Who Framed Roger Rabbit?
Citizen Kane
The Wizard of Oz
Unforgiven
Batman Returns
My Favorite Martian
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Friends In Your Head | Forums → Posts by paulou
Who Framed Roger Rabbit?
Citizen Kane
The Wizard of Oz
Unforgiven
Batman Returns
My Favorite Martian
Neato. There really is a lot to be said for creative stereoscopy beyond just augmenting the visual shorthand for depth like was mentioned in the show.
It was mentioned in the last couple seconds of the show that stereoscopy has been around just about as long as photography, But until now it couldn't be produced and exhibited as reasonably or comfortably as it can now.
We're in a similar period with stereo as we were just after a sensible color process was introduced for film, but just before it became standard practice to use color as metaphor and motif, to really drive home the emotional purpose of a story. There was an awesome presentation at SIGGRAPH 2009 where Bob Whitehill from Pixar discussed what stereo can be capable of. Here's the excerpt from the program:
Since the advent of the visual arts, artists have developed techniques to
imbue their images with emotion and story-telling. Renaissance painters
used amber hued lighting to evoke intimacy and warmth. Photographers
use different lens lengths to expand or constrict the space around
a subject creating a feeling of freedom or confi nement. Filmmakers
move characters and objects in different directions or at various
speeds to refl ect a character’s state of mind. These tools that affect our
connection to and interpretation of a subject are innumerable.
Now, with the growing base of equipped theaters, we’ve expanded the
reach of another powerful tool in the visual storytelling aresenal - 3D.
How can we use it, like color, composition, and movement as a visual
storytelling device? How do we bring it beyond the 3D genre experience
of roller-coaster shots and objects fl ying off screen into a subtler yet
palpable addition to the art form? Will it become an expected and
indispensible addition to almost all fi lmmaking, or continue to play a role
on a smaller subset of films.
Using examples from “Up”, “Toy Story” and “Toy Story 2”, Pixar’s
Stereoscopic Supervisor Bob Whitehill will discuss these questions and
the use of 3D as a visual storytelling device in Pixar’s films.
fxphd did a recap that I have somewhere, but if anyone can find it online anywhere, lemme know.
From what I've heard most post-conversions are very unhealthy productions, totally not conducive to usages of stereo that augment, rather than rehash what's already in a movie.
Bummed this was so conversion centric, seeing as the industry has almost universally decided that native 3D is the way it should be done.
Damn right it comes in pints.
(not a mathmatect)
Like empirically or at the time? I was like 13 and on a mountain in Japan I shot some bottle rockets into a tree full of wild monkeys. Which I thought was super awesome at the time but now I think it was just mean.
To be fair though, the elementary school had to close earlier that day due to monkeys (throwing poops etc) so I felt like I was avenging their education.
Most unusual breakup?
I would argue it had body switching, but wasn't a body switch movie.
And if we're fucking things, fuck Inception.
You make strong points, Paulou. This thread has made me realize that I'm stubbornly set on this idea. Foolishly or not remains to be seen.
And Drew, I know that pain. Everyone wants to work on a project but no one has the time.
Just posted about a friends movie over on the other board, and how he made it reminded me about this thread, and made me feel like a dick for not mentioning it earlier.
Myself and a good part of that crew worked together in our college's IT department during undergrad. A bunch of them landed full time gigs, and with that can enroll/apply/whatever to the masters program.
If you're staff at a school, you can usually enroll in grad programs for free or a reduced cost per credit hour.
Oh and trailer! Perspective!
My buddy Frankie and a bunch of friends, acquaintences, and old co-workers have been making this feature for the last few years in and around Boston. Here's a making of constructed mostly from video blogs they made during production. Everything about it falls firmly at the intersection of filmmaking and dick jokes, which is what I'm pretty sure all you fuckers are here for. It's wonderful.
I remember reading the first drafts right after I moved from Boston to New York in like 2008, so it's been awesome watching the film grow and come together. The video follows from all sorts of pre production, casting, production, post, color, ADR, music, pickups and test screenings for friends and collegues.
