#is actually very useful for recording onscreen lines with audio

[slankyyy-revs-the-world]

me trying to become academia brained about my blorbo and compiling any and all of voice-acted lines, dialogue and misc. lore into a dedicated obsidian folder

[dopeprinceperfection]

Clarus Victoria Bundle Download For Mac

Incredible music. In the key of easy.

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GarageBand is a fully equipped music creation studio right inside your Mac — with a complete sound library that includes instruments, presets for guitar and voice, and an incredible selection of session drummers and percussionists. With Touch Bar features for MacBook Pro and an intuitive, modern design, it’s easy to learn, play, record, create, and share your hits worldwide. Now you’re ready to make music like a pro.

Both the bundles price and the% off were getting very high and it was becoming hard to balance, at this time the bundle is now just under 97% off up from 95% when I first released it, I was trying to keep it closer to 95% by occasionally adding some payed maps to the bundle but over the months the bundles overall price increased to about $45. Free Victorian fonts (.ttf &.otf). Victorian available in Windows and Mac OS X version. TrueType and OpenType fonts. Search from a wide range of typography fonts. Plug-ins and licenses for PC (Windows) or Mac (OS X) are not compatible with Android or iOS versions and vice versa. No AAX (Pro Tools) plug-ins available for the BusTools v3 and TrackEssentials v3 bundles. AAX plug-ins require Pro Tools 11 (64 bit) and up.

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Logic Remote

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A companion app for Logic Pro.

[yellowmechanicalcat]

emotionally colorblind: plance in season 8

(part one of three)

In the series finale of The I.T. Crowd, one of the techs has started dating a girl from another department. (Yes, this is VLD meta, just stick with me.) He feels the relationship is going well and is very happy, and brags to his coworkers that his girlfriend recently told him he was “emotionally artistic” - which he interprets to mean he’s on the “artistic” emotional spectrum because he’s so in touch with her wants and needs. (At this point, it’s become clear to the viewer that his girlfriend has actually accused him of being “emotionally autistic” and believes him to be on the autistic spectrum.)

Later that day, his girlfriend calls again to tearfully ask if he’d accompany her to her grandfather’s funeral and abruptly hangs up on him when he cheerfully agrees. He’s baffled by her reaction until his manager rightly points out that his girlfriend was upset because the way he responded was completely off base from the subject matter, as his chipper tone of voice made him sound as if he’d just been invited to a music festival rather than having any sympathy for his girlfriend’s loss. Only then does it occur to him that his response was inappropriate because funerals are sad.

“‘Emotionally artistic’? You’re emotionally colorblind,” his manager mutters in disbelief.

Old news, but Season 8 isn’t what anyone expected

‘Emotionally colorblind’ - e.g., giving inappropriate responses to a topic because of an inability to perceive the nuances of a situation - feels like a pretty good description of Season 8, in which excellent animation is overwhelmed by moments in which characterization feels off, dialogue doesn’t seem to fit, or the plot clashes with what’s actually being shown on screen. Those moments - along with the conspicuous lack of reaction from the cast and EPs in the month since its release and cryptic criticism from crew members - have led many fans to conclude that the version of Season 8 released took the cast/crew by surprise. Posts by Aria C., a former DW intern while Season 8 was in production, suggest that the overall plot hadn’t changed dramatically since the scripts were being drafted, but that doesn’t mean that individual character arcs weren’t subtly adjusted along the way.

While it’s not clear exactly how much actually changed about Season 8 during production, we do know that many of the changes were made at the last minute. The most noticeable changes seem to have been in response to the backlash against how LGBT characters were portrayed, although this article covers many of the other pacing issues in Season 8 while some of the discrepancies between the audio description and what’s actually seen on screen are listed here. The single biggest last-minute change seems to be the epilogue (including the final few stills) which was approved extremely late in the production process and underwent additional changes after being leaked just weeks before the season’s release.

I strongly suspect that Pidge and Lance had an arc in Season 8 that was another casualty of the last-minute changes.

