"Zero-Gravity" Is an on-screen artifact.
Article last updated: 6:15 PM Friday, January 12, 2018 Greenwich Mean Time (GMT)
PRESENTS: OUTER SPACE IS NOT A PLACE
It is easy to fake "Outer Space".
From Georges Méliès 1902 "A Trip To The Moon" to Fritz Lang's "Woman In The Moon", to today's feats of international space fakery, outer space was always an imaginary place that could only exist as art. Outer space can only exist on a screen of some kind. Outer space is a myth and an idea. It is not a real place any of us can go to. Outer Space is the result of Hollywood film magic illusion; it is not the result of real demonstrable scientific principle, despite all world-wide governmental and university hype and all the decades of international governmental marketing public relations propaganda to the contrary.
Outer Space is an artifact of a state sponsored secular religious faith that many of us are unconscious adherents of.
(Please excuse the inevitable typo. Auto spell correct is an evil, digital gremlin. AA Morris)
The Magic of Mattes
"Mattes are a very old technique, going back to the Lumière brothers. Originally, the matte shot was created by filmmakers obscuring their backgrounds with cut-out cards. When the live action portion of a scene was filmed, the background portion of the film wasn’t exposed. Once the live action was filmed, a different cut-out would be placed over the live action. The film would be rewound, and the filmmakers would film their new background. This technique was known as the in-camera matte and was considered more a novelty than a serious special effect during the late 1880s. A good early American example is seen in The Great Train Robbery (1903) where it is used to place a train outside a window in a ticket office, and later a moving background outside a baggage car on a train 'set'. Around this time, another technique known as the glass shot was also being used. The glass shot was made by painting details on a piece of glass which was then combined with live action footage to create the appearance of elaborate sets. The first glass shots are credited to Edgar Rogers."
"The first major development of the matte shot was the early 1900s by Norman Dawn ASC. Dawn had seamlessly woven glass shots into many of his films: such as the crumbling California Missions in the movie Missions of California, and used the glass shot to revolutionize the in-camera matte. Now, instead of taking their live action footage to a real location, filmmakers would shoot the live action as before with the cut-out cards in place, then rewind the film and transfer it to a camera designed to minimize vibrations. Then the filmmakers would shoot a glass shot instead of a live action background. The resulting composite was of fairly high quality, since the matte line – the place of transition from the live action to the painted background – was much less jumpy. In addition, the new in-camera matte was much more cost effective, as the glass didn’t have to be ready the day the live action was shot. One downside to this method was that since the film was exposed twice, there was always the risk of accidentally overexposing the film and ruining the footage filmed earlier."
"The in-camera matte shot remained in use until the film stock began to go up in quality in the 1920s. During this time a new technique known as the bi-pack camera method was developed. This was similar to the in-camera matte shot, but relied on one master positive as a backup. This way if anything was lost, the master would still be intact. Around 1925 another method of making a matte was developed. One of the drawbacks of the old mattes was that the matte line was stationary. There could be no direct contact between the live action and the matte background. The traveling matte changed that. The traveling matte was like an in-camera or bi-pack matte, except that the matte line changed every frame. Filmmakers could use a technique similar to the bi-pack method to make the live action portion a matte itself, allowing them to move the actors around the background and scene – integrating them completely. The Thief of Bagdad (1940) represented a major leap forward for the traveling matte and the first major introduction of the bluescreen technique invented by Larry Butler when it won the Academy Award for Best Visual Effects that year, though the process was still very time-intensive, and each frame had to be hand-processed."
"Computers began to aid the process late in the 20th century. In the 1960s, Petro Vlahos refined the use of motion control cameras in bluescreen and received an Academy Award for the process. The 1980s saw the invention of the first digital mattes and bluescreening processes, as well as the invention of the first computerized non-linear editing systems for video. Alpha compositing, in which digital images could be made partially transparent in the same way an animation cel is in its natural state, had been invented in the late 1970s and was integrated with the bluescreen process in the 1980s. Digital planning began for The Empire Strikes Back in 1980, for which Richard Edlund received the Academy Award for his work to create an aerial-image optical printer for combining mattes, though this process was still analog. The first fully digital matte shot was created by painter Chris Evans in 1985 for Young Sherlock Holmes for a scene featuring a computer-graphics (CG) animation of a knight leaping from a stained-glass window. Evans first painted the window in acrylics, then scanned the painting into LucasFilm’s Pixar system for further digital manipulation. The computer animation blended perfectly with the digital matte, something a traditional matte painting could not have accomplished."
"In the modern era, nearly all modern mattes are now done via digital video editing and the compositing technique known as chroma key - a digital generalization of the bluescreen - is now possible even on home computers."
source: https://en.wikipedia.org/wiki/Matte_(filmmaking)#History see also: source: Brothers Auguste and Louis Lumière - Wikipedia
Deus Ex Machina is nothing new.
"The term was coined from the conventions of Greek tragedy, where a machine is used to bring actors playing gods onto the stage. The machine could be either a crane (mechane) used to lower actors from above or a riser that brought actors up through a trapdoor. Preparation to pick up the actors was done behind the skene. The idea was introduced by Aeschylus and was used often to resolve the conflict and conclude the drama. Although the device is associated mostly with Greek tragedy, it also appeared in comedies."
source: Deus ex machina - Wikipedia
green screen wire removal source: Dan Bjork
From the days of the legendary Howard Hughes to today, Hollywood is part of the aerospace-Military industrial complex.
On screen illusions and aerospace marketing hype have long been used as effective national identity building propaganda. We have to believe we need to pay taxes to foot the bill for all the governmental protection we do not really need. This is why things like "Cold Wars" exist in the first place. The world is run as one with governments serving international banking interests and not "We the People" which is nothing but marketing sloganeering. International Space programs exist to build an international sense of pride and identity. Ballistic missile programs exist to keep us believing we need governmental protection in the first place. We are not supposed to suspect that these programs are mythic artifacts and not real. We are not supposed to note the real weaponry is Military grade, Hollywood crafted propaganda.
"Crashing a Zeppelin for Fun (May, 1931)"
"Of course, anyone’s ordinary reasoning power tells one that it was not a full-size, man-carrying Zeppelin that fell from out the skies. But, to believe so, is no more erratic than to believe the know-it-all, wise guy, who tells you in tones of belittlement: “Huh! It was just faked! I know! That was just a toy balloon that they used.” Both beliefs are wrong. It was done by scale model photography. This is not comparable at all to the crude miniature stuff that is injected from time to time in pictures, and which often changes a tragic situation into a comic farce. Nor are scale models employed solely to keep down production cost. The primary purpose is to put across a scene with greater realism and finer photographic values. The use of scale models should not imply belittlement. In producing “Hell’s Angels,” it was entirely within the range of the pocket-book of the producer, Howard Hughes, to buy and to wreck a full-size Zeppelin. But, even so, the film record would not be comparable with that recorded with the use of the scale model. In the latter case, the entire set was under the complete control of the director; the set was lighted to give the best photographic values; close-up shots of the Zeppelin falling in flames and its ultimate crash to the earth were taken with precision; all of which would have been impossible if a full-size airship were used, to say nothing of the hazard to life and property. To produce the Zeppelin scenes, Mr. Hughes gathered about him a staff of the cleverest technicians in the United States. A model Zeppelin was built—an exact replica of a German, wartime dirigible. This was built to a scale of one foot equals one inch. So the model was approximately 60 feet long and 6 feet in diameter. Quite a sizeable “miniature”! Even the framework followed closely the true Zeppelin design."
All on screen "Zero-Gravity" escapades are easily explained with Hollywood-style, industrialized, special effected, magic.
No "outer space" or ballistic missiles following Kepler trajectories, or even parabolic flights, were ever needed.
The International Space Station is as fake as the rest of the International Space Hoax
NASA and the rest of the international space programs are fake. The space programs of the World are part of the long standing propaganda campaign that includes the ballistic missile programs we are supposed to fear. The intercontinental ballistic programs of the World make use of the same Disneyland-Nazi Paperclip propaganda sold as "science". Werner von Braun and company were public relations - Newsreel characters. Their work is nothing but the result of German film special effects wizardry. The V2 missile program is another historical propaganda hoax.
A Propaganda Puppet Show
"Setting up a shot for “The Right Stuff”, model shop supervisor Earle Murphy fits a practical rocket motor into the engine port of a miniature wire-mounted X-1."
"In Fritz Lang’s 1927 classic Metropolis, for example, shots of flying machines soaring over the film’s iconic cityscapes were achieved by mounting miniature planes on taut wires. A similar technique was used in the original King Kong in 1933, for which a tiny squadron of biplanes was inched along its guide wires one painstaking frame at a time."
"Here’s an extract from Ash’s article Substandard Miniature Shots, published in the May 1936 edition of American Cinematographer: I think that by far the most satisfactory way to handle miniature plane shots is to hang the plane from wires, as the professionals do. To begin with, stretch three parallel wires well above the path you want the plane to take: these are strictly for support. From these, hang a little T-shaped wooden framework, on pulleys or eyelets; this supports and guides the plane. From the framework, three wires descend to the plane – one to each wing, and one to the tail.”
"The Right Stuff"
"In the end, a variety of tricks were used to put the magnificent flying machines of The Right Stuff on the screen. Most involved wires and mechanical rigs, enhanced with fan-blown smoke, and photographed using telephoto lenses so that everything looked shot from the hip."
“The three-point suspension prevents the plane from turning or flying sidewise. The supporting wires may be rigidly fixed to the frame for some types of action, but you’ll have more complete control of the model if the wires extend, like puppet-strings, to where someone standing beside the camera can manipulate them, altering the level and the inclination of the plane. With a little practice, you can make the plane land, take off, climb, glide, stall or sideslip, as well as “flying” level.” Wire rigs remained in favour with visual effects artists throughout the twentieth century. Even during the 1980s, after Star Wars had kickstarted the trend of shooting miniatures under computer control in front of bluescreens, there were still people around who preferred to string things up the old-fashioned way – notably the effects team behind the gritty flying sequences seen in the 1983 film The Right Stuff."
"Ever since the dawn of cinema, people have been flying by wire."
image and quotes source: Flying by Wire - Cinefex Blog
'Puppet Show an ISS exposé FUNNY source: Astro Not
NASA Gravity Simulations
"How NASA simulated lunar gravity. Notice at the end how the guy can do twist and roll acrobats."
