The ingredient based explanation for supercell thunderstorms cites moisture, wind shear, instability and lift as the reasons for their formation. I prefer to focus on the big picture. Supercell thunderstorms are a manifestation of nature's attempt to correct an extreme imbalance. The ever ongoing effort to reach equilibrium, or viscosity, is what drives all of our weather, and the force with which the atmosphere tries to correct this imbalance is proportional to the gradient. In other words, the more extreme the imbalance, the more extreme the storm.
This collection of timelapses was gathered over the last six years. The project started out as wanting to be able to see the life-cycles of these storms, just for my own enjoyment and to increase my understanding of them. Over time, it morphed into an obsession with wanting to document as many photogenic supercells as I could, in as high a resolution as possible, as to be able to share with those who couldn't see first hand the majestic beauty that comes alive in the skies above America's Great Plains every Spring. After more than 100,000 miles on the road and tens of thousands of shutter clicks later, this is the result. I hope you enjoy watching it as much as I enjoyed creating it.
Keep an eye out for a long form version of my storm timelapses, as these are a small sample of what I've been able to gather. I'm not sure yet how the extended version will be released. If you have any ideas regarding distribution or would like to license my work for your own project, please contact me: ChadLCowan@gmail.com
I love teaching people about storms and severe weather and how to safely document them. Feel free to email me if you have any interest in joining me for a chase. June is by far the best time to go out, as the storms are more photogenic and slow moving than any other month.
Follow me on these social media channels for more storm content: instagram.com/stormtimelapse twitter.com/stormtimelapse facebook.com/stormlapse
"Big whirls have little whirls that feed on their velocity, and little whirls have lesser whirls, and so on to viscosity." - Meteorologist Lewis Fry Richardson ("Weather Prediction by Numerical Process." Cambrige University Press, 1922)
This quote sums up perfectly what I've come to realize about weather and storms over the past 10 years of studying, forecasting and chasing them, and the part that I find most fascinating. On each scale level from synoptic-scale, which covers areas the size of multiple states, all the way down to micro-scale, which could be an area as small as your backyard, the fluid which we call air abides by the same universal physical laws of nature and thus acts in a very similar manner and patterns.
A cold front, for example, is a phenomenon which is widely understood to mean a large scale line of advancing cold air, hundreds of miles long, along which supercell thunderstorms sometimes form. Within these smaller storm-scale environments, something called a rear-flank gust front forms on the southern end of the low pressure area of the mesocyclone, where the rain cooled air wraps around. This is effectively a storm's cold front. The cool air is more dense than the warm air, and because of this, advances into the region of lower density, just like the larger cold front on which the storm formed.
The stunning supercell storm structure we see is along these relatively small, storm-scale cold fronts. This is what forms the "hook" on radar. Here, just as with the larger scale weather systems, the wedge of denser cool air at the surface meets the warm, moist, buoyant air in front of a storm, forcing it aloft and through the cap where the potential energy is realized. Given the right conditions, this development can be explosive.
While Richardson's quote is more regarding turbulence than thermodynamics, his theory from nearly 100 years ago that our atmosphere behaves as a fractal has turned out to be spot on. A "top down" transfer of energy and behavior occurs, resulting in a Russian nesting doll of smaller scale systems that bear a striking resemblance to the larger.
I would like to offer a special thanks to my good friend Kevin X Barth who helped me edit this together, and found some semblance of a story arc in many disparate pieces. Kevin is an amazingly talented and creative artist in his own right, having won an Emmy as the editor of the ESPN 30 for 30 film WHEN THE GARDEN WAS EDEN. Check out his website if you're looking for an excellent editor or director for your project: kevinxbarth.com
A big thanks to Tom Lowe as well, without whom I would probably still be trying to figure out what an intervelometer is. Tom is the mastermind behind Timescapes, the revolutionary timelapse film from a few years ago. He was kind enough to share his wealth of knowledge, as well as some camera gear.
CAST & CREW staring: Timothy RENOUF and Poppy POLIVNICK music and sound design: Pierre VEDOVATO director of photography: Anthony GUIRY first assistant: Amélie GUYOT second assistant: Vincent AUPETIT sound recordist: Michael CHUBB makeup and hair: Bridget CROTTY and Rachael THOMAS runner: Tyrone PAUL VFX supervisor: Peregrine McCAFFERTY creatures artist: Dean FRATER creatures designer: Jonathan Djob NKONDO rigger: Maickel PASTA animators: Joffrey ZEITOUNI and Philippe MOINE rendering and compositing: Mario UCCI and Rick THIELE at Red Knuckles tracking: PEANUT color artist: Lewis CROSSFIELD at Electric Theatre Collective extra creatures: Andriy HRMALYUK and Ramtin AHMAD special thanks: Fabrice LE NEZET, Ardith BIRCHALL, Cressida POLIVNINCK, Marc POLIVNICK, Mary HESKEL, Elvis BAPTISTE.
Ice, driftwood, foamy waves and … skateboards? Four skaters head north to the cold Norwegian coast, applying their urban skills to a wild canvas of beach flotsam, frozen sand and pastel skies. The result is a beautiful mashup — biting winds and short days, ollies and a frozen miniramp.