The End is the Beginning

Let’s take a look at the ending of the series’ final episode. One year after the final battle with Honerva, Pidge and Matt are working on building a humanoid robot that Pidge dubs Chip. Colleen interrupts to tell Pidge she should be heading out; Pidge looks serious and doesn’t respond, then recovers a moment later and makes Matt promise to wait for her to get back to finish. She leaves her glasses with Chip before heading off in the Green Lion, as Sam and Colleen both watch her leave.

Colleen: “Your father’s got the teludav all warmed up for you. Better get going, you don’t want to be late.”
 Sam: (cheerful) “Have a good time, honey!” Pidge: (laughingly) “I will, Dad.”

The way they’re talking to her is the way parents would talk to a teenager who’s about to go to a party or on a date, peppy and almost teasing. Pidge’s serious expression suggests that wherever she’s going is somewhere she’s not entirely ready to be - she isn’t upset about needing to be somewhere, but she isn’t rushing out the door to get there, either. Maybe she’s nervous - we can’t tell.

We cut to Coran and Merla on Altea as they discuss preparations for “the first Celebration of Allura”, then over to Lance as he recounts the story of Allura’s sacrifice to a group of schoolchildren sitting by her statue, telling them that while he misses her, he knows she’s still with all of them. The Altean teacher, in a chipper tone similar to Pidge’s parents, informs the kids that “Paladin Lance has somewhere to be in a few doboshes.” Just then, a wormhole opens and Lance looks up as the Green Lion flies through. He turns away from the statue to watch Pidge land, a smile on his face.

The scene fades to the Paladins having dinner by the statue of Allura. Within moments, it’s obvious that their reunion is the feast Coran and Merla had been discussing earlier. The Celebration of Allura is the one year anniversary of her death. The paladins’ reunion is a memorial.

We’ve seen memorials in VLD before. In Season 7, Shiro visits the Garrison’s memorial wall for those KIA. Later, Earth has a giant memorial service for the victims of just one battle, as Shiro addresses the crowd: “There isn’t one of us here today who hasn’t experienced the tragedy of losing someone close. It truly feels like a light has gone out in our lives and the sun itself couldn’t reignite it. But that light, that fire, hasn’t gone out completely. It’s fueled within each of us by the memories and the love of those we’ve lost. …”

After the one year timeskip, we see Keith persuading the Galra to join the Galactic Coalition with Shiro and Hunk leading diplomatic negotiations on the Atlas; all three invoke Allura’s example as they work towards peace. Hunk even mentions the significance of that day being when they commemorate Allura’s sacrifice. What she did and why she did it aren’t secret. It stands to reason that the anniversary of her death - the anniversary of when Allura saved their reality and countless others - wouldn’t be a ‘celebration’ only for six people. Everyone, everywhere, should be taking a moment to remember her - especially those who fought at her side, like the Holts.

Instead, Sam and Colleen’s reactions in Pidge’s scene are jarring. While things may be different in Voltron’s future world, I doubt any parent would tell their child “Have a good time, honey!” as they go to a memorial dinner for their dead friend. Because as The I.T. Crowd pointed out, funerals are sad - and so is any reminder of someone’s death. You don’t have to be constantly moping and sobbing because you miss someone, you can still celebrate their life, but that kind of event still has a somber, bittersweet element to it. Telling someone ‘Have fun, don’t be late!’ as they head off to a memorial would definitely qualify as emotionally colorblind. It’s hard to believe the actors and voice director would have agreed to record the scene within the context we got onscreen.

Lance’s scene makes it even more complicated. Showing Lance turn to watch only Pidge land is a bizarre choice if the purpose of his scene is to emphasize how much Lance still cares for Allura before showing the other Paladins arriving on Altea. It only makes sense for Lance to turn away from looking at Allura’s statue and towards Pidge if Pidge and Lance are supposed to have a deeper connection.

If the focus is actually meant to be on Allura and this event - and on her family coming together to remember her - it would have made sense for Lance to look past Allura’s statue to see the Blue Lion in the distance, Red parked next to it, as Green, Yellow, and Black emerge from the wormhole to land beside them. If the animation had to be rushed for a last-minute change or the budget was stretched too far, they could have just used the same shot of the Lions sitting together at the end of dinner with daytime lighting instead of night, fading into dinner instead of fading out. 