SIMULATED GRAVITY.flv source: APOLLOREALITY
image source: Superman's Cape Puppeteers : gifs
VIRTUAL REALITY GEAR
image source: NASA Ames VIEWlab VR demo reel 1989 - YouTube
NASA: Developing Virtual Reality since at least 1989
1985: NASA's Virtual Visual Environment Display (VIVED)
"During the '80s and '90s, the public was gripped by VR fever. Computer scientist, writer and former Atari researcher Jaron Lanier popularized the term "virtual reality" (VR) to describe the immersion of one's body and mind in an artificial, three-dimensional space, and a variety of products hit the consumer market aimed at connecting people with this new digital environment. But the federally supported R&D sector was where significant investments were made in practical applications for the technology. NASA's Ames Research Center played host to a VR research project launched by Michael McGreevy in 1985 and within a year it was ready to show off a working prototype of its Virtual Visual Environment Display (VIVED) helmet at CES."
"Key developments in simulated environments can be traced back to 1957, when cinematographer Morton Heilig invented the "Sensorama" booth and "Telesphere Mask," where video, sound, vibration and wind were used to replicate a real-world experience. In 1968, Ivan Sutherland went one step further when he built a head-mounted device using mini CRT displays to produce an immersive graphical simulation. It adjusted the user's view inside a 3D environment according to their head movements in the real world."
1989: 20 Years After Apollo 11 and NASA is interested in (military grade) virtual reality research.
2018: Our Tax Dollars Still Spent On Developing Virtual Reality
image source: GOOGLE search and NASA Langley Aims to Get a Jump on Virtual Reality Growth | NASA
2018: Vicon Computer Controlled Motion & Camera Tracking for Virtual Set Productions
Vicon tracking for virtual set productions source: Vicon YouTube channel.
Modern Publicly Available, Digital Technology Allows For Real-Time, Believable, Virtual and Augmented Reality
Consider what a governmentally backed, military grade, propaganda project, would be capable of. This is how the international space programs fake everything from the safety and convenience of a Hollywood special effects style, green screen, studio; complete with computer motion controlled cameras.
"Zero Gravity" footage can be created with even old school, pre-computer, Hollywood special effect wizardry. A skilled artist with governmental funding is a powerful weapon. A small team of such artists would be capable of impressive visual feats that could only exist on a screen of one kind or another.
Real Time Virtual Reality Today
image source: http://www.vizrt.com/products/viz_virtual_studio/
OUTER SPACE IS NOT A REAL PLACE
Using The Celestial Bodies & Mechanical Clocks To Navigate The World is Science
Using the stars for "predicting" the future or peering into the past is imaginative speculation with little to no basis in reality. Such superstitious musings end up as foundation for religious institutional artifacts and catechisms. A lot of what is sold as modern "science" turns out to be a form of secular state-religion that exists to reinforce National identity narratives and international hope for a future for humanity's colonization and exploration of the stars that will never occur. Huge rockets and claims of being able to achieve Kepler orbits and trajectories are what lie at the basis for the Cold War itself. The same trajectories and imagined ability to precisely place satellites into imagined orbits is the same make believe magical ability governments are supposed to possess to deploy nuclear armed missile with exact navigational guidance. We cannot have a medium for nuclear annihilation without the space programs. The international space programs of the world are an aerospace based propaganda weapon of mass mind destruction. The same hopeful rocketry that is supposed to carry humanity to the eternal promised land of the stars is also the same rocketry that is supposed to be able to devastate the World many times over with nuclear based explosive annihilation. Luckily nuclear weapons appear to be as fake as the rest of the accoutrements of the Cold War that never seems to really end. Nuclear weaponry is as much of a Hollywood-Disney cartoon, on screen hoax as the rest of the international governmental claims of the Oz like Deus Ex Machina power. The governments of the world are a lot weaker than they need or want any of us to realize.
"As an indication of exactly how good the Ptolemaic model is, modern planetariums are built using gears and motors that essentially reproduce the Ptolemaic model for the appearance of the sky as viewed from a stationary Earth. In the planetarium projector, motors and gears provide uniform motion of the heavenly bodies. One motor moves the planet projector around in a big circle, which in this case is the deferent, and another gear or motor takes the place of the epicycle."
source: The Ptolemaic Model
The Fine Art of Wire Removal
Wire Removal source: Mark Fry
Demonstrable ballistic physics shows us why Newton's imaginative orbital musings are wrong. And yes, even parabolic fights seem quite problematic.
relevant article links: Orbits Do Not Exist: Newton Wrong! • Orbits Do Not Exist: The Solar System Model To Scale • Kepler Was A Con Artist: Outer Space is Fake • The Parabolic Flight Hoax: Part One • The Parabolic Flight Hoax Prologue: Cats In Fake Space • Orbits Are Fake Part One: Space Monkeys Meet The Press
(See the above articles for more about this subject. I am currently working on a follow up article that will explore parabolic flights further. Suffice it to say that these flights are integral to the space and ballistic missile programs of the World.)
No "Zero-G" NASA Vomit Comet Style Rides Were Ever Needed In The First Place
Film making magic is the safer and more believable explanation for the feats of the imagination we see on screens. Parabolic flights are problematic. These 20 second to 40 second (depending on the source) rides would not make for environments conducive to the film making process. All advertising Hollywood hype is propaganda. Why bother risking the lives of famous actors, actresses, models and celebrity film makers when the safety of a Hollywood style studio provides the exact environment one needs to do the job effectively, within budget and time constraints? We are supposed to believe that people like Ron Howard, Tom Hanks, Tom Cruise, stage magicians like Penn and Teller, TV gurus like Martha Stewart and even Stephen Hawking needlessly subjected themselves to an unnecessary and costly passenger jet ride. The Hollywood film studio is the place for such feats, not a passenger jet. Hollywood and the aerospace industry have spent decades working with models and creating on screen illusions sold as reality. We have been indoctrinated into believing Military and aerospace marketing sizzle is actual fact. The fact is that Hollywood is one head of the governmental Military Industrial behemoth beast. Most people believe propaganda lies and ignore the real weapon of mass destruction, the mass media propaganda, identity generating noise machine. Ego driven National identities are the result of the "Space Race" and Cold War era propaganda campaign that continues to this day.
There is no logical reason to book a parabolic flight when one can book a safe special effects studio. In the studio one has complete control over the film or video production. This is how real film and real marketing material is made. Parabolic flights make use of a "scientific" explanation that ignores the actual direction of gravitational pull and demonstrable ballistic physics. All the highly edited footage we can view online and on YouTube and even footage that is supposed to be from handheld smart phone, is all easily explained as being the result of Hollywood special effect techniques. There is nothing in any of the videos that we cannot easily explain with special effects and stage magic style illusion work. Computers make crafting such imagery easier than ever before. The parabolic flight itself is another 1950's Cold War era artifact that continues along with the space programs, to this day. Parabolic flights are derived from the same Walt Disney emptied Operation Paperclip scientists that brought the world the outer space and ballistic missile hoaxes themselves. One of the fathers of the legendary parabolic flight, Heinz Haber, would go on to sell Atomic energy and atomic age destruction, to the American (and world) public, along with Walt Disney, back during the heyday of the Cold War era.
Our Parents and Grandparent's Tax Dollars At Work Simulating Gravity:
NASA • Space Station Centrifuge Gravity Simulation
Space Station Centrifuge Gravity Simulation 196x NASA color 3min source: Jeff Quitney
Heinz Haber: A Parabolic Flight Father
"After the end of the war Heinz Haber — as well as several other Germans involved in military research like Wernher von Braun — was targeted by the Operation Paperclip with the aim of denying scientific expertise and knowledge to the Soviet Union and bringing researchers and scientists to the United States; Ultimately this operation resulted in a considerable contribution to the development of NASA. Haber at first stayed in the American occupied zone of Germany and lectured at Heidelberg. However, in 1946, he emigrated to the United States and joined the USAF School of Aviation Medicine at Randolph Air Force Base. Together with fellow German Hubertus Strughold, he and his brother Dr. Fritz Haber (April 3, 1912 – August 21, 1998) made pioneering research into space medicine in the late 1940s. The brothers proposed parabolic flights for simulating weightlessness. In 1952, he became associate physicist at the University of California, Los Angeles; in the 1950s, Haber eventually became the chief scientific consultant to Walt Disney productions. He later co-hosted Disney’s Man in Space with von Braun. When the Eisenhower administration asked Disney to produce a show championing the civilian use of nuclear power, Heinz Haber was given the assignment. He hosted the Disney broadcast called Our Friend the Atom and wrote a popular children’s book with the same title, both of which explained nuclear fission and fusion in simple terms. General Dynamics, a manufacturer of nuclear reactors, sponsored Our Friend the Atom and the nuclear submarine ride at Disneyland’s Tomorrowland."
source: Heinz Haber - Wikipedia
"After thousands of experiments in the last decades, parabolic flights are the backbone of microgravity and spaceflight research and technology development. To date, parabolic flights are the basis for every manned spaceflight program."
"Parabolic flight as a platform for astronaut training and engineering experiments was originally proposed in 1950 by Drs. Fritz Haber and Heinz Haber, of the Air Force School of Aviation Medicine, Brooks Air Force Base, Texas. Early experimentation with the technique was conducted by legendary test pilots Scott Crossfield and Chuck Yeager in 1951 at Edwards Air Force Base, California, although initially only a few seconds of true freefall could be achieved, compared with 30 seconds envisioned by the Habers Between 1955 and 1958, a refined approach in the F-94 fighter allowed a variety of medical experiments to be performed during 30 to 40 seconds of freefall. Between 1957 and 1959, the much larger C-131B cargo transport allowed simultaneous experiments on multiple subjects and sufficient room for Mercury program astronauts to train (Figure 2), although this slower, propeller-driven aircraft could only produce parabolas with 10 to 15 seconds of free fall."
Even parabolic flights are problematic.
Parabolic flights are problematic and originate with the same Nazi Project Paperclip group that brought the World the rest of the fake space race. There is no reason to resort to parabolic flights when old school Hollywood style special effects techniques have long been capable of achieving on screen believable illusions of flight and "Zero-gravity". Even before the advent of computer graphics and easy computer color keying, and other sorts of modern augmented reality, old school dark room techniques have always allowed the expert craftsman to create illusions that can fool the eye. Between wire work, motion controlled cameras and sets, and hand painted darkroom magic, expert special effects wizards never needed computers to create visual illusions. They did need the computer to control the camera and this is an old "trick" Computer technology makes the job easier. Computer technology also means it is that much easier to create believable fluid and other three dimensional effects, even in real time. Augmented "virtual" reality is as old as civilization, but modern computer technology means very believable and realistic illusions can be crafted that are indistinguishable from the real thing. The above video is a quick and easy effort that shows us what someone who has spent little time and effort perfecting the illusion can achieve. Imagine what experts with a military level budget can achieve.
