#film products

[ladaeliseeva]

[shesnake]

Dev Patel on shooting Monkey Man:

[fleshadept]

HOT LABOR SUMMER

[kidovna]

save me, bisexual MDs, save me

[r3dvlvet]

See, being an audience member there is NO WAY the Landlord ISN’T Jess Ross after her presentation on wrestlers and drag queens but I’m not in this situation so I can only use what I know as an outside observer!!!!

[0046incognito]

limited edition post LOL

[denastudio]

I was always obsessed with the pearlescent pink poker chips in Marie Antoinette (2006)

[msterpicasso]

@tashteshtish

[atomic-chronoscaph]

The Shining - On-set photographs (c. 1979)

[demifiendrsa]

Wendell & Wild | Official Teaser

Wendell & Wild will stream on Netflix on October 28, 2022.

Teaser Poster

Synopsis

From the delightfully wicked minds of Henry Selick (director of The Nightmare Before Christmas and Coraline) and Jordan Peele (Nope, Us, Get Out) comes the story of Kat (Lyric Ross), a troubled teen haunted by her past, who must confront her personal demons, Wendell & Wild (played by Keegan-Michael Key and Jordan Peele) to start a new life in her old hometown.

[zebracakesarecopingmechanisms]

ok so we know about the need to infodump, but what about the opposite? The need to absorb more information about your special interest like a sponge, but you literally can’t find any new material because you’ve already consumed every fact about it

[weirdlandtv]

Art by Georges Méliès for A TRIP TO THE MOON (Le Voyage dans la Lune), 1902.

[shesnake]

Spider-Verse Artists Say Working on the Sequel Was ‘Death by a Thousand Paper Cuts’

Why don’t more animated movies look this good? According to people who worked on the sequel, Across the Spider-Verse, it’s because the working conditions required to produce such artistry are not sustainable.

Multiple Across the Spider-Verse crew members — ranging from artists to production executives who have worked anywhere from five to a dozen years in the animation business — describe the process of making the the $150 million Sony project as uniquely arduous, involving a relentless kind of revisionism that compelled approximately 100 artists to flee the movie before its completion.

While frequent major overhauls are standard operating procedure in animation (Pixar films can take between four and seven years to plot, animate, and render), those changes typically occur early on during development and storyboarding stages. But these Spider-Verse 2 crew members say they were asked to make alterations to already-approved animated sequences that created a backlog of work across multiple late-stage departments. Across the Spider-Verse was meant to debut in theaters in April of 2022, before it was postponed to October of that year and then June 2023 owing to what Entertainment Weekly reported as “pandemic-related delays.” However, the four crew members say animators who were hired in the spring of 2021 sat idle for anywhere from three to six months that year while Phil Lord tinkered with the movie in the layout stage, when the first 3-D representation of storyboards are created.

As a result, these individuals say, they were pushed to work more than 11 hours a day, seven days a week, for more than a year to make up for time lost and were forced back to the drawing board as many as five times to revise work during the final rendering stage.

"For animated movies, the majority of the trial-and-error process happens during writing and storyboarding. Not with fully completed animation. Phil’s mentality was, This change makes for a better movie, so why aren’t we doing it? It’s obviously been very expensive having to redo the same shot several times over and have every department touch it so many times. The changes in the writing would go through storyboarding. Then it gets to layout, then animation, then final layout, which is adjusting cameras and placements of things in the environment. Then there’s cloth and hair effects, which have to repeatedly be redone anytime there’s an animation change. The effects department also passes over the characters with ink lines and does all the crazy stuff like explosions, smoke, and water. And they work closely with lighting and compositing on all the color and visual treatments in this movie. Every pass is plugged into editing. Smaller changes tend to start with animation, and big story changes can involve more departments like visual development, modeling, rigging, and texture painting. These are a lot of artists affected by one change. Imagine an endless stream of them."

"Over 100 people left the project because they couldn’t take it anymore. But a lot stayed on just so they could make sure their work survived until the end — because if it gets changed, it’s no longer yours. I know people who were on the project for over a year who left, and now they have little to show for it because everything was changed. They went through the hell of the production and then got none of their work coming out the other side."

[kewaizi]

The tears in his eyes he looks like that hamster meme

[productiondesign]

Fruit of Paradise • 1970 • Věra Chytilová

An experimental retelling of the story of Adam and Eve which then progresses into an allegorical depiction of loss of innocence.

[2001hz]

Olympus O-Product 35mm film camera Designed By: Naoki Sakai (1988)

via (2001hz)