Got it today! Watched the film and the available commentary back to back. Got kind of drunk at the goading of the nice letter that came with the disc and repeated suggestion of the commentarians so will have to be brief for now. But fucking bravo everyone, really really enjoyed it.
Indie films need to be more this way.
Tried watching this yesterday, got about to where the guy said something like, "Faces are important" and couldn't fucking take it anymore.
It's like Christmas!
…
Oh.
My Western exposure is dreadfully low. Saw The Proposition the other day though, was pretty great.
You need to see two real doctors and one fake one.
Impression is a weird metric to use when judging a movie.
The science behind ratings is all eyes per ad minute, and it's forced into being a proper and good system due to all of the business reasons mentioned. However! Does CPM or the value of the perceived audience ever factor into the worth of a show in any significant amount?
The way something like a yachting magazine can take out Rolex ads for crazy money because the minuscule audience is more likely to buy one than an average human. Might be screwing up my metaphor. Or this question is just an exercise in pretentious asshole exceptionalism, and we're all just sheep that buy what the flashy box tells us.
noun idiom colloquialism
k
Considering fxphd's been accepting pitches for their next short from members, who will then all work together to make it, I'd say everything in that list of trade offs is actually present.
I suppose there's a value in physicality, though. Like the Pixar bathroom thing. Where the main bank of bathrooms is in the middle of their main building so people that otherwise wouldn't run into each other are prone to meeting up, discussing problems, and collaborating.
Mac/Linux towers at work. Lots of cores, lots of ram.
2008 Macbook Pro at home. With quick external eSata drives I've been pleasantly surprised how well it has been holding up, especially for little production things. I've been comping this little promo for a friend's cycling crew the last couple weeks. Every shot is a vfx shot, ~70 secs long, lots of layers, HD, and Nuke has been mostly usable. A little crashy, but fine for this.
I'm not an expert in the tech and only follow it a little, but I think there's a future for stuff like GPU acceleration to be done through Thunderbolt accessories once it goes fiber optic, making laptops even more sensible production machines than they are now.
There's always work being done on the outskirts of what is technologically capable, like complex simulation, rendering work, Flame/Smoke boxes, but all that is available on Linux anyway.
To answer your question, you need to define "capable". This little promo is just me making something for a friend. If it was a real job with money and deadlines behind it, it wouldn't be an acceptable machine. You pay that premium on the high end desktop machines for the agility, and right now laptops are still incapable of that kind of performance.
Why is this Full Sail place so heavily represented here? Just curious.
Oh, and non-traditional places like fxphd can't go unmentioned, especially when talking about practical film education and visual effects production. Like a year after just doing those classes in my free time I was running circles around people that ostensibly paid for a traditional education in the same subjects.
Important to remember that they aren't mutually exclusive endeavors. A professor I had recommended working for five years in a field, and then pursuing grad school in that field only if you feel limited by your lack of higher education or compelled into years of expensive and heavy research.
Alternately, you can do something so cool and impressive with that time that you end up with a scholarship or something. At the very least enough field experience to really get something out of it.
It's going, but we have a massive cleanup on our hands. The Banksters, politicians and the "business men" really screwed us. We had the pot and pan revolution here. There are so many similarities between our revolution to your Occupy movements. The economic crash completely destroyed us.
Our new government has not done as well as we hoped but minor progress has been made. So far not one person has been jailed (few temporarily for investigation purposes). No one's been arrested and no one prosecuted. Many of the fuckers responsible are still in business and with every semester it seems less and less likely they will ever pay for their actions.
I am an admin for a blog which is not really active any more but documented the crash, the revolution and the re-building that has taken place since then. If you are interested you can check it out here.
http://www.economicdisasterarea.com/
Good to hear. Thanks for the link, the story really hasn't been covered very well over here. Probably precisely for the similarities you mentioned. I'm ashamed my exposure to the happenings have been limited to an Economist article here and there, looking forward to reading through that blog.
They will stop when they stop making money. *
* They won't ever stop making money.
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