More about the problems with parabolic flights to come; an upcoming article will get further into the exact problems with parabolic flights. The purpose of this article is to show how such flights are unnecessary and in fact not the correct environment for film or video production. Even if parabolic flights were possible, they would not make for a good film making studio at all. Even if you do not agree with me that these flights are problematic, I hope you can see my point regarding film shoots with very high profile celebrities and how there is no reason to bother to take such a flight when even old school Hollywood darkroom magic and wire work would suffice.
NASA & Zero-G: Our Tax Dollars At Work!
"Additionally, NASA maintains a service contract with the Zero Gravity Corporation (ZERO-G) for use of the company's weightless training aircraft G-FORCE ONE, a modified Boeing 727-200. While the company charges normal folks like Penn and Teller, Martha Stewart, and Stephen Hawking around $5,000 for the experience, ZERO-G has provided the test-bed for NASA's FASTRACK Space Experiment Platformin 2008 and has been been cleared by the FAA to "...offer reduced gravity parabolic flights to prospective suborbital launch operators to meet the applicable components of the crew qualification and training requirements outlined in the Code of Federal Regulations (14 C.F.R., Section 460.5)."
Centripetal Motion - 2001 A Space Odyssey
Centripetal Motion - 2001 A Space Odyssey source: Sblankman76
Digital Motion Control Photography
"The Dykstraflex was the first digital motion control photography camera system, named after its primary developer John Dykstra. Numerous people actually created the camera, with the critical electronics being created by Alvah J. Miller and Jerry Jeffress. The camera was developed in 1976 specifically for complex special effects shots in Star Wars. Using old VistaVision cameras (for their high image resolution), created by engineers at Paramount Pictures in 1954, and hand wire wrapped TTL chips, the all-digitally controlled system allowed for 7 axes of motion: roll, pan, tilt, swing, boom, traverse, track, lens focus, motor drive, shutter control, and their duplication in multiple takes."
source: Dykstraflex - Wikipedia
Anti-Aircraft Analog Computers: The World War Two Origins of Digital Motion Control
"Early attempts at motion control came about when John Whitney pioneered several motion techniques using old anti-aircraft analog computers (Kerrison Predictor) connected to servos to control the motion of lights and lit targets. His film Catalog (1961) and his brother James Whitney's film Lapis (1966) were both achieved with John's pioneering motion control system. The 1968 film 2001: A Space Odyssey pioneered motion control in two respects. The film's model photography was conducted with large mechanical rigs that enabled precise and repeatable camera and model motion. The film's finale was created with mechanically controlled slit-scan photography, which required precise camera motion control during the exposure of single frames. The first large-scale application of motion control was in Star Wars (1977), where a digitally controlled camera known as the Dykstraflex performed complex and repeatable motions around stationary spaceship models. This enabled a greater complexity in the spaceship-battle sequences, as separately filmed elements (spaceships, backgrounds, etc.) could be better coordinated with one another with greatly reduced error. In the UK The Moving Picture Company had the first[when?] practical motion control rig. Designed and built in-house, it used the IMC operating system to control its various axis of movement. Peter Truckel operated it for several years before leaving to pursue a career as a successful commercials director.
The simultaneous increase in power and affordability of computer-generated imagery in the 21st century, and the ability for CGI specialists to duplicate even hand-held camera motion (see Match moving), initially made the use of motion control photography less common. However film producers and directors have come to realise the cost-saving benefit of using motion control to achieve the effects in a reliable and realistic way. CGI still struggles to be 100% photorealistic, and the time and cost to achieve photo-realistic shots far exceeds the cost of shooting the live action itself. With the resurgence of 3D as a medium motion control has also an important role to play, especially in the production of 3D background plates on scaled-sets. Using high resolution still cameras, backgrounds can be easily shot for further use with live action and CGI character animation."
CGI Water Warning
image source: Our hard earned tax dollars.
Nvidia’s PhysX has finally cracked realistic, real-time rendered water in April 24, 2013
But Hollywood has been making on screen "magic" water since at least the late 1980's.
A governmentally funded DARPA type of project would have been capable of such feats earlier than 2013. Nvidia would have been researching and developing such technology for quite some time. Footage that appears to be "Live" need not be. Even News media interviews might not be as "Live" as they seem to be. The film "The Abyss", for example, from 1989, makes use of illusory water effects. This kind of Hollywood darkroom illusion is not a new trick at all. Images of supposed free falling bottles of spilling water and the like can easily be created by expert visual artists in computer enhanced studio on land, no need for any kind of aerospace flight at all.
"CG water that behaves similarly to real fluid has been around for a while — most notably in tech demos showing off that it’s possible, or perhaps appearing in the occasional big-budget movie. However, it’s too computationally intensive to put into a real-time application, like a video game. For as pretty as the CryEngine is, our hardware just can’t dedicate enough resources to generate fancy flowing fluids. Now, though, Nvidia’s Miles Macklin and Matthias Müller-Fischer have figured out a way to reduce the load on hardware, generating a result that is remarkably fluid, but “suitable for real-time applications.”
image and quote source: Nvidia's PhysX has finally cracked realistic, real-time rendered water ...
image source: Nvidia, The Abyss - Wikipedia • Industrial Light & Magic - Visual Effects and CGI | Lucasfilm
"Movie quality Cloth and Fluid Simulation with NVIDIA FleX | NVIDIA .. "
Consider what tools NASA has access to. Consider the propaganda power the governmental backed artists have over human imagintion.
A governmental agency will more than likely have access to better equipment and software than even Hollywood film studios do; even if this technology is just slightly ahead of what we see in film theaters, or even if it is the exact same technology, the governmentally backed team of artists, with tax based financing, would be able to spend more than even major film studios would be willing to. Government has the means, motive and opportunity to spend our tax money in this manner. Nation State level "super-power" Governments have the tax based resources to do many things even large corporations cannot.
Money is Time and Time is Money
Government can spend more on hiring the best of the best and can also provide a level of financing that even Hollywood studios cannot. Government can foot the bill for making sure that the resulting special effects are as believable as they can possibly be. With tax based resource, agencies like NASA can do more than a Hollywood film studio can. Believe half of what you see, especially when it is in highly edited form on a screen.
image source: NASA green screen studio.
Reflecting on Upside Down Refractions
Yet as you can see, the NASA computer rendered water blob doesn't just refract light as expected, it turns the image 180 degrees. Can you do that at home? Look through a glass of water and consider the above image. Even if this is the effect we would expect, even if the above image reflected real world refraction, the most logical explanation for what we are seeing is simple CGI. "Outer Space" is not a real place. Some 50 years after the famed Lunar Landings and still, none of us can wait on lines to take a rocket ride to even a low earth orbiting Howard Johnson's motel, let alone go to a Hilton Hotel on the Moon.
"FleX is a unified particle physics framework that can be used for all kinds of real-time simulations for all object types: rigid- and soft-bodies as well as fluids and gases. It utilizes the power of CUDA and NVIDIA GPUs and can do simulations with tens of thousands of particles in real-time."
image and quote source: https://developer.nvidia.com/nvidia-flex-production-quality-simulation
"Fluid animation refers to computer graphics techniques for generating realistic animations of fluids such as water and smoke. Fluid animations are typically focused on emulating the qualitative visual behavior of a fluid, with less emphasis placed on rigorously correct physical results, although they often still rely on approximate solutions to the Euler equations or Navier-Stokes equations that govern real fluid physics. Fluid animation can be performed with different levels of complexity, ranging from time-consuming, high-quality animations for films or visual effects, to simple and fast animations for real-time animations like computer games."
image source: Light Refraction Activities for Kids | Sciencing
Faking Water With Computer "Magic" Since At Least The Late 1980's
"The Abyss won an Oscar for Best Visual Effects, and is remembered chiefly for the then-cutting-edge CG water tentacle. But it also ran the gamut of traditional effects techniques."
The Abyss scene source: weedran
Late 1980's Hollywood CGI Technology
"Released on July 3, 1991, T2 earned a then-staggering $54 million over its opening weekend and instantly set a precedent for integration of CGI in films, in addition to garnering four Academy Awards for its effects, makeup, and sound design. Although, if you ask the crew, nothing’s perfect."
"When director James Cameron was concocting 1991's Terminator 2: Judgment Day, he knew that he needed its villain to evolve beyond Terminator's formidable T-800, played — in both the original and the sequel — by Arnold Schwarzenegger. Enter the crew at George Lucas's visual-effects studio ..."
"Gene Warren Jr. (effects supervisor, Terminator, The Abyss, Terminator 2): The Abyss is where [Cameron] first tried out this notion of having a digital-animated creature. The quality of it even then wasn’t as good as it was in T2. The digital work was composited into the real backgrounds optically. If they tried to put out the film digitally, it would have made you throw up. They hadn’t yet made the resolution good enough. Cameron picked that water monster and decided to have ILM do it because it was gonna be translucent. And because of the contrast in water, it has a particular look; it’s a unique thing, just like lightning, just like fire."
"Dennis Muren (visual-effects supervisor, ILM, The Abyss, Terminator 2): If you look at it and imagine what the water snake would be, it’s an inverted, upside-down image that you’re looking through and is distorted, and you’ve got a reflective image off the surface of it. That’s what it looks like looking through water, so we could always make that distortion work if we ran into problems. Warren Jr.: Cameron thought he’d get away with the pseudopod, and it worked. Then he took it a step further with T2 and the liquid-metal man, and chose mercury as what it was gonna look like; because the only thing for which the digital would be real-looking enough was mercury, because mercury doesn’t look real in real life. It balls up, it reflects everything — it looks like a digital-created thing."
"Keegan: Of course, the CG is groundbreaking and remarkable, but it’s the whole package that sells it. The CG artists’ work integrated seamlessly with the practical effects.
Warren Jr.: Right at the end, when the [T-1000] is flopping around, it looks a little cartoony. Jim knows it, but they couldn’t do it any better. He made the decision to go that route. It got down to when it was no longer putting that surface over real human beings — that’s when it rarely looks real, no matter how good you are.
