Yep, officially recommend. We got a good show on our hands here, folks.
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Friends In Your Head | Forums → Posts by Teague
Yep, officially recommend. We got a good show on our hands here, folks.
Just finished episode 4.
Good so far. Recommendation to try it.
That's kinda my point, if they want to give it to him, they will.
Dr. Horrible was.
Episode 1. No spoilers.
I can certainly see the Fincher in it, but it's interesting the tiny nuances that aren't quite as finessed when he has a smaller budget.
Generally, I'm into it. Gonna give it some more episodes to see where it goes. I don't wanna get my hopes up, but so far it's looking like a fairly Fincherized (re: darkened) amalgam of The West Wing and The Newsroom.
I was answering questions on Reddit the other day in some VFX thread, and someone asked me if there was a VFX equivalent of the Wilhelm.
I thought that was an outstanding question.
Here was my answer:
Great question.
Short answer, no, not really. Longer answer... for a long time, there wasn't a nearly infinite number of explosion stock plate to use. We used what existed, and we used them repeatedly. For a long time. To this day, many of us recognize particular explosions. "Oh, that's ReelFire #56!" Shit like that. Now that there are more plates, and also fluid sims that can do fairly useful fire FX, it's not so much of a thing. And it was never intended to be a running gag, it was just a limitation.
I will tell you this: we, as a group, are particularly dubious of fads. There's a plugin called Shine that was used to death for like six straight years there, and we rolled our eyes hardcore at it for the last five of those years. You've seen it, too. When something onscreen (usually text) has these attractive "rays of light" blasting out of it and sweeping past the camera? Yeah, that's Trapcode Shine. We got properly sick of that real quick.
The current one is lens flares, and it only got worse when Andrew Kramer released his (absolutely outstanding) Optical Flares plugin that lets you design very ornate and realistic lens flares and put them on anything. Thanks to JJ and Bay, and Andrew Kramer, we've been using lens flares a lot for the past few years. Sometimes voluntarily, sometimes not.
I'll spoil the future for you, too: my bet is the next one that's gonna take off is chromatic aberration. It's a beautiful thing that happens in lenses sometimes, and I personally love it right now. In a few years? Maybe not.
Basically, if an effect is
1. Attractive
2. Not unattractive
3. Easy
4. Able to be slapped onto damn near anythingyou can bet it'll become something that FX artists start hating.
Alas, as for running gags, not so much... although we do still like to put The Utah Teapot in things if we can get away with it.
Hahahahahaha.
You just gave me an idea wherein the people from 2044 just start reverse-looping and throwing all their shit into the future, and the people in the future are all panicky about the bodies that keep appearing everywhere, hijinks ensue. Directed by Harold Ramis.
Oppa Himym Style!

Yeah. Not posturing, I buy it.
I love how much it looks like a radiosity render.
I hadn't paid attention to Armond White until this past hour, which I've spent reading several of his reviews (starting with Precious - thanks Bullet - and on to Django and others) and his Wiki article.
Well. Now I know. Alrighty.
I have to admit, his ability to remark upon an insight is impressive. How insightful he actually is is something I have yet to sort out, I'd need a lot more context, but he described Samuel L. Jackson's role in Django as atavistic, an analogy that, frankly, dazzled me.
I'm certainly not on team White over here, I'm not throwing him under the bus... honestly, as of right now, I find him to be an interesting case. (And now I'm super curious about what I'd find in his book.)
I suddenly imagine a documentary juxtaposing Ebert and White. Between this and that "The Empire Strikes Back Sucked" clip the other day, the proper intention of film criticism has been on my mind lately, and I wonder how much of my preference for one style is simply ignorance of the other.
Drew Struzan draws a great lens flare.
Hey now.
My Little Pony, everyone.
Alright, who's gonna be the mensch who goes through and makes trailer-or-IMDb links out of all these movie titles?
Another thing that would be cool to add to this is the glossary.

EDIT: It's worth noting at this time that the girl is Holden's actual girlfriend, and she really is that beautiful.
Hey, a dude in a t-shirt and jeans.
That was great.
I can't take credit for the Max Headroom reference, but I wish I could.
No, it was literally that I had been working on this for months, and was holding off on putting up the poster until I had a title. When I was in production, and had shot the teasers, and was ready to post them... I needed a name, and Sad Max was the one I liked best in the ten minutes I spent making a decision.
It had a bunch of temp names along the way, but none were good. (The Musical at the End of the Internet.) End of the day, "Sad Max" is an easy abstraction to remember, so fuck it. That was also when his name became "Max." True story.
Glad you liked it. Thanks for the kind words.
Yup. I love you.
Welcome to the forums, bump up any old thread you please.
Well, at least someone did.

Look at his stupid face.
Pausing at 2:50. So far, I don't necessarily disagree with John Simon, and Siskel and Ebert seem to have missed his point. Play.
Next question. Simon is arguing a principle, not the movie. Ebert wins this next round. Yowza.
Next question. Ope, Simon is making a good point. Kind of dismissively, but fair response.
Siskel: Missing the point again.
Siskel's question: Fair point by Simon.
Verdict: They have competing theories about what it means to review film. Most modern reviewers sound more like S&E, because they were shaped by S&E. Simon isn't a bad guy, he just got phased out.
Friends In Your Head | Forums → Posts by Teague
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