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Bubbles are ubiquitous, existing in everything from the foam on a beer to party toys for children. Despite this pervasiveness, there are open questions on the behavior of bubbles, such as why some bubbles are more resistant to bursting than others. Now Francois Boulogne and colleagues from the University of Paris-Saclay have taken a step toward answering that question by measuring the temperature of the film surrounding a soap bubble, finding that it can be significantly lower than that of its local environment [1]. The team says that the result could help industrial manufacturers of bubbles better control the stability of their products.

On a sunny day, our bodies cool down by releasing energy into the environment through the evaporation of sweat. Soap films also release energy by losing liquid via evaporation. Researchers studying bubbles have tracked the evaporation of a soap film’s liquid content under different conditions. But those experiments all assumed that the film’s temperature matched that of the environment, an assumption the results of Boulogne and his colleagues challenge.

In their experiments Boulogne and colleagues created a soap bubble from a mixture made of dishwashing liquid, water, and glycerol. They then measured the soap film’s temperature under a variety of environmental conditions. They found that the film could be up to 8 °C colder than the surrounding air. They also found that glycerol content of the soap film impacted this temperature difference, with films containing more glycerol having higher temperatures. Boulogne says that such a large temperature difference could impact bubble stability. But, he adds, further experiments are needed to corroborate that idea.

2023 | Subscribe ➤ https://abo.yt/ki | Cillian Murphy Movie Trailer | Theaters: 21 Jul 2023 | More https://KinoCheck.com/movie/2h6/oppenheimer-2023
The story of J. Robert Oppenheimer’s role in the development of the atomic bomb during World War II.

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Oppenheimer (2023) is the new drama starring Cillian Murphy, Emily Blunt and Robert Downey Jr… Note | #Oppenheimer #Trailer courtesy of Universal Pictures. | All Rights Reserved. | https://amzo.in are affiliate-links. That add no additional cost to you, but will support our work through a small commission. | #KinoCheck®

Note | #Oppenheimer #Trailer courtesy of Universal Pictures. | All Rights Reserved. | https://amzo.in are affiliate-links. That add no additional cost to you, but will support our work through a small commission. | #KinoCheck®

Many of us are guilty of giving up on a game because of a long grind or seemingly insurmountable challenge, but Sony’s latest patent shows the company wants to change that.

Some masochists enjoy the pain of being repeatedly beaten in games like Dark Souls – it’s understandable, overcoming those challenges is a great feeling – but most of us have a breaking point where the power button gets hit and the game just ends up collecting dust on a shelf.

Carmack, known for his work in VR and on classic games like Doom and Quake, is stepping down from his consulting CTO role at Meta.

John Carmack, a titan of the technology industry known for his work on virtual reality as well as classic games like Doom.

Carmack originally joined Oculus as CTO in 2013, after helping to promote the original Oculus Rift prototypes that he received from Palmer Luckey, and got pulled into Meta when the company (then Facebook) acquired Oculus in 2014.


“We built something pretty close to the right thing,” Carmack wrote about the Quest 2. He also said that he “wearied of the fight” with Meta, which is burning billions in its Reality Labs division to build things like VR headsets and software for its vision of the metaverse. Carmack would also write internal posts criticizing CEO Mark Zuckerberg and CTO Andrew Bosworth’s decision making while at Meta, The New York Times reported.

Human-like articulated neural avatars have several uses in telepresence, animation, and visual content production. These neural avatars must be simple to create, simple to animate in new stances and views, capable of rendering in photorealistic picture quality, and simple to relight in novel situations if they are to be widely adopted. Existing techniques frequently use monocular films to teach these neural avatars. While the method permits movement and photorealistic image quality, the synthesized images are constantly constrained by the training video’s lighting conditions. Other studies specifically address the relighting of human avatars. However, they do not provide the user control over the body stance. Additionally, these methods frequently need multiview photos captured in a Light Stage for training, which is only permitted in controlled environments.

Some contemporary techniques seek to relight dynamic human beings in RGB movies. However, they lack control over body posture. They need a brief monocular video clip of the person in their natural location, attire, and body stance to produce an avatar. Only the target novel’s body stance and illumination information are needed for inference. It is difficult to learn relightable neural avatars of active individuals from monocular RGB films captured in unfamiliar surroundings. Here, they introduce the Relightable Articulated Neural Avatar (RANA) technique, which enables photorealistic human animation in any new body posture, perspective, and lighting situation. It first needs to simulate the intricate articulations and geometry of the human body.

The texture, geometry, and illumination information must be separated to enable relighting in new contexts, which is a difficult challenge to tackle from RGB footage. To overcome these difficulties, they first use a statistical human shape model called SMPL+D to extract canonical, coarse geometry, and texture data from the training frames. Then, they suggest a unique convolutional neural network trained on artificial data to exclude the shading information from the coarse texture. They add learnable latent characteristics to the coarse geometry and texture and send them to their proposed neural avatar architecture, which uses two convolutional networks to produce fine normal and albedo maps of the person underneath the goal body posture.

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Japan sold a fully-functional robot suit that doesn’t just resemble a combat mech from a video game, it was able to actually fight like one too. With video games like “Armored Core,” mech fans already have a good idea of what giant fighting robots would be like in real life. One such fan is Kogoro Kurata –- an artist who wasn’t satisfied with leaving that notion to the imagination. Kurata explained that driving these giant robots was his dream, saying it was something the “Japanese had to do” (via Reuters). Unlike some of the coolest modern robots available today, Kurata envisioned a full-sized mech he can actually enter and operate: Something he actually accomplished in 2012.

Christopher Nolan revealed to Total Film magazine that he recreated the first nuclear weapon detonation without CGI effects as part of the production for his new movie “Oppenehimer.” The film stars longtime Nolan collaborator Cillian Murphy as J. Robert Oppenheimer, a leading figure of the Manhattan Project and the creation the atomic bomb during World War II. Nolan has always favored practical effects over VFX (he even blew up a real Boeing 747 for “Tenet”), so it’s no surprise he went the practical route when it came time to film a nuclear weapon explosion.

“I think recreating the Trinity test [the first nuclear weapon detonation, in New Mexico] without the use of computer graphics was a huge challenge to take on,” Nolan said. “Andrew Jackson — my visual effects supervisor, I got him on board early on — was looking at how we could do a lot of the visual elements of the film practically, from representing quantum dynamics and quantum physics to the Trinity test itself, to recreating, with my team, Los Alamos up on a mesa in New Mexico in extraordinary weather, a lot of which was needed for the film, in terms of the very harsh conditions out there — there were huge practical challenges.”

Could video streaming be as bad for the climate as driving a car? Calculating Internet’s hidden carbon footprint.

We are used to thinking that going digital means going green. While that is true for some activities — for example, making a video call to the other side of the ocean is better than flying there — the situation is subtler in many other cases. For example, driving a small car to the movie theatre with a friend may have lower carbon emissions than streaming the same movie alone at home.

How do we reach this conclusion? Surprisingly, making these estimates is fairly complicated.


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