Muren: That shot was the last thing we had to do, and we had computers at Cal-Tech, at Silicon Valley, every place we could find working to get that shot, and we just ran out of time. Every cheat I could think of we put in that shot. It’s nice and it wraps the story up, but that’s the only shot I wish we had a little more time on. It could have been even creepier."
quote and image source: The Making of T2's Awesome Liquid-Metal Effect -- Vulture
BACK TO THE FUTURE WITH FORREST GUMP
images soruce: GOOGLE seacrh
The Late 1980's: CGI Technology
"Zemeckis' films are characterized by an interest in state-of-the-art special effects, including the early use of the insertion of computer graphics into live-action footage in Back to the Future Part II (1989) and Forrest Gump, and the pioneering performance capture techniques seen in The Polar Express (2004), Beowulf (2007) and A Christmas Carol (2009). Though Zemeckis has often been pigeonholed as a director interested only in effects, his work has been defended by several critics, including David Thomson, who wrote that "No other contemporary director has used special effects to more dramatic and narrative purpose." "
1990's: CGI Technology
image source: The Matrix (franchise) - Wikipedia
It's All About Graphics
"Elan Graphics is a computer graphics architecture for Silicon Graphics computer workstations. Elan Graphics was developed in 1991 and was available as a high-end graphics option on workstations released during the mid-1990s as part of the Express Graphics architectures family. Elan Graphics gives the workstation real-time 2D and 3D graphics rendering capability similar to that of even high-end PCs made over ten years after Elan's introduction, with the exception of texture mapping, which had to be performed in software."
Public Technology as of 2011
Consider what international governmentally funded "space" programs would be capable of. What is more believable to you, top secret Hollywood style, special effects, CGI technology and similar "trade secrets" or top secret outer space technology that defies common sense and demonstrable ballistic physics? Are feats of ballistic missile prowess more believable than on screen illusions sold as historical fact? What we have as evidence for the claims of the super powers of the world are highly edited film and video productions. These artifacts are not evidence of anything but a propaganda campaign. These official governmental films are visual based claims and are equivalent to optical gossip. The power the moving image with authoritative voice over has over human imagination is the truly terrifying and very real weapon of mass destruction of governmental claim. Art has always been commissioned by governmental interests to act as powerful imagination and behavior shepherd. We are supposed to be awed and terrified by governmental power and we are supposed to truly have faith that we need to keep supporting all the needless layers of government we do not need.
We have to have faith we need to keep paying taxes for governmental protection from Platonic Shadow Theater threats.
source: 3D realtime photorealistic Augmented Reality by NeuroSystems NeuroSystems Published on Jan 30, 2011
You will only visit places like "Mars" virtually.
Our tax dollars at work research and developing video game technology.
"In 1965, ivan sutherland, a computer-graphics pioneer, addressed an international meeting of techies on the subject of virtual reality. The ultimate virtual-reality display, he told the audience, would be “a room within which the computer can control the existence of matter. A chair displayed in such a room would be good enough to sit in. Handcuffs displayed in such a room would be confining, and a bullet displayed in such a room would be fatal. With appropriate programming, such a display could literally be the Wonderland into which Alice walked.”
"Much of the excitement about virtual reality has come from the gaming community. Who wouldn’t want to experience a game so completely? But gaming is just the start. At Sony, Marks has worked with nasa to conjure the experience of standing on Mars—a view that could help scientists better understand the planet. David Laidlaw, the head of the Visualization Research Lab at Brown University, told me that his team has re-created a temple site in Petra, Jordan, enabling researchers to see previously unclear relationships between objects found there."
"Google is testing Expeditions, a way of sending students to places like the Great Barrier Reef, where they can virtually scuba dive as part of a lesson on marine biology and ocean acidification. Similar approaches may enhance professional training. By donning a pair of goggles, a neurosurgeon could navigate brain structures before surgery; a chemist could step inside a drug to understand it on the cellular level; an architect could walk through a building she’s designing. Another possibility: Imagine that you’re unable to attend a family gathering. With a pair of glasses, you’re in the middle of the action. And everyone there wears glasses that make it appear as though you’re present. The whole thing is recorded, so you can replay the experience whenever you’d like. Ten years from now, such a scenario might be common."
image and quotes source: https://www.theatlantic.com/magazine/archive/2015/10/virtual-reality-gets-real/403225/
NASA Ames VIEWlab VR demo reel 1989
"Virtual Environment Workstation Project (VIEWlab), 1989. Most recent VIEWlab system including helmet mounted display with 3D sound, speech recognition, and dataglove. Video credit: “ NASA/Scott S. Fisher,"
see also: ABC News "Nightline Virtual Reality (1993)" link: https://www.youtube.com/watch?v=OfczNTYOpss
Boeing Man: CGI has always been part of the aerospace-entertainment propaganda complex.
"In 1960, William Fetter was a graphic designer for Boeing at Wichita, and was credited with coining the phrase "Computer Graphics" to describe what he was doing at Boeing at the time (though Fetter himself credited this to colleague Verne Hudson). Fetter's work included the development of ergonomic descriptions of the human body that are both accurate and adaptable to different environments, and this resulted in the first 3D animated "wire-frame" figures. Such human figures became one of the most iconic images of the early history of computer graphics, and often were referred to as the "Boeing Man". Fetter died in 2002."
2014: Public Realtime CGI
Consider what a governmentally funded organization would be able to achieve.
"A very rare glimpse at Pixar's Presto animation software at Nvidia GTC conference 2014. In this demonstration Presto uses the power of Nvidia's GPU's to realize realtime rendering, while the presenter is animating example shots from Monsters University."
Previz | Pixar's Presto demonstration at Nvidia's GTC conference 2014 source: Jathavan Sriram
"Pixar (/ˈpɪksɑːr/), also referred to as Pixar Animation Studios, is an American computer animation film studio based in Emeryville, Californiathat is a subsidiary of The Walt Disney Company. Pixar began in 1979 as the Graphics Group, part of the Lucasfilm computer division, before its spin-out as a corporation in 1986, with funding by Apple Inc. co-founder Steve Jobs, who became the majority shareholder. Disney purchased Pixar in 2006 at a valuation of $7.4 billion, a transaction that resulted in Jobs becoming Disney's largest single shareholder at the time. Pixar is best known for CGI-animated feature films created with RenderMan, Pixar's own implementation of the industry-standard RenderMan image-rendering application programming interface, used to generate high-quality images. Pixar got its start in 1974 when New York Institute of Technology's (NYIT) founder Alexander Schure, who was also the owner of a traditional animation studio, established the Computer Graphics Lab (CGL), recruited computer scientists who shared his ambitions about creating the world's first computer-animated film. Edwin Catmull and Malcolm Blanchard were the first to be hired and were soon joined by Alvy Ray Smith and David DiFrancesco some months later, which were the four original members of the Computer Graphics Lab. Schure kept pouring money into the computer graphics lab, an estimated $15 million, giving the group everything they desired and driving NYIT into serious financial troubles.[ Eventually, the group realized they needed to work in a real film studio in order to reach their goal, and when George Lucas approached them and offered them a job at his studio, six employees decided to move over to Lucasfilm. During the following months, they gradually resigned from CGL, found temporary jobs for about a year to avoid making Schure suspicious, before they joined The Graphics Group at Lucasfilm."
"The Graphics Group, which was one-third of the Computer Division of Lucasfilm, was launched in 1979 with the hiring of Catmull from NYIT, where he was in charge of the Computer Graphics Lab. He was then reunited with Smith, who also made the journey from NYIT to Lucasfilm, and was made director of The Graphics Group. At NYIT, the researchers pioneered many of the CG foundation techniques—in particular the invention of the alpha channel (by Catmull and Smith). Years later, the CGL produced a few frames of an experimental film called The Works. After moving to Lucasfilm, the team worked on creating the precursor to RenderMan, called REYES (for "renders everything you ever saw") and developed a number of critical technologies for CG—including "particle effects" and various animation tools."
source: Pixar - Wikipedia
Outer Space is A Silver Screen-Newsreel Era Artifact
It has evolved into quite the colorful and virtually real, YouTube era propaganda spectacle.
image source: Woman in the Moon/Girl in the Moon/By Rocket to the Moon (1929 Germany 108 mins)
image source: Hermann Oberth: German Father of Rocketry
Werner von Braun, Special Effects Assistant
1929's Fritz Lang Film "Woman in The Moon"
"Historically, film scholars and military officials alike praised Woman in the Moon for its startling accuracy of vision. Lang consulted closely with Germany’s leading rocketry expert, Hermann Oberth, and together they visually replicated the rocket described in Oberth’s influential book, Rocket into Interplanetary Space. 40 years prior to the United States’ Apollo 11 lunar landing, Lang’s and Oberth’s predictions as to what such an expedition would require hold amazing scientific legitimacy, lending technical and therefore psychological weight to the film’s lengthy proceedings."
"As part of the film’s publicity, Oberth and his teenage assistant, Werner von Braun, intended to launch an actual rocket to coincide with the film’s Ufa Palace premiere. Though this launch never came to fruition, the two men had long careers in international rocketry: they both went on to become part of Hitler’s V-2 rocket program. When the German military began to develop its program in earnest, the military police confiscated Lang’s scale models, diagrams, and even film prints, treating them all as secrets of the state. (Lang had previously donated all of these elements to the Verein fur Raumschiffarht Rocket Society.) Oberth also went on to technically advise the United States’ first real cinematic prediction of a lunar landing, Destination Moon (1950), which predicted the use of a nuclear-powered rocket."
The image below is as fake as anything we can watch in the Georges Méliès' 1902 film, "A Trip To The Moon".
The image below is from some forty years later. Does it not make sense that film fakery and special effects would have advanced in that amount of time?
It seems pretty clear that the better special effects of the mid 20th century were reserved for governmental propaganda purposes. The fakery seems obvious by today's computer enhanced, high end standards. The V2 rocket footage is impressive World War Two era film illusion and nothing more. The V2 rocket footage is from some 15 or so years after the Fritz Lang "Woman in the Moon" film was produced.
"Rocket scientists" Hermann Oberth and Wernher von Braun were both supposed to have worked on the Fritz Lang film and both would end up working for NASA.
Get the joke?
NASA and the rest of the international outer space programs are special effects, propaganda studios.