Pidge and Lance’s scenes would also have benefited from being re-recorded with slightly different dialogue and delivery. For example:

Colleen: (serious, but gentle) “Your father’s got the teludav ready to go. You don’t want to be late, Katie.” Sam: “Tell ’em hello for me.” Pidge: (a little reserved) “I will, Dad.”

Teacher: “I think Paladin Lance has some visitors to go meet, and you all have class…” 


VLD’s had to work around making the dialogue fit changes to the animation/plot before. Take The Feud, in which Keith sounds bizarrely calm compared to the others, which the EPs later explained was because Steven Yeun recorded his lines before the storyboards and script had finalized what the paladins’ reactions would be and he was too busy to re-record before the deadline, so they kept his first take. (I suspect that’s also the reason for Keith’s annoyed-sounding “Don’t miss” comment to Lance in Know Your Enemy, which doesn’t mesh with their otherwise more positive relationship at that point, although I have absolutely no proof) But Yeun’s situation isn’t the norm - in cases where the actor was genuinely too busy to re-record, the show either used soundalikes or wrote out a character where possible, replaced dialogue, etc. Any of those tactics could have been valid workarounds…. unless the change was made relatively last-minute and there just wasn’t enough time.

So if the ending is missing the context of an additional scene between Pidge and Lance, what else might have been cut? And why?

I’ll explain in part two.

[recentanimenews]

Ogata's Voice Actor like's Golden Kamuy Because Both Humans and Animals Get Skinned!

Golden Kamuy's official website is releasing a series of interviews with cast and staff over the course of the Spring season, which we're translating and brining directly to you! They started things off with the character designer, Ken'Ichi Onuki, followed by animal designer, Ryo Sumiyoshi, the art director, Atsushi Morikawa, firearm designer Koji Watanabe, prop designer Shinya Asanuma, composer Kenichiro Suehiro, and director Hitoshi Nanba.

But they didn't stop there! They interviewed Kamikaze Boy from MAN WITH A MISSION about Golden Kamuy's opening theme, "Winding Road" and THE SIXTH LIE, the creator/performers of the ending theme "Hibana"! They're making their way through the voice cast, starting with Chikahiro Kobayashi and Haruka Shiraishi, the voice actors behind Sugimoto and Asirpa, Hochu Otsuka, the voice of Lt. Tsurumi, Jouji Nakata, the voice of Toshizo Hijikata, and now Kenjiro Tsuda, tho voice of the cold-hearted Hyakunosuke Ogata!

  Tell us what you thought of the original manga.

It was a big, energetic story, with a lot of unique types of characters and a really dense plot. It doesn’t feel like a modern story somehow, which actually makes it more interesting. All of the expressions in it are so powerful, and it just has this incredible sense of passion in it. I think one of the reasons for that power is that it’s set in old Japan, not the modern era, and in the Hokkaido frontier.

What was it that left the biggest impact on you?

The strong characters, I think. Tsurumi especially is incredible [laughs]. The hero, Sugimoto, is covered in scars, and I think that appearance contributes to making his character what it is. Also, it’s a story about ripping off people’s skin in order to find gold nuggets, so the story itself packs a punch. The people in it are like wild beasts. They kill and skin lots of animals, and they’re willing to do that with humans, too. Maybe taking off a human’s skin isn’t that much different than taking off a bear’s pelt if you’re trying to survive in the Hokkaido wastes. It’s a tough story to read, but it’s really interesting. I think the fact that a lot of the unnecessary humanism you’d see in another manga has been removed is what makes this one so great.

Tell me how you felt when you got the role.

The character and the story both seemed really interesting, so I was very happy. I was so excited, saying, “Oh, wow! This looks so fun!”

What was your impression of Ogata?

He’s a very cold, unemotional character. He never lets his emotions surface. Of course, there are a lot of emotions he’s feeling underneath, but they never surface in a way you can see. It feels like when he’s talking to you, he’s not really communicating anything at all. Compared to conversations with normal people, it’s just a little more low temperature, you could say.

You mean when he talks, it’s hard to tell how much real emotion he’s putting into it, right?

