L’équipe du podcast 12 FPS dévoile son nouveau projet : un ambitieux documentaire sur le studio d’animation DreamWorks. Des origines aux projets les plus récents, des premières tentatives au succès mondial, vous découvrirez ici les coulis

Big and Small Underwater Faces — 3rd Place. Trips to the Antarctic Peninsula always yield amazing encounters with leopard seals (Hydrurga leptonyx). Boldly approaching me and baring his teeth, this individual was keen to point out that this part of Antarctica was his territory. This picture was shot at dusk, resulting in the rather moody atmosphere.   Credit: Lars von Ritter Zahony (Germany) / World Ocean’s Day Get the Popular Science daily newsletter💡 Breakthroughs, discoveries, and DIY tips sent every weekday. The striking eye of a humpback whale named Sweet Girl peers at the camera. Just four days later, she would be dead, hit by a speeding boat and one of the 20,000 whales killed by ship strikes each year. Photographer Rachel Moore’s captivating image (seen below) of Sweet Girl earned top honors at the 2025 United Nations World Oceans Day Photo Competition. Wonder: Sustaining What Sustains Us — WinnerThis photo, taken in Mo’orea, French Polynesia in 2024, captures the eye of a humpback whale named Sweet Girl, just days before her tragic death. Four days after I captured this intimate moment, she was struck and killed by a fast-moving ship. Her death serves as a heartbreaking reminder of the 20,000 whales lost to ship strikes every year. We are using her story to advocate for stronger protections, petitioning for stricter speed laws around Tahiti and Mo’orea during whale season. I hope Sweet Girl’s legacy will spark real change to protect these incredible animals and prevent further senseless loss.Credit: Rachel Moore (USA) / United Nations World Oceans Day www.unworldoceansday.org Now in its twelfth year, the competition coordinated in collaboration between the UN Division for Ocean Affairs and the Law of the Sea, DivePhotoGuide (DPG), Oceanic Global, and  the Intergovernmental Oceanographic Commission of UNESCO. Each year, thousands of underwater photographers submit images that judges award prizes for across four categories: Big and Small Underwater Faces, Underwater Seascapes, Above Water Seascapes, and Wonder: Sustaining What Sustains Us. This year’s winning images include a curious leopard seal, a swarm of jellyfish, and a very grumpy looking Japanese warbonnet. Given our oceans’ perilous state, all competition participants were required to sign a charter of 14 commitments regarding ethics in photography. Underwater Seascapes — Honorable MentionWith only orcas as their natural predators, leopard seals are Antarctica’s most versatile hunters, preying on everything from fish and cephalopods to penguins and other seals. Gentoo penguins are a favored menu item, and leopard seals can be observed patrolling the waters around their colonies. For this shot, I used a split image to capture both worlds: the gentoo penguin colony in the background with the leopard seal on the hunt in the foreground.Credit: Lars von Ritter Zahony (Germany) / United Nations World Oceans Day www.unworldoceansday.org Above Water Seascapes – WinnerA serene lake cradled by arid dunes, where a gentle stream breathes life into the heart of Mother Earth’s creation: Captured from an airplane, this image reveals the powerful contrasts and hidden beauty where land and ocean meet, reminding us that the ocean is the source of all life and that everything in nature is deeply connected. The location is a remote stretch of coastline near Shark Bay, Western Australia.Credit: Leander Nardin (Austria) / United Nations World Oceans Day www.unworldoceansday.org Above Water Seascapes — 3rd PlaceParadise Harbour is one of the most beautiful places on the Antarctic Peninsula. When I visited, the sea was extremely calm, and I was lucky enough to witness a wonderfully clear reflection of the Suárez Glacier (aka Petzval Glacier) in the water. The only problem was the waves created by our speedboat, and the only way to capture the perfect reflection was to lie on the bottom of the boat while it moved towards the glacier.Credit: Andrey Nosik (Russia) / United Nations World Oceans Day www.unworldoceansday.org Underwater Seascapes — 3rd Place“La Rapadura” is a natural hidden treasure on the northern coast of Tenerife, in the Spanish territory of the Canary Islands. Only discovered in 1996, it is one of the most astonishing underwater landscapes in the world, consistently ranking among the planet’s best dive sites. These towering columns of basalt are the result of volcanic processes that occurred between 500,000 and a million years ago. The formation was created when a basaltic lava flow reached the ocean, where, upon cooling and solidifying, it contracted, creating natural structures often compared to the pipes of church organs. Located in a region where marine life has been impacted by once common illegal fishing practices, this stunning natural monument has both geological and ecological value, and scientists and underwater photographers are advocating for its protection. (Model: Yolanda Garcia)Credit: Pedro Carrillo (Spain) / United Nations World Oceans Day www.unworldoceansday.org Underwater Seascapes — WinnerThis year, I had the incredible opportunity to visit a jellyfish lake during a liveaboard trip around southern Raja Ampat, Indonesia. Being surrounded by millions of jellyfish, which have evolved to lose their stinging ability due to the absence of predators, was one of the most breathtaking experiences I’ve ever had.Credit: Dani Escayola (Spain) / United Nations World Oceans Day www.unworldoceansday.org Underwater Seascapes — 2nd PlaceThis shot captures a school of rays resting at a cleaning station in Mauritius, where strong currents once attracted them regularly. Some rays grew accustomed to divers, allowing close encounters like this. Sadly, after the severe bleaching that the reefs here suffered last year, such gatherings have become rare, and I fear I may not witness this again at the same spot.Credit: Gerald Rambert (Mauritius) / United Nations World Oceans Day www.unworldoceansday.org Wonder: Sustaining What Sustains Us — 3rd PlaceShot in Cuba’s Jardines de la Reina—a protected shark sanctuary—this image captures a Caribbean reef shark weaving through a group of silky sharks near the surface. Using a slow shutter and strobes as the shark pivoted sharply, the motion blurred into a wave-like arc across its head, lit by the golden hues of sunset. The abundance and behavior of sharks here is a living symbol of what protected oceans can look like.Credit: Steven Lopez (USA) / United Nations World Oceans Day www.unworldoceansday.org  Above Water Seascapes — 2nd PlaceNorthern gannets (Morus bassanus) soar above the dramatic cliffs of Scotland’s Hermaness National Nature Reserve, their sleek white bodies and black-tipped wings slicing through the Shetland winds. These seabirds, the largest in the North Atlantic, are renowned for their striking plunge-dives, reaching speeds up to 100 kph (60 mph) as they hunt for fish beneath the waves. The cliffs of Hermaness provide ideal nesting sites, with updrafts aiding their take-offs and landings. Each spring, thousands return to this rugged coastline, forming one of the UK’s most significant gannet colonies. It was a major challenge to take photos at the edge of these cliffs at almost 200 meters (650 feet) with the winds up to 30 kph (20 mph).Credit: Nur Tucker (UK/Turkey) / United Nations World Oceans Day www.unworldoceansday.org Above Water Seascapes — Honorable MentionA South Atlantic swell breaks on the Dungeons Reef off the Cape Peninsula, South Africa, shot while photographing a big-wave surf session in October 2017. It’s the crescendoing sounds of these breaking swells that always amazes me.Credit: Ken Findlay (South Africa) / United Nations World Oceans Day www.unworldoceansday.org Wonder: Sustaining What Sustains Us — Honorable MentionHumpback whales in their thousands migrate along the Ningaloo Reef in Western Australia every year on the way to and from their calving