#RISE Visual Effects Studios

[vfxexpress]

Black Panther: Wakanda Forever

Black Panther: Wakanda Forever

 Black Panther: Wakanda Forever is a superhero movie set in 2022 that is based on the character Black Panther from Marvel Comics. It is the 30th film in the Marvel Cinematic Universe (MCU) and the sequel to Black Panther (2018). It was produced by Marvel Studios and distributed by Walt Disney Studios Motion Pictures. Letitia Wright portrays Shuri/Black Panther in the film, which was directed by…

[comradecowplant]

If I had shapeshifting powers like Odo I'd turn into an orangutan and teach other great apes sign language (but for real) and ignite Intelligent Super Ape Socialism

[gamebunny-advance]

"Heaven Studio - Vs. 1010 (aka Vs. Squadmates)" [WIP]

(Original RHRE Mix)

Changelog:

- Screwbots

- Freeze Frame

- Bluebirds

- Tangotronic

+ Rhythm Somen

+ Pudding Nail

+ Mannequin Factory

*Please excuse the dead air at the end of the video. I thought I could multitask and record this while doing other things, so I stopped the recording a little late. There's nothing of interest after the fade to black.

So, besides Vs. Tatiana, I think this mix is the one that changed the most from the original incarnation. The original concept was using as many of the robot/military games as possible, but since Heaven Studio lacked most of them in the current build I'm using, I had to improvise.

As a result, this mix is the only one that I've remade that uses original games to make up for the ones that were lost. For those of you unfamiliar with Rhythm Heaven, Rhythm Somen (the bamboo noodle slide one) and Pudding Nail (the pudding and nails one) aren't real Rhythm Heaven games. I added the former since the claws that drop the noodles had those machine/robot sound effects that I was looking for, and Pudding Nail was just close enough to the theme of machinery that I decided to give it a try, and I think it actually works really well. My favorite part of this mix is the Pudding Nail segment which feeds into the queued Shoot-Em-Up segment without the "Ready!" cue.

That said, those of you who are familiar with this build of Heave Studio might have noticed that Freeze Frame was removed despite actually being in this build. Originally, I did have it in there, but it's currently very buggy: when you transition into it from another game, sometimes it'll start with the success sound. For me, it was too distracting to let it stay, so I wound up taking it out entirely. If this project somehow rises from the ashes and gets complete, I would love to re-do this with Freeze Frame.

This is also one of the few mixes where I actually did a *little* visual editing at the end. I like the idea of the game transitioning into Neon J.'s point of view when he takes over the battle. It also adds a layer of difficulty, since the game play is actually fairly simple in this section.

I was debating this with myself, but I think if I do release the playable file, I'll make it literally impossible to perfect it to inflict the suffering I endured at the hands of Perfect Parry Vs. 1010 on the Switch. >:3

[jules-has-notes]

Warriors — VoicePlay music video

When the guys started planning this project a few months earlier, they just wanted to record a cool song and make a visually interesting music video. Little did they know that it would be the last thing they filmed before events that felt like the end of the world happened in real life. The song's message of defiant resiliance was very needed, and they absolutely did it justice.

Details:

title: Warriors

original performers: Imagine Dragons

written by: Alexander "Alex da Kid" Grant, Josh Mosser, Abbie McGowan, Daniel Platzman, Dan Reynolds, & Wayne Sermon

arranged by: Layne Stein

release date: 20 March 2020

My favorite bits:

the gentle opening harmonies under Layne's mournful violin

starting with just their two lowest voices, then gradually layering in each singer and instrument to fill out the sound

Eli starting in a lovely clear tone, then adding just a touch of grit as the song builds in emotion

J.None getting in on the instrumental action with a little pizzicato

the wavering half-step violin line that enhances the mounting tension of the lyrics

their repeated use of moments of silence to build anticipation

the stomping percussion that sounds like marching

Earl's high, laser precise proclamation of ♫ "Heeere we are" ♫

the matching descent in Layne's violin part and Geoff's bass line in the middle of the first chorus

Layne providing his own contrary motion with ascending violin and syncopated descending tom hits 🎻 🥁

J's soft falsetto ♫ "from dust" ♫ that allows the first ♫ "WHOA" ♫ to smack you in the face with a wall of sound

the isolated start of Geoff's deep note contrasted with the stacatto harmonies of ♫ "here. we. are. don't. turn. a-way." ♫

Geoff's drop at the end of ♫ ⇘ "diii-IIIES" ⇘ ♫ under the other voices rising and crescendoing

that plaintive ♫ "Dooon't turn awaaay" ♫ counterpoint from J.None

the wind-down effect at the end of ♫ "built this town" ♫

that quick patter of ♫ "we built this town so don't turn away" ♫ punctuated by Eli's belted ♫ "NOOOW" ♫

the lush final unison in their respective octaves

Trivia:

This was the last video the guys recorded before Covid quarantine began, and their last location shoot for quite a while after.

The warehouse isn't an acutal abandoned building. It's a space owned by Best Shot Studios in nearby Sanford, FL specifically for such purposes.

They transported their gear to the location in a vehicle borrowed from Allen Arellano, father of Adriana who they'd featured in their "Frozen 2 medley" video a few months earlier.

Aesthetically, this is the first in a loose series of videos with a post-apocalyptic setting that has been continued in "Dream On" and "Seven Nation Army".

Although VoicePlay often make their vocal arrangements a little faster than the original compositions to maintain the listeners' interest, this one is slightly slowed down, which takes it from a frantic tempo to a more tempered determination. It also allowed them to show off their skills by adding more riffs and runs.

There is technically a B0 that can be heard in Geoff's vocals, but it was created artificially in post-production. He didn't actually record that note on his own until their "Halo theme" cover (also a Layne arrangement) a year and a half later.

Their seemingly scrounged costumes were once again created by stylist Tanya Buzu, who had previously dressed them for their "Beautiful Low" and "No Diggity / Shape of You" mashups in early 2017, as well as "Oogie Boogie's Song" the previous Halloween.

This video led to the coining of the nickname "VioLayne", an elusive and celebrated figure in VP lore who only appears when most needed. He's been playing since he was four years old.

