2020. These panels are in the Serranía La Lindosa mountains, over 100 km north of the massive Chiribiquete National Park, in central Colombia. This is an area increasingly famous for its biodiversity, beauty, and these large-format, mural-like pictograph panels (Figures 1 and 2).

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The internet now has untold iterations of the “new Colombian rock art discoveries.” They invariably tout that “Tens of thousands of ice age paintings across a cliff face shed light on people and animals from 12,500 years ago” (The Guardian, Alberge 2020) and that the rock art “shows how the earliest human inhabitants of the area would have coexisted with Ice Age megafauna, with pictures showing what appear to be giant sloths, mastodons, camelids, horses and three-toed ungulates with trunks” (CNN, Guy 2020).

Our crawl on the internet combined with sources frequently mentioned in the e-media press articles shows that the story was first announced on The Guardian website the morning of November 29, 2020, followed by similar accounts a few hours later on The Daily Mail website, and the next day on the website of The Guardian’s sister paper, The Observer. It was only after the initial announcements in the online tabloids that the University of Exeter issued its official press release on November 30, which repeated and expanded on the claims seen in the popular press. 

The website for ERC—LAST JOURNEY describes it as “an ERC-funded interdisciplinary project that explores Late Pleistocene/Early Holocene human adaptations and impacts across the diverse landscapes of northwest South America.” ERC is the European Research Council, which has an impressive international grants program.

The introductory paragraph for the project (ERC 2020) presents the central thesis for this grant-funded research project: "South America was the final continental migratory challenge of humans on their global expansion. This migration took place amidst one of the most significant climatic, environmental, and subsistence regime shifts in human history—the Late Pleistocene/Early Holocene transition—which contributed to the extinction of megafauna…, plant domestication, and today’s remarkable diversity of indigenous South American groups.”

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Two particularly titillating aspects of the many related articles are the date-frame hung on the beautiful panels, and the interpretation of some of the designs as ice-age megafauna. Each deserves a bit of separate consideration since journalistic re-writes and journalists’ interpretations of archaeological data combined with the 21st-century need for-speed journalism have escalated claims beyond reported facts. As one example, a subsequent post now claims that “The series of vivid drawings were created approximately 12,600 to 11,800 years ago and deliver solid evidence that the Amazon rainforest’s first inhabitants resided beside Ice Age mega-mammals such as the giant sloths, camelids, horses, mastodons, and three-toed  ungulates sporting long trunks” (Spry 2020 [emphasis added]).

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The Date-Frame? We look first at the chrono-stratigraphic data reported by Morcote-Ríos et al. in their 2020 Quaternary International article. AMS radiocarbon dates were obtained from subsurface deposits in three rockshelters test excavated in 2017–2018: 11 dates from Cerro Azul (where a block exposure or trench was excavated), and one each from Cerro Montoya and Limoncillos (each tested with a 1x1 m unit). Of the suite of 13 radiocarbon dates, the two oldest from Cerro Azul, both on charcoal, were rejected, leaving 11 dates, each on an individual seed: nine dates in fair stratigraphic sequence at Cerro Azul, and one from the basal cultural deposit at each of the other two shelters.

 As stated in the abstract, “Contemporary dates at the three separate shelters establish initial colonisation of the region between ~12,600 and ~11,800 cal BP.” That claim alone is a wonderful finding worthy of continued research funding, in our humble opinion. The dirt-archaeology data appear to support intermittent occupation of rockshelters in the region since about 12.6k cal BP. This isn’t unreasonable or particularly shocking; it is in line with a growing body of archaeological findings of early occupations in North and South America, as the authors make clear in numerous citations and in their Figure 2, mapping the location of generally comparably early-dating archaeological sites elsewhere in Colombia.

Morcote-Ríos et al. do not report nor do they even imply that they have a direct date on the rock art, sidestepping an issue that Mark Robinson tackles head-on in the TV documentary: “The one that most people know is carbon dating, but the biggest problem in this, there’s no carbon involved. We’re looking at ochre on those walls. There’s a real problem for us.” The basal date for occupational use of Cerro Azul, 12.2–11.8k cal BP, is from about 105 cm below the surface;  with pottery recovered to a depth of about  75 cm.

