#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.

[bethgreeneishopeunseen]

The Guilt of Sasha Williams

(I’m combining asks since they cover the same topic essentially.)

When Sasha sacrificed herself in the finale this spring, her flashbacks to the music box scene increased discussion on her connection to Beth (X). But I’ll come back to the music box scenes in 7x16 later. 

Sasha’s first connection to Beth and cars goes all the way back to 4x01. In that episode Gimple seeded many future plot elements from Rich0nne to the Gl3ggie baby. In this episode, Daryl quips the infamous “damn romance novel” line, foreshadowing his future relationship/arc with Beth, which fits the arc of a romance novel perfectly (X) (X) (X). As he says that, the camera pans past him and passes over Tyreese and Sasha as they load up a car. They put in black crates with white crosses on them. The order of these shots is not a coincidence.

In Alone, Daryl does the best he can to confirm his feelings for Beth (X), and before he can finish, in the style of a romance novel she is kidnapped. For months, the only clue we and Daryl have of what happened is a black car with a cross on the back window.

Fast forward to season 5. Sasha and Tyreese have opposing views on how to save Beth and C@rol, and she’s also struggling with Bob’s death. They discuss the situation while overlooking the Grady parking lot. @bethgreenewarriorprincess​ and I theorized that Team Family could have taken the truck and later left Beth in it (X). The truck has a fridge in its bed, which would resemble a marble tomb. The truck also has a red bandanna tied to the radio antennae, similar to the red bandanna that Daryl used to tie the car trunk shut in 4x12. The truck even mirrors the Grady car, with the black body and white on the back. As I mentioned in my linked meta, the truck functions as a symbolic hearse. 

In 5x07, Sasha’s grief leads her to misjudge Grady!Bob, and he escapes. His death leads to Dawn having no allies, leaving her to ask for Noah back. It’s a chain reaction, a ripple effect like Martin said in 5x09 (X). 

In the span of a few weeks, Sasha loses her boyfriend, her best friend’s younger sister, and her brother. Sasha never sees her brother die, only being able to say goodbye at his funeral. They were alike in a lot of ways, and they both experienced guilt because of Beth, Ty’s was just more overt. Twice in 5x09, Tyreese focused on a female walker that was trapped in a car, and the shadowed walker looked so much like Beth that during the midseason hiatus, members of Team Delusional were convinced it was the actual Beth. In its first appearance, the walker caught the whole group off guard. I showed the scene to my old roommate, and she even noticed the group’s distress, and she doesn’t watch the show (X). By now, one trapped walker should not disturb these people. Unless of course, it reminded them of the girl they left behind.

The second time we see the walker is when Tyreese is dying. He stares at it as Rick drives away, and afterwards, Ty sees Beth as the driver. It is the last time we see her onscreen in any sense of “alive”. We see her onscreen one more time in 5x13. (This is also the last time Emily and Chad’s name appear on the title card.)

When the group reaches Alexandria, everyone struggles to adjust to the community’s fucked-up idea of “normal”. Sasha is one of the members having the hardest time, for obvious reasons. In 5x13, Sasha goes to Alexandria’s welcome party but quickly starts having flashbacks to various events in season 5. The flashbacks manifest as quick flashes of visuals and sounds. At 0:56, viewers see a clip of Daryl carrying Beth out of the hospital. (Unfortunately the video that the second anon linked no longer works so I recorded the scene myself.)

The shot is not from Sasha’s point-of-view, as she was behind Daryl and to his left (our right in this shot). The fence shot would be at the opposite side, behind Abraham. The flashback serves to remind the audience of Beth having no funeral, no closure for her family or for us, as it was juxtaposed against shots of Bob when he died beside Sasha and Ty being buried. It also reminds the audience of Beth and Daryl’s relationship, of his love for her, both of which are reinforced as Daryl has a “serious spaghetti” dinner with Aaron and Eric in this episode instead of going to the party. (This was also the episode with Buttons, when Daryl said, “You used to be somebody’s, now you’re just yours.” Which, jesus fucking christ the show is kicking us in the groin over this and I can’t sometimes.) The shot is also in motion, and rather than ending on the last shot of Coda, it leaves the story open for Beth in this moment, since we never saw what happened after. (I recommend reading this old meta on the flashback: X.)