The similarities of beatboxer-with-a-stringed-instrument led to many YouTube commenters suggesting a collaboration with Kevin Olusola from Pentatonix, who plays cello, and/or fellow violinist Lindsey Serling.

Other commenters were insistant that a single instrument in a single vocal arrangement made it "not real a cappella". 🙄 (I can be a pedant sometimes, but come on.)

The music video for the original song was used to promote the 2014 League of Legends World Championship. VoicePlay would cover another ID / LoL collaboration two years later with their version of the Arcane theme song "Enemy" featuring AleXa.

The guys got hyped up for filming by having a bit of a dance party during final rehearsals on location.

View this post on Instagram

A post shared by VoicePlay (@thevoiceplay)

Geoff enjoyed that he got to keep his usual jewelry on, even in the grunginess of their wasteland aesthetic.

View this post on Instagram

A post shared by Geoff Castellucci (@geophr3y)

A couple of fans were inspired to capture the guys' post-apocalyptic looks in art.

drawings by Leon King

drawing by R. Mogiri (モギリ)

In a comment on VP's Instagram promo post, founding member Scott Porter asked why the guys are "always so dirty" in their more elaborate videos. (He got a chance to find out first hand a little over a year later.)

[easternmind]

I have only now given Kunitsu-Gami the attention that it deserves. Its patent uniqueness extends even to the underlying creative process, as so many of its visual elements originate from meticulously sculpted miniatures and live special effects, as are shown in this clip. Such a marriage between digital design and craftsmanship is unusual these days, particularly in that it is motivated by the ambition to imbue a game with elements from reality in order to confer it a distinct quality that rises above the generic source-available engine graphics libraries.

This is further expanded on by the exquisite theatrical prelude resulting from a collaboration between Capcom and the National Bunraku Theatre in Osaka. Combining the ancient arts of puppetry (ningyō), chanting and shamisen playing (jōruri), it stands as a rare example of videogame storytelling that exceeds the boundaries of the digital by reconnecting with the traditions of old.

Such initiatives, while bound to be overlooked by most, constitute a clear example of what Japanese game design can still attain, when adequately supported by the structure, technology and financial backing of the remaining major studios. I wholeheartedly applaud Capcom for endorsing this project and for bringing it to the world.

[black-arcana]

SPIRITBOX Unveils Cinematic 'Soft Spine' Music Video

Grammy-nominated progressive heavy metal mainstays SPIRITBOX have unleashed the cinematic music video for their latest single, "Soft Spine", following its highly anticipated release earlier this month. The video arrives during the band's current North American tour with KORN, adding a visual exclamation point to one of the heaviest tracks of the year.

The "Soft Spine" video takes the band's aggressive energy and transforms it into a stunning visual spectacle. Featuring a dramatic fight scene, the Orie Mcginness-directed video sees goddess-like frontwoman Courtney LaPlante presiding over a brutal battle between cloaked warriors in an otherworldly arena. Epic visual effects bring the carnage to life, while the band performs in various ethereal locations throughout the arena, amplifying the video's cinematic feel.

LaPlante steals the spotlight, not only with her commanding vocal performance but also with multiple striking looks that deliver both face and fashion, complementing the video's hard-hitting intensity.

"Soft Spine" is yet another testament to SPIRITBOX's unstoppable momentum, and the accompanying video raises the stakes for heavy music visuals. Fans can catch the band live as they continue touring with KORN, before heading to Brazil and Mexico City for stadium shows with BRING ME THE HORIZON later this year.

For many artists, a meteoric rise can often mean a sudden plateau. However, for SPIRITBOX, there appears to be no end in sight on their near-constant ascent to the top. Formed in 2017 in the picturesque yet isolated region of Victoria, British Columbia, Canada, by vocalist Courtney Laplante and guitarist Mike Stringer, SPIRITBOX would fully cement themselves as a household name in the summer of 2020 with the release of their blistering breakout single "Holy Roller", along with a host of other captivating singles shortly after, resulting in a media firestorm of hype.

With new and existing fans eagerly watching their next move, SPIRITBOX exceeded every expectation imaginable in 2021 with the release of their genre-defining debut studio album "Eternal Blue" via Pale Chord/Rise Records. "Eternal Blue", which debuted at No. 13 on the Billboard 200, kicked open the doors of the heavy metal scene and rewrote the genre's playbook with 12 stunning tracks that incorporated everything from djent and post-metal to infectious synth-laden pop sensibilities and cinematic arrangements, brought fully to life by the inimitable Laplante's ethereal and commanding vocal performances.

The album cycle for "Eternal Blue" saw SPIRITBOX not only grace the covers of esteemed music publications such as Revolver, Alternative Press, Rock Sound and Kerrang!, among many others but would also solidify the band as one of the most in-demand groups in live music today with their one-hundred percent sold out, first-ever headlining tour in support of the album which saw ticket sales over 40,000. The band would also share the stage with seasoned metal veterans such as LIMP BIZKIT and GHOST and win "Best International Breakthrough Band" at the 2021 Heavy Music Awards

In 2022, SPIRITBOX secured highly coveted spots at numerous major U.S. rock and metal festivals and were nominated for two Juno Awards. SPIRITBOX would also round out their current lineup with the inclusion of drummer Zev Rose and bassist Josh Gilbert in addition to releasing their sonically experimental EP "Rotoscope" in June of that year as well as a cross-genre collaboration with dubstep artist Illenium for the track "Shivering".

During another whirlwind year for the band, including a U.S. tour with SHINEDOWN and PAPA ROACH, SPIRITBOX wrote and recorded their critically acclaimed EP "The Fear Of Fear", released in November 2023. The EP features the single "Jaded", which was nominated for "Best Metal Performance" at the 66th annual Grammy Awards. In the same month, the band would make another genre-bending splash with a high-profile collaboration with rapper Megan Thee Stallion for a remix of her song "Cobra".

Whatever comes next for SPIRITBOX, one thing is for sure: expect the unexpected and a firm commitment to creating wholly authentic music with passion, purpose, and constant evolution.Photo credit: Jonathan Weiner

[acaplaya-musings]

Voiceplay-adjacent Visuals - House Of The Rising Sun

I figured I might as well do a "bonus post" for another one of Geoff's videos before I dove into his Christmas videos, and I chose this one!