Cartoon Rockets Cannot Hurt Anyone or Anything
This is nothing but a photographic-model rocket cartoon. This is a special effects sequence that owes its existence to the photographic darkroom trickery, special effects from the 1902 film "A Trip To The Moon".
image source: Nazi V2 missile hoax
Never Forget 9/11
9/11 was a "wakeup call".
The Film Screen has long been used to sell Newsreel lies. Newsreels evolve into the ubiquitous 24 hours 7 days a week News fed world of today.
"A newsreel is a form of short documentary film prevalent between 1910s to 1960s, regularly released in a public presentation place and containing filmed news stories and items of topical interest. It was a source of news, current affairs, and entertainment for millions of moviegoers until television supplanted its role in the 1950s. Newsreels are now considered significant historical documents, since they are often the only audiovisual record of historical and cultural events of those times."
Never Forget 9/11: The same people that pioneered film special effects and illusions created the Newsreel.
The powers that be wouldn't be sol bold as to sell photographic cartoons and absurd cartoon physics as the real thing were they not 100% sure they could convince most of the population that the events of 9/11 went down as the absurd official narrative describes. Aluminum and fiberglass passenger jets cannot magically cause what appears to be very impressive and very controlled demolition's of massive steel towers. This article is not about that obvious historical hoax, this article is about the earlier and the long standing "outer space" hoax. The fact is the governments of the world have been selling lies on screens for decades, in fact for over a century.
The governmental back artist the the real weapon of mass destruction.
All of the on screen feats of international "outer space" exploration can be easily shown to be the work of Hollywood style special effects wizardry and nothing more.
There is no real underlying demonstrable science to any of the heliocentric nonsense sold as "science". Newtonian and Kepler orbits are nothing but imaginative constructs. Orbits are not real. Falling apples, propelled by gravity's accelerated effect are nothing like the rising and setting Moon. The Moon does not fall in magic circles around the Earth and the Earth is not falling in a magic circle around the Sun. All of these ideas contradict the real World we actually do experience and witness. This World is best described with the model of Ptolemy, which is not the complex mess we are told. In fact this model is the simpler one that actually represents the Natural World. The heliocentric model was always a contradictory mess that needed ad hoc patchwork. Of Copernicus had it right Kepler's musing would never had sen the light of day. If Kepler's imaginative ideas were demonstrable. Newton's day dream thought experiments would never need be invoked to explain how falling apples are like the rising and setting celestial phenomena. Falling apples and rocks are not like the rising and setting lights in the sky. The modern patchwork astrophysical model with its Big Bangs, black hills, dark energy, dark matter, quantum foam and multiverse of possibilities is a far cry from the Sun centered Universe of fixed stars that men like Kepler and Newton envisioned. The work of men like Einstein would have never been needed to patch the heliocentric model if Newton had it right. Newton would deem the modern cosmological madness as his concept placed the Sun at the center of the Universe. This is nothing like the modern view of the Universe. As it turns out, Newton and company were superstitious, alchemically inclined men who seemed to advocate belief in absurd ideas with no basis in reality.
Heliocentric Theory Fails To Describe The Real World
We only get the idea that the Earth is some kind of planetary spaceship from the mainstream media and educational systems. This is not an idea we would Naturally come up with. The idea that the Earth moves contradicts what our senses and common sense tells us. See article index or the website navigation bar for more. Suffice it to say that all claims of experiments that "prove" the Earth spins or orbits the Sun are not as real as advertised and are just examples of nothing but propaganda.
"Georges Méliès..was a French illusionist and film director who led many technical and narrative developments in the earliest days of cinema."
"His films include A Trip to the Moon (1902)"
"Georges Méliès, the pioneer filmmaker, shot faked footage of the war of 1897—including the earliest shots of what was claimed to be naval warfare, and some horrific scenes of atrocities in Crete. All were created in his studio or his back yard in Paris."
image and quote source: The Early History of Faking War on Film | History | Smithsonian
"Méliès was an especially prolific innovator in the use of special effects, popularizing such techniques as substitution splices, multiple exposures, time-lapse photography, dissolves, and hand-painted color. He was also one of the first filmmakers to use storyboards. His films include A Trip to the Moon (1902) and The Impossible Voyage (1904), both involving strange, surreal journeys somewhat in the style of Jules Verne, and are considered among the most important early science fiction films, though their approach is closer to fantasy."
"After completing his education, Méliès joined his brothers in the family shoe business, where he learned how to sew. After three years of mandatory military service, his father sent him to London to work as a clerk for a family friend. While in London, he began to visit the Egyptian Hall, run by the London illusionist John Nevil Maskelyne, and he developed a lifelong passion for stage magic. Méliès returned to Paris in 1885 with a new desire: to study painting at the École des Beaux-Arts."
image source: 1902 film, "A Trip To The Moon"
Don't Trust What You See On Screens
Stunt Rigging - European Stunt School 2016 source: stuntcore
Deus Ex Machina
"The term was coined from the conventions of Greek tragedy, where a machine is used to bring actors playing gods onto the stage. The machine could be either a crane (mechane) used to lower actors from above or a riser that brought actors up through a trapdoor. Preparation to pick up the actors was done behind the skene. The idea was introduced by Aeschylus and was used often to resolve the conflict and conclude the drama. Although the device is associated mostly with Greek tragedy, it also appeared in comedies"
source: Deus ex machina - Wikipedia
David Copperfield Flies "Live" on Stage
"David Copperfield has performed a levitation illusion in several magic shows since 1992 in which he appears to fly on stage for several minutes, while surrounded by audience members. The flight is notable for its graceful motion and unencumbered appearance. The illusion was included in Copperfield's CBS TV special The Magic of David Copperfield XIV: Flying—Live The Dream (1992), and has been repeated several times during Copperfield's live tours around the world. The method was created by John Gaughan. An essential contribution to make fluid movements was given by his assistant, dancer and choreographer Joanie Spina."
"John Gaughan described how the trick works in US Patent #5,354,238. According to the patent, the performer is supported by two fan-shaped arrays of fine wires that remain invisible to the viewing audience. The wires are about ⁄4 mm thick, and support about 10 kg each; the arrays contain more than enough wires to support the performer's weight. The wire arrays are mounted at the hips, near the human center of mass, to a harness worn under the clothing. This creates a balance point facilitating a wide range of movements while suspended. The wires are attached to a complex computer-controlled rig above the stage that maintains the tension in each wire, and keeps each array of wires perpendicular to the audience's line of sight so that the wires never overlap one another, which might allow the audience to see them."
"Schematic showing moving hoops"
"During the later phases of the performance, two hoops are used simultaneously, which aids the deception as the hoops do not come into contact with the wires. Instead, each ring is brought flush to the wires before being twisted under Copperfield. In the glass box demonstration, the top of the box is threaded between the two sets of wires in a vertical position, before being rotated 90 degrees and lowered into place. The wires remain in place while the performer is in the glass box, passing through crevices between the lid and the sides. Since the box limits movement and he is only able to rotate on one axis, he stays side-on to the front of the audience while in the box. When flying with a volunteer, he holds her in front of him, and she does not come into contact with the set-up."
quote and image source: David Copperfield's flying illusion - Wikipedia
Outer Space Is Not a Real Place: Space X's "Beta" Client Was DARPA
"The Defense Advanced Research Projects Agency (DARPA) is an agency of the United States Department of Defense responsible for the development of emerging technologies for use by the military. Originally known as the Advanced Research Projects Agency (ARPA), the agency was created in February 1958 by President Dwight D. Eisenhower in response to the Soviet launching of Sputnik 1 in 1957. Since its inception, the agency's mission is ensuring that the United States avoids further technological surprise. By collaborating with academic, industry, and government partners, DARPA formulates and executes research and development projects to expand the frontiers of technology and science, often beyond immediate U.S. military requirements."
"DARPA-funded projects have provided significant technologies that influenced many non-military fields, such as computer networking and the basis for the modern Internet, and graphical user interfaces in information technology."
Rare & Old Elon Musk Video from 2006 About Starting SpaceX (Back When He Had No Hair Transplant Yet) source: Elon Musk Viral Videos
DARPA & Virtual Reality
"For virtual reality to become more than another quick-to-fade fad like 3-D televisions or the overhyped Google Glass, it needs the type of careful nurturing that only government can give it through long-term developmental investments, a Defense Advanced Research Projects Agency program manager told a crowd of VR enthusiasts Monday. While many of the virtual reality applications from the commercial sector come off more like “toy games,” the government is better positioned to foster ideas that take more time to bear fruit, said DARPA’s Trung Tran said."
source: DARPA - Wikipedia • At DARPA, virtual reality is more than a toy - Fedscoop • DARPA, Government Agencies Want Even More Realistic Virtual ... • Darpa Turns Oculus Into a Weapon for Cyberwar | WIRED • DARPA Explores Virtual Reality as the Future of Cyberwarfare • The 5 Most Amazing Technologies DARPA Helped Invent — Besides ...
"Haseltine spent 13 years at Hughes Aircraft, where he rose to the position of Director of Engineering. He then left for Walt Disney Imagineering in 1992, where he joined the research and development group, working on large-scale virtual-reality projects."
"Eric Haseltine (born October 11, 1951 in Death Valley, CA) is a technologist who has worked in senior-executive positions in both industry and the United States intelligence community. Haseltine received a bachelor of arts degree in economics and psychology from the University of California, Berkeley, and a PhD in physiological psychologyfrom Indiana University. He also has a certificate in Executive Management from UCLA's Anderson School of Management. He accomplished post-doctoral work in brain research at Vanderbilt University School of Medicine. Haseltine spent 13 years at Hughes Aircraft, where he rose to the position of Director of Engineering. He then left for Walt Disney Imagineering in 1992, where he joined the research and development group, working on large-scale virtual-reality projects. In 1998, he was promoted to senior vice president responsible for all technology projects. In 2000, he was made Executive Vice President. Haseltine was head of research and development for Walt Disney Imagineering by the time he left in 2002 to join the National Security Agency as Director of Research. From 2005 to 2007, Haseltine was Associate Director for Science and Technology, Office of the Director of National Intelligence (ODNI)—that organization's first—a position he described in a 2006 US News and World Report interview by stating: "You can think of me as the CTO [chief technology officer] of the intelligence community". Haseltine is currently president and managing partner of Haseltine Partners, LLC. He also serves on the advisory board of TTI/Vanguard."