Correct. There’s a scene in episode 9 where he talks with Tanigaki, but it’s hard to understand what he’s actually feeling [laughs]. In that scene, Tanigaki can’t figure what position he’s speaking from. As the story continues, you start to understand where he fits in, but at the start it’s really hard to tell the difference between the lies and what he really thinks. That mysterious aspect of his nature is what makes him so attractive, I think. And his cold character makes him the perfect sniper, which I also thought was kind of neat. But he also likes to lead people on, which makes him a really intersting character.

  When he comes back in episode 9, what did you think of him?

I thought it fit the character very well. Tanigaki comes back home to Huci’s house, where he’s been staying, and Ogata is there. But he doesn’t know why he’s there or what he wants. Then Ogata leaves without doing anything, but it’s actually a feint, and he tries to snipe Tanigaki from outside [laughs]. I thought it was a really wonderful scene.

When you first read the manga, did you think Ogata would be this big of a character?

Not at all. The first time I read the manga, he felt like somebody whose role in the story was to give the heroes someone to defeat [laughs]. He falls off the cliff in the battle with Sugimoto, and then doesn’t come back for a long time. In episode 9, he comes back after a long absence, and I think anime viewers were in for a big surprise.

Did Director (Hitoshi) Nanba and Audio Director (Jin) Aketagawa give you any special instructions with regard to the role?

They mostly let me do my thing, I think. He’s normally just a very cold, calm character. But when you read the manga, every panel his expression changes, and sometimes he actually looks kind of happy. For those lines, I consulted with the director, and we decided to keep these nuances. For episode 2, I was a little too expressive, and he gave me some advice to tone it down.  For a character like Ogata, balance is everything. He’s not the type to just go all in one direction. He’s kind of delicate. But that doesn’t mean that he’s extremely on edge, either. He’s a human being too, so it’s interesting as to when he has feelings, which means that the question is how you play out those feelings on top of his base character.

Are you the type who comes up with a plan for the role before you start recording?

I do come up with a basic idea, but not much more. I think when you’re actually recording the lines, they need to fit in with the other dialogue around them, which is why the director makes those decisions from an overall standpoint. Sometimes, even if it might seem just fine to play a certain scene unemotionally, if you look at the flow of the overall story, it’s better to be more dynamic. In that sense, I try to leave a lot of blank space in my acting.  

There’s a lot of really famous people on the cast. Tell us what it was like at the studio.

The story’s pretty tense, but it was very relaxed at the recording studio. The atmosphere was great. All the older actors seemed to be having a lot of fun, and the main stars, (Chikahiro) Kobayashi and (Haruka) Shiraishi, were cheerful and down-to-earth in a way that really spread to the rest of the cast.

Are there any scenes or lines that you thought really got at the core of who Ogata is?

He hasn’t had a lot of screen time yet, but I’d say the line in episode 9, which was in bold in the original manga: “Time to go Tanigaki hunting.” From Ogata’s perspective, trying to kill Tanigaki is the same as a hunt. When I played the role, I wanted his cold, cruel nature to really come across. In episode 9, he talks a lot more than he did before, right? During his first appearance, he barely had any dialogue. When I was recording episode 9, that felt like the first episode to me.

I think we should all keep an eye on Ogata as the story proceeds. Let’s end with a message for the fans.

Thank you for watching Golden Kamuy. I finally got to come back to the story as Ogata, and run my hand through my hair and look really cool onscreen [laughs]. I’ll do my best to live up to everybody’s expectations, and hopefully go a little beyond them, as I act out Ogata’s character. This is a fun, vast, and brutal story, and I hope you’ll watch it till the end.

---

Peter Fobian is an Associate Features Editor for Crunchyroll, author of Monthly Mangaka Spotlight, writer for Anime Academy, and contributor at Anime Feminist. You can follow him on Twitter @PeterFobian.

By: news+feed@crunchyroll.com

[straykatfish]

This final A1 piece in acrylics came about following an exploration of ways in which the sea is represented in art. I ran a search via Google images and then scrolled through the results, settling on only the images that caught my eye. I wanted images that were visually impactful and as my knowledge of art and artists is still very limited, it seemed to me that this might introduce me to and pique my interest in work I wouldn’t otherwise have noticed.