House Of The Rising Sun was released on the 4th of September, 2021, and of course basically everything was done by Geoff himself, with Kathy being Production Manager as always, and Ed Boyer doing the final audio mix. Geoff says in the description that HotRS is "a folk/blues song of mysterious origin. It seems to have popped up all over the world throughout history and over time has become the melody we know and love today." The version most people know is by a group by The Animals, and I've heard that version on the radio sometimes, here and there over the years, but Geoff's arrangement is so different that it took me ages (and until very random-yet-specific circumstances) for me to actually connect the two in my mind!

But anyway this post will probably be relatively short and sweet, akin to my posts for Ain't No Sunshine and Sound Of Silence, but hopefully I can still make it interesting for you. Let's get into this!

First things first, set design! Honestly I kinda really love the aesthetic here - the background almost feels like a painting, and everything looks like it was included deliberately. Like honestly if it weren't for me often having Frustrations with including black clothing in artworks (and also poses like the one above, which aren't always the easiest), I'd totally try to paint a scene from this video

No BTS video for this one on Patreon, but Geoff said in the description of the Early Access release that this was filmed "in a not so wonderful part of Orlando in a studio that had no air conditioning", rip. And Geoff and Kathy shot this in the middle of the night(!), but despite that, it was still 90F degrees outside, or about 32 degrees Celsius! Yikes!

Second of all, not exactly sure where the original idea to include the lighter came from, but apparently Geoff almost burned his hand from it, according to the Early Access post description. It's a cool addition though!

The fade out to black and then the quick fade back in (with the breathy audio thing) was a cool way to "introduce" the Geoff Clones to the scene, and of course I wanted to highlight it!

Firstly, the quick closing of the lighter that also gets integrated into the music/arrangement is very cool, and secondly, the first time I watched this video, this moment caught me off-guard in a way which is hard to explain, but let me just say that Geoff very often has an Effect on me and makes me feel things. Moving on!

"The one and only thing, a gambler ever has, is a suitcase and a trunk"

I've always been interested in the way Geoff moves his hands in this bit (well okay I'm interested in the way Geoff moves his hands a lot, but you know what I mean)

This is another of my "I wasn't actually pausing here for screenshot purposes, but I decided to include it anyway" pictures, because I'm low-key fascinated by how the Clones look here 😂

(Obligatory "man he looks so good <3")

So yeah, like the snap-shut of the lighter, the suitcase slamming shut is another visual thing that also is integrated into the arrangement! (And of course it fits with the previous line as well!)

1, Yes yes subharmonic with the accompanying hand motion thing (he actually goes from 3rd octave to 2nd octave to 1st octave all on the word "done" here!)

But 2, we need to talk about his shirt for a moment because has he got three buttons undone on this one? Not that I'm really complaining - he looks great in it as always, but damn, combined with the way he's leaning forward a little bit, not only can you fully see the pendant of his necklace, but you can practically see where his pectorals start! (Well, hypothetically, if you happened to be looking there, which nobody ever would, of course, moving on!)

(I really have no issue with it of course, but damn I would not be able to do that myself as "easily" is all I'm saying!)

I love "Main Geoff's" little head bobbing movements when the Clones take over the lead vocals here (I'm sure someone's made a gif of it somewhere!)

And back to one Geoff by himself right at the end!

So yeah, not a ton to say on this one, but I love his arrangement of this one so much, it absolutely slaps! And the video is such a vibe as well!

Tomorrow we begin the final bit of this post miniseries, when I start going through the Christmas videos on Geoff's channel! See you there!

[istariray23]

The Axis Tower Alabang is a modern and prestigious high-rise building located in the heart of Alabang, one of the vibrant business districts in Metro Manila, Philippines. This 32-story tower stands as an iconic landmark in the area, offering a mix of residential, office, and commercial spaces.

Designed with elegance and functionality in mind, the Axis Tower Alabang boasts a sleek and contemporary architectural design. Its glass façade creates a visually appealing structure that stands out amidst the city skyline. The building also features state-of-the-art facilities and amenities to cater to the needs of its residents and tenants.

For residential purposes, the Axis Tower Alabang offers a variety of well-designed units, ranging from studio apartments to spacious condominiums. These units are equipped with modern fixtures, providing comfort and convenience to its residents. Additionally, the tower provides lifestyle amenities such as a swimming pool, fitness center, function rooms, and landscaped gardens, creating a desirable living environment.

Apart from its residential component, the Axis Tower Alabang also houses office spaces that cater to businesses and professionals. With its prime location and excellent connectivity, it serves as a strategic hub for various industries. The tower provides flexible office layouts, advanced technological infrastructure, and efficient security systems, contributing to a conducive work environment.

Furthermore, the Axis Tower Alabang features a retail component on its lower floors, offering a range of dining, shopping, and service establishments. This provides convenience to both residents and visitors, effectively meeting their daily needs.

In summary, the Axis Tower Alabang stands as a modern and dynamic development in Alabang, embracing the principles of urban living. Whether as a place to call home or a space for business, it offers a blend of style, functionality, and accessibility to cater to the diverse needs of its occupants.

[avaganda]

From Monkees to Archies: A Musical Evolution and the Birth of Manufactured Bands

In the colorful landscape of pop culture, the 1960s witnessed a unique phenomenon – the rise of manufactured bands. Two notable examples of this trend were The Monkees and The Archies, both engineered by the same creative mind, Don Kirshner. Kirshner, a music impresario, found himself at the forefront of a musical revolution, inadvertently laying the groundwork for future acts like Milli Vanilli, C&C Music Factory, and even venturing into the holographic realm with ABBA.

The Monkees burst onto the scene in 1966 as a made-for-TV band, a concept that initially frustrated the members but ultimately shaped their careers. Kirshner, armed with a vision of creating a musical group that could dominate both the airwaves and television screens, handpicked Davy Jones, Micky Dolenz, Peter Tork, and Michael Nesmith to form The Monkees. However, this ambitious project soon ran into a creative clash as the band members yearned for artistic independence, desiring to control their own musical destiny.

