“This movie presents a visualization of the star-forming region known as S106. This unique three-dimensional view illustrates and emphasizes that many of the objects contained within astronomical images are not at the same distance, but, in fact, spread across light-years of space. The Hubble image is augmented with additional field-of-view from the Subaru Infrared Telescope. The stars and the lobes of glowing gas from the Hubble/Subaru two-dimensional image have been separated and sculpted using both scientific knowledge and artistic license to create the depth in the movie. Of note, the relative distances between stars and the nebula have been greatly compressed.”
“This devastatingly beautiful image shows the birth pangs of a massive star. Called IRS 4 (for Infrared Source 4; it was first seen in IR images), it’s the really bright star just below center where the two blue lobes come together. It’s a bruiser, an O-type star with at least 15 times the Sun’s mass — 30 octillion tons! — and is a staggering 10,000 times as bright. It’s still in the process of forming, but it’s nearly there.
Located about 2000 light years away, IRS 4 is surrounded by an enormous cloud of gas and dust that may have a mass as high as 25,000 times the mass of the Sun. When the star first ignited, fusing hydrogen into helium in its core, the vast amount of energy it started pouring out lit up the cloud in the immediate vicinity around it. Most of the cloud is still dark and cannot be seen here, but everything within a few light years of the star is being illuminated, if not ionized, by the fierce ultraviolet light from the star.”
- Phil Plait
If you want to get the song “Funeral Canticle,” it’s an iTunes Album Only purchase, but probably worth the $10 for the 23 minute song. Tom Lowe is awesome too.
If you don’t know, Tom Lowe won 2010 Astronomy Photographer of the Year.
It would be amazing to own a Red MX camera. The resolution is so high that it easily rivals movies made with film, and even though it costs $25,000 USD, it is actually cheaper than using film for any production. Most directors are switching to using Red digital cameras, except for ones like Woody Allen, where they basically have enough clout to use whatever they want. Digital will always dominate in the future.