grounds. In four seasons of swimming with them on the reef here, this is the only encounter I’ve had like this one. This pair of huge adult whales repeatedly spy-hopped alongside us, seeking to interact with and investigate us, leaving me completely breathless. The female in the foreground was much more confident than the male behind and would constantly make close approaches, whilst the male hung back a little, still interested but shy. After more than 10 years working with wildlife in the water, this was one of the best experiences of my life.Credit: Ollie Clarke (UK) / United Nations World Oceans Day www.unworldoceansday.org Big and Small Underwater Faces — 2nd PlaceOn one of my many blackwater dives in Anilao, in the Philippines, my guide and I spotted something moving erratically at a depth of around 20 meters (65 feet), about 10 to 15 centimeters in size. We quickly realized that it was a rare blanket octopus (Tremoctopus sp.). As we approached, it opened up its beautiful blanket, revealing its multicolored mantle. I managed to take a few shots before it went on its way. I felt truly privileged to have captured this fascinating deep-sea cephalopod. Among its many unique characteristics, this species exhibits some of the most extreme sexual size-dimorphism in nature, with females weighing up to 40,000 times more than males.Credit: Giacomo Marchione (Italy) / United Nations World Oceans Day www.unworldoceansday.org Big and Small Underwater Faces – WinnerThis photo of a Japanese warbonnet (Chirolophis japonicus) was captured in the Sea of Japan, about 50 miles (80 kilometers) southwest of Vladivostok, Russia. I found the ornate fish at a depth of about 30 meters (100 feet), under the stern of a shipwreck. This species does not appear to be afraid of divers—on the contrary, it seems to enjoy the attention—and it even tried to sit on the dome port of my camera.Credit: Andrey Nosik (Russia) / United Nations World Oceans Day www.unworldoceansday.org Wonder: Sustaining What Sustains Us — 2nd PlaceA juvenile pinnate batfish (Platax pinnatus) captured with a slow shutter speed, a snooted light, and deliberate camera panning to create a sense of motion and drama. Juvenile pinnate batfish are known for their striking black bodies outlined in vibrant orange—a coloration they lose within just a few months as they mature. I encountered this restless subject in the tropical waters of Indonesia’s Lembeh Strait. Capturing this image took patience and persistence over two dives, as these active young fish constantly dart for cover in crevices, making the shot particularly challenging.Credit: Luis Arpa (Spain) / United Nations World Oceans Day www.unworldoceansday.org

By JENNIFER CHAMPAGNE House of the Dragon expands its dragon-filled world in its second season, offering more large-scale battles and heightened aerial warfare. (Image courtesy of HBO) The 2025 Emmy race for outstanding visual effects is shaping up to be one of the most competitive in years with major genre heavyweights breaking new ground on what’s possible on television. As prestige fantasy and sci-fi continue to dominate, the battle for the category will likely come down to sheer scale, technical innovation and how seamlessly effects are integrated into storytelling. Returning titans like House of the Dragon and The Lord of the Rings: The Rings of Power have proven their ability to deliver breathtaking visuals. At the same time, Dune: Prophecy enters the conversation as a visually stunning newcomer. The Boys remains the category’s wildcard, bringing its own brand of hyper-realistic, shock-value effects to the race. With its subtle yet immersive world-building, The Penguin stands apart from the spectacle-driven contenders, using “invisible” VFX to transform Gotham into a post-flooded, decaying metropolis. Each series offers a distinct approach to digital effects, making for an intriguing showdown between blockbuster-scale world-building and more nuanced, atmospheric craftsmanship. Sharing the arena with marquee pacesetters HBO’s The Last of Us, Disney+’s Andor and Netflix’s Squid Game, these series lead the charge in ensuring that the 2025 Emmy race isn’t just about visual spectacle; it’s about which shows will set the next benchmark for visual effects on television. The following insights and highlights from VFX supervisors of likely Emmy contenders illustrate why their award-worthy shows have caught the attention of TV watchers and VFX Emmy voters. The Penguin, with its subtle yet immersive world-building, stands apart from the spectacle-driven contenders, using “invisible” VFX to transform Gotham into a post-flooded, decaying metropolis.  (Image courtesy of HBO) For The Lord of the Rings: The Rings of Power VFX Supervisor Jason Smith, the second season presented some of the Amazon series’ most ambitious visual effects challenges. From the epic Battle of Eregion to the painstaking design of the Entwives, Smith and his team at Wētā FX sought to advance digital world-building while staying true to J.R.R. Tolkien’s vision. “The Battle of Eregion was amazing to work on – and challenging too, because it’s a pivotal moment in Tolkien’s story,” Smith states. Unlike typical large-scale clashes, this battle begins as a siege culminating in an explosive cavalry charge. “We looked for every way we could to heighten the action during the siege by keeping the armies interacting, even at a distance,” Smith explains. His team introduced projectiles and siege weaponry to create dynamic action, ensuring the prolonged standoff felt kinetic. The environment work for Eregion posed another challenge. The city was initially constructed as a massive digital asset in Season 1, showcasing the collaborative brilliance of the Elves and Dwarves. In Season 2, that grandeur had to be systematically razed to the ground. “The progression of destruction had to be planned extremely carefully,” Smith notes. His team devised seven distinct levels of damage, mapping out in granular detail which areas would be smoldering, reduced to rubble or utterly consumed by fire. “Our goal was to have the audience feel the loss that the Elves feel as this beautiful symbol of the height of Elvendom is utterly razed.” The SSVFX team helped shape a world for Lady in the Lake that felt rich, lived-in and historically precise. (Image courtesy of Apple TV+) One of most ambitious effects for Season 4 of The Boys was Splinter, who has the ability to duplicate himself. The sequence required eight hours of rehearsal, six hours of filming, for one shot. The final effect was a mix of prosthetic cover-up pieces and VFX face replacement. (Image courtesy of Prime Video) The Penguin, HBO Max’s spinoff series of The Batman, centers on Oswald ‘Oz’ Cobb’s ruthless rise to power, and relies on meticulous environmental effects, smoothly integrating CG elements to enhance Gotham’s noir aesthetic without ever calling attention to the work itself. “The most rewarding part of our work was crafting VFX that don’t feel like VFX,” says VFX Supervisor Johnny Han. Across the series’ 3,100 VFX shots, every collapsing freeway, skyline extension and flicker of light from a muzzle flash had to feel utterly real – woven so naturally into the world of Gotham that viewers never stopped to question its authenticity. Zimia spaceport, an enormous hub of interstellar commerce in Dune: Prophecy. The production team built a vast practical set to provide a strong scale foundation, but its full grandeur came to life in post by extending this environment with CG.