Latest about Epic Games
Doja Cat is extremely mad about Fortnite 'losers' who use 'stupid f****** non-weapons' instead of having 'actual aim skills and FPS experience'
news The rapper and Fortnite fan has thoughts about the current state of the meta.
Epic's 2024 Mega Sale goes live with its first-ever Dragon Age: Inquisition giveaway
news Epic's annual extravaganza runs until June 13.
Fortnite bans Yoda for turning into green spaghetti, crashing your game
News Lego Yoda death sound.mp3
One artist is adding Fortnite into thrift shop paintings, and his latest masterpiece involves the Battle Bus and Peely
News The Loot Llama has never looked so good.
Fortnite fans are losing love for the airbending mythic as it continues to dominate the endgame
News I thought air nomads were meant to be peaceful.
Fortnite's battle royale mode was cooked up in the back of an Uber in 'like, three hours'
News "A school bus is going by us in traffic, and I’m like: Players are going to be on a bus in the sky."
Fortnite is adding a toggle to disable 'confrontational emotes' including Laugh it Up and Take the L
news Some people are not taking it well.
Fortnite executive says its user creation monetisation is strictly '18-plus' but 'in regions where it is permissible, yes we should lower that age'
news "There's a lot of Lego creators that want to still express themselves, [who] can't right now because of how these rules work".
![Here’s a variation on creating a time-sequence composite of the August 21, 2017 total solar eclipse In this case, time runs from left to right, from the last filtered partial phases I shot, through unfiltered shots of the rapidly changing last glimmer of sunlight disappearing behind the advancing Moon at “Second Contact,” forming “Baily’s Beads, to totality at centre] The sequence continues at right with the Sun emerging from behind the Moon in a rapid sequence at “Third Contact,” followed by two post-totality filtered partials to bookend the total eclipse images The C3 limb had a beautiful array of pink prominences The Contact 2 and 3 images were taken in rapid-fire continuous mode and so are only fractions of a second apart in real time Most are 1/4000th second exposures The totality image is a blend of 7 exposures, from 1/1600 second to 1/15 second to preserve detail in the corona from inner to middle corona These were aligned, and merged into a smart object and blended with a Mean combine stack mode It is not an HDR image I added a couple of layers of High Pass filtering to sharpen structure in the corona The partials are 1/2500-second exposures through a Thousand Oaks metal-on-glass solar filter for the yellow colour All were taken through an Astro-Physics 106mm apochromatic refractor with a 085x field flattener/reducer for an effective focal length of 500mm at f/5 The flattener added some flares off the diamond rings The telescope was on an AP Mach One equatorial mount, aligned and tracking the sky, a rare circumstance for me for any total solar eclipse The placement of the frames here only roughly matches the actual position and motion of the Sun across the sky during the time around totality Partials and C2 and C3 images layered into Photoshop and blended into the background totality image with a Lighten blend mode, and masked to reveal just the wanted bits of each arc The site was north of Driggs, Idaho in t(Photo by: Alan Dyer/VW Pics/UIG via Getty Images)](https://cdn.mos.cms.futurecdn.net/5nFEn97De7j4XBr35ZTiwJ-840-80.jpg.webp)