"Haseltine was head of research and development for Walt Disney Imagineering by the time he left in 2002 to join the National Security Agency as Director of Research. From 2005 to 2007, Haseltine was Associate Director for Science and Technology, Office of the Director of National Intelligence (ODNI)—that organization's first—a position he described in a 2006 US News and World Report interview by stating: "You can think of me as the CTO [chief technology officer] of the intelligence community". "
source: Eric Haseltine - Wikipedia
"FCJ-004 The Military-Entertainment Complex: A New Facet of Information Warfare"
"During the Second World War, the United States systematised relations with Hollywood. So as not to disrupt studio shooting schedules, stars were enlisted into the armed forces part-time without the expectation of fighting but rather to service the publicity requirements of recruitment and war bond drives. United Services Organization (USO) shows featured Hollywood stars like Bob Hope to provide entertainment to battle-weary troops and the Department of Defense gave Hollywood many story lines and the logistical support to make them into films. The military also used the entertainment industry’s radio broadcast and marketing expertise in psychological operations (PSYOPS) to build support for the Allied war effort behind enemy lines.
The Cold War space race provided the impetus for the military and entertainment industry to work more closely as their technologies merged with the introduction of geo-stationary satellites. Suddenly they were in the same business: information management. The military saw a satellite system as a crucial element in its global reconnaissance and command system. Satellites also gave the military the opportunity to gather signals intelligence (SIGINT) including radio and television signals from anywhere in the world. At the same time telecommunications and the burgeoning television industries saw opportunities to build an international network for gathering and distributing content. Separate satellite networks had the potential to be disrupted by attack on just one satellite, so in March 1964 President Johnson approved the procurement of satellite communication services under National Security Action Memorandum 252. This required the Secretary of Defense to enter into business arrangements with the “quasi-private” Communication Satellite Corporation to provide half of the cost for two 18-piece independent satellite systems capable of world-wide traffic even after attack. The remaining funding for the project came from the formation of Intelsat, an international communications consortium."
""t was the Walt Disney cartoon come to life." Even U.S. President Dwight Eisenhower took notice of Disney's Man in Space. He requested a copy to impress the military top brass who were dismissing space travel as "Buck Rogers science-fiction." In April 1965, 10 years after Man in Space first aired, Von Braun invited ..."
G is for GOOGLE: AR stickers For the Pixel
Smart screens augment or otherwise filter the real World. Consumer level real time virtual layers of onion skinned cartoons can now be incorporated immediately into the picture one sees when one looks through a screen. Imagine the power of governmental and marketing manipulation when the screen is no longer the medium for this type of virtual content. Consider the power the virtual "world" will have over everyone's imaginations, beliefs and behavior when everyone is microchipped with augmented silicon based, electronic, "internet of things", brain implants.
Consider the CGI enhanced, real time, illusory power that governmentally financed, military, aerospace interests have right now.
Is it wise to confuse Disney cartoons for reality?
Google Pixel AR Stickers Are Pretty Awesome source: Tech Refresh
GOOGLE: Virtual Reality, NASA and DARPA
These virtual cartoon "digital stickers" even have drop shadows. This is how images of international feats of gravity defying "Outer Space" escapades are crafted.
Making people fly with wires would seem to be as old as civilization itself. Old school techniques and new school technology make for quite the powerful visual gossip weapon for institutionalized governmental interests to use to keep the mass world-wide public controlled by what would seem to be permanent governmental guidance.
"The term was coined from the conventions of Greek tragedy, where a machine is used to bring actors playing gods onto the stage. The machine could be either a crane (mechane) used to lower actors from above or a riser that brought actors up through a trapdoor. Preparation to pick up the actors was done behind the skene. The idea was introduced by Aeschylus and was used often to resolve the conflict and conclude the drama. Although the device is associated mostly with Greek tragedy, it also appeared in comedies"
source: Deus ex machina - Wikipedia
What about communication satellites?
They were never needed and are part of the historical, international, hoax.
"In radio communication, skywave or skip refers to the propagation of radio waves reflected or refracted back toward Earth from the ionosphere, an electrically charged layer of the upper atmosphere. Since it is not limited by the curvature of the Earth, skywave propagation can be used to communicate beyond the horizon, at intercontinental distances. It is mostly used in the shortwave frequency bands. Amateur radio operators are credited with the discovery of skywave propagation on the shortwave bands. Early long-distance services used surface wave propagation at very low frequencies, which are attenuated along the path. Longer distances and higher frequencies using this method meant more signal attenuation. This, and the difficulties of generating and detecting higher frequencies, made discovery of shortwave propagation difficult for commercial services.Radio amateurs conducted the first successful transatlantic tests in December 1921, operating in the 200 meter mediumwave band (1500 kHz)—the shortest wavelength then available to amateurs. In 1922 hundreds of North American amateurs were heard in Europe at 200 meters and at least 30 North American amateurs heard amateur signals from Europe."
"The first two-way communications between North American and Hawaiian amateurs began in 1922 at 200 meters. Although operation on wavelengths shorter than 200 meters was technically illegal (but tolerated as the authorities mistakenly believed at first that such frequencies were useless for commercial or military use), amateurs began to experiment with those wavelengths using newly available vacuum tubes shortly after World War I."
British BBC Television signal received in New York City in 1938
"The four-minute compilation from 1938 exists only because of a technological fluke and the enthusiasm of two television buffs, one in Britain and the other in America where, thanks to freak atmospheric conditions, it was picked up and recorded on a cine camera placed in front of a television screen as the images came in."
"Due to freak atmospheric conditions, a BBC TV broadcast is received in New York City. A film camera is used to record the silent images which included the performance of a play, a cartoon, and other matter. A four-minute excerpt from this filmed recording survives and is ..."
Click here for more: Artificial Satellites Do Not Exist Part One: The Telstar Hoax — A Proper ...
Liberty Bound: War is A Racket
War Bonds Evolve Into Permanent Federal Taxes
Hollywood has always been the propaganda weapon of international banking interests. Governments essentially work for these same international banking managers. Human beings are considered to be a world-wide corporate human resource that needs to be shepherded and managed with heavy doses of pure propaganda. Hollywood is part of the Military Industrial Complex and always has been. War is a lot more fictional than most wish to admit. War is the result of Newsreel fictions sold as fact. War as we understand it is made of the same kind of fake News the rest of history is. War is more illusion than actual fact. What we understand of war is derived from News accounts; the same source of the rest of the propaganda we are collectively drowning in. Fake Newsreel Hollywood fictions evolve into the fake News of today.
"A Liberty bond (or liberty loan) was a war bond that was sold in the United States to support the allied cause in World War I. Subscribing to the bonds became a symbol of patriotic duty in the United States and introduced the idea of financial securities to many citizens for the first time. The Act of Congress which authorized the Liberty Bonds is still used today as the authority under which all U.S. Treasury bonds are issued."
"Securities, also known as Liberty Bonds, were issued in the aftermath of the September 11, 2001, terrorist attacks to finance the rebuilding of the areas affected."
"Famous artists helped to make posters and movie stars hosted bond rallies. Al Jolson, Elsie Janis, Mary Pickford, Douglas Fairbanks and Charlie Chaplin were among the celebrities that made public appearances promoting the idea that purchasing a liberty bond was "the patriotic thing to do" during the era."
"Newsreels are now considered significant historical documents..."
"A newsreel is a form of short documentary film prevalent between 1910s to 1960s, regularly released in a public presentation place and containing filmed news stories and items of topical interest. It was a source of news, current affairs, and entertainment for millions of moviegoers until television supplanted its role in the 1950s. Newsreels are now considered significant historical documents, since they are often the only audiovisual record of historical and cultural events of those times. Newsreels were typically exhibited as short subjects preceding the main feature film into the 1960s. There were dedicated newsreel theaters in many major cities in the 1930s and 1940s, and some large city cinemas also included a smaller theaterette where newsreels were screened continuously throughout the day."
HOLLYWOOD GOES TO WAR:
Hollywood would not exist without war.
There's a good reason why Hollywood can always find funding for films about dinosaurs, space travel and of course World Wars. World War Two is an old Hollywood staple that studios continue to use as nostalgic propaganda to this very day. We must never forget World War Two, after all. The joke is that World War Two is just as much Fake History as the News stories sold as real today. Fake News didn't evolve overnight. The 9/11 hoax, the Boston Marathon Bombing and all the rest of the FEMA style drills "gone live" to morph into historical events, and all the other live action theatrical type car stunts and other sorts of media hoaxes are nothing new. The recent Vegas Shooting owes its origins to the World War Two era, live action stage magic theatrical troop known as the "Ghost Army'. Propaganda spin would have us believe that the target of the Ghost Army's fakery was the Nazi military; yet when one simply exercises a tiny bit of critical thinking, one can see that the real target of the Ghost Army was the European public. History is derived from the News and the News has always been made of a lot of lies. Wars are not what we think.
Hollywood Goes To War and Never Comes Back
Hollywood - Ep 4 : Hollywood goes to War source: jamon2112
HOLLYWOOD HEARTS WAR
"The Early History of Faking War on Film"
"Early filmmakers faced a dilemma: how to capture the drama of war without getting themselves killed in the process. Their solution: fake the footage"
"Georges Méliès, the pioneer filmmaker, shot faked footage of the war of 1897—including the earliest shots of what was claimed to be naval warfare, and some horrific scenes of atrocities in Crete. All were created in his studio or his back yard in Paris."
image and quote source: The Early History of Faking War on Film | History | Smithsonian
"FIVE legendary Hollywood directors secretly faked combat footage in Second World War documentaries that have been considered genuine for almost 70 years... John Ford, John Huston, Frank Capra, William Wyler and George Stevens all enlisted despite their glittering Hollywood lifestyles..."
source: John Huston's Fake Documentaries Of World War II - KnowledgeNuts • How Oscar-winning directors faked WWII combat footage | New York ... • Legendary Directors Record Fake Combat ... - War History Online • The Best World War II Documentary Was Faked - New Republic • Lights, camera fiction: Second World War documentary footage a ...
image source: https://www.loc.gov/exhibits/bobhope/uso.html
The Ubiquitous Screen: Governmental Mind Control Medium
Consider the absurdity of USO tours during war. Consider the absurdity of the need for Coca Cola bottling plants on the front lines. War acts as a cover for cultural and industrial changes to the world. World War Two acts as catalyst for the world of Pan Am passenger jet air travel and world-wide corporate chains. World War Two was a Newsreel era war, contrived and scripted for the medium of darkened film theater. The sequel, the Cold War, was scripted and contrived for the emerging electronic medium of television. This latter modus operandi is still in operation today. It has simply gone digital and now exists in hand held smart screen form. Government as we understand it today, would not exist without the mind warping power of the mainstream media. The News and entertainment media are the main cultural propaganda weapons of international governmental control.