(Images courtesy of HBO) The second season of The Lord of the Rings: The Rings of Power refined its environments, which elevate Middle-earth’s realism. (Image courtesy of Prime Video) Some of the series’ most striking visual moments were also its most understated. The shift of Gotham’s seasons – transforming sunlit summer shoots into autumn’s muted chill – helped shape the show’s somber tone, reinforcing the bleak, crime-ridden undercurrent. The city’s bridges and skyscrapers were meticulously augmented, stretching Gotham beyond the limits of practical sets while preserving its grounded, brutalist aesthetic. Even the scars and wounds on Sofia Falcone were enhanced through digital artistry, ensuring that her past traumas remained ever-present, etched into her skin. The series wasn’t without its large-scale effects – far from it. Han and his team orchestrated massive sequences of urban devastation. “The floodwaters were one of our biggest challenges,” Han notes, referring to the ongoing impact of the catastrophic deluge that left Gotham in ruins. One particularly harrowing sequence required simulating a tsunami tearing through the streets – not as an action set piece, but as a deeply personal moment of loss. “Telling Victor’s story of how he lost his entire family in the bombing and floods of Gotham was heartbreaking,” Han says. “Normally, you create an event like that for excitement, for tension. But for us, it was about capturing emotional devastation.” Perhaps the most technically intricate sequences were the shootouts, hallmarks of Gotham’s criminal underbelly. “We programmed millisecond-accurate synced flash guns to mimic dramatic gunfire light,” Han explains, ensuring that the interplay of practical and digital elements remained imperceptible. Every muzzle flash, every ricochet was meticulously planned and rendered. The ultimate achievement for Han and his team wasn’t crafting the biggest explosion or the most elaborate digital sequence – it was making Gotham itself feel inescapably real. He says, “Nothing was more important to us than for you to forget that there are 3,100 VFX shots in this series.” The challenge for The Residence was making one of the most recognizable buildings in the world feel both immersive and narratively engaging. (Photo: Erin Simkin. Courtesy of Netflix) Bringing the universe of Dune to life on TV for HBO’s Dune: Prophecy requires a delicate balance of realism and imagination, grounded in natural physics, yet awe-inspiring in scale. Dune: Prophecy looks to challenge traditional fantasy dominance with its stunning, desert-bound landscapes and intricate space-faring visuals, uniting the grandeur of Denis Villeneuve’s films with the demands of episodic storytelling. Set thousands of years before the events of the films, the series explores the early days of the Bene Gesserit, a secretive order wielding extraordinary abilities. Translating that power into a visual language required technical innovation. “Kudos to Important Looking Pirates for the space folding and [Lila’s] Agony work,” says VFX Supervisor Mike Enriquez. No Dune project would be complete without its most iconic inhabitant, the sandworm. VFX Producer Terron Pratt says. “We’re incredibly proud of what the team at Image Engine created. Precise animation conveyed this creature’s weight and massive scale, while incredibly detailed sand simulations integrated it into the environment.” Every grain of sand had to move believably in response to the worm’s colossal presence to ensure the physics of Arrakis remained authentic. Floodwaters play a significant part in the destruction of Gotham in The Penguin. One particularly harrowing sequence required simulating a tsunami tearing through the streets. (Image courtesy of HBO) American Primeval integrated visual effects with practical techniques in creative, unconventional ways. The massacre sequence showcases technical mastery and pulls the audience into the brutal reality of the American frontier. (Photo: Justin Lubin. Courtesy of Netflix) For the Zimia spaceport, an enormous hub of interstellar commerce, the Dune: Prophecy production team built a vast practical set to provide a strong scale foundation. However, its full grandeur came to life in post. “By extending this environment with CG, we amplified the scope of our world, making it feel expansive and deeply impactful,” Pratt explains. The result was a sprawling, futuristic cityscape that retained a tangible weight with impeccably amalgamated practical and digital elements. Wētā FX sought to advance digital world-building for Season 2 of The Lord of the Rings: The Rings of Power while staying true to J.R.R. Tolkien’s vision. (Image courtesy of Prime Video) Visual effects extended beyond character work for Lady in the Lake, playing a key role in the show’s immersive world-building. (Image courtesy of Apple TV+) For House of the Dragon VFX Supervisor Daði Einarsson, Season 2 presented some of the HBO show’s most complex and ambitious visual effects work. The Battle at Rook’s Rest in Episode 4 was a milestone for the series, marking the first full-scale dragon-on-dragon aerial battle. “We were tasked with pitting three dragons against each other in an all-out aerial war above a castle siege,” Einarsson says. Capturing the actors’ performances mid-flight required a combination of motion-controlled cameras, preprogrammed motion bases with saddles and LED volume lighting – all mapped directly from fully animated previsualized sequences approved by director Alan Taylor and Showrunner Ryan J. Condal. On the ground, the battlefield required digital crowd replication, extensive environment extensions, and pyrotechnic enhancements to create a war zone that felt both vast and intimately chaotic. “In the air, we created a fully CG version of the environment to have full control over the camera work,” Einarsson explains. Under the supervision of Sven Martin, the Pixomondo team stitched together breathtaking aerial combat, ensuring the dragons moved with the weight and raw power befitting their legendary status. Blood, weapon effects and period-accurate muzzle flashes heightened the intensity of the brutal fight sequences in American Primeval. The natural elements and violence reflected the harsh realities of the American west in 1857. (Image courtesy of Netflix) The Residence brings a refined, detailed approach to environmental augmentation, using visual effects to take the audience on a journey through the White House in this political murder mystery. (Photo: Jessica Brooks. Courtesy of Netflix) Episode 7 introduced Hugh Hammer’s claim of Vermithor, Westeros’ second-largest dragon. Rather than breaking the sequence into multiple shots, Einarsson and director Loni Peristere saw an opportunity to craft something exceptional: a single, uninterrupted long take reminiscent of Children of Men and Gravity. “It took a lot of planning to design a series of beats that cohesively flowed from one into the next, with Hugh leading the camera by action and reaction,” Einarsson says. The sequence, which involved Hugh dodging Vermithor’s flames and ultimately claiming the beast through sheer bravery, was technically demanding. To achieve this, the team stitched together five separate takes of Hugh’s performance, shot over two separate days weeks apart, due to the set needing to be struck and rebuilt in different configurations. VFX Supervisor Wayne Stables and the team at Wētā ensured the transitions were imperceptible, uniting practical and digital elements into a continuous, immersive moment. “The Dragonmont Cavern environment was a beautiful, raised gantry and cave designed by [Production Designer] Jim Clay and expanded by Wētā,” Einarsson says. Then Rowley Imran’s stunt team and Mike Dawson’s SFX team engulfed the set in practical flames so every element, from fire to dust to movement, contributed to the illusion of real-time danger. For Einarsson, the most significant challenge wasn’t just in making these sequences visually spectacular – it was ensuring they belonged within the same world as the quiet, dialogue-driven moments in King’s Landing. “The aim is for incredibly complex and spectacular visual effects scenes to feel like they belong in the same world as two people talking in a council chamber,” he states. Every dragon, flame and gust of wind had to feel as lived-in as the politics playing out beneath them. Season 4 of The Boys delivered the fully CG octopus character, Ambrosius. A challenge was crafting a believable yet expressive sea creature and keeping it grounded while still embracing the show’s signature absurdity. (Image courtesy of Prime Video) In The Penguin, Gotham isn’t just a city; it’s a living, breathing entity shaped by