Frustrated with The Monkees' rebellion, Kirshner took matters into his own hands and conjured up another groundbreaking concept – The Archies. Born from the pages of Archie Comics, this animated band was not bound by the limitations of reality. Kirshner cleverly used the characters from the comic strip as a blank canvas, allowing any talented singer and musician to step into the roles of Archie, Betty, Veronica, Jughead, and Reggie. This fictional band brought to life through animation paved the way for the concept of music as a versatile commodity.

Fast forward to the late 20th century, and the concept of manufactured bands took a different turn. Acts like Milli Vanilli and C&C Music Factory relied heavily on image and studio-produced music, with performers often lip-syncing to pre-recorded tracks. The emphasis shifted from the musicians' individual talents to a more visual and marketable package – a trend that echoed the early days of The Monkees.

In the 21st century, technology took center stage, and holographic performances became a reality. ABBA, the legendary Swedish pop group, embraced holograms to reunite on stage for their "ABBAtar" project. Fans were treated to a virtual concert experience that transcended time and space, showcasing the potential of artificial intelligence and advanced visual effects in the music industry.

As we reflect on the journey from The Monkees to The Archies and beyond, it becomes evident that the music industry's landscape has continuously evolved, adapting to new technologies and audience expectations. The notion of manufactured bands, once a controversial concept, has paved the way for diverse forms of musical expression, from animated characters to holographic performances, and even AI-generated music. The story of Don Kirshner, The Monkees, and The Archies serves as a testament to the ever-changing nature of the music business, where creativity and innovation walk hand in hand.

[unproduciblesmackdown]

behind the scenes shots ft. akd as the adjudicator, from this article about the cinematography

“In Hollywood, action filmmaking was kind of looked down upon until The Matrix, and then people realized that action could also be part of the story,” [director] Stahelski notes. “I come from a place of loving dance and theater and fine art — action can be all of those things — and one of my favorite painters is Caravaggio.” When he was looking for a cinematographer for John Wick: Chapter 2, Stahelski recalls, “I asked myself, ‘Who paints with light?’ The answer is Dan Laustsen.” In strictly cinematographic terms, Parabellum functions less like an action movie and more like a Hollywood studio musical. The film’s first battle is a close-quarters knife fight in an antique weapons shop, where the camera cuts from wide shot to wide shot, sustaining the action in long takes so that the audience can better appreciate the physical prowess of Reeves’ performance — an elaborate fighting style that combines Japanese judo and jujitsu, Brazilian jujitsu, Russian sambo, Filipino kali, and Muay Thai, more for the benefit of show than for self-defense.  “Ninety-nine percent of high-level stunt work is dance — not pirouettes, but how you move your body,” asserts Stahelski, who continues to train stuntpeople with Leitch through their company 87eleven. “I love the aesthetic of motion. A lot of our shots [in Parabellum] are lifted straight from Singin’ in the Rain and West Side Story. We’re mixing Buster Keaton and Charlie Chaplin with Hong Kong cinema from John Woo, Jackie Chan and the Shaw Brothers.” “We wanted to go wider than Hollywood action films normally do and really show off the choreography,” Laustsen agrees. “When the camera, lighting and actors are all moving together, it really is a dance.”

“After we made Chapter 2,” Laustsen notes, “we discussed how we could make 3 even more visually powerful. The main setting was still New York, but we wanted to bring out the city even more forcefully. We decided to shoot all at night, with rain as much as possible. Rain is fantastic because it gives a third dimension to the picture, but it is a challenge to do it, especially in a city like New York.”

The Master Anamorphics’ low-distortion design also prevents dramatic, streaking lens flares, and so the technicians at Arri Rental in Secaucus, N.J., fashioned a flare filter — comprising three strands of nylon fishing line stretched across an empty filter frame — for the XT’s and Mini’s Internal Filter Modules. When a front-of-lens filter produces a flare, Laustsen observes, it “just looks like the light is catching on a piece of flat glass in front of the lens. It’s more beautiful when the flare comes from the lens itself” — and that’s the effect that was replicated with the behind-the-lens nylon lines. “With the filters inside the camera,” the cinematographer adds, “it was also easier for first assistant Craig Pressgrove to do the lens changes.”

The exterior of the Continental was shot in lower Manhattan, but the hotel’s interiors were filmed in downtown Brooklyn, in the former Williamsburgh Savings Bank tower — which now serves as an event space —whose glass-and-wrought-iron front doors open to a 128'-long vaulted banking hall with limestone facing, marble floors, carved teller stations, and a 63'-high ceiling supported by Romanesque columns. For its role as the Continental’s lobby, the hall was furnished by Kavanaugh with two round settees crowned with statues of the Roman war gods Bellona and Mars, a fully-stocked bar, and a lounge on the mezzanine. 

Parabellum’s stages were located at Gold Coast Studios in Long Island, N.Y. The first of the production’s two notable stage-bound sets is the Continental’s terrace, for which the Rockefeller Center rooftop garden was used in Chapter 2. The schedule didn’t allow for much time to shoot Parabellum’s scene, which takes place at sunrise. “You cannot make the sun rise [for] a movie,” Laustsen notes wryly. “It’s one or two shots, and then you have daylight, and then you’re fighting to control the light.”  So, for more control, the scene was moved onstage, where the set was surrounded with a sectional 45'x350' bluescreen lit with SkyPanel S120s; a 120' black velour curtain was used to control blue spill coming from off-camera. Early-morning ambience was provided by 176 overhead SkyPanel S60s, and the light of the rising sun was simulated by a 20K tungsten Fresnel and a 24K Dino light with medium bulbs, both gelled with 1⁄2 CTS. The other key set built at Gold Coast was the “manager’s office,” a labyrinthine two-story glass-and-steel structure meant to represent the top floors of the Continental, with a 270-degree view of the adjacent skyscrapers. It’s in this space that Wick and Zero ultimately face off mano a mano. “The concept was to create a space where everything is exposed, a place where there are no secrets,” Kavanaugh explains.  To help him integrate the lighting into the design of the set itself, Laustsen worked with a virtual-reality computer model based on Kavanaugh’s design. “Chad, Kevin and I had discussions about color — cool lights inside, warm light outside,” says the cinematographer, who wanted what he describes as an “organic” light element for both spaces. The art department therefore added a 35'x14' LED wall to the set’s second floor and a 28'x12' LED billboard to the rooftop; the latter was positioned between the glass structure and a 40'x440' Rosco SoftDrop that was backlit by 150 SkyPanel S60s through Magic Cloth sourced from The Rag Place.  Almeida and his rigging crew installed more than a mile of LiteGear Chroma-Correct RGB-Daylite LED LiteRibbon into the glass and steel set, using aluminum profile and plastic diffusers provided by Kavanaugh’s art department. Cues were orchestrated from an ETC Ion Xe console operated by Kent Arneson; Laustsen took advantage of that control to increase the intensity of the light over time — until the very end of the fight, when the two combatants are photographed primarily in silhouette against the LED walls. 

