Extremely bright fireball lights up Japanese skies
TOKYO: A flashing fireball dashed across the skies of western Japan, shocking residents and dazzling stargazers, though experts said it was a natural phenomenon and not an alien invasion.
Videos and photos emerged online of the extremely bright ball of light visible for hundreds of kilometres shortly after 11pm (1400 GMT) local time on Tuesday (Aug 19).
"A white light I had never seen before came down from above, and it became so bright that I could clearly see the shapes of the houses around us," Yoshihiko Hamahata, who was driving in Miyazaki Prefecture, told NHK.
"It seemed like daylight. For a moment, I didn't know what had happened and was very surprised," he told the public broadcaster.
Toshihisa Maeda, head of Sendai Space Museum in the Kagoshima region in southwestern Japan, said that it was a fireball, an exceptionally bright meteor.
It seemed to have gone into the Pacific, he added.
"People reported feeling the air vibrate," he told AFP. "It was as bright as the Moon."
Objects causing fireball events can exceed one metre (three feet) in size, according to Nasa.
Fireballs that explode in the atmosphere are technically referred to as bolides, although the terms fireballs and bolides are often used interchangeably. - AFP

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The Star
2 hours ago
- The Star
Hollywood's biggest AI debut? Las Vegas Sphere's 'Wizard of Oz'
LAS VEGAS (Reuters) -When "The Wizard of Oz at Sphere" opens off the Las Vegas Strip on Aug. 28, audiences will experience the 1939 film classic in a way its creators probably never thought possible. Nearly 18,000 people will find themselves in the eye of the swirling tornado that rips Dorothy's Kansas farmhouse off its moorings and hurtles it onto Munchkinland. The film has been enhanced to fill a 160,000-square-foot wall of LED panels that spans three football fields, encircling the audience and reaching 22 stories high, as 750-horsepower fans kick up wind and debris to simulate the twister. The $104 or more per seat spectacle ismore than meets the eye. "The Wizard of Oz" marks one of the most significant partnerships between a studio and technology company to use artificial intelligence to forge a new media experience. Reuters spoke with nine people, including principals directly involved in the project and senior entertainment industry experts, who told the story behind a project that some industry veterans see as a potential watershed moment in Hollywood's use of AI tools. "It definitely represents a really meaningful milestone in AI-human creative collaboration," said Thao Nguyen, immersive arts and emerging technologies agent at CAA. "I think it will set a precedent on how we reimagine culturally significant media." Bringing Dorothy and the Wicked Witch to the massive Sphere, a globe-shaped entertainment venue featuringadvanced technology,took two years and brought together its creative team, Warner Bros Discovery executives, Google's DeepMind researchers, academics, visual effects artists -- more than 2,000 people, in all. The development occurred during intense apprehension over AI's impact on jobs in Hollywood and the desire to preserve human creativity. Some visual effects companies initially contacted to work on the project declined because they were not permitted to work with AI at the time. 'YOU'RE TOAST!' Getting here took the blessing of Warner Bros Discovery CEO David Zaslav, his studio chiefs and lawyers who established guidelines for using AI. "Wizard of Oz at Sphere" drew upon archival materials from the film -- including set blueprints, shot lists, publicity stills and film artifacts -- as well as some 60 research papers to helpdeliver the movie in resolution representing a ten-fold improvement over previous work. "We had to reimagine the cinematography, we had to reimagine the editing, and we had to do all of this without changing the experience," said Oscar-winner Ben Grossmann, who oversaw the project's visual effects. "Because if you touch anything about this sacred piece of cinema, you're toast!" Rather than exploiting AI to cut jobs, they sought to use it to breathe fresh life into a classic story and create new experiences with existing intellectual property. "Hollywood embraces new technology, and everyone can't wait to be the second one to use it," said Buzz Hays, a veteran film producer who leads Google Cloud's entertainment industry solutions group. "What 'The Wizard of Oz' is doing for us is giving that first opportunity where people go, 'Oh my god, this is not at all what I thought AI was going to be.'" The project began in 2023 with Sphere executives discussing which project would push the technological boundaries of the venue that had already hosted U2 and Darren Aronofsky's "Postcard from Earth." "The Wizard of Oz" quickly topped the list as a familiar, beloved film well-suited for the Sphere's enormous canvas, said Carolyn Blackwood, head of Sphere Studios. It presented an opportunity to re-introduce the classic to a new generation in a way that would place them inside L. Frank Baum's world. Symbolically, the team chose a classic film that was a technical marvel of its time. While not the first movie to use Technicolor, "The Wizard of Oz's" dramatic transition from sepia tones to hyper-saturated color marked a cinematic milestone. SphereEntertainment's CEO James Dolan and creative collaborator Jane Rosenthal, Tribeca Film Festival co-founder and noted film producer, envisioned a more ambitious project than a mere digital remastering of a classic. Rosenthal tapped Hays to bring in Google as a technical partner. AI 'QUARANTINE ZONE' Dolan approached Warner Bros Discovery CEO Zaslav, a friend and business partner from the early days of cable TV, to propose bringing "Oz" to the Sphere. "I had just been to the Sphere with a friend and was really blown away," said Zaslav, adding that Dolan and Rosenthal also won over his studio chiefs, "who loved the idea. It's an example of the great IP we own at Warner Bros." Before turning over one of the world's most important entertainment properties, Warner Bros set strict ground rules. Google could train its generative AI models on each major actor to reproduce their performances, but the data would remain the studio's property. None of the "Oz" training data would be incorporated into Google's public AI models. "One of the things critical to getting this project started was creating a safe place for experimentation," said Grossmann. "Warner