Furthermore, Rick’s interest in Jessie continued to develop in this episode. @bethgreenewarriorprincess once theorized that he was drawn to her as a way to compensate for losing Beth, as she was designed as a Beth proxy: X. (Just compare pictures of her in the show to pictures in the comics and the differences are obvious.) He sees Jessie trapped in an abusive marriage, akin to Beth being trapped in an abusive community, so his subconscious sees it as a chance to save the girl he failed. He made the mistake of giving the Governor a chance, and it cost him Hershel and the prison. At first he wanted to just go into Grady guns blazing, but he deferred to Tyreese’s plan, and they still lost Beth. It’s why we see Rick go into Shane-mode in 5b, becoming more aggressive as Pete becomes more possessive and as his abuse comes to light. Rick can’t take chances anymore. In addition, at the end of the episode, after seeing Jessie with Pete, Rick hears a walker on the other side of the wall. He checks it out, and the scene is filmed with a strange, dreamlike mood to emphasize the effects of P.T.S.D.. A way TPTB did this was to use the song “Spicks and Specks” by the Bee Gees, which include these lyrics: “Where are the girls/I left far behind/The spicks and the specks/Of the girls on my mind/Where is the sun/That shone on my head.” And as we know, in TWD symbolism, Beth IS the Sun: X.

To resume, after having this flashback Sasha starts to bury walkers, specifically in 5x16. Like Rick, she is trying to “correct” her past mistake. She couldn’t stop the herd, and she couldn’t bury Beth, so she’s going to put down every walker that she can and then put them in the ground. It’s reminiscent of Morgan in 3x13, but Morgan just burned the bodies. Sasha is paying mind to the walkers’ past lives, and TPTB are alluding back to the funeral home caretaker and Beth’s “don’t you think that’s beautiful?” philosophy.

Towards the end of the episode, Sasha seeks out Father Gabriel for guidance. Gabriel instead accuses her of sins, also implicating her brother in her actions.

“Why wouldn't you want to die? You don't deserve to be here. What you did can never be undone. The dead don't choose, but the choices you made, how you sacrificed her. 

I know what you're doing. 

Bob was mutilated. Consumed. Destroyed because of your sins. 

Stop it.

Your brother felt he was apart from it. He was a part of it. He didn't deserve to be here. You don't! 

Stop it! Stop it!” [emphasis mine]

(Subtitles note that Gabriel said “your own”, but this is wrong. I’ve listened to the audio, with and without headphones, as well as showed it to two friends. We’ve all heard “her”, which is very different from “your own” linguistically). 

I believe that during those 17 days Gabriel brought the walkers down on the group, similar to him leading the walkers from the school to the church in 5x08 (X). In 5x14, he told Deanna that the group was bad, as Maggie eavesdropped with a heartbroken look on her face. He saw them leave behind one of their own, and Maggie couldn’t confront Deanna about Gabriel’s as she couldn’t face losing Beth again. (Maggie copes by compartmentalizing to the extreme.) Tyreese and Sasha made the decision to put Beth, because of Gabriel’s mistake, so of course Sasha would be a walking reminder for what he did. That’s why he lashes out at her. The guilt would be even higher if the three of them believed that Beth was alive, as you don’t sacrifice a body. You sacrifice something alive. (I also believe that Abraham was involved, such as being the one to actually come up with the idea, because of marketing and certain narrative elements: X. It would partially explain why he and Sasha clicked so much in season 6.)

Overall, 5b focuses on the group coming to terms with losing Beth in different ways, especially those who feel most responsible. Towards the end of the summer hiatus TPTB continued to connect Beth and Sasha, using a Beth-walker in several character posters and promos (X) (X) (X) (X). 

In a massive meta Christy and I worked on last year, we noticed that the missing 17 days likely had similarities to the No Way Out arc in 6a and 6x09 (X). Everyone, but especially Rick, Sasha, Abe, and Daryl were struggling struggling in 5b and some of 6a as they hadn't resolved Beth. I think we saw many similarities to the No Way Out arc is because the No Way Out arc is how Rick and Co. came to terms with losing Beth. Hence why we saw that Beth walker in so many posters leading up to season 6. They hadn't fully come to terms with the loss of Beth until they relieved it and accepted that what happened happened and couldn’t be undone.

They lost Jessie/Beth again, but saved a whole community from a herd. It’s like Tyreese/Bob said in 5x09, “It went the way it had to. The way it was always going to.”