In the end, the pieces that drew my eye were largely by artists I knew of but only really from a distance. This time I had been drawn in by their work and not their name or reputation. They also, very conveniently, came from different time periods and different artistic traditions. I printed out copies of each and then made drawings from them in different media, which inevitably meant interpretation as this, and my own developing style, impacted on the copies.

First was The Great Wave (1829-1833) by Katsushika Hokusai, a Japanese artist working largely in wood block and print. The result is a very formal and stylised image. I copied this using soft pastels, changing the background to black and omitting the boats drawn up into the wave so as to focus as much as possible on the construction of the wave itself. Hokusai makes tendrils of the foam and fixes the water in position so that, in effect, it’s no less solid than Mount Fuji in the distance. I liked the drama of that and the sense of power it evokes, despite its being static.

Next I looked at what I then discovered was Turner’s Fishermen on a Lee-shore, (1802), an acknowledged masterpiece of grandeur and drama. This was a daunting piece to copy and it felt presumptuous to attempt it. Again, this is soft pastels in an A5 sketchbook and I felt pleased by the way my rendering of some of the elements turned out. I like the motion and the effect of blending and how, without realising how I did it, the marks that form the tumbling foam in the foreground seem to work.

The third piece was Paul Klee’s Golden Fish (1925). The colours deceived me into thinking this was by Kandinsky so I was surprised to find it wasn’t. Klee’s image is almost naive and childlike, a semi-stylised piece that verges on abstract in that realism is barely described. I used soft pastels again for this copy and made the image on black gesso. I like the colourful representations of the fish and the merest suggestion of the surrounding element – water. It was fun to do.

Finally, I took on one of Maggi Hambling’s series of hugely energetic gestural pieces (circa 2012) describing waves, most of which are in portrait orientation and towering so that the impact of power comes across without any further context. Hambling makes broad marks in an expressive style that speaks of the essence of a wave rather than its objective anatomy. I like the way she incorporates unexpected colours into the water, maybe reflecting the way droplets act as prisms to fracture white light; but maybe not. My copy is in soft pastels which are also quite large – especially on A5 paper – and tries to home in on that expression.

My first intention was to make larger versions of these and to weave into them text relevant to the period in which they were made. I had seen typographic art in galleries in Brighton earlier and liked the idea. Later though, I was drawn back to a poem by Marianne Moore called The Steeplejack (c 1930s) which I’d drawn before starting the course and thought to return to that.

After completing the A1 piece, I did return to it and made a series of images owing something to each of the artists, with accompanying text from a particular stanza speculating on how Durer would have liked to ‘live in a town like this, with eight stranded whales to look at’. This is on A3 hot pressed watercolour support; each image is drawn directly onto it and the surrounding colour is black gesso with outlines of white conte.

The ‘D’ of Durer is made by a great wave after Hambling; and the stranded whales wearing lettering spelling that out, is black ink on white gesso with deliberate spaces left between them to emphasise their edges as a Hokusai woodblock might. Beneath is blended soft pastel representing the ‘sweet air’ (after Turner), and last is Klee’s golden fish accompanied by text that describes the water as being ‘etched with waves as formal as the scales on a fish’. Ideally, I would have used letraset for the text but had to resort to handwritten and typed text which I don’t consider ideal. As I have no capacity for calligraphy or even well-controlled handwriting, this remains an exercise until a better way of handling the imagery occurs to me. Also, I’m still quite fond of my pre-course drawing based on this poem and that is interfering with progressing the new way of looking at it.

In the meantime I made a series of drawings and paintings based not on the original art works I’d chosen but on similar real-world photographs which seemed to lend themselves to my chosen styles.

The whales. This is from a photograph attributed to ***

The great wave: this one from a representative photograph attributed to *** – as no one was there for the actual incident – of the largest wave ever recorded in the north Atlantic (2012).

