In complete defiance of its parents, NASA's Solar Dynamics Observatory has stared directly at the Sun for the past three years. Here's a video of those three years made from still images taken by the SDO.
During the course of the video, the sun subtly increases and decreases in apparent size. This is because the distance between the SDO spacecraft and the sun varies over time. The image is, however, remarkably consistent and stable despite the fact that SDO orbits the Earth at 6,876 miles per hour and the Earth orbits the sun at 67,062 miles per hour.
The video notes say the animation uses two images per day...it would be nice to see the same animation with a higher frame rate. (via ★interesting)
The term of art for time lapse videos in which the camera moves is hyperlapse. In playing around with the hyperlapse technique, Teehan+Lax developed a system to make hyperlapse videos using Google Street View. Like this one:
By now, you've seen a billion instances of people taking daily pictures of themselves and editing them into time lapse movies set to music. Well, this one is a bit different. It features an unhappy young man who, over the course of three years, transitions into a more confident and happy young woman.
This video makes me happy. And there are dozens of other examples and tutorials on YouTube of people switching sexes. What a boon for those who struggle with their sex/gender to be able to see other people who are going through and have gone through similar situations.
With the LA Kings, LA Lakers, and LA Clippers all in the playoffs this year, the Staples Center has been pretty busy. Between May 17th and May 20th, there were 6 games. The crew at the Staples Center has to break the arena down between every game, what with all the different teams and sports. Watching the set up is pretty neat, and since no one would watch a four-day-long video, they've been kind enough to share a time lapse. Watch the arena go from Kings to Lakers to Clippers to Lakers to Kings to Clippers. My favorite parts are the pre-game introductions and that they lower the jumbotron every night.
Update: The originals got taken down but the company responsible for the historical mapping software put up similar versions that I've embedded/linked above. But the new versions are worse and not quite so fantastic. Why is that always the case? (thx, andrew)
Frans Hofmeester filmed his daughter Lotte once a week for the past twelve years and produced this time lapse film. We've seen this kind of thing before (Kalina, etc.) but the use of short snippets of video instead of still photos adds something.
François Vautier installed an ant colony in his scanner and scanned it each week for five years. This is the resulting time lapse video:
Five years ago, I installed an ant colony inside my old scanner that allowed me to scan in high definition this ever evolving microcosm (animal, vegetable and mineral). The resulting clip is a close-up examination of how these tiny beings live in this unique ant farm. I observed how decay and corrosion slowly but surely invaded the internal organs of the scanner. Nature gradually takes hold of this completely synthetic environment.
Wyatt Hodgson took Koyaanisqatsi and sped it up 1552% so you can watch the whole movie in about five minutes.
Reggio uses time lapse in the film to great effect -- you notice different things at different playback speeds -- and Hodgson's clever use of the same technique reveals the overall structure of the film much more than watching it in realtime...but the emotion of the film is completely removed. (via the candler blog)
This is not your typical sky time lapse...instead of looping through 365 days in one video, each day gets its own little movie in a grid.
A camera installed on the roof of the Exploratorium museum in San Francisco captured an image of the sky every 10 seconds. From these images, I created a mosaic of time-lapse movies, each showing a single day. The days are arranged in chronological order. My intent was to reveal the patterns of light and weather over the course of a year.
When I was a kid, one of my favorite things on one of my favorite shows (3-2-1 Contact) was Al Jarnow's Cosmic Clock, a short video animation showing a billion years of time passing in fewer than two minutes. There's so much science in this little video.
This is one of those things I thought I'd just never see again. YouTube is truly a global treasure.
Time lapse movie composed of photographs taken from the International Space Station as it orbits the Earth at night.
This movie begins over the Pacific Ocean and continues over North and South America before entering daylight near Antarctica. Visible cities, countries and landmarks include (in order) Vancouver Island, Victoria, Vancouver, Seattle, Portland, San Fransisco, Los Angeles. Phoenix. Multiple cities in Texas, New Mexico and Mexico. Mexico City, the Gulf of Mexico, the Yucatan Peninsula, Lightning in the Pacific Ocean, Guatemala, Panama, Columbia, Ecuador, Peru, Chile, and the Amazon. Also visible is the earths ionosphere (thin yellow line) and the stars of our galaxy.