Beth had to be left behind so the Grady people could retrieve her, giving her needed medical treatment. Narratively, Beth also couldn’t just leave Grady. She had to escape there on her own (X).

Season seven is a retread of 5b and 6a. The group loses an emotional pillar of the group as well as a pillar of physical strength back-to-back, again, and all of TF has to rebuild, readjusting to new communities and changed dynamics. In the end, Sasha sacrifices herself for her family. The story comes full circle. While I worked on this meta, Christy and I talked about how the Williams siblings are twins, symbolically. As we’ve thought in the past, their deaths book end Beth’s “death” and resurrection. Go and rewatch 5x10, which is Beth’s resurrection in allegory. In two separate scenes characters talk about “being the same”. Michonne counsels Sasha, who was grieving through anger like Tyreese did with Karen. Then C@rol reached out to Daryl, acknowledging their similarities while also acknowledging that they grieve differently. The story keeps going in circles, keeps going back in time to Beth and her story, moving the characters through a funhouse. Sasha becomes the final mirror, committing suicide, as Beth once tried to, except to save her family. She dies in the coffin, which is covered by a yellow sheet, and “comes back”, disrupting the group’s confrontation with the Saviors as the ballerina’s resurrection inside the music box disrupted her and Maggie’s confrontation with Aaron. That’s why we saw original flashbacks of the music box scene four times. TPTB wanted to draw connections and show the parallels between the flashbacks and Sasha’s last stand.

Be patient, loves. It’s only a matter of time before Beth comes back from her own music box.

[deepveersingh-blog]

Movie Generating Audio Style What Helps make Movies Audio So Excellent

Movie Earning Seem Design - What Makes Videos Audio So Very good

After you sit https://en.wikipedia.org/wiki/Film down to view a movie, that you are instantly bombarded by an introduction that sometimes consists of no less than some qualifications audio. Occasionally the opening scene contains dialogue, anyone executing a little something or going somewhere, and the many seem outcomes affiliated with that exercise.

Needless to say, this is assuming you like to observe talkies, instead of silent movies. But since the final silent film produced by An important motion picture studio likely came out prior to the 1930's, I'm going to suppose that every movie you look at has seem in it. So the subsequent time you see a Motion picture, fork out more awareness to That which you're Listening to and how it styles your perspective of your scene and the general Tale.

Even though you're looking at a international film with subtitles and you may't recognize the dialogue, There's a multi-layered soundtrack that helps you to have a obvious comprehension of what is going on. The remainder of the audio effects and also the tone on the audio set the phase for that plot and people.

Sound is commonly forgotten because, effectively, You can not see it. You may not understand what an excessive amount of time and precision have probably gone into generating and Arranging the sounds inside of a supplied movie, so I'm going to chat a bit about seem design and style and the different layers of audio that go into every second of a Motion picture.

Production Audio

This can be seem in its most Uncooked sort, cinematically Talking. Immediate or Generation sound is the audio that is captured at enough time of filming; spoken pieces of dialogue, genuine sounds through the environment, and the rest that escapes the "silent within the established" rule. Foley is precisely what is captured With all the regular audio rig using a shotgun microphone held over the motion and out of doors the body.

However, if film studios have been to only record the creation Appears and depart it at that, they'd end up having a movie that feels a lot more like a home movie or simply a reality TV exhibit. Component of the magic of the films is the fact sounds surround the viewer, and never the digital camera. To be able to make your viewer sense like they are within the fact you are striving to produce with all your film, you should orient All those Appears so which they feel as real as you possibly can to the individual within the theater chair or on their sofa at your home.

Atmosphere

The sounds of a spring day; birds chirping, small children enjoying in a close-by park, bicycle spokes ticking as cyclists ride by. A bustling town Avenue with its motor vehicle horns, sirens, footsteps on pavement. These are examples of ambient seem, which is typically recorded on established or on location, but it really will also be included in later all through post-production.

Ambient noise is essential for advertising the thought of a certain natural environment. Should the characters in a very movie are imagined to be on an area ship or in the submarine and there is no deep, frequent rumble during the qualifications it may sound like They can be with a hollywood movie established in lieu of in that particular vessel. So ambience generally is a extremely delicate, nevertheless helpful tool in the arsenal.