Wick literally fights his way through the set — alternately smashing his opponents and being smashed through glass pedestals, walls and floors — until he comes face to face with his nemesis. “We filmed this sequence with a [Chapman/Leonard Hustler IV] dolly and a Libra head, a Steadicam, and a couple of crane shots [with a MovieBird 45 and Aerocrane jib],” Laustsen details. “We didn’t want to go handheld because of all the straight lines. It would be a much more powerful look for the film if the frame was always parallel to the set.” “When we did bring in lights for the close-ups, we used Arri SkyPanel S60s and Astera AX1 LED tubes that we could attach virtually anywhere using magnets and clips,” Almeida adds. “The Astera tubes worked out great because they’re easy to hide, and if you saw a reflection, it just looked like the lighting that was built-in already.”

[noah-william]

Visual Effects Trends to Watch Out for in 2024

2024 is anticipated to be a highly exciting year for visual effects. In 2023 we saw a rapid shift in the VFX industry with the expected boom of Artificial Intelligence. Today, AI and other new tools and technologies make a huge impact, including in the filmmaking processes like the screenplay, visual concept, VFX creation, editing, and sound. Artificial Intelligence will be employed almost everywhere. This will be an exciting change that will make storytelling tools to start becoming more accessible to all, while also fostering a more competitive and healthy environment for content creators across the board. Naturally, this will make it easier for artists to produce visually stunning content and shall provide wider access to technology, whether it is for writing filmmaking

Umpteen candidates. Infinite opportunities

The last year’s trend shift completely changed the horoscope of the visual effects sector. Studies show that the number of candidates enrolling for Animation and VFX courses has recently doubled effectively proving the popularity it gained among the general public. And, the reason being the scope of studying VFX has broadened worldwide never as before. Every VFX artist dream of working in premium studios like Disney, DNEG, Warner Bros etc or individually start their own business. Just like the boom in visual effects industry there is a similar boom happening in the film industry as well. The average amount of movies being released every year easily surpasses the former years. As most of the movies make use of VFX shots for the better theatrical experience, VFX industry effortlessly benefitted from this trend paving way for more opportunities for VFX artists.

Industry Statistics

India's visual effects and animation sector was estimated to be worth 107 billion Indian rupees in 2022, even after the pandemic's negative impact caused a decline in market value the year before. With revenue of over 50 billion Indian rupees, the VFX segment contributed the most to the overall market size. India's growing prosperity fuels the country's appetite for entertainment. Like other nations in the Asia-Pacific area, India's population is getting wealthier and its economy is expanding. The nation's media and entertainment sector has expanded as a result of rising income and improved connectivity.

Visual effects (VFX) and animation are widely growing media categories. A change towards more convenient and customized digital encounters occurred with the spread of the internet and its revolutionary technologies. These changes made more room for India's animation and visual effects industries to expand, and in 2022, the sector grew by almost 29%. In India, the media sector is dominated by animation and visual effects (VFX), which is expected to increase at a robust rate of 35 percent CAGR between 2022 and 2023.

The most recent developments in technology are establishing new avenues for creativity. As tools and techniques advance with time, VFX artists are experimenting and exploring new artistic possibilities. Traditional pipelines are being challenged by these innovative strategies, and 2024 will be a fascinating year for revaluating how the technology will interact with audience. In order to maximize ambition and minimize risk, VFX studios will be more involved and integrated, leveraging their knowledge of emerging technology and methods of operation.

The speed at which technological innovations are occurring is truly astounding. It is anticipated that in 2024, real-time technologies like Unreal Engine will continue to be adopted for virtual production applications and other uses. Although there are certain difficulties in this field, the opportunities and possible gains for studios are quite alluring. The widespread acceptance of these tactics has been greatly aided by the instruments' accessibility, and this envision is sure to be continued into 2024.

How to get into VFX industry?

The fact that you’re reading this blog and you’ve read it this far is itself a sign that you’re already into the step one of this process. Yes, step one is reading and studying intensively about VFX industry; Knowing the latest trends, range of opportunities, field that matches your taste and everything related which you can do research in. No matter whatever field you choose, having a thorough knowledge about what you’re getting yourself into is mandatory. The second step is opting a suitable program suited to your taste and interests. To pursue a career in VFX, select a  that is  well-reputated and has nice studio set-up.  If you’re interested in only one of the genres of visual effects sector, taking a full-time 3 year degree programme won’t be a good idea. Whether you did 3 year degree program or certificate/diploma course, the opportunities will knock at your door if you’ve a top-noch bunch of works/showreels that showcase your talent and hardwork. Basically, it’s not the education certificate that matters but its the quality of your showreels that decides your future.

However, enrolling in a suitable VFX course at a respectable institution is the simplest approach to get into the VFX and animation industries. This will have a profound impact on how you pursue employment in the sector as well as how your future is shaped.

Salary of a VFX Artist in India

You can offer yourself a solid foundation by enrolling in a reputable VFX and animation course in India. As to the April 2020 update, a VFX artist’s average monthly remuneration is INR 37.5k. As you advance to the position of assistant technical director or assistant animator/creative director, you can expect to generate more income accordingly. In India, the average monthly salary for a VFX artist is presently around INR 15-25k. It is possible to take on freelance work in addition to your full-time employment if you have at least four to five years of expertise in the business. You can make up to INR 45k to 60k a month working as a freelancer, depending on your expertise, reputation, and caliber of work. Expert animators and visual effects artists also bill by the hour. Anyhow, let’s patiently sit back and watch what 2024 has in store for the VFX industry.