Skaters: Hermann Stene Didrik Galasso Henrik Lund Karsten Kleppan
Director: Jørn Nyseth Ranum Producer: Anders Graham Cinematography: Lukasz Zamaro Editors: Marta Sæverud and Jørn Nyseth Ranum Sound Engineer: Ole Richard Korsan Stuwe Music: Erlend Elvesveen
Between 1945 and 1962, the United States conducted 210 atmospheric nuclear bomb tests. For each of those tests, the government used multiple cameras filming at 2,400 frames per second to document things. Over 700 of the films have been declassified so far, and they’re currently being uploaded to YouTube.
The videos are being uploaded by Lawrence Livermore National Laboratory of Livermore, California, which conducted the original nuke tests. Researchers and film experts are going through the roughly 10,000 films that were previously classified and stored around the country in high-security vaults.
So far 6,000 have been found, 4,000 have been scanned, and 750 have been declassified.
Since the film reels weren’t stored properly, they’re in the process of decomposing and losing their images, so a team is working to digitize and preserve the data so that the footage is preserved for the future.
64 of the nuclear bomb explosion videos can now be found through Livermore’s YouTube account, and some of the footage is awe-inspiring and terrifying:
The tests in these videos were all done after the U.S. dropped atomic bombs on the Japanese cities of Hiroshima and Nagasaki in 1945.
Preserving this footage for posterity is important due to the fact that the United States no longer conducts nuclear weapons testing, but instead uses old testing data and new computer modeling for research.
In our terrestrial view of things, the speed of light seems incredibly fast. But as soon as you view it against the vast distances of the universe, it's unfortunately very slow. This animation illustrates, in realtime, the journey of a photon of light emitted from the surface of the sun and traveling across a portion of the solar system, from a human perspective.
I've taken liberties with certain things like the alignment of planets and asteroids, as well as ignoring the laws of relativity concerning what a photon actually "sees" or how time is experienced at the speed of light, but overall I've kept the size and distances of all the objects as accurate as possible. I also decided to end the animation just past Jupiter as I wanted to keep the running length below an hour.
Design & Animation: Alphonse Swinehart / http://aswinehart.com Music: Steve Reich "Music for 18 Musicians" Performed by: Eighth Blackbird / http://www.eighthblackbird.org
In this video, the USS Kitty Hawk is plowing through heavy seas with waves so massive, they even go across the flight deck and hit the bridge. At the flight deck a black hawk helicopter and an F-18 Hornet have been left, securely chained down.
Yuge Zhou 周雨歌 is an artist and graphic designer from Beijing, China. She currently lives in Chicago, IL and works as a curator, creative director and contributor for the 3300-square foot Riverside Wall, the largest new media and video art installation in Chicago (due to launch in 2017). The installation will feature commissioned artwork by world-renowned media artists, emerging artists as well as collaborative groups of students and educators. Zhou earned her MFA from the Visual Communication Design Department at School of the Art Institute of Chicago in 2015. She also holds a masters degree in Computer Engineering from Syracuse University.
Green play is a joyful orchestration of one of the great meeting places in New York City—Central Park, a utopian playground and repository shared by locals and tourists alike. The spliced footage choreographs a single summer Sunday and encapsulates an optimism that is central to American life. Green Play is part of an on-going video collage series where I am exploring the ritualistic characteristics of different American cities.
http://yugezhou.com/ 2016, original video resolution: 5760 × 3240, 5 minutes (infinite loop) Sound design by Stephen Farrell
Social synchronization is a phenomenon where individuals within a group influence one another’s behavioral patterns. For Midtown Flutter, I shot a variety of architecture in midtown Manhattan, allowing passersby to interrupt the scene. By selecting and then composing the video footage according to the formal qualities of the architecture within the scene, the architecture in turn dictates the patterns and flow of the pedestrians. Midtown becomes a flattened, uniform construct for this play of texture, rhythm and interruptions.
In Italy, sunlight was my constant companion. I got to know its many personas – fading, reflecting, saturating, revealing. When it came time to leave, I didn't want to part ways.
Music: “Concerto for Violoncello and Strings - II. (Longing)” written by Dobrinka Tabakova. Filmed on a Canon t3i and edited in After Effects Thanks to Emma Adams for language consulting. Instagram: @davidbruggink
"Byzantine" Balade en drone à l'intérieur d'une église Neo Byzantine.
One Drone, one Neo Byzantine church. A solemn place which the sun highlights every day. Go to its discovery.
Festival : - Meilleur Film catégorie Architecture - Drone Film & Photo festival (Belgique) - 2016 - 2ème Prix du Jury - Drone Festival (Pologne) - 2016 - Sélection Officielle - Los Angeles CineFest (USA) - 2016 - Sélection Officielle - Viva Film Festival (Bosnie-Herzégovine) - 2016 - Sélection Officielle - London Drone Film Festival (Angleterre) - 2016 - Sélection Officielle - Festival du Film Professionnel de Drone (Nantes) - 2016