Foley

The component of cinematic magic commences to return to daily life after you speak about foley sound. Foley Appears are precise and exactly timed consequences recorded in a very studio during publish-generation - after the Original filming has taken spot. These are generally Seems that incorporate depth and super-realism to some Film: leather-based gloves flapping being a chicken flaps its wings; a fist hitting a bit of steak being a punch lands onscreen, A few uncooked spaghetti snapping as a bone breaks.

Foley doesn't have to become recorded in time with the movies. Like a make any difference of reality it is possible to create to record seem wherever you need, make lots of noise and then place Each individual sound result along the timeline of one's video clip modifying software program in sync Together with the footage. It is a Artistic way to make certain the thud of a body falling or even the sloppiness of a damp kiss could be listened to Evidently.

With this kind of sound You furthermore mght get some thing really highly effective; recommendation. You could demonstrate an axe staying elevated above an unsuspecting victim's head then cut to another shot given that the seem in the axe falling into flesh is read. To put it differently, foley audio enables you to tell your audience what is going on without the need of actually showing it to them.

Tunes

Between the various forms of seem, tunes is probably the most effective On the subject of placing the pace and temper of the scene. A slow ballad with strings inside of a minor key conveys disappointment and loss, even though an upbeat techno strike by using a pounding bass line gets the viewer's pulse racing through an action scene.

Generation music ranges from scores composed especially for a film to tunes by well-liked artists used for a tune that appears on the vehicle radio or alarm clock of a personality during the Film. Your video clips can make the most of this sort of ingenuity provided that you listen to copyright legislation and ensure your source of audio is getting used legally.

How It All Suits Jointly

Blades of grass sway while in the breeze as a gradual rumble grows in the gap. Butterflies flit through flower beds from the sunny discipline. The rumbling gets louder amid the peace of the serene summertime scene. Out of the blue, 100 men on horseback look above the rise, their screams echoing eerily through the plains because they charge into battle in slow movement. Hoofs pound the earth, kicking up dirt; the manes of the horses and also the extensive hair on the warriors the two now sway Carefully in exactly the same breeze that moves the grass. The appear of dread crosses above their Dust-lined faces, However they press on toward the enemy.

This is often all just crafting, certainly, but I am certain it is possible to think about or You may have witnessed the same sequence take place in a very Film. In some cases silence is Utilized in a gradual motion segment to Express a suspension in time, but nevertheless the Seems on the Guys yelling their fight cries, the horses' hooves hitting the bottom, and perhaps the breeze evenly going throughout the fields, should be captured and set in place so as to carry the scene to lifetime. Once the film ultimately returns to realtime motion, an epic tune of fight may possibly begin to play within the forefront, stirring feelings of rigidity inside of your audience.

It is possible to see how deciding on the correct combination of Appears can transform an ordinary scene into an excellent one particular. So You should not forget about the strength of recommendation that sound gives with your videos!

For lots additional on making your personal video clips, how to boost on your own filming and editing, tutorials, articles, and informational video clips, go to How To produce A Video at Indie Filmmaking.com.

Jay Staudt has become developing, directing and modifying films and shorter films for somewhat more than ten years. He is a graduate of George Mason University which has a diploma in Multimedia Reports, and currently will work comprehensive-time as an experienced Multimedia Developer for just a nationally identified architectural engineering firm.

In his spare time he provides brief films along with his video crew, the F4C. They generate a comedy sequence named Bachelor Pad

[bharatiyamedia-blog]

What Is a Deepfake, and Ought to I Be Involved?