The only date from Limoncillos, 12.6–12.4k cal BP, is the basal date for the rockshelter from 136 cm below surface, with pottery recovered to a depth of about 55 cm. Perhaps this is more detail than needed in support of the simple point that each of the three shelters has a substantial ceramic-period deposit. Yet, the temporal relationship between the rock art and the ceramic-period deposits, as well as contemporary indigenous populations’ relationship to the rock art, receive little consideration in the publication or documentary. Cast in a different light, the headlines could read: “Stunning Pictographs Found Associated with Ceramic-Period Rockshelters in Colombia.”

The follow-on interpretation that the rock art is synchronous with the basal dates because a handful of the images are interpreted as Terminal Pleistocene/Early Holocene megafauna species now extinct is, for us, too far of a reach. We keep a healthy amount of skepticism that this body of pictographs is as old as has been claimed, noting first, and most obviously, that many of the pictographic panels remain vivid even though they are in open-air settings in a tropical rainforest jungle (they are, albeit, somewhat protected in the slight overhanging bedrock cliff exposures). In light of these two simple characteristics (bright colors, and their wet, open-air setting), why aren’t they interpreted as a few thousand or even just a few hundred years old?

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https://arara.wildapricot.org/resources/Documents/La%20Pintura/LP-46-4.pdf

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Experto Jeff LaFave recomienda en el siguiente Video datar o fechar las Pinturas Rupestres con estos Métodos de la Física : 

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1) RadioCarbono/AMS = Accelerator Mass Spectrometer - Plasma Oxidation.

2) OSL = Optically Stimulated Luminiscence.

3) Uranium/Thorium ( Thorium 230 ).

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El mejor Sistema para datar Pinturas Rupestres o Petroglifos es acudir a la Física Avanzada. A menos que los Animales mostrados, ya extintos, fueran tan bien representados que no dejaran ninguna duda sobre el Conocimiento de los Indígenas del Animal y la Antiguedad de la Representación.

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The Rock Art of the Serrania La Lindosa, Colombia by Jeff LaFave

ARARA

Presented at ARARA online lecture series on February 13, 2021. Subject: A first-hand account of the extensive, beautiful, and visually overwhelming rock art in the Serranía La Lindosa of Colombia. The talk dispels some of the hyperbolic claims that have gone viral in recent news reporting.

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[dailynewswebsite]

Six space missions to look forward to in 2021

NASA's James Webb telescope mirror present process cryogenic testing. Ball Aerospace/Flickr, CC BY-SA

House exploration achieved a number of notable firsts in 2020 regardless of the COVID-19 pandemic, together with business human spaceflight and returning samples of an asteroid to Earth.

The approaching 12 months is shaping as much as be simply as attention-grabbing. Listed below are among the missions to maintain an eye fixed out for.

Artemis 1

Artemis 1 is the primary flight of the Nasa-led, worldwide Artemis program to return astronauts to the Moon by 2024. It will encompass an uncrewed Orion spacecraft which can be despatched on a three-week flight across the Moon. IT will attain a most distance from Earth of 450,000km – the farthest into house that any spacecraft that may transport people could have ever flown.

Artemis 1 can be launched into Earth orbit on the primary Nasa House Launch System, which would be the strongest rocket in operation. From Earth orbit, the Orion can be propelled onto a special path in the direction of the Moon by the rocket’s interim cryogenic propulsion stage. The Orion capsule will then journey to the Moon beneath the facility supplied by a service module equipped by the European House Company (Esa).

The mission will present engineers again on Earth with an opportunity to guage how the spacecraft performs in deep house and function a prelude to later crewed lunar missions. The launch of Artemis 1 is at present scheduled for late in 2021.