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"...Lucas’s bet that digital technologies could bring down the cost of filmmaking was only ever true for productions fully committed to guerrilla filmmaking and shot with prosumer cameras, such as 1999’s The Blair Witch Project, whose initial budget was only $60,000. Lucas, like most filmmakers shooting digitally today, opted for expensive digital cameras that were designed to re-create celluloid’s rich color science and wide dynamic range. As many filmmakers have found, these energy and data-intensive cameras aren’t guaranteed to save directors money so much as shift costs to other places in production. 

According to Darius Marder, the director of 2019’s Sound of Metal, the high up-front cost of film stock fosters an ethic of economy on set that digital productions — which incentivize directors to shoot vast quantities of footage they might not need — lack. “When you shoot on film, you have to know the law,” Marder said in an interview. “You have to know what you’re going for and you have to be willing to swing for it and not think you can just shoot forever.” More footage captured on set means more data to be processed, edited out, and archived in perpetuity. As Marder added, shooting longer entails another expense: “Overtime. There’s nothing more expensive on a film set than overtime.”

As David Diliberto, the postproduction supervisor for several Coen brothers films, explained in an interview, the same technologies that enabled Lucas to direct his films from the editing room have also given rise to the attitude of “we can fix that in post.” He recounted working with digital filmmakers who wanted visual effects added to shots that were never budgeted to have them and that could have easily been addressed on set. In one case, a cinematographer wanted an extra’s shirt changed from bright red to a slightly duller red. In others, directors wanted sections of backgrounds replaced or wide shots cropped into close-ups. “Today it seems like visual effects build and build and build,” said Diliberto. The slightest visual effects can cost thousands of dollars. The problem is, Diliberto emphasized, “postproduction budgets don’t have a lot of money.” The lion’s share is usually reserved for shooting. 

Perhaps all this contributed to why in 2019, while in preproduction for their film Dark Waters, the director Todd Haynes and cinematographer Ed Lachman insisted on shooting with celluloid. Lachman believed the film’s plot, which follows a lawyer unearthing a criminal conspiracy waged by DuPont Chemical, resonated with celluloid’s chemical processes. As he told American Cinematographer, “The depth of film grain, which is affected by the chemical process of developing, and the crossover contamination of contrasting colors in the negative’s silver halides, bring attributes to an image that I find extremely difficult to create in digital capture.” But executives of the film’s studio, Participant Media, resisted, worried about the price of celluloid and the possibility that it would slow down production time. Lachman, in response, completed a series of screen tests with 35mm, Super 16mm, and digital 2K, proving that the film could be shot with celluloid in the same amount of time for the same amount of money as digital. The executives would not budge. In the end the film, an exposé of corporate malfeasance, was compromised by corporate stubbornness. Lachman and Haynes shot Dark Waters digitally. 

Hollywood executives prefer the high costs of a film that is reshaped in post, that has 5,000 percent more footage, for a simple reason: digital filmmaking offers more opportunities for studio executives to control the picture after it’s been shot. 

Lucas, a studio executive himself, knew this well. For the 2011 Blu-ray remaster of 1977’s Star Wars, later renamed A New Hope, the mogul went back and changed several scenes. For one notable sequence, in which Luke Skywalker is ambushed by a race of beings who live in the sand, Lucas added digital rocks to a shot of R2-D2. The effect accentuates the idea that the robot is hiding from the bad guys. Yet, as one blogger complained of the edit, it created a continuity error because those rocks were no longer there in the next scene. Lucas’s compulsion to go back and change his films made them worse. But digital filmmaking’s capacity to capture massive quantities of raw data on set that could be wholly reworked in post was irresistible. 

The digital image, as it was in the hands of Lucas, can be “preserved forever” as a profit-generating engine and manipulated endlessly, tweaked to the mercurial tastes of all future fans. And for Lucas it will be there years down the line, whenever he wants to add more rocks."

-- Digital Rocks: How Hollywood Killed Celluloid by Will Tavlin

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Discovering the Hidden Beauty and Depth of Taiyō Matsumoto’s Tekkonkinkreet: A Tale of Unity and Struggle in a Vibrant Cityscape

The influence of a city is a phenomenal surrounding. Sometimes, I see a resonance and rhythm to it. Wherever, if given close attention, I can sense a vitality nearing consciousness or life of its own. I notice cheers and parades all around: causes and effects. Persisting about my little pastimes in my familiar haunts, I try to quietly yield and observe the outcome of nature’s endless war with the cracks in the concrete, the beauty in it all. Over time, I grow to distinguish relations between them: I learn they are one and I with them. Like the indirect light of the moon from the closest star to the ebb and rising of tides. Or the hue of plant leaves in every season.

My contentment, at times, relies on their courtships as they dance through their phases, calmly sifting less through their differences and embracing the unity and qualia of anticipation for that future next, which arrives into a present now, and fades into the past then. I see patterns and might unknowingly seek comfort in their background familiarity, influencing my thoughts quietly and creating subtle expectations within what I often take for granted. When out of balance, the pendulum swings in the goal to be still. To me, It’s the same as when Yakuza member Suzuki, aka Rat, says to Kimura: “Birth signals the arrival of death…most important, love your wife and child. Because all you need is love.”

It’s difficult to begin describing how beautiful, visually stunning and emotionally resonant Taiyō Mausumoto’s manga Tekkonkinkreet is. It’s almost ineffable for me. Adapted into anime by Studio 4°C and directed by visual effects artist Michael Arias, an anime of its caliber I don’t often find. You can almost tell from every frame that the film must have been a passion project for those involved, and it was. It surprises me with something new I hadn’t noticed before every time I’d watch it. The depth and nuance in the story and its characters are splendorous.

In the plot, all are consumed by a struggle to subdue and bend to their will the island of Treasure Town (with one exception of an old sage and homeless veteran named “Gramps”). Treasure Town is a fictional island where Matsumoto intended it to look like a place where old and new Tokyo of the 1980’s collide and mix with other Western and multinational influences. Located there is an amusement park called “Kiddie Kastle” run by the Yakuza. While Yakuza are vying for greater control of Treasure Town to expand and gentrify the area, increasing their wealth and power, there are many other groups intent on holding them at bay to remain secure their own little piece of Treasure Town turf. Some are just trying to keep familiar the only place they’ve ever known, and this is where our main characters come in.