Update: Several people wrote in to recommend OpenStreetMap instead because Google doesn't make the data available in a raw form whereas the OSM data is under a CC license available for derivative works like OpenCycleMap. (thx, mike and everyone)
Unaware at first of the camera, she sees it. Then smiles almost imperceptibly and turns away. Then self-consciously looks everywhere but at the camera. And finally, a last contemptous peek at the camera.
Update: Sorry, the video is not available outside of the US.
The video is a condensed time lapse of screenshots over a several month period. Total physical drawing time is close to 40 hours and I'd add an equal amount of time for concept time and readying the print. A screenshot was taken every 5 seconds, which actually results in a full 18 minute video.
White has the security-camera videotape of his time in the McGraw-Hill elevator. He has watched it twice-it was recorded at forty times regular speed, which makes him look like a bug in a box. The most striking thing to him about the tape is that it includes split-screen footage from three other elevators, on which you can see men intermittently performing maintenance work. Apparently, they never wondered about the one he was in. (Eight McGraw-Hill security guards came and went while he was stranded there; nobody seems to have noticed him on the monitor.)
If you draw a tight oval around this figure, with a little bit of slack to account for body sway, clothing, and squeamishness, you get an area of 2.3 square feet, the body space that was used to determine the capacity of New York City subway cars and U.S. Army vehicles. Fruin defines an area of three square feet or less as the "touch zone"; seven square feet as the "no-touch zone"; and ten square feet as the "personal-comfort zone." Edward Hall, who pioneered the study of proxemics, called the smallest range -- less than eighteen inches between people -- "intimate distance," the point at which you can sense another person's odor and temperature. As Fruin wrote, "Involuntary confrontation and contact at this distance is psychologically disturbing for many persons."
But, we can kind of think of the multi-playthrough Kaizo Mario World video as a silly, sci-fi style demonstration of the Quantum Suicide experiment. At each moment of the playthrough there's a lot of different things Mario could have done, and almost all of them lead to horrible death. The anthropic principle, in the form of the emulator's save/restore feature, postselects for the possibilities where Mario actually survives and ensures that although a lot of possible paths have to get discarded, the camera remains fixed on the one path where after one minute and fifty-six seconds some observer still exists.
Some of my favorite art and media deals with the display of multiple time periods at once. Here are some other examples, many of which I've featured on kottke.org in the past.
Averaging Gradius predates the Mario World video by a couple years; it's 15 games of Gradius layered over one another.
I found even the more pointless things incredibly interesting (and telling), like seeing when each person pressed the start button to skip the title screen from scrolling in, or watching as each Vic Viper, in sequence, would take out the red ships flying in a wave pattern, to leave behind power-ups in an almost perfect sine wave sequence. I love how the little mech-like gunpods together emerge from off screen, as a bright, white mass, and slowly break apart into a rainbow of mech clones.
According to the start screen, Cursor*10 invites the you to "cooperate by oneself". The game applies the lessons of Averaging Gradius and multiple-playthrough Kaizo Mario World to create a playable game. The first time through, you're on your own. On subsequent plays, the game overlays your previous attempts on the screen to help you avoid mistakes, get through faster, and collaborate on the tougher puzzles.
With the help of various filters and settings Recreating Movement makes it possible to extract single frames of any given film sequence and arranges them behind each other in a three-dimensional space. This creates a tube-like set of frames that "freezes" a particular time span in a film.
Ten minute clip from the movie Baraka. From Wikipedia: "Often compared to Koyaanisqatsi, Baraka's subject matter has some similarities -- including footage of various landscapes, churches, ruins, religious ceremonies, and cities thrumming with life, filmed using time-lapse photography in order to capture the great pulse of humanity as it flocks and swarms in daily activity." (via long now)