destruction, decay and the quiet menace lurking beneath its streets. (Images courtesy of HBO) The Boys continues to defy genre norms, delivering audacious, technically complex effects that lean into its hyperviolent, satirical take on superheroes. For The Boys VFX Supervisor Stephan Fleet, Season 4 delivered some of the Amazon Prime show’s most dramatic effects yet, from the self-replicating Splinter to the fully CG octopus character, Ambrosius. Splinter, who has the ability to duplicate himself, presented a unique challenge. Fleet says, “His introduction on the podium was a complex motion control sequence. Eight hours of rehearsal, six hours of filming – for one shot.” Splinter’s design came with an added layer of difficulty. “We had to figure out how to make a nude male clone,” Fleet says. “Normally, you can hide doubles’ bodies in clothes – not this time!” The final effect required a mix of prosthetic cover-up pieces and VFX face replacement, requiring multiple iterations to make it work. Ambrosius became one of The Boys’ most unexpected breakout characters. “It’s fun making a full-on character in the show that’s an octopus,” Fleet reveals in a nod to the show’s absurd side. “As much as possible, we aim for a grounded approach and try to attain a level of thought and detail you don’t often find on TV.” While the battle for outstanding visual effects will likely be dominated by large-scale fantasy and sci-fi productions, several standout series are also making waves with their innovative and immersive visual storytelling. Netflix’s The Residence, led by VFX Supervisor Seth Hill, brings a refined, detailed approach to environmental augmentation, enhancing the grandeur of the White House setting in this political murder mystery. “Using visual effects to take the audience on a journey through an iconic location like the White House was really fun,” Hill says. “It’s a cool and unique use of visual effects.” One of the most ambitious sequences involved what the team called the Doll House, a digital rendering of the White House with its south façade removed, exposing the interior like a cross-section of a dollhouse. Hill explains. “Going back and forth from filmed footage to full CGI – that jump from grounded realism to abstract yet still real – was quite tricky,” he says, adding, “VFX is best when it is in service of the storytelling, and The Residence presented a unique opportunity to do just that. It was a big challenge and a tough nut to crack, but those creative and technical hurdles are a good part of what makes it so rewarding.” “We were tasked with pitting three dragons against each other in an all-out aerial war above a castle siege. In the air, we created a fully CG version of the environment to have full control over the camera work.”—Daði Einarsson, VFX Supervisor, House of the Dragon The Battle at Rook’s Rest in Episode 4 of House of the Dragon Season 2 was a major milestone for the series, marking the first full-scale dragon-on-dragon aerial battle. (Image courtesy of HBO) Season 2 of House of the Dragon presented some of the most complex and ambitious visual effects work for the show to date. (Photo: Theo Whiteman. Courtesy of HBO) For Jay Worth, VFX Supervisor on Apple TV+’s Lady in the Lake, the challenge was two-fold: create seamless effects and preserve the raw emotional truth of a performance. One of the most significant technical achievements was de-aging Natalie Portman. “It seems so easy on paper, but the reality was far more challenging,” Worth admits. Worth had tackled de-aging before, but never with the same level of success. “For me, it is simply because of her performance.” Portman delivered a nuanced, youthful portrayal that felt entirely authentic to the time period. “It made our job both so much easier and set the bar so high for us. Sometimes, you can hide in a scene like this – you pull the camera back, cut away before the most expressive parts of the dialogue, or the illusion breaks,” Worth explains. In Lady in the Lake, there was nowhere to hide. “I think that is what I am most proud of with these shots. It felt like the longer you stayed on them, the more you believed them. That is a real feat with this sort of work.” Skully VFX handled the de-aging. “They nailed the look early on and delivered throughout the project on this difficult task.” Working alongside Production Designer Jc Molina, the VFX team helped shape a world that felt rich, lived-in and historically precise. “We were entrusted with the most important part of this show – do we believe this performance from this character in this part of her journey? – and we feel like we were able to deliver on this challenge.” On the other end of the spectrum, Netflix’s American Primeval, under the guidance of VFX Supervisor Andrew Ceperley, delivers rugged, visceral realism in its portrayal of the untamed American frontier. With brutal battle sequences, sprawling landscapes and historical re-creations that interweave practical and digital effects, the series stands as a testament to how VFX can enhance grounded, historical storytelling. Ceperley says, “The standout is definitely the nearly three-minute single-shot massacre sequence in the forest episode.” Designed to immerse the audience in the raw, chaotic violence of the frontier, the scene captures every brutal detail with unrelenting intensity. The challenge was crafting invisible visual effects, enhancing practical stunts and destruction without breaking the immersive, handheld camera style. “The sequence was designed to be one shot made up of 10 individual takes, shot over seven days, seamlessly stitched together, all while using a handheld camera on an extremely wide-angle lens.” One of the most complex moments involved a bull smashing through a wagon while the characters hid underneath. Rather than relying on CGI, the team took a practical approach, placing a 360-degree camera under the wagon while the special effects team rigged it to explode in a way that simulated an impact. “A real bull was then guided to run toward the 360 camera and leap over it,” Ceperley says. The footage was blended with live-action shots of the actors with minimal CGI enhancements – just dust and debris – to complete the effect. Adding to the difficulty, the scene was set at sunset, giving the team an extremely limited window to capture each day’s footage. The massacre sequence was a prime example of integrating visual effects with practical techniques in creative, unconventional ways, blending old-school in-camera effects with modern stitching techniques to create a visceral cinematic moment that stayed true to the show’s raw, historical aesthetic. “Using old techniques in new, even strange ways and seeing it pay off and deliver on the original vision was the most rewarding part.”

News Science & Society Students’ mental health imperiled by $1 billion cuts to school funding Cutting mental health services will harm students over the long term, educators say The Parent Empowerment Program, or PEP, at La Mesa–Springs Valley School District in San Diego helps caregivers and their children work through various challenges. Here, mother Janet Walton leads a group activity aimed at helping children share. That includes Walton’s son, Elijah, who is passing a toy to a peer. LMSVSD PEP By Sujata Gupta May 29, 2025 at 11:00 am Four-year-old Elijah’s task was to draw a penguin, his favorite animal, and then rip up the paper so the scraps could be used for another project. The adults leading the project hoped that making Elijah uncomfortable would help the preschooler navigate similar tricky situations in his daily life. “He was not having it,” recalls Elijah’s mother, Janet Walton. “He freaked out.” For most toddlers, ripping up a beloved drawing would be a challenging ask. But Elijah’s struggles went beyond the norm. After a particularly bad tantrum at public preschool last year, a mental health expert with the La Mesa–Spring Valley School District in San Diego referred Walton to the Parent Empowerment Program, or PEP. Sign up for our newsletter We summarize the week's scientific breakthroughs every Thursday.