Among the streets and living underneath the highway in an old run down Subaru 360 are the two homeless children protagonists, Black and White. We follow them as they live about the town subsisting on the Dickensian enterprise of pickpocketing. Their hard-knock life contrasts dramatically with the grand transitory cosmopolis they inhabit, and there is so much visual representation to emphasize this conflict between two very different existences. Treasure Town is seen as a place of persistent development while Black and White eke by within it, domiciled in an unmoved and broken down car. Despite their young struggle, they thrive in themselves by the power of their unity, imagination and dreams.

If you love exceptional anime that has lots of heart, Tekkonkinkreet is where it’s at. It won many awards for best art direction, best original story, best sound editing, and even a Japanese Academy Prize for best animated film. An interesting fact about the art direction (and what I think additionally makes Tekkonkinkreet a visual masterpiece) is that the majority of every frame was hand painted, only after that were the digital visual effects added to bring its immersive quality to life. And the character design animation aimed to hearken back to Matsumoto’s original manga in a way that is so unique and of its own. It arose at a unique time for manga and anime. There aren’t many anime like it, maybe a handful.

JEFFREY WELLS | Writer

POP-COOLEDTURED SPECIALIST cooledtured.com | GROW YOUR COLLECTION

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Dolo Flicks: Initial Reaction - Godzilla Minus One Rises Above the Current Era of Kaiju Films

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By Hector Franco

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Published: December 05, 2023

Godzilla Minus One’s smaller-scale story elevates it above its contemporaries.

In a movie landscape filled with multiple universes, keeping a story simple with a focus on characters can lead to a better overall experience. Legendary Pictures and Warner Bros studios have assembled their own cinematic universe aptly called the "Monsterverse" based on Godzilla and King Kong. At the same time, Japan's Toho Studios has started its own set of Godzilla-focused films with the 'Reiwa era.' The latest installment, Godzilla Minus One, is not only the best film of that franchise but is arguably the greatest Godzilla film ever made.

Godzilla Minus One was written and directed by Takashi Yamazaki. Amazingly, the director also did outstanding visual effects in the film. Even on a smaller budget than the vast majority of action blockbusters, Godzilla looks as menacing as ever in Godzilla Minus One.

The movie is set in Japan in the aftermath of World War II in the 1940s. The story follows kamikaze pilot Koichi Shikishima (Rynosuke Kamiki) and his encounters with the famous monster Godzilla. After Shikishima deserts his post and lands on Odo Island, claiming his plane had mechanical issues, Godzilla attacks the Japanese war garrison on the island, killing almost everyone. Shikishima is blamed by the head mechanic, Sosaku Tachibana, for the deaths on the island, as Shikishima is overcome with fear when he has the opportunity to fire on the monster.

One of the central themes explored throughout the film is one of survivor's guilt. Shikishima is ashamed of the circumstances that led to him surviving the war and can't move past it. The shame of not dying during the war as a kamikaze pilot and freezing in a moment of terror haunts him. Shikishima is given photos by Tachibana after the incident on Odo Island, serving as ghosts that won't allow him to move on with his life.

The exploration of Skikishima's mental state is delved deeper when he meets Noriko Oishi (Minami Hamabe). Shikishima allows Noriko and her pseudo-adopted baby Akiko to stay with him after an off-chance meeting. They essentially form a family. However, Shikishima never fully commits to Noriko and refuses to call her his wife, even after years of living in the same household.

Godzilla Minus One is not just a great Godzilla film but also one of the best movies of 2023.

Unlike its American counterparts, Godzilla Minus One has a smaller cast, allowing for a more intimate and focused story. There aren't secret government agencies or multiple monsters. The film is just as much a story of one man's struggle to move on with his life as it is a monster film. The tale of Shikishima, Noriko, and his partners on the Shinsei Maru minesweeper boat is relatable. It doesn't feel like the middling typical Hollywood stock that takes place between the monster battles; instead, it is genuine. The audience cares about these characters and what happens to them.

Although primarily holding a dramatic tone, Godzilla Minus One has some moments of levity. Shikishama's crewmembers consist of Kenji Noda (Hidetaka Yoshioka), Shiru Mizushima (Yuki Yamada), and Yoji Akitsu (Kuranosuke Sasaki), all bringing a comedic element to the movie. Akitsu, specifically at times, is reminiscent of an over-the-top anime character with some of his responses and loud communication.

The most significant difference between the Reiwa era and Monsterverse Godzilla films is the emphasis on how Godzilla is treated and portrayed. In Godzilla Minus One, the dinosaur-like creature isn't romanticized or garners any sympathy. There isn't some hackneyed connection between Godzilla and humans. He is a destructive force that brings about nothing but mayhem and terror anytime he is around humans. That added creative direction brings an element of suspense that other Godzilla films have been missing.

When Godzilla attacks the city of Ginza in Tokyo, people are running for their lives, showing the true nature and level of decimation that an attack by the famous creature can bring. These aren't empty cities used as a playground for a monster battle here. All of the action scenes featuring Godzilla are utilized to perfection. In the film's final act, citizens take it upon themselves to kill Godzilla without the government's help, which refuses to intervene. The ending action is arguably the most exciting since last year's Top Gun: Maverick.

From top to bottom, Godzilla Minus One succeeds on all levels. It provides a straightforward dramatic story about one man's inner grappling with guilt and shame in the backdrop of well-executed action pieces. Godzilla Minus One is not only the best Godzilla film but also one of the best of 2023.

(Featured Image: Toho Studios/Robot Communications)

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The Marvels: A Phenomenon That Captivated Hearts Worldwide

Shaina Tranquilino

November 14, 2023

In the vast realm of comic book superheroes, few franchises have managed to captivate audiences quite like Marvel. With its rich universe and diverse range of characters, Marvel Studios has taken the world by storm in recent years. In this blog post, we'll explore how the Marvel Cinematic Universe (MCU) became so popular and why people love it so much.