Mars missions

In February, Mars will obtain a flotilla of terrestrial robotic visitors from a number of nations. The United Arab Emirates’ Al Amal (Hope) spacecraft is the Arab world’s first interplanetary mission. It’s scheduled to reach in Mars orbit on February 9, the place it’ll spend two years monitoring the Martian climate and disappearing ambiance.

Arriving inside a few weeks after Al Amal would be the China Nationwide House Administration’s Tianwen-1, consisting of an orbiter and a floor rover. The spacecraft will enter Martian orbit for a number of months earlier than deploying the rover to the floor. If it succeeds, China will change into the third nation to land something on Mars. The mission has a number of targets together with mapping the mineral composition of the floor and looking for sub-surface water deposits.

Nasa’s Perseverance rover will land at Jezero Crater on February 18 and seek for any indicators of historical life which can have been preserved within the clay deposits there. Critically, it’ll additionally retailer a cache of Martian floor samples on board as the primary half in a extremely formidable worldwide program to return samples of Mars to Earth.

Chandrayaan-3

In March 2021, the Indian House Analysis Organisation (ISRO) is planning to launch its third lunar mission: Chandrayaan-3. Chandrayaan-1 launched in 2008 and was one of many first main missions within the Indian house programme. Comprising an orbiter and a floor penetrator probe, the mission was one of many first to verify proof of lunar water.

Sadly, contact with the satellite tv for pc was misplaced lower than a 12 months later. Sadly, there was an analogous mishap with its successor, Chandrayaan-2, which consisted of an orbiter, a lander (Vikram) and a lunar rover (Pragyan).

Artist depiction of the the Chandrayaan-2 lunar mission from India. Raymond Cassel/Shuttestock

Chandrayaan-Three was introduced just a few months later. It can encompass solely a lander and rover, because the earlier mission’s orbiter remains to be functioning and offering information.

If all goes nicely the Chandrayaan-Three rover will contact down within the lunar south pole’s Aitken basin. It’s of specific curiosity as it’s thought to host quite a few deposits of subsurface water ice – an important part for any future sustainable lunar habitation.

James Webb House Telescope

The James Webb House Telescope is the successor to the Hubble House Telescope, however has had a rocky path to being launched. Initially deliberate for a 2007 launch, the Webb telescope is sort of 14 years late and has value roughly US$10 billion (£7.Four billion) after obvious underestimates and overruns just like these skilled by Hubble.

Whereas Hubble has supplied some wonderful views of the universe in seen and ultraviolet area of sunshine, Webb is planning to focus observations within the infrared wavelength band. The rationale for that is that when observing actually distant objects there’ll in all probability be fuel clouds in the way in which.

The galaxy NGC 2275 seen by Hubble. Esa/Hubble & Nasa, J. Lee and the PHANGS-HST Staff;, CC BY-SA

These fuel clouds block actually small wavelengths of sunshine, comparable to X-rays and extremely violet gentle, whereas longer wavelengths like infra-red, microwave and radio can get by means of extra simply. So by observing in these longer wavelengths we should always see extra of the universe.

Webb additionally has a a lot larger mirror of 6.5-metre diameter in comparison with Hubble’s 2.4-metre diameter mirror – important for bettering picture decision and seeing finer element.

The first mission of Webb is take a look at gentle from galaxies on the fringe of the universe which might inform us about how the primary stars, galaxies and planetary methods shaped. Doubtlessly this might embrace some details about the origin of life as nicely, as Webb is planning on imaging exoplanet atmospheres in excessive element, looking for the constructing blocks of life. Do they exist on different planets, and if that’s the case, how did they get there?

We’re additionally more likely to be handled to some gorgeous photos just like these produced by Hubble. Webb is at present scheduled to launch on an Ariane 5 rocket on October 31.

The authors don’t work for, seek the advice of, personal shares in or obtain funding from any firm or organisation that will profit from this text, and have disclosed no related affiliations past their tutorial appointment.

from Growth News https://growthnews.in/six-space-missions-to-look-forward-to-in-2021/ via https://growthnews.in