http://tinyurl.com/yy9kvlu9 meyer_solutions/Shutterstock We are inclined to belief the content material of video and audio recordings. However with AI, anybody’s face or voice could be recreated with pin-point accuracy. The product is a deepfake, an impersonation that can be utilized for memes, misinformation, or porn. One take a look at the Nicholas Cage deepfakes or Jordan Peele’s deepfake PSA makes it clear that we’re coping with unusual new expertise. These examples, whereas comparatively innocent, elevate questions in regards to the future. Can we belief video and audio? Can we maintain individuals accountable for his or her onscreen actions? Are we prepared for deepfakes? Deepfakes Are New, Straightforward to Make, and Rising Quick Deepfake expertise is just a few years outdated, nevertheless it’s already exploded into one thing that’s each fascinating and unsettling. The time period “deepfake,” which was coined on a Reddit thread in 2017, is used to explain the recreation of a human’s look or voice by means of synthetic intelligence. Surprisingly, nearly anybody can create a deepfake with a crappy PC, some software program, and some hours of labor. Imagine it or not, the picture on the left is the deepfake. Deep Homage/Bob Thornton As with every new expertise, there’s some confusion surrounding deepfakes. The “drunk Pelosi” video is a wonderful instance of this confusion. Deepfakes are constructed by AI, they usually’re made to impersonate individuals. The “dunk Pelosi” video, which has been known as a deepfake, is definitely only a video of Nancy Pelosi that’s been slowed down and pitch-corrected so as to add a slurred-speech impact. That is additionally what makes deepfakery completely different from, say, the CGI Carrie Fisher in Star Wars: Rogue One. Whereas Disney spent oodles of cash finding out Carrie Fisher’s face and recreating it by hand, a nerd with some deepfake software program can do the same job for free in a single day. AI makes the job extremely easy, low cost, and convincing. The way to Make a Deepfake Like a pupil in a classroom, AI has to “study” the right way to carry out its meant activity. It does this by means of a strategy of brute-force trial and error, normally referred to as machine learning or deep learning. An AI that’s designed to finish the primary degree of Tremendous Mario Bros, for instance, will play the sport over and over till it figures out one of the simplest ways to win. The particular person designing the AI wants to offer some information to get issues began, together with just a few “guidelines” when issues go improper alongside the way in which. Other than that, the AI does the entire work. The identical goes for deepfake facial recreation. However, after all, recreating faces isn’t the identical as beating a online game. If we have been to create a deepfake of Nicholas Cage internet hosting the Wendy Williams present, right here’s what we would want: A Vacation spot Video: As of proper now, deepfakes work greatest with clear, clear vacation spot movies. That’s why a number of the most convincing deepfakes are of politicians; they have an inclination to face nonetheless at a podium underneath constant lighting. So, we simply want a video of Wendy sitting nonetheless and speaking. Two Datasets: For mouth and head actions to look correct, we want a dataset of Wendy Williams’ face and a dataset of Nicholas Cage’s face. If Wendy seems to the suitable, we want a photograph of Nicholas Cage seeking to the suitable. If Wendy opens her mouth, we want an image of Cage opening his mouth. After that, we let the AI do its job. It tries to create the deepfake over and over, studying from its errors alongside the way in which. Easy, proper? Effectively, a video of Cage’s face on Wendy William’s physique isn’t going to idiot anyone, so how can we go a bit additional? People Magazine/Time Magazine Probably the most convincing (and probably dangerous) deepfakes are all-out impersonations. The favored Obama deepfake by Jordan Peele is an efficient instance. So let’s do one among these impersonations. Let’s create a deepfake of Mark Zuckerberg declaring his hatred of ants—that sounds convincing, proper? Right here’s what we’ll want: A Vacation spot Video: This may very well be a video of Zuckerberg himself or an actor who seems just like Zuckerberg. If our vacation spot video is of an actor, we’ll merely paste Zuckerberg’s face on the actor. Photograph Knowledge: We want pictures of Zuckerberg speaking, blinking, and transferring his head round. If we’re superimposing his face on an actor, we’ll additionally want a dataset of the actor’s facial actions. The Zuck’s Voice: Our deepfake must sound like The Zuck. We are able to do that by recording an impersonator, or by recreating Zuckerberg’s voice with AI. To recreate his voice, we merely run audio samples of Zuckerberg by means of an AI like Lyrebird, after which kind out what we would like him to say. A Lip-Sync AI: Since we’re including the voice of pretend Zuckerberg to our video, a lip-sync AI must ensure that the deepfake facial actions match what’s being stated. We’re not making an attempt to downplay the work and experience that goes into deepfakery. However when in comparison with the million greenback CGI job that introduced Audrey Hepburn back from the dead, deepfakes are a stroll within the park. And whereas we haven’t fallen for a political or superstar