In early 2004, after defeating Krona, the Justice League and the Avengers said their goodbyes as each team returned to their proper universe. It was the last time that Marvel and DC would cross paths in any official capacity for decades. Well, unless you count the roundabout way of having them duke it out with Fortnite skins. In terms of comics, the two industry giants would keep separate, especially once Marvel was scooped up by Disney. After 21 years, the two worlds will collide once again. In September, Marvel is releasing Deadpool/Batman, written by Zeb Wells with art by Greg Capullo (including backup stories featuring talent like Kevin Smith, Chip Zdarsky, Adam Kubert, and more). Then in November, DC is doing Batman/Deadpool, written by Grant Morrison with art by Dan Mora. On top of that, this is apparently only the beginning, as there will be Marvel/DC crossovers happening on an annual basis. That does bring into question some choice narration from Doctor Manhattan in 2017’s Doomsday Clock. In the DC Universe/Watchmen event, the omnipotent, blue-donged god noted that in 2030 there would be an event known as “The Secret Crisis,” which would involve Superman fighting Thor across the universe and the heroic sacrifice of one unnamed green behemoth. A hopeful joke or something more? Regardless of what the future brings, starting things off with dual meetings between the Dark Knight and the Merc with a Mouth is a brilliant choice. They could have had Superman team up with Spider-Man all over again or something just as on the nose, but this is fresh and has tons of potential. Here are some reasons why. Deadpool Missed Out The first crossover between the companies was 1976’s Superman vs. The Amazing Spider-Man. While there had been a few other attempts in the ‘70s and ‘80s, it wasn’t until the mid-’90s that they went absolutely ham with it. Over a six-year stretch starting in 1994, there were fifteen different team-ups and cross-company battles. This includes the memorable and oh-so-dated Marvel vs. DC event and its dip into Amalgam, the merged reality where Dark Claw (Wolverine/Batman) and his sidekick Sparrow (Jubilee/Robin) fight Hyena (Sabretooth/Joker). Meanwhile, though Deadpool was introduced in 1990, he wasn’t really cared about among comic fans until the 1997 solo run by Joe Kelly and Ed McGuinness. By the time Deadpool really picked up steam in popularity (Deadpool actually won a fight based on reader votes against Daredevil in 1999’s Contest of Champions II), the DC alliance was on its way out. The poor guy didn’t even get to be in Amalgam. They merged Deathstroke the Terminator with Daredevil instead. Centering this Batman story on a mainstream hero who wasn’t mainstream enough back in the ‘90s only adds a new coat of paint onto this novelty. The Previous Batman and Deadpool Crossover Then again, this wouldn’t exactly be the first time Batman and Deadpool have crossed paths. In an unofficial way, they have met. Sort of. As mentioned, the Kelly/McGuinness run of Deadpool was iconic and character-defining. That same creative team worked on Superman/Batman Annual #1 back in 2006. In a modern retelling of the pre-Crisis storyline where Bruce and Clark discovered each other’s secret identities on a cruise, the two had to deal with both Deathstroke and Deathstroke’s heroic Earth-3 doppelganger. Outside of the blue and orange color scheme, Earth-3 Deathstroke was Deadpool in as many ways as they could legally get away with. This included constantly getting interrupted with extreme violence whenever he was about to say his actual name. Still, even being in a separate company never stopped Deadpool from razzing on Batman. In his movies alone, he’s made fun of how dark the DC Universe is, crapped on the ending of Batman v Superman: Dawn of Justice, and joked about how Wolverine’s mask is like Batman’s with actual neck mobility. Speaking of… The Writers Understand the Assignment Zeb Wells might not be the most popular comic writer right now due to reasons involving Ms. Marvel’s death and… Paul. Still, he was one of the writers of Deadpool & Wolverine. People seemed to like that one. The guy knows a thing or two about putting Deadpool with a gruff, brooding superhero with reluctant father issues. This one will probably have less mutual bludgeoning… er, at least I hope it will. Join our mailing list Get the best of Den of Geek delivered right to your inbox! On the other side of things, we have Grant Morrison. Morrison is no stranger to the X-Men corner of Marvel, but he’s strangely never touched Deadpool before. Considering how much Morrison loves playing with the fourth wall and the boundaries between reality and fiction (Animal Man, Flex Mentallo, Seven Soldiers: Zatanna), it’s a real surprise that they never got to write for Marvel’s most self-aware antihero. Letting Deadpool Loose in Gotham On paper, the idea of having Deadpool specifically mixing things up with Harley Quinn might have made for a more fitting crossover. Unfortunately, DC kind of beat that into the ground with their “we can rip off your guy more blatantly than you can rip off ours” creation Red Tool, a regular in Harley’s comics. Regardless, having Deadpool mix it up with the worst of Gotham has legs. If anything, the very idea of Deadpool antagonizing the Joker is enough to sell issues. We could see him make Bane look nearly useless by recovering from a broken spine in seconds. We could find out what happens when Wade huffs fear gas. He could brutalize a confused Penguin for what happened to Victor in the HBO Max season finale. An official Deadpool vs. Deathstroke showdown is on the table. The possibilities are endless! As for Batman, he could… um… He… could fight… huh. Is T-Ray still a thing? Deadpool/Batman #1 will be released on September 17, 2025. Batman/Deadpool #1 is set to arrive in November.

