They belong to the same family of compositions, not exactly the same though.

In Return, at one point the Falcon is flying away from the new Death Star, being chase by dozens of tie fighters. In a compositing error, the Falcon flies up at the camera, and you can see a couple tie fighters "through" the falcon.

Well, I like all the classics like early Megaman, Nobuo Uematsu, Yasunori Mitsuda, Hitoshi Sakimoto, anything from Falcom (Y's, Xanadu, etc).
There are some truly oddball compositions out there that are dear to me, like a lot of the work of Zuntata, which was an in-house band for Taito in the 90's. Similarly, a lot of the weird, sample-based music from the Amiga-era, from people like Chris Huelsbeck, Dave Wittaker and Rob Hubbard.
In recent years, from Japan I've really gotten into anything that Yoko Shimomura has done, and Michiru Yamane upended/revitalized some of the later Castlevania's music in the best way possible.
I will always go to Koichi Sugiyama's Dragon Quest music whenever I want to turn someone on to truly beautiful game compositions (chills), or just relax. Also Matt Uelmen's music for Diablo 2 and Torchlight games also veers toward more contemporary genre's, but is atmospheric, masterful and provides a really well-done alternative sound for what we usually get in interactive media.
Some super strange stuff that just sticks out as not belonging anywhere else: Katamari Damacy's OST, the VibRibbon soundtrack, the Neverhood soundtrack by Terry Taylor, the hidden gem that is the "Moon: Remix RPG Adventure" soundtrack (seriously a great one; check it out).
I have a lot of game music and it's my primary soundtrack while I work.

Like JMD says, it's basically a composite picture taken from several frames of video.

I don't think it's faked (multiple shots of the same cars), just quickly done. Well, maybe not quickly, but at least was going for dramatic effect not pixel-for-pixel accuracy.

Picasso and the moderns were excited about art produced by children. They even collected art by children. The idea was to celebrate the creativity in works by children.

One article I read, about the Moderns, showed a composition by a child and then the same composition used by an adult.

At age 14 Picasso showed that he could handle realism. So the rest of his career was marked by phases including child-like imagery.

This Picasso-esque painter followed my on YouTube. He might inspire you guys: https://www.youtube.com/user/raeart

8:18 – "Germany is very financially responsible".

The clip makes a few good points, twists others and omits some central issues. But I want to comment on the quote above most of all, because it forms the basis for all kinds of arguments and recommendations.

The claim that Germany is financially responsible stems from what has been paraded around domestically as the "schwarze Null" (black zero), meaning a balanced budget. Given how focused most economic debates are around the national debt or the current budget deficit, it shouldn't come as a surprise that not running a deficit evokes positive responses in the public. If there has ever been an easy sell, politically, it's this.

However, it's not that simple.

For instance, the sectoral balance rule dictates, by pure accounting identity, that the sum of public balance, private balance and external balance is 0 at all times. In case of Germany, this means that the balanced public budget (no surplus, just a fat zero) requires a current account surplus of the same size as private savings – or an accumulation of private debt. For someone to run a surplus, someone else has to run a deficit. In this case, foreign economies have to run a deficit vis-á-vis Germany, so that neither the German government nor the German private sector have to run a deficit.

The composition of each sector is another topic entirely, but the point remains: no surplus in Germany without a deficit in the periphery. If everyone is to be like Germany, Klingons have to run the respective deficit.

My question: is it financially responsible to depend on other economies' deficits to keep your own house in order? Is it responsible to engage in this kind of behaviour after having locked yourself into a monetary union with less competitive economies who have no way of defending themselves through currency devaluation?

Second point: capital accounts and current accounts are two sides of the same coin. If Germany runs a current account surplus of X%, it also runs a capital account deficit of X%. Doesn't explain anything, but it's the same for the countries at the other side of these trade imbalances. Spain's current account deficit with Germany meant a capital inflow of the same size.

Let's look at EuroStat's dataset for current accounts. Germany had run a minor current account deficit during the late '90s and a small surplus up to 2003. From then on, it went up, up, up. Given the size of Germany's economy within Europe, that jump from 2% to 7.5% is enormous. Pre-GFC, the majority of this surplus went to... yap, PIIGS. Their deficits multiplied.

Subsequently, capital of equals size flowed into these countries, looking for investments. No nation, none, can absorb this amount of capital without it resulting in a massive misallocation, be it stock bubbles, housing bubbles, highways to nowhere or lavish consumption. Michael Pettis wrote a magnificent account (Syriza and the French indemnity of 1871-73) of this and explains how Germany handled a similar inflow of capital after the Franco-Prussian war: it crashed their economy.

As Pettis correctly points out, the question of causality remains. Was the capital flow a pull or a push?

The dataset linked above says it all happened at just about the same time, in all countries. It also happened at the same time as Germany's parliament signed of on "Agenda 2010", which is the cause of massive wage suppression in Germany. Germany intentionally lowered its unit labour costs and undercut the agreed upon inflation target (2%). German employees and retirees were forced to live below their means, so the export sector could gain competitiveness against all the other nations, including those in the same currency union. Beggar-thy-neighbour on steroids.