I began to put these into a composition, first as separate images in a sequence reflecting the stylised through to the expressive, and then as part of one whole piece with quite explicit reference to Hokusai’s and Hambling’s waves, Turner’s blending around the whales, and a couple of red fish nodding towards Klee. The bottom image shows in more detail both the formalised structure of the Hokusai wave and also begins to reference a more modern notion of structure drawn from 3D computer modelling when I discovered that one of my reference whales was in fact an animated construct. The red lines represent the wire frame stage of the animation process. Also in this image is my Fibonacci layout, something that had come up while observing NASA engineers in the Mars rover live lab as they inadvertently one day fell into exactly a classical golden ratio tableau. I drew this out in orange conte to find where the focus should be and it was clearly not there.

This led to a further composition which moved the whales closer to the wave and eventually dispensed with both the stylised wave and the additional whale although I retained the red lines for a while and used dots of orange to hint at Klee’s fish.

I tried also using portrait orientation as had Hambling because at one point it seems that the expanse of dark sea and sky to the left was draining the energy from the elements on the right. This is made in inks, oil pastels, and coloured conte on a black gesso ground and while I like the effect of rubbing and scraping at the surfaces to reveal the colours in the layers beneath, I’m not wild about the composition or the rather insubstantial feel of the media I’ve used so I returned to acrylics.

This required yet another iteration of the basic composition and, after checking again both onscreen and on the easel from a distance where the focus needed to be, I printed and  cut out multiples of the feeding whales to position under the wave and determine how many and where they should go. This led to the final composition as shown beneath.

Unfortunately, I could find no way of eliminating reflection of light on the black gesso and moving the camera closer led to the black being rendered as grey by the digital algorithm. The better shot is at the top of this post but from a distance. It can be zoomed for detail. Here, I want to describe something of what remains of the artists whose work brought me to this point. For me, Hambling’s expressiveness dominates the wave structure and contains small patches of colour which reflect her style and also a little of Klee’s golden fish. Some parts of the foam are more stylised than others where I manipulated a stylus in the wet acrylic to make curls in the edges, then further down is a very clear-cut edge to a rising component of the wave, marking with a thin line of turquoise the foreground water from the central melee of the whales. This is the Hokusai influence. I have used blending – by finger – on the foam in the large wave and also in the turbulence around the whales where the behaviour of the water reminded me of the waves in Turner’s piece.

As additional notes, there are two small patches of dark red wash in the black area to the left which I’ve intended as both an indication that this is a ‘live’ area (sky) and not simply one that hasn’t been addressed. The colour reflects those in Klee’s painting. Then finally I’ve placed a dot of orange in the sweep of the wave just between its base and the whales to both reflect again Klee’s fish and also to pinpoint what, to my eye, is the centre point of the Fibonacci spiral.

I have learned a great deal in the making of this piece. First that copying great works needn’t be intimidating and doing so delivers ideas and motor skills subliminally. Second, that repetition (up to a point – I do become very tired of seeing some things after a while!) improves those motor skills as these are refined from many stiff movements to one or two large swift ones. And thirdly, that innovation is born of practice and looking, listening and feeling. I’ve used music quite often throughout this work, in particular the score for the ballet Woolf Works by Max Richter (2017) which describes the tormented life and tragic demise of Virginia Woolf. The final scene is danced before an enormous monochrome sea moving in the slowest of slow motions. I’ve also made audio and video clips of the waves crashing onto the beach at Lancing and used these too to keep the sense of power and fluidity in mind. Most of all though, I’ve had at the front of my thinking the terrible losses we’ll experience if we fail to protect our oceans, our wildlife, and our planet. This is not a political message piece, but for me the subtext certainly is.

Woolf Works, Ballet performed by the Royal Ballet, score by Max Richter. 2017.

Paul Klee, The Golden (or Gold) Fish. (1925).

J.M.W. Turner, Fishermen on a Lee Shore in Squally Weather (1802).

Maggi Hambling, Bold Breaking Waves. (c 2012).

Katsushika Hokusai, The Great Wave off Kanagawa. (1829-1833).

All sites last accessed 18/01/2020.

  NB I may edit this post prior to submission, but will not do so subsequently. 

Part 5 – personal project submission This final A1 piece in acrylics came about following an exploration of ways in which the sea is represented in art.

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