Brothers and Google and the Sphere created an environment where they said, 'We don't necessarily know how it's going to end, but we're going to create a little quarantine zone here.'" The visual effects team initially tried enlarging images using CGI, which would have created photorealistic animated versions of the characters. That approach was rejected because it would violate the integrity of the original performances. "AI was effectively a last resort, because we couldn't really do it any other way," said Grossmann, whose Los Angeles studio, Magnopus, worked on such photo-realistic computer animated films as Disney's 'The Lion King.' AI enhanced the resolution of tiny celluloid frames from 1939 to ultra-high-definition images. It restored details -- like freckles on Dorothy's face or burlap texture on Scarecrow's face -- obscured by Technicolor's process. AI also helped "outpaint" on-screen images to fill gaps created by camera cuts or framing, as when it took a close-up of the Tin Man chopping a door of the Witch's castle with an axe to free Dorothyand completed the image of the woodman. It took months of repeated fine-tuning and Google's DeepMind braintrust to elevate consumer-grade AI tools to deliver crisp images with the Sphere's 16K "super" resolution. Musicians re-recorded the entire film score on the original sound stage to take advantage of the venue's 167,000 speakers. The vocal performances of Judy Garland and other actors remain unaltered. FLYING MONKEYS Despite attention to authenticity, the project has attracted criticism from some cinephiles who object to altering the cherished film. Entertainment writer Joshua Rivera called it "an affront to art and nature." "None of these people criticizing this have seen the film or understand what we are doing," said Rosenthal. In a private midnight screening for Reuters, Grossmann offered a glimpse of what's to come. Some changes are subtle, as when Uncle Henry stands by the front door while neighbor Almira Gulch demands Toto. AI places the performer, who spends much of his time out of view, back into frame, stitching together a wider view to fill the Sphere's expansive viewing plane. Other changes aim to realize the filmmakers' vision in ways that weren't technically feasible 86 years ago. As Dorothy and friends encounter the Wizard in the Emerald Throne Room, a 200-foot-high green head looms over the audience, eyes bulging and voice booming, creating amore imposing depiction than the original image of an actor in green makeupprojected on smoke. "Whenever we made a change, it was because we wanted the audience to experience what Dorothy was experiencing directly," said Grossmann. "We completed something filmmakers were intending to do but were limited by 1939's tools . Coordinated physical effects add another dimension. Flying monkeys will swoop into the Sphere as 16-foot-long helium-filled simians steered by drone operators, one of manyFour-D effects. 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New Straits Times
4 hours ago
- New Straits Times
Surging tourism is polluting Antarctica, scientists warn
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The Star
5 hours ago
- The Star
Saving an extraordinary amphibian, the Lake Patzcuaro salamander
Correa working at the Achoque Protection Reserve in the community of San Jeronimo Purenchecuaro on the shores of Lake Patzcuaro. — AFP After decades working as a fisherman on a high-altitude Mexican lake, Froylan Correa is now helping to save an endangered amphibian with gills resembling a lion's mane and a remarkable regenerative ability. The achoque, also known as the Lake Patzcuaro salamander, is a lesser known relative of the axolotl, the small friendly faced amphibian battling extinction in Mexico City. Overfishing, pollution and reduced water levels in Lake Patzcuaro, its only natural habitat, mean that the achoque is listed as critically endangered by the International Union for Conservation of Nature. In an attempt to prevent it disappearing, biologists from Michoacana University decided to pay the local Indigenous community of San Jeronimo Purenchecuaro to help the achoque to reproduce. Correa, who knows the lake in the western state of Michoacan like the back of his hand, has a new job as an amphibian egg collector. Now in his 60s, he remembers when the waters teemed with fish and there was no need to worry for the salamander. 'There used to be a lot of achoques,' he said. 'Now the new generation doesn't know about it.' From lab to lake After the eggs are collected, biologist Rodolfo Perez takes them to his laboratory at Michoacana University to hatch, in the hope of giving the achoques a better chance of surviving. After the hatchlings have grown enough, they are moved to the community's achoque protection reserve, where the fishermen care for them until they are ready to be released into the lake, said Israel Correa, a relative of Froylan Correa. The achoque belongs to the Ambystoma group, keenly studied by scientists for an extraordinary ability to regenerate mutilated limbs and parts of organs such as the brain and heart. If one loses a tail, it quickly grows another. That has made the salamanders a subject of fascination for scientists hoping to learn lessons that could apply to humans. Since pre-Hispanic times, the achoque has been a source of food as well as a remedy used by Indigenous people for respiratory illnesses. Its skin colour allows it to blend into its natural habitat. According to a local legend, the achoque was first an evil god who hid in the lake mud to escape the punishment of other deities. Perez is trying to hatch as many eggs as possible with the help of the locals to prevent its extinction. 'It's been a lot of work,' he said, adding that the biggest challenge is finding money to compensate the fishermen, since the achoques require constant care. Collaboration between scientists and the local community has helped to stabilise the achoque population, according to the researchers. There are an estimated 80 to 100 individuals who live in a small part of the lake, said Luis Escalera, another biologist at Michoacana University. The number, however, is 'much lower than it was 40 years ago', he said. For the fishermen fighting to save them, it is a labour of love. 'We can't miss a day without coming because otherwise they'll die,' Israel said at the achoque protection reserve on the shores of Lake Patzcuaro. 'Come rain or shine, even if there's a festival, we have to be here.' – AFP