Greece overshot the inflation target. They lived beyond their means. But due to their size, it's economically negligable. France stayed on point the entire time, has higher productivity than Germany and still gets defamed as the lame duck of Europe. Yet Germany, after more than a decade of financial warfare against its fellow members of the EU/EZ, is hailed as the beacon of financial responsibility.

Mercantilism always comes at the cost of others. And the EU is living proof.

If that has a chemical composition anything like real lava wouldn't eating that be a bad idea?

It looks like the Beagleboard Black has similar specs. But it's $55. That's more than a few dollars difference.

I'm thinking if you can get a Linux distro with a GUI, a word program, a MS Paint type program, and support for a USB hub, you can turn it into a full fleged computer experience for $9 (+cost of USB Hub-$7, USB keyboard-$7, & USB mouse-$7). Assuming the user already has a composite capable TV. Oh, and you'd need a video adapter. Haven't priced those yet.

Anything keeping that from happening?

And it's one of the reasons I'm not upvoting this.

Daybreak and then fucking Sail?

FFS, in a video like this, where you're compositing other people's footage, you have two spaces to add your own take: the editing and the music. The editing is workmanlike, certainly nothing special and for the music they pick the two most overplayed pieces of music on the internet?

Down vote.

Well THIS one is obviously a CG interpretation, perhaps arranging real photographs in a 3D program and then moving a virtual camera through them...
But the spectacular Hubble still photographs are REAL in the sense that they are graphs of real photons coming off real stuff out there. Just filtered for different spectra and then composited back together, packing more information into a single image.
http://hubblesite.org/gallery/behind_the_pictures/meaning_of_color/index.php
I know what you mean though. There are no "natural light" cameras on the Hubble. That would be a waste of space.

Hella dork. This is not the future of sci fi. Try bringing it back away from sci fi and turn it into a real film that happens to be about sci fi. Soon no one will care about compositing effects. We will want real content pulled from real life.

So interesting that I cannot help but hold the breath in my nose so as not to smell what I imagine the stink to be of that gelatinous mess.

Now is that the same result you could expect from a dead mouse just being in liquid and not specifically Mtn. Dew? I imagine that'd be the case.

Pretty bad video composition with a horribly long intro, but the payoff was interesting.

Btw, @haki, you know you can vote for your own videos, right?

From what I've been led to believe, the shot of Cruise on the outside of the plane is neither CGI nor compositing. They actually strapped him to the side of the plane and took off...

Haha, I knew I'd open a can of worms....
I enjoy music of all types, trust me. I know the history. I grew up in a radio station, and remember when DJs were the rock Stars of the 70s.

I have no boundaries, and in fact, the more music pushes the boundaries the better, but I still have to feel the groove.
Often, "musicians," get caught up in the medium and forget the composition. I know - I'm an artist, I've been there, created works, not for composition, but to better understand my medium. It's still art, but it's not "ART."

See what I'm saying. There is a whole new generation of not just musicians and composers, but listeners. they have their own new sound, but a lot of the soul is getting filtered out while the artists explore the medium. I know it will come full circle, but I believe we are in a stagnant period of exploration.

And no, I'm not commenting on all those classical musicians, in fact, they are doing the opposite. There are many classical musicians that are taking their instruments in new directions - finally - and breaking out of the Bach & Beethoven standards. (Stereotyping here). My favorite is Stravinsky, who pushed every boundary of his day. and Guys like Rossini, who was the Heavy Metal Rocker of his day. But there comes a time, to break out and use the instruments differently.

And that's what they are doing right now. Breaking out and exploring. Which is great, it will define another period in music. But we're not quite there yet. Publishers and studios, are the bottom feeders, trying to keep the industry alive, but they are manufacturing the lowest common denominator, giving the public some of the most contrived music of our day.

It's okay to criticize music as it evolves and still like it.
If we don't criticize it, then it doesn't evolve. And I think the artists themselves would agree because, once you stop and consider your groves perfect, then there is no point creating more.

You can come to the defense of the genre, but not every piece is perfect. Yes there are better musicians out there, and some worse, and some I like, you won't like, and so on, that's what makes it great. I remember laying on the couch listening to Kraftwork's Autobahn for hours and loving it. That was over 25 years ago. And I've listened to so much more in between. I've heard it, I've studied it in school, spun discs and worked DJ booths, and was literally raised in a radio station. I've heard a lot, and have the knowledge to compare notes.

I'll end this, it's going too long - but suffice to say, this piece here, is okay, but has no crescendo, nothing to keep me on the edge. The grove becomes quite trance, while trying not to be. He's done a great mix up, and I see what he's doing here. He's taken video excerpts and contained and arranged them together. Great... he's experimenting. But it's not perfect, and that's okay. He's worked hard to create something, and as he evolves, he'll create better, that's what it's all about

Wake me up when we're compositing on the atomic scale.

Then I'll take a cup of tea, Earl Grey, hot.