smelly shield Penguin poop may help preserve Antarctic climate Ammonia aerosols from penguin guano likely play a part in the formation of heat-shielding clouds. Bob Berwyn, Inside Climate News – May 24, 2025 7:07 am | 4 Credit: Getty Credit: Getty Story text Size Small Standard Large Width * Standard Wide Links Standard Orange * Subscribers only   Learn more This article originally appeared on Inside Climate News, a nonprofit, non-partisan news organization that covers climate, energy, and the environment. Sign up for their newsletter here. New research shows that penguin guano in Antarctica is an important source of ammonia aerosol particles that help drive the formation and persistence of low clouds, which cool the climate by reflecting some incoming sunlight back to space. The findings reinforce the growing awareness that Earth’s intricate web of life plays a significant role in shaping the planetary climate. Even at the small levels measured, the ammonia particles from the guano interact with sulfur-based aerosols from ocean algae to start a chemical chain reaction that forms billions of tiny particles that serve as nuclei for water vapor droplets. The low marine clouds that often cover big tracts of the Southern Ocean around Antarctica are a wild card in the climate system because scientists don’t fully understand how they will react to human-caused heating of the atmosphere and oceans. One recent study suggested that the big increase in the annual global temperature during 2023 and 2024 that has continued into this year was caused in part by a reduction of that cloud cover. “I’m constantly surprised at the depth of how one small change affects everything else,” said Matthew Boyer, a coauthor of the new study and an atmospheric scientist at the University of Helsinki’s Institute for Atmospheric and Earth System Research. “This really does show that there is a deep connection between ecosystem processes and the climate. And really, it’s the synergy between what’s coming from the oceans, from the sulfur-producing species, and then the ammonia coming from the penguins.” Climate survivors Aquatic penguins evolved from flying birds about 60 million years ago, shortly after the age of dinosaurs, and have persisted through multiple, slow, natural cycles of ice ages and warmer interglacial eras, surviving climate extremes by migrating to and from pockets of suitable habitat, called climate refugia, said Rose Foster-Dyer, a marine and polar ecologist with the University of Canterbury in New Zealand. A 2018 study that analyzed the remains of an ancient “super colony” of the birds suggests there may have been a “penguin optimum” climate window between about 4,000 and 2,000 years ago, at least for some species in some parts of Antarctica, she said. Various penguin species have adapted to different habitat niches and this will face different impacts caused by human-caused warming, she said. Foster-Dyer has recently done penguin research around the Ross Sea, and said that climate change could open more areas for land-breeding Adélie penguins, which don’t breed on ice like some other species. “There’s evidence that this whole area used to have many more colonies … which could possibly be repopulated in the future,” she said. She is also more optimistic than some scientists about the future for emperor penguins, the largest species of the group, she added. “They breed on fast ice, and there’s a lot of publications coming out about how the populations might be declining and their habitat is hugely threatened,” she said. “But they’ve lived through so many different cycles of the climate, so I think they’re more adaptable than people currently give them credit for.” In total, about 20 million breeding pairs of penguins nest in vast colonies all around the frozen continent. Some of the largest colonies, with up to 1 million breeding pairs, can cover several square miles.There aren’t any solid estimates for the total amount of guano produced by the flightless birds annually, but some studies have found that individual colonies can produce several hundred tons. Several new penguin colonies were discovered recently when their droppings were spotted in detailed satellite images. A few penguin colonies have grown recently while others appear to be shrinking, but in general, their habitat is considered threatened by warming and changing ice conditions, which affects their food supplies. The speed of human-caused warming, for which there is no precedent in paleoclimate records, may exacerbate the threat to penguins, which evolve slowly compared to many other species, Foster-Dyer said. “Everything’s changing at such a fast rate, it’s really hard to say much about anything,” she said. Recent research has shown how other types of marine life are also important to the global climate system. Nutrients from bird droppings help fertilize blooms of oxygen-producing plankton, and huge swarms of fish that live in the middle layers of the ocean cycle carbon vertically through the water, ultimately depositing it in a generally stable sediment layer on the seafloor. Tricky measurements Boyer said the new research started as a follow-up project to other studies of atmospheric chemistry in the same area, near the Argentine Marambio Base on an island along the Antarctic Peninsula. Observations by other teams suggested it could be worth specifically trying to look at ammonia, he said. Boyer and the other scientists set up specialized equipment to measure the concentration of ammonia in the air from January to March 2023. They found that, when the wind blew from the direction of a colony of about 60,000 Adélie penguins about 5 miles away, the ammonia concentration increased to as high as 13.5 parts per billion—more than 1,000 times higher than the background reading. Even after the penguins migrated from the area toward the end of February, the ammonia concentration was still more than 100 times as high as the background level. “We have one instrument that we use in the study to give us the chemistry of gases as they’re actually clustering together,” he said. “In general, ammonia in the atmosphere is not well-measured because it’s really difficult to measure, especially if you want to measure at a very high sensitivity, if you have low concentrations like in Antarctica,” he said. Penguin-scented winds The goal was to determine where the ammonia is coming from, including testing a previous hypothesis that the ocean surface could be the source, he said. But the size of the penguin colonies made them the most likely source. “It’s well known that sea birds give off ammonia. You can smell them. The birds stink,” he said. “But we didn’t know how much there was. So what we did with this study was to quantify ammonia and to quantify its impact on the cloud formation process.” The scientists had to wait until the wind blew from the penguin colony toward the research station. “If we’re lucky, the wind blows from that direction and not from the direction of the power generator,” he said. “And we were lucky enough that we had one specific event where the winds from the penguin colony persisted long enough that we were actually able to track the growth of the particles. You could be there for a year, and it might not happen.” The ammonia from the guano does not form the particles but supercharges the process that does, Boyer said. “It’s really the dimethyl sulfide from phytoplankton that gives off the sulfur,” he said. “The ammonia enhances the formation rate of particles. Without ammonia, sulfuric acid can form new particles, but with ammonia, it’s 1,000 times faster, and sometimes even more, so we’re talking up to four orders of magnitude faster because of the guano.” This is important in Antarctica specifically because there are not many other sources of particles, such as pollution or emissions from trees, he added. “So the strength of the source matters in terms of its climate effect over time,” he said. “And if the source changes, it’s going to change the climate effect.” It will take more research to determine if penguin guano has a net cooling effect on the climate. But in general, he said, if the particles transport out to sea and contribute to cloud formation, they will have a cooling effect. “What’s also interesting,” he said, “is if the clouds are over ice surfaces, it could actually lead to warming because the clouds are less reflective than the ice beneath.” In that case, the clouds could actually reduce the amount of heat that brighter ice would otherwise reflect away from the planet. The study did not try to measure that effect, but it could be an important subject for future research, he added. The guano effect lingers even after the birds leave the breeding areas. A month after they were gone, Boyer said ammonia levels in the air were still 1,000 times higher than the baseline. “The emission of ammonia is a temperature-dependent process, so it’s likely that once wintertime comes, the ammonia gets frozen in,” he said. “But even before the penguins come back, I would hypothesize that as the temperature warms, the guano starts to emit ammonia again. And the penguins move all around the coast, so it’s possible they’re just fertilizing an entire coast with ammonia.” Bob Berwyn, Inside Climate News 4 Comments