A History of Live Action Role Playing Military Theater
Layers of apologetic lies protects the truth: wars are scripted and contrived and a lot less real than we have been told. History is made of many lies. 9/11/2001 was nothing new. Such imaginative and reality defying feats have always been the mythic source material that sews societies and cultures together.
History: "late 14c., "relation of incidents" (true or false), from Old French estoire, estorie "story; chronicle, history" (12c., Modern French histoire), from Latin historia "narrative of past events, account, tale, story," from Greek historia "a learning or knowing by inquiry; an account of one's inquiries, history, record, narrative," from historein "inquire," from histor"wise man, judge," from PIE *wid-tor-, from root *weid- "to see."
image source: The Ghost Army | The Institute for Creation Research
The Ghost Army: Simulating War
Fake News and other governmental FEMA drills gone "live" to evolve into historical events have their origins with the World War Two era "Ghost Army" . 9/11/2001 and so many other historical hoax events owe their existence to the World War Two era Military grade fakery tactics. Make no mistake and ignore official apologetics to the contrary, the real target of the Ghost Army was the European public and not the Nazi army. Bullets would easily pop balloon tanks would reveal the theatrical illusion for what it was.
The Ghost Army source: Ray Woodcock
Make no mistake the European Public was the real enemy and target of the illusions the Ghost Army artists crafted.
"The Ghost Army was an Allied Army tactical deception unit during World War II officially known as the 23rd Headquarters Special Troops (Operation Quicksilver). The 1,100-man unit was given a unique mission within the Allied Army: to impersonate other Allied Army units to deceive the enemy. From a few weeks after D-Day, when they landed in France, until the end of the war, they put on a "traveling road show" utilizing inflatable tanks, sound trucks, fake radio transmissions, scripts and pretence. They staged more than 20 battlefield deceptions, often operating very close to the front lines. Their story was kept secret for more than 40 years after the war, and elements of it remain classified. The unit was the subject of a PBS documentary The Ghost Army in 2013."
"Inspiration for the unit came from the British units who had honed the deception technique for the battle of El Alamein in late 1942, as Operation Bertram. The unit had its beginnings at Camp Forrest, Tennessee, and was fully formed at Pine Camp, New York (now Fort Drum), before sailing for the United Kingdom in early May 1944. In Britain they were based near Stratford upon Avon, and troops participated in Operation Fortitude, the British-designed and led D-Day deception of a landing force designated for the Pas-de-Calais. Some troops went to Normandy two weeks after D-Day, where they simulated a fake Mulberry harbour at night with lights which attempted to draw German artillery from the real ones. After this the entire unit assisted in tying up the German defenders of Brest by simulating a larger force than was actually encircling them. As the Allied armies moved east, so did the 23rd, and it eventually was based within Luxembourg, from where it engaged in deceptions of crossings of the Ruhr river, positions along the Maginot Line, Hürtgen Forest, and finally a major crossing of the Rhine to draw German troops away from the actual sites."
"Ghost soldiers were encouraged to use their brains and talent to mislead, deceive, and befuddle the German Army. Many were recruited from art schools, advertising agencies and other occupations that encouraged creative thinking. In civilian life, ghost soldiers had been artists, architects, actors, set designers, and engineers. Although the 23rd Headquarters Special Troops consisted of only 1,100 soldiers, the contingent used equipment pioneered by British forces such as dummy tanks and artillery, fake aircraft, and giant speakers broadcasting the sounds of men and artillery to make the Germans think it was upwards of a two-division 30,000-man force. The unit's elaborate ruses helped deflect German units from the locations of larger allied combat units. The unit consisted of the 406th Combat Engineers (which handled security), the 603rd Camouflage Engineers, the 3132 Signal Service Company Special, and the Signal Company Special."
"The visual deception arm of the Ghost Army was the 603rd Camouflage Engineers. It was equipped with inflatable tanks, cannons, jeeps, trucks, and airplanes that the men would inflate with air compressors, and then camouflage imperfectly so that enemy air reconnaissance could see them. They could create dummy airfields, troop bivouacs (complete with fake laundry hanging out on clotheslines), motor pools, artillery batteries, and tank formations in a few hours. Many of the men in this unit were artists, recruited from New York and Philadelphia art schools. Their unit became an incubator for young artists who sketched and painted their way through Europe. Several of these soldier-artists went on to have a major impact on art in the post-war US. Bill Blass, Ellsworth Kelly, wildlife artist Arthur Singer, and Art Kane were among the many artists who served in the 603rd."
"The 3132 Signal Service Company Special handled sonic deception. The unit coalesced under the direction of Colonel Hilton Railey, a colorful figure who, before the war, had "discovered" Amelia Earhart and sent her on her road to fame. Aided by engineers from Bell Labs, a team from the 3132 went to Fort Knox to record sounds of armored and infantry units onto a series of sound effects records that they brought to Europe. For each deception, sounds could be "mixed" to match the scenario they wanted the enemy to believe. This program was recorded on state-of-the-art wire recorders (the predecessor to the tape recorder), and then played back with powerful amplifiers and speakers mounted on halftracks. The sounds they played could be heard 15 miles (24 km) away."
"To complement existing techniques, the unit often employed theatrical effects to supplement the other deceptions. Collectively called "atmosphere", these included simulating actual units deployed elsewhere by the application of their divisional insignia, painting appropriate unit insignia on vehicles and having the individual companies deployed as if they were regimental headquarters units. Trucks/Lorries would be driven in looping convoys with just two troops in the seats near the rear, to simulate a truck full of infantry under the canvas cover. "MPs" (military police) would be deployed at cross roads wearing appropriate divisional insignia and some officers would simulate divisional generals and staff officers visiting towns where enemy agents were likely to see them. A few actual tanks and artillery pieces were occasionally assigned to the unit to make the "dummies" in the distance appear more realistic.
Hollywood + NASA = Fake Imagery Most People Believe Is Real
NASA & Hollywood have always worked hand in proverbial hand. Hollywood has always been eager to please its master, Government and the Military and aerospace industry. California is the apt home of entertainment, stage magic special effects, computer graphic technology and aerospace wizardry, Disneyland, and the aerospace industry. Governmentally financed and supported Hollywood special effect gurus have long been the secret and powerful, mind warping and altering, weapons of mass governmental destruction. The mythic and imaginative Oz like powers that governments of the World claim to possess are little more than on screen illusions.
Feats of aerospace prowess are nothing but fear based and national identity building, propaganda artifacts.
The NASA-Hollywood "Bromance"
NASA is and always was a film studio and adult Disneyland simulation. NASA has long used our tax money to bankroll special effect film productions sold as scientific achievements. NASA, Hollywood and the aerospace industry itself, are all part of the same Governmental machine.
"As you may have noticed, Hollywood has been bingeing on space movies as of late: Gravity, Hidden Figures, and Passengers, among others. February saw the release of The Space Between Us, about a boy born on Mars, and in March, Ryan Reynolds, Jake Gyllenhaal, and Rebecca Ferguson starred in Daniel Espinosa’s Life, a sci-fi thriller about a rogue martian life-form. In many of these cases, NASA offered expertise and personnel, even shooting locations, to help bring these films to life. The goal, simply, is to promote the space agency and its next big-picture mission: a manned flight to Mars."
NASA’s Boeing KC-135 aircraft, better known as the “vomit comet.”
"The first big-budget film that NASA worked on was Ron Howard’s Apollo 13, in 1995, about the near-disastrous moon shot. At first the agency was skeptical of how the dramatization would play out, but Howard convinced them with the help of mission commander Jim Lovell, whom Howard had wooed by buying his life rights. “It helped a lot to have Jim as our ambassador,” says Howard, a two-time Oscar winner. “But I also think they saw the value in sharing a story with that kind of heroism.” Among other help, the production was given use of NASA’s Boeing KC-135 aircraft, better known as the “vomit comet.” The plane, used to prepare astronauts for zero gravity, allowed Howard to shoot the weightless scenes with Tom Hanks, Kevin Bacon, and Bill Paxton — 25 seconds at a time. In total, the production did 612 drops in the plane. The process was grueling but worth it: The movie earned several technical Oscar nominations, and Hanks spent the press tour singing the praises of Lovell and all of NASA. “Their movie and the Mars Pathfinder mission really helped get the program back into the public eye,” says Ulrich."
The Apocalypse of Ronald Reagan's Super Secret Star Wars Weapon That Targets Human Imagination
image source: The United States War Department Propaganda film, "Target Tokyo"
Back To The Future Tokyo: The Secret of War Revealed As Hollywood Magic
Ronald Reagan and The First Motion Picture Unit Targets Your Mind
“The First Motion Picture Unit (FMPU), later 18th Army Air Forces Base Unit, was the primary film production unit of the US Army Air Forces (USAAF) during World War II and was the first military unit made up entirely of professionals from the film industry. It produced more than 400 propaganda and training films, which were notable for being informative as well as entertaining.”
quote and image source: First Motion Picture Unit - Wikipedia
"Air Corps generals could not distinguish it from reality. Footage of fake bomb runs on the toy city were then used to brief bombing crews, who were taken by Reagnan’s voice over narrative all the way to his dramatic “Bombs away.”
"Back in Hollywood, First Lieutenant Ronald Reagan was taking part in what he refers to in his autobiography as one of the major "secrets of war, ranking up with the atom bomb project": creating a complete miniature of Tokyo, so authentic in detail that even top Air Corps generals could not distinguish it from reality. Footage of fake bomb runs on the toy city were then used to brief bombing crews, who were taken by Reagnan’s voice over narrative all the way to his dramatic “Bombs away.” As areas of Tokyo were burned out, Reagan tells how the Hollywood team would “burn out” their counterparts in “our target scene,” obliterating along with the city, the boundaries between illusion and reality.”
“You know, Bob, it's Brig. Gen. Jimmy Stewart, the actor! He's over here on an active duty reserve tour, and we wanted him to fly with a young crew that would be reminiscent of the World War II crews he commanded while flying B-24 Liberators out of England, and to see how we were supporting the troops in Vietnam.”.
image and quote source: http://www.historynet.com/mr-stewart-goes-to-vietnam.htm
Future Presidential Voice Over & Hollywood Magic Fool Even Air Corps Generals
"Reagan tells how the Hollywood team would “burn out” their counterparts in “our target scene,” obliterating along with the city, the boundaries between illusion and reality.”