1. Building a Cinematic Universe: One key reason for the immense popularity of the Marvels lies in their ability to create an interconnected cinematic universe. Unlike standalone superhero films, the MCU presents a grand narrative that spans multiple movies and TV series. This unique approach allows fans to immerse themselves in a comprehensive storytelling experience, connecting with characters on multiple levels.

2. Relatable and Complex Characters: Marvel's heroes are not merely invincible demigods but also complex individuals with relatable struggles. From Tony Stark's journey from arrogance to humility as Iron Man to Peter Parker's coming-of-age story as Spider-Man, these flawed yet endearing characters resonate deeply with audiences. Their humanity makes them more than just superheroes; they become symbols of hope, resilience, and personal growth.

3. Diverse Representation: The Marvels have always embraced diversity and inclusivity, allowing people from all walks of life to feel represented on screen. Black Panther became a cultural phenomenon as it celebrated African culture while highlighting themes of identity and social justice. Similarly, Captain Marvel shattered gender stereotypes by presenting a strong female lead who defied expectations. By championing representation, Marvel has created a fan base that feels seen and empowered.

4. Humour & Wit: Humour plays a crucial role in making the Marvel films enjoyable for viewers of all ages. The franchise is renowned for its witty one-liners, banter between characters, and well-timed comedic moments amidst intense action sequences. This blending of humour with serious storytelling strikes a perfect balance, keeping audiences entertained and emotionally invested.

5. Epic Action Sequences & Visual Effects: The Marvels are synonymous with mind-blowing action sequences that push the boundaries of visual effects. From the exhilarating battles in The Avengers to the breathtaking cosmic warfare in Guardians of the Galaxy, these films offer an immersive experience unlike any other. Such larger-than-life spectacles leave fans in awe and fuel their desire for more superhero adventures.

6. Emotional Connections: Marvel movies aren't just about flashy powers and epic battles; they also excel at creating emotional connections. Whether it's witnessing Steve Rogers' unwavering loyalty or feeling the pain of Tony Stark sacrificing himself for the greater good, these moments tug at our heartstrings. The ability to evoke genuine emotions strengthens the bond between viewers and characters, making them unforgettable.

The Marvels' meteoric rise to popularity is no accident but rather a result of careful planning, compelling storytelling, diverse representation, and relatable characters. By incorporating humour, emotional depth, and jaw-dropping visuals into their films, Marvel Studios has created an unparalleled cinematic universe that has won over hearts worldwide. As we eagerly anticipate future installments like Spider-Man: No Way Home and Thor: Love and Thunder, it's clear that this superhero franchise will continue to thrive on its formula for success.

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EDM's Impact on Music 2018-2023

Has the genre finally made itself fully mainstream?

Electronic Dance Music, commonly referred to as EDM, has been a transformative force in the music industry for decades. However, over the past five years, its influence on pop culture has reached unprecedented levels. This article delves into the effects of modern EDM on the musical landscape, shedding light on how this genre has reshaped trends, produced cross-genre collaborations, and broadened the very definition of popular music.

1. The Rise of EDM Sub-genres and Their Influence

In the past, EDM was largely classified into a few mainstream sub-genres, such as trance, house, and techno. However, the past five years have seen the emergence and popularization of numerous sub-genres, each adding a unique flavor to the musical landscape:

Future Bass: This genre, characterized by its euphoric drops and melodic synthesizers, has permeated the charts. Artists like Flume and The Chainsmokers have taken cues from this style, blending it seamlessly with pop lyrics and structures.

Tropical House: Acts like Kygo have popularized this breezy, laid-back variant of house music. Its summery and chilled vibes have made it a favorite on radio playlists.

Psytrance: This trance sub-genre with its fast-paced beats has seen mainstream popularity with tracks from artists such as Vini Vici and collaborations with pop icons like Armin van Buuren.

2. EDM’s Role in Festival Culture

Music festivals have traditionally celebrated a diverse range of genres. However, EDM-focused festivals like Tomorrowland, Ultra, and Electric Daisy Carnival have witnessed skyrocketing attendance. These festivals are not just music events; they've become cultural phenomena, influencing fashion, vernacular, and even mainstream media coverage. Their larger-than-life stage setups, light shows, and immersive experiences have set new standards for concert experiences.

3. Cross-genre Collaborations

One of the most telling signs of EDM's influence is the increasing number of collaborations between EDM producers and artists from other genres:

Pop stars like Dua Lipa and Selena Gomez have teamed up with producers like Calvin Harris and Marshmello, respectively.

Hip-hop and EDM have intertwined in tracks from artists such as Skrillex and A$AP Rocky.

Even rock bands like Coldplay have not remained untouched, as evidenced by their collaboration with The Chainsmokers on "Something Just Like This."

4. The Digitization and Democratization of Music Production

EDM’s rise has coincided with advancements in digital music production. Softwares like FL Studio and Ableton have made it easier for budding producers to experiment from their bedrooms. Platforms like SoundCloud have allowed them to share their creations with the world. This has led to an explosion of creativity and has paved the way for previously unknown artists to chart their course to stardom.

5. EDM’s Impact on Music Consumption Patterns

With streaming platforms like Spotify and Apple Music becoming dominant, the traditional album format has evolved. EDM artists often release singles or short EPs, capitalizing on the playlist culture. This change has influenced even non-EDM artists to shift towards releasing more singles and fewer albums.

6. Reimagining Live Performances

EDM artists have raised the bar for live performances. With advancements in technology, their shows have become a synesthetic experience, integrating visuals, lasers, and pyrotechnics. These elements, once exclusive to EDM concerts, are now expectations at mainstream pop events.

7. Addressing Social Issues

Artists like Avicii and Steve Aoki have used their platforms to address pressing societal issues, from mental health to political activism. The music and its accompanying videos often serve as commentaries on contemporary challenges, proving that EDM is not just about the beat but also about the message.

Conclusion

In the ever-evolving world of music, genres come and go, with only a few leaving an indelible mark on the landscape of pop culture. Over the past five years, EDM has not only established its presence but also reshaped the very contours of popular music. From its influence on the digital realm to its seamless amalgamation with other genres, EDM’s impact is vast, varied, and undeniable. As we move forward, it's evident that the echoes of its bass drops and synthesizer melodies will continue to reverberate through the annals of pop culture.