Heazy IT Tech Verified Oct 28, 2017 4,643 London, UK Nintendo Switch 2 UK £395.99 / £429.99 (w/ Mario Kart World) original screenshot dead From Nintendo UK site  Last edited: Apr 11, 2025 NippleViking Member May 2, 2018 4,702 Jesus. $800 AUD then?   Doctor_Thomas Member Oct 27, 2017 11,467 Ooof.   raspberrymousse Member Mar 19, 2021 5,302 Cheaper than I thought   Stitch AU Member Oct 29, 2017 581 Brisbane, Australia What the fuck, thats $880AU for the mario kart edition.   Type VII Member Oct 31, 2017 2,977 I was expecting £425 so not too bad. At least we know when the preorders go live.   CasuallyDressed Member Jan 13, 2020 1,497 Eek.   Helix Mayor of Clown Town Member Jun 8, 2019 27,003 i thought it was going to be 50 quid cheaper   xendless Teyvat Traveler Member Jan 23, 2019 13,720 Nintendo UK store crashed already it's utterly fucked when preorders drop   Fevaweva Member Oct 30, 2017 7,589 That is about what I expected to be quite honest.   Hutchie Member Oct 27, 2017 1,791 London Decent but will wait n see how much cex sell em so can get rid of my remaining voucher   Charlie0108 Member Oct 29, 2017 4,600 I have £460 set aside for it so ok for me but I was expecting it to be about £50 cheaper.   discogs Member Oct 28, 2017 516 London When are UK preorders coming?   xendless Teyvat Traveler Member Jan 23, 2019 13,720 Hutchie said: Decent but will wait n see how much cex sell em so can get rid of my remaining voucher Click to expand... Click to shrink... On the Switch 1 launch it was way above rrp discogs said: When are UK preorders coming? Click to expand... Click to shrink... The OP image dude....  Swarming1182 Member Jan 14, 2018 534 Hell yeah.   Hutchie Member Oct 27, 2017 1,791 London xendless said: Only Switch 1 launch it was way above rrp Click to expand... Click to shrink... Looks like im waiting 6 months  DECK’ARD Creator of Worms Verified Nov 26, 2017 7,157 UK What I was expecting. Now open the preorders someone!  ItsBradazHD Member Nov 21, 2018 835 35 quid extra for mario kart is crazy value   J Snow Member Oct 25, 2017 452 About what I expected Hutchie said: Decent but will wait n see how much cex sell em so can get rid of my remaining voucher Click to expand... Click to shrink... I was thinking this but I went in today and they're selling second hand games more expensive than Argos a few doors down, I would really love to know what "algorithm" they use to calculate pricing   Tora The Enlightened Wise Ones Member Jun 17, 2018 8,983 Easily justifiable   Ara63 Member Nov 21, 2023 1,185 Given the other pricing news, if you care about Mario Kart at all buying that UK bundle is likely the cheapest deal for anyone worldwide.   Lowrys Member Oct 25, 2017 14,664 London discogs said: When are UK preorders coming? Click to expand... Click to shrink... 8 April. Gives all the scalpers and bots time to get ready ans vacuum them all up. Ridiculous. Just make them live now and let consumers have a chance.   Hutchie Member Oct 27, 2017 1,791 London Anyone got software prices? Apparently mario kart is €90 physical   Raiden Member Nov 6, 2017 3,032 Okay i'll take it. Do we have a official release date?   Axe Member Oct 27, 2017 3,590 United Kingdom I honestly was bracing for worse pricing for us.   geehepea Member Aug 5, 2024 358 about what I expected   Byron Hinson Member Nov 14, 2017 1,361 UK It'll be the cart pricing that's the killer   Swarming1182 Member Jan 14, 2018 534 Annoyed they chose to delay pre-orders. it just lets scalpers and bots grab them. The price is incredibly reasonable given the evident horsepower of this device, and especially with the Mario Kart World bundle, crazy good value.  Gowans Moderator Oct 27, 2017 5,833 North East, UK What about UK games prices?   Helix Mayor of Clown Town Member Jun 8, 2019 27,003 ngl though i'm not keen on getting MK World, it's crazy not to get that bundle cuz MK is just expensive on its own lol   harry the spy Member Oct 25, 2017 3,376 Do we know where we will be able to preorder from   Mutedpenguin Member Dec 5, 2017 1,392 Obviously I'll get the Mario Kart bundle(if I can)...but I feel it would be a much easier sell to the masses, if it was £399 including the game.   GovernWort Prophet of Truth Member Feb 20, 2020 1,093 Gowans said: What about UK games prices? Click to expand... Click to shrink... View: https://imgur.com/yzDDQ4Y   Bishop89 What Are Ya' Selling? Member Oct 25, 2017 42,772 Melbourne, Australia Stitch AU said: What the fuck, thats $880AU for the mario kart edition. Click to expand... Click to shrink... More than a ps5, crazy.   Willy Member Oct 27, 2017 402 I said £379 at the lowest previously so I wasn't far off. Honestly, not the worst price if you want Mario Kart World in the bundle. I think I'll be waiting for more first party games to come out though. edit - £75 physical games. Ouch.  cursed beef Member Jan 3, 2021 946 so physical is just dead dead huh? nintendo said fuck families   Gowans Moderator Oct 27, 2017 5,833 North East, UK Thank you, £75 seems wild esspecially in an age of cheap PC games and Game Pass.  GovernWort Prophet of Truth Member Feb 20, 2020 1,093 This is on the Nintendo UK site. Pro controller is £75 and the GC controller is £59  IIFloodyII Member Oct 26, 2017 27,432 Was expecting 400 so not too bad ther. But they can absolutely fuck off with the £75 for games.   Helix Mayor of Clown Town Member Jun 8, 2019 27,003 75 quid for flagship Nintendo games?…..   geehepea Member Aug 5, 2024 358 Prices for all accessories and software announced in the direct Edit: also noticed this smallprint on the page Pre-orders for Nintendo Switch 2 digital games, upgrade packs and amiibo will open on My Nintendo Store from 24/04.  Koukalaka Member Oct 28, 2017 10,399 Scotland ItsBradazHD said: 35 quid extra for mario kart is crazy value Click to expand... Click to shrink... Yeah, I expect the bundle will fly off the shelves considering it's a £30 saving  Snarfington Avenger Oct 25, 2017 3,154 GovernWort said: This is on the Nintendo UK site. Pro controller is £75 and the GC controller is £59 Click to expand... Click to shrink... Hmm I think I qualify but will have to check on the emails, wonder where I can do that? Hope it's not some rando newsletter  GokouD Member Oct 30, 2017 1,348 Game prices could be worse really, given the euro/dollar prices. And that's from the Nintendo store, you can probably knock £10 off at Amazon or Smyths.   shadowman16 Member Oct 25, 2017 41,549 Not super happy about the prices... but Im a fool and will be getting DK and MK for sure... ANd Yakuza and SF...   jazzfunkgreats Member Oct 7, 2019 307 I fit the criteria for the invitation thing on playtime and subscription length but I've only just turned on newsletters now, so I'm not expecting much. I knew I should have just embraced the spam   JayCB64 Member Oct 25, 2017 11,418 Wales Honestly I thought it would be a little worse lol   IDreamOfHime Member Oct 27, 2017 16,363 I don't actually mind that price, especially the Mario Kart bundle price. Hoping to buy from Amazon....kept my Xmas gift vouchers for this. My plan this gen is digital only, I don't have the space for boxes anymore.  Ocarina_117 Member Oct 26, 2017 9,887 Not as angry as others with this pricing to be honest. I get a tonne of time out of Nintendo games and their first party releases are spaced out nicely.  LewieP Member Oct 26, 2017 19,822 I was expecting £399 for the system to saved a cool £4.  