B-29 AIR RAID BOMBING IN TOKYO FILM NARRATED BY RONALD REAGAN "TARGET TOKYO" 74382 source: PeriscopeFilm
Lookout Mountain & Hollywood Hills
Hollywood Hearts War: Lookout Mountain Air Force Station (LMAFS)
"Lookout Mountain Air Force Station (LMAFS) is a former defense site which today is a private residence in the Laurel Canyon neighborhood of Los Angeles, California. The USAF military installation produced motion pictures and still photographs for the United States Department of Defense and the Atomic Energy Commission (AEC) from 1947–1969. In the 1960s, Lookout Mountain, AFS was staffed by more than 250 military and civilian personnel."
"The studio employed many talented civilians as producers, writers, directors, cameramen, editors and animators. Many of these "old timers" had worked at Warner Bros., Metro-Goldwyn-Mayer, Universal and RKO Pictures." W. Donn Hayes (1893–1973), who coined the name American Cinema Editors (ACE), was the past president of the Motion Picture Editors Guild and worked at Lookout Mountain as his last career assignment. Hayes had been in the film and television industries since 1916. Among his credits were Tarzan Escapes (1936), Hitchcock's Rebecca (1940), and Li'l Abner (1940). Another Lookout Mountain editor, William "Bill" Holmes (1904–1978) had edited 54 feature films at Warner Bros. Holmes' credits included: Ben Hur (1925), I Was A Fugitive From A Chain Gang (1932), Dark Victory (1939), They Died With Their Boots On (1941) and Sergeant York, for which he won the 1941 Academy Award for Best Editing. Barry Shipman (1912–1994), one of Lookout Mountain's writers, had written serials for Universal Pictures including Dick Tracy (1937) and Flash Gordon Conquers The Universe (1940), and had written for such TV series as Lassie, Ramar of the Jungle, Adventures of Wild Bill Hicock and Death Valley Days. Many of the studio's producers and directors were veterans of Frank Capra's WW II film unit, or had been with combat photo teams of the Army, Navy and Marines."
"The 100,000 sq ft (9,300m) facility was built on 2.5 acres in 1941 as a World War II air defense center to coordinate Los Angeles area radar installations. When the studio was established in 1947, its purpose was kept secret. The studio consisted of one large sound stage, a film laboratory, two screening rooms, four editing rooms, an animation and still photo department, sound mixing studio, and numerous climate controlled film vaults. Using the latest equipment, the studio could process both 35mm and 16mm color motion picture film as well as black and white and color still photographs. It was declared Los Angeles Historic-Cultural Monument number 1098 in 2015. In an average year, Lookout Mountain produced 150 reels of finished film, a reel being 10 minutes of film, or roughly 35–40 finished films. In addition, Lookout Mountain provided film input for the monthly Air Force Newsreel, shown to Air Force personnel around the world, and briefing films for HQ USAF and unclassified film clips for the Secretary of the Air Force, Office of Information (SAFOI) to distribute to TV media from film received daily from the 600th Photo Squadron documenting Air Force combat operations in Vietnam."
"For years, at Christmas, the Air Force provided Bob Hope with air and logistical support for his annual Christmas tours to Vietnam to entertain the troops. As part of this support, Lookout Mountain Air Force Station provide 35mm film equipment and film crews to document Hope's tours. His tours were later broadcast on NBC as Bob Hope Specials."
image and quote source: Lookout Mountain Air Force Station - Wikipedia
"Everything is a matter of perspective. Especially in the movie business."
image and quote source: 24 Famous Miniature Movie Sets That Will Blow Your Mind - BuzzFeed
"Behind what looks like a very complex special effect lies a very simple process found in a children's toy."
Miniature Skyscrapers Demolition source: leokimvideo
image source: NASA mid 20th century miniature rocketry
Faking Big Rockets with little models
"I love that authentic white hot exhaust - a Meddings trademark on many shows with his similar work in 1979 on MOONRAKER being a career high for such an effect."
images and quote source: The film "Moonraker" 1979 – Matte Shot - a tribute to Golden Era special fx: Meddings magic ...
image source: NASA & Metropolis miniatures overseen by Derek Meddings for Superman: The ...
“Through nearly nine decades and almost as many major studio movies, an enormous, tortured ape has moved the dial on special effects time and again. In the original King Kong, released in 1933, it was special effects pioneer Willis O'Brien's unprecedented blending of a stop-motion monster with live-action footage of actors.“
image source: The 1933 film, "King Kong"
The Dunning Process: Combining Live Action Actors With Stop Motion Miniatures
"You can track the history of visual effects through the 80+ years of King Kong movies; creating the massive ape has often pushed the limits of VFX and .... When live-action actors had to interact with a stop motion Kong, a special method known as the Dunning process was used to combine two pieces of film ..."
"One of the most amazing things about “Darby O’Gill and the Little People,” however, is the groundbreaking special effects. The leprechauns in this movie are represented by average-height actors, but they appear one-quarter size. Using forced perspective and some other visual tricks, the incorporation of these “small” people is completely seamless. The “Little People, Big Effects” bonus featurette is a must-see. Repeat: the “Little People, Big Effects” featurette is a must see! If you’ve seen Peter Jackson’s “Lord of the Rings” trilogy and “The Hobbit,” you’ll be interested to know, as the featurette points out, that he used essentially the same forced perspective tricks in his films as this movie, made more than five decades ago, did. Made by Disney in 1959, one of the most amazing things about Darby O’Gill and the Little People is its groundbreaking special effects."
John Dykstra's motion control camera work in 1971.
"Before Star Wars John Dykstra worked for the Institute for Regional and Urban Development working with a very early version of the motion control camera, a forerunner to the Dykstraflex. Note, the camera in the video is not the Dyktraflex. Also note: motion control simulator cameras had been in use during the 1960's for the NASA Mercuri, Gemini & Apollo programs. We can thank the science engineers for that otherwise there may not have been a motion control camera for the SFX in films during the 70's and early 80's or not at all until much later. The Dykstraflex is a motion picture camera system named after its primary developer John Dykstra. Additionally Alvah J. Miller and Jerry Jeffress were instrumental in the systems critical components. Developed in 1976 the Dykstraflex was specifically designed for complex special effects shots in Star Wars using old VistaVision cameras created in the 1950's by engineers at the studio of Paramount Pictures. This allowed a high image resolution which is important in the creation of numerous layers in the final composite of all SFX shots. The all-digitally controlled system allowed for 7 axes of motion: roll, pan, tilt, swing, boom, traverse, track, lens focus, motor drive, shutter control, and their duplication in multiple takes, all possible with hand wire wrapped TTL chips among many of it's components. Dykstra's development of this first digital motion control camera system earned him, Al Miller and Jerry Jeffress Academy Awards in 1978."
The Art of Making Miniatures Look Large
"Also note: motion control simulator cameras had been in use during the 1960's for the NASA Mercuri, Gemini & Apollo programs."
1971: Toy Cities Look Very Real
John Dykstra's motion control camera work in 1971. source: ThunderZandor
Movie Magic in the 1990's: The Film, "True Lies" Was Released on July 15, 1994
Movie Magic - True Lies - Motion Control Technology source: o.f b
The Lie of The Mythic Intrepid Reporter Revealed:
"News From Nowhere" by Edward Jay Epstein
“The public image of American journalism has always included a good proportion of myth. Well before the Second World War, Broadway and Hollywood had made the stereotype of the Intrepid Reporter—dogged in his pursuit of the truth, fearless in his determination to see it printed—nearly as familiar as the white hats that identified the good guys in a Western. The war made legends out of such foreign correspondents as Ernie Pyle and Margaret Bourke-White; in the cold-war years that followed, with their prolonged emphasis on foreign affairs, the image of the newspaper correspondent came to be fixed in a new stereotype, but one every bit as solid, and as favorable, as the old one of Hollywood. Television was at first merely an instrument of this myth, but in the mid-1950s it grew to be something more. With the development of national network news programs, the legend came to life."
The Selling of The Pentagon: Faking War Footage For Television
"Another commonly used device for generating film about an event to which television cameras are not privy is re-enacting the happening. This usually involves having participants act out for the cameras after the fact the part they played in a news event. In this practice, however, the line between what constitutes "staged" news as opposed to a legitimate reconstruction is not always clear. For example, in its documentary on "The Selling of the Pentagon," CBS criticized the Department of Defense for staging the landings of South Vietnamese river patrols for conveniently placed cameramen (since it was known there were no enemy troops in the vicinity)."
"Yet a former Saigon bureau chief pointed out that "it is considered standard operating procedures for troops to fire their weapons for the benefit of cameramen. If our cameramen had to wait until a fire fight with the Vietcong broke out , we'd have much less footage - and perhaps, cameramen."
quote source: page 158, "News From Nowhere" by Edward Jay Epstein
Stanley Kubrick, after doing extensive research about the Vietnam War, claimed most soldiers did not see or experience any combat.
Please take a listen:
The video below is an excerpt from a full interview.
Here is the original YOUTUBE LINK: https://www.youtube.com/watch?v=wvoxjkTNOXE (The excerpt is from time 53:40) The video is still available to watch on YouTube.
(Alt link: https://youtu.be/wvoxjkTNOXE?t=53m40s)
Excerpt from: A Voix Nue: Stanley Kubrick (Rare Radio Interview) source: Obscure437
If Video does mot show up here is the original YOUTUBE LINK: https://www.youtube.com/watch?v=wvoxjkTNOXE (Go to time 53:40) The video is still available to watch on YouTube.
(Original YOUTUBE clip info: "A Voix Nue: Stanley Kubrick (Rare Radio Interview) source: Obscure437")
(Alt link: https://youtu.be/wvoxjkTNOXE?t=53m40s)
"That's All Folks!"
Indiana Jones - And The Kingdom Of The Crystal Skull ... Indy escapes nuclear blast in a fridge source: BigJoeSmith89
Click here: World War Two: An Urgent Case of Coca Cola — A Proper Gander At ... • Faking World War Two: Ronald Reagan Targets Tokyo — A Proper ... • War Stars Episode Four: A New Hope For Hollywood — A Proper ... for more.