deepfake simply but, even the crappiest, most evident deepfakes have precipitated actual hurt. RELATED: The Problem With AI: Machines Are Learning Things, But Can’t Understand Them Deepfakes Have Already Triggered Actual-World Hurt As of proper now, the vast majority of deepfakes are simply Nicholas Cage memes, public service bulletins, and creepy superstar porn. These shops are comparatively innocent and straightforward to establish, however in some circumstances, deepfakes are efficiently used to unfold misinformation and harm the lives of others. In India, deepfakes are employed by Hindu nationalists to discredit and incite violence towards feminine journalists. In 2018, a journalist named Rana Ayyub fell victim to such a misinformation marketing campaign, which included a deepfake video of her face superimposed on a pornographic video. This led to different types of on-line harassment and the threat of physical violence. Stateside, deepfake expertise is usually used to create nonconsensual revenge porn. As reported by Vice, many customers on the now-banned deepfakes Reddit discussion board requested the right way to create deepfakes of ex-girlfriends, crushes, mates, and classmates (sure, little one porn). The issue is so large that  Virginia now outlaws all types of non-consensual pornography, including deepfakes. As deepfakes grow to be increasingly convincing, the expertise will undoubtedly be used for extra doubtful functions. However there’s an opportunity that we’re overreacting, proper? Isn’t this essentially the most pure step after Photoshop? Deepfakes Are a Pure Extension of Doctored Photos Even at their most elementary degree, deepfakes are unsettling. We belief video and audio recordings to seize individuals’s phrases and actions with none bias or misinformation. However in a manner, the specter of deepfakes isn’t new in any respect. It’s existed since we first began utilizing pictures. Take, as an illustration, the few images that exist of Abraham Lincoln. The vast majority of these images (together with the portraits on the penny and the 5 greenback invoice) were doctored by a photographer named Mathew Brady to enhance Lincoln’s spindly look (particularly his skinny neck). A few of these portraits have been edited in a way that’s paying homage to deepfakes, with Lincoln’s head superimposed on the our bodies of “robust” males like Calhoun (the instance under is an etching, not {a photograph}). Atlas Obscura/Library of Congress This feels like a weird little bit of publicity, however throughout the 1860s, pictures carried a certain quantity of “fact” that we now reserve for video and audio recordings. It was thought of to be the polar reverse of artwork—a science. These pictures have been doctored to deliberately discredit the newspapers that criticized Lincoln for his weak physique. In the long run, it labored. Individuals have been impressed by Lincoln’s determine, and Lincoln himself claimed that Brady’s pictures “made me president.” The connection between deepfakes and 19th-century photograph enhancing is oddly comforting. It gives us the narrative that, whereas this expertise has critical penalties, it isn’t one thing that’s totally out of our management. However, sadly, that narrative could not maintain for very lengthy. We Received’t Be In a position to Spot Deepfakes Endlessly We’re used to recognizing faux pictures and movies with our eyes. It’s straightforward to have a look at a Joseph Goebbels family portrait and say, “there’s one thing unusual about that man within the again.” A look at North Korean propaganda photos makes it evident that, with out YouTube tutorials, individuals suck at Photoshop. And as spectacular as deepfakes are, it’s still possible to identify a deepfake on sight alone. However we received’t be capable to spot deepfakes for for much longer. Yearly, deepfakes grow to be extra convincing and even simpler to create. You can also make a deepfake with a single photo, and you should use AI like Lyrebird to clone voices in underneath a minute. Excessive-tech deepfakes that merge faux video and audio are extremely convincing, even once they’re made to mimic recognizable figures like Mark Zuckerberg. Sooner or later, we could use AI, algorithms, and blockchain expertise to combat towards deepfakes. Theoretically, AI may scan movies to search for deepfake “fingerprints,” and blockchain tech put in throughout working methods may flag customers or recordsdata which have touched deepfake software program. If these anti-deepfake strategies sound silly to you, then be part of the membership. Even AI researchers are uncertain that there’s a real answer to deepfakes. As detection software program will get higher, so will deepfakes. Ultimately, we’ll attain a degree the place deepfakes will probably be unimaginable to detect, and we’ll have much more to fret about than faux superstar porn and Nicolas Cage movies. !function(f,b,e,v,n,t,s) {if(f.fbq)return;n=f.fbq=function(){n.callMethod? n.callMethod.apply(n,arguments):n.queue.push(arguments)}; if(!f._fbq)f._fbq=n;n.push=n;n.loaded=!0;n.version='2.0'; n.queue=[];t=b.createElement(e);t.async=!0; t.src=v;s=b.getElementsByTagName(e)[0]; s.parentNode.insertBefore(t,s)}(window, document,'script', 'https://connect.facebook.net/en_US/fbevents.js'); fbq('init', '335401813750447'); fbq('track', 'PageView'); Source link

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