Adelie penguins on sea ice off the Antarctic PeninsulaAshley Cooper pics/Alamy Fumes of ammonia rising from piles of droppings in Antarctica’s crowded penguin colonies help boost the formation of clouds, which have a cooling effect by reflecting sunlight away from the surface. “This demonstrates a deep connection between the ecosystem and atmospheric processes,” says Matthew Boyer at the University of Helsinki in Finland. Advertisement The link comes down to the way ammonia affects the number of particles in the atmosphere. In order to form a cloud, water vapour must condense around a sizeable particle of some kind. But those are hard to come by in Antarctica’s cold, clean air. Without much dust, vegetation or air pollution around, most of the particles available for a would-be cloud are clusters of sulphuric acid molecules generated as a result of natural emissions from phytoplankton in waters around the continent. High concentrations of ammonia were already known to accelerate the formation of these clusters a thousand-fold. But where would ammonia come from in Antarctica? Penguin droppings should be a rich source. To check this, Boyer and his colleagues measured concentrations of ammonia, sulphuric acid and larger particles in the air several kilometres downwind of a 60,000-strong colony of Adélie penguins (Pygoscelis adeliae) on the Antarctic Peninsula. “They smell terrible,” says Boyer. “They’re dirty birds.” Unmissable news about our planet delivered straight to your inbox every month. Sign up to newsletter When wind was blowing from the direction of the colony, they found ammonia concentrations rose far above the levels found in air arriving from other directions. This rise in ammonia also boosted the formation of particles of sulphuric acid large enough for water to condense around them, and presumably to form clouds. This effect persisted for weeks after the penguins had moved on from the colony. More clouds, especially over the ocean, would have a cooling effect by reflecting sunlight away from Earth’s surface. Boyer says this also implies that a decline in penguin populations – for instance, due to sea ice loss driven by climate change – could have a warming effect across Antarctica by reducing cloud cover. However, the measurements taken in the current work aren’t enough to estimate the size of the effect. Other research suggests it could be significant. For instance, Jeffrey Pierce at Colorado State University and his colleagues found ammonia from puffin excretions in the Arctic similarly boosted cloud cover during summer. They estimated this resulted in a cooling effect that cancelled as much as a third of the warming due to carbon dioxide in the air across the region. “I’m sure it makes some impact,” says Pierce. Journal reference:Communications Earth and Environment DOI: 10.1038/s43247-025-02312-2 Topics:

News Climate Penguin poop gives Antarctic cloud formation a boost Ammonia wafting up from penguin guano in Antarctica is a key ingredient for cooling cloud formation  Adélie penguins walk near a breeding site in coastal Antarctica. Matthew Boyer By Carolyn Gramling 2 hours ago Penguins’ poop may be making Antarctica cloudier — and helping mitigate the regional impacts of climate change. Gases emitted from the birds’ guano are supplying key chemical ingredients to form the seeds of clouds — the tiny particles that clouds coalesce around, researchers report May 22 in Communications Earth & Environment. What penguin guano primarily contributes to the equation is ammonia. Previous studies have found that gaseous ammonia in the atmosphere can combine with sulfuric acid emitted by marine phytoplankton to form tiny particles called cloud condensation nuclei — the seeds of clouds. Those clouds may help cool the planet by reflecting more sunlight back into space. Researchers are keen to understand what drives climate and cloudiness over the Southern Ocean and Antarctica, which can have a powerful impact on the global climate. Sign up for our newsletter We summarize the week's scientific breakthroughs every Thursday.

Adélie penguins walking along the Antarctic coastline.   CREDIT: Matthew Boyer. Get the Popular Science daily newsletter💡 Breakthroughs, discoveries, and DIY tips sent every weekday. If you have ever stood in front of a penguin enclosure at an aquarium–or better yet traveled to Antarctica, New Zealand, or parts of southern Africa to see them in the wild–one reality really sticks out about these flightless birds. The smell. Their guano (aka poop) is pungent and plentiful, and dark stains of guano sticking out on white ice have even helped scientists find previously unknown penguin colonies. The ammonia released from their poop also might help reduce some of the devastating effects of climate change. This gas helps influence cloud formation, which can cool down surface temperatures. The findings are detailed in a study published May 22 in the journal Nature Communications Earth & Environment. A group of Adelie penguins standing on guano-covered snow. CREDIT: Matthew Boyer. Why ammonia? Antarctic ecosystems are under serious threat due to human-driven climate change, with some penguin colonies failing to breed altogether. Warmer temperatures means less critical sea ice for penguins, sea birds, seals, and whales. Penguins are a key species in this ecosystem at the bottom of the world and also are major emitters of ammonia in the region.  Ammonia is an atmospheric gas that can increase cloud formation by reacting with gases containing sulphur. In turn, this increases the creation of aerosols–the particles that give water vapour a surface to condense upon. All of that condensation leads to cloud formation. “Aerosol particles are necessary for cloud formation; liquid water will not condense to form cloud droplets without the presence of aerosol particles,” Matthew Boyer, a study co-author and atmospheric scientist at the University of Helsinki in Finland, tells Popular Science. “Clouds influence the surface radiation budget, which affects surface temperature. Therefore, clouds impact climate change. This is true across the entire planet, not just in Antarctica.”  First author Matthew Boyer piloting a drone for data collection in Antarctica. CREDIT: Zoé Brasseur. Since higher concentrations of aerosol particles creates clouds that are more reflective of the sun’s rays, the strength of an area’s aerosol particle sources matters. “In general, the Antarctic atmosphere is a pristine environment,” says Boyer. “It’s located far away from human pollution sources, and the background aerosol particle concentrations are low as a result. New particle formation, occurring from gases emitted from natural sources (e.g., penguins and the ocean), is therefore an important source of aerosol particles in the region.” The resulting clouds can act as insulating layers in the atmosphere and those layers often help lower surface temperatures and can affect the amount of sea ice coverage. However, the specific interaction between penguins and their ammonia filled poop and the Antarctic climate is not well understood. Standing downwind In this new study, Boyer and his colleagues measured the concentration of ammonia in the air at a site located near Marambio Base, Antarctica between January 10 and March 20, 2023. When the wind blew from the direction of a colony of 60,000-individual Adélie penguins (Pygoscelis adeliae) about five miles away, the ammonia concentration increased to as high as 13.5 parts per billion. That figure is over 1,000 times higher than the baseline value that is naturally found in Antarctica (less than 10.5 parts per trillion). The ammonia enhanced the particle concentrations in the clouds up to 30 times than the background, according to Boyer. Around the end of February, the penguins migrated from the area. The ammonia concentration was still more than 100 times higher than the baseline, because the penguin guano left at the colony site still emitted the gas.  “The most surprising part for me was the strength of ammonia emissions from the penguin guano for a month after the penguins were no longer present at the colony,” says Boyer. “They left for their annual migration, but the guano they left behind in the soils continued to emit gas ammonia at ~100 times higher than the baseline.” Thousands of Adélie penguins pictured from a distance at the studied Adelie penguin rookery, located on the southeastern coast of Seymour Island on the Antarctic Peninsula. CREDIT: Matthew Boyer. This indicates that the cloud-building ammonia emissions from penguins may cover even more of coastal Antarctica. To confirm that the increase in ammonia concentration eventually affected the cloud formation, the team recorded several additional atmospheric measurements during a single day. When the wind blew from the penguin colony, the number and size of the aerosol particles recorded at the site sharply increased. Approximately three hours after the wind changed, the team saw a period of fog. The team believes that this fog was likely a result of that increased aerosol particle concentration and cloud formation.  According to the team, the data suggests that penguin poop may be helping reduce some of climate change’s effects on an ever-warming Antarctica.  “Our measurements demonstrate that these environmental and ecosystem changes will subsequently impact the atmosphere and the climate of the region,” says Boyer. “This matters, because changes to the climate/ecosystem in Antarctica can have consequences for global climate.”