#more stuff from behind the scenes

[fiepige]

Hobie intro animation concept to final scene

[mizgnomer]

Behind the Scenes shots from Good Omens Season Two Crowley and Aziraphale in Edinburgh

[aroaceleovaldez]

So, in your last post about the Percy Jackson TV show, I felt you lacked a few pieces of information/points. While it is true that the CGI in the film is pore and not constructed well, please note that while they have a large budget Disney has made a lot of restrictions to the show. In the original scrips there was a significantly larger amount of violence that would have needed more CGI. This was latter edited out of the script due to both restrictions and budget cuts for other parts in the show(sadly). Also to bring into prospective Sea of monsters the movie was made 10 years ago. Inflation has juristically affected the way money is used in films. Another thing to note is typically movie budgets are less than TV shows because they only are filming for one larger block of time. TV however they can take years meaning the acters need to be paid even for the time off set. This is not to say movies cannot take years, but it is to show that TV shows are filmed longer. I would also like to say I am genuinely not trying to be rude or unkind about your opinion and thoughts on the subject. I am just someone who has a different insight into the topic because of the things I know about the topic (I myself, am an actor and for the most part I think this is why the CGI was not the best as well as some of the script work). 

I did actually calculate inflation for Sea of Monsters versus the PJO TV show. We know the PJO TV show allegedly had a budget of $12-15 million per episode. For comparison, this is the type of budget Disney+ usually uses for stuff like The Mandalorian. I was doing a generous underestimate for the entire season which comes out to $96mil (12mil per episode x 8 episodes). Sea of Monsters' budget was 90mil. Here's that inflation:

So lil over $120mil. Going for a top estimate for s1 of the show (15x8) that's $120mil. And as far as I'd heard that may also not include stuff like budget for casting for the show. They are still roughly in similar ballparks.

Regardless of this - as an animator, i can tell you there is no excuse for that wonky CGI trident other than it being extremely quickly done. That's literally a transform error, like ctrl+t type stuff. That is a lazy and cheap trident, probably because Disney notoriously overworks and cheaps out with their CGI. The CGI problems in the show are majority because Disney's being cheap about it. This shows in nearly all the CGI in every episode.

If they had to remove violence from the script and so remove CGI scenes with it, then theoretically they should have more room in the budget for more or better CGI where it already is in the show. That money doesn't just vanish. Changing that in the script gives them less of an excuse, actually.

Also, as i mentioned in my previous post - if you don't want to CGI hydrokinesis, don't pick the franchise where the main character's defining power is hydrokinesis. If you can't have much violence, DON'T PICK THE GREEK MYTHOLOGY SERIES WHERE THE MAIN CHARACTER BEHEADS TWO PEOPLE IN THE FIRST BOOK AND IT ONLY GETS BLOODIER FROM THERE. You cannot have PJO without some level of violence. It's kind of very inherent to the series. Rick actually talks in his original Teaching Guide for The Lightning Thief about how, in argument against attempts to ban TLT (in this specific instance for "being too violent"), that monsters in the books poof into golden dust for a reason, because then they haven't "died." There is no blood. They can and will come back. Because it's fantasy. That is the excuse for all the violence. Of which there otherwise technically is a lot of.

If you are doing live action PJO you are going to have to have some amount of violence (and there is absolutely a level that is perfectly suitable for a PG13 audience. The show right now is leagues below that level. PG13 just means parental guidance for under 13 - this majority has to do with concerns about children under 13 replicating behavior on-screen. Past 13 kids know better than to do that, which is why that rating is a thing. There are plenty of film/media/etc that are way more gory and violent and are still PG13). You are going to have to CGI monsters/creatures to some degree regularly (alongside demigod powers like Percy's hydrokinesis even more regularly). And between those two things, characters are going to have to look like they're physically interacting with the CGI at times. Disney is capable of doing this. Disney does have the budget for this for the show. They're not doing it because they're being cheap. Disney has done this before and does it regularly. This is not anything new. It entirely has to do with CGI not having as many unions. They have no excuses. If they didn't expect to run into these problems then they clearly did no planning for what adapting the series would entail and didn't think at all of what the series actually featured before diving into it. And they have no excuse for that! That is step one!

[r0semultiverse]

How to Super Boop & evil Boop on desktop.

Super Boop:

Hold down/hover over the boop paw button or the boop back prompt for at least one rotation cycle of the text or paw.

Evil Boop:

Hold down/hover over the boop paw button or the boop back prompt for at least three rotation cycles of the text or paw.

I hit post limit so apologies if I can't post this guide in time. 😩💜

[ccbatman]

actually so evil how much of hal's internal world gets obliterated with the rewriting of his relationships with jessica and martin.

[lilybug-02]

CT Weird Route Sketches and Behind the Scenes! 😜

MAJOR SPOILERS BELOW ;)

Oh, you’ve decided to join me? Wonderful!

Excuse the Mess! Some of these are a little... corrupted? HmmNah. I'm sure it's just how I exported them ;)))

It's hard making a comic. Tons of deleted content, cut dialogue, and entire storylines scrapped forever! It can be a blood, sweat, and tears situation, but I truly enjoyed making the Weird Route!

It was a nice departure of the main story (which is quite mild). Plus if I started feeling art/writing block, I could just work on the other route.

There is A LOT of cut content of Kris and CHara talking. I wanted to keep things condensed, so I kept the pages to a minimum.

I was quite unsure how to END the route. But I knew I wanted Chara to take the full brunt of you... The READER. Chara's promise to Kris, about getting rid of you, was very intentional.

At first I thought it would be a fun idea for Chara to just make the game "no fun" after you possessed them... but I realized this allowed for potentially more story🗿🗿. I did not want that. So after a few GRUELING MONTHS, I finally realized Chara would not be going anywhere. No happy ending :/ Sorry Chara...

I planned on keeping Asriel completely absent. But as I finished, I felt in my gut the end was too lonely. Too isolating. The second I drew Asriel in, I knew it was the right decision. He snapped Chara out of it and allowed for a softer approach to the ending. They both really do complete the narrative together.

FUN FACTS! (wowie)

Chara clutches their chest because their SOUL hurts when you posses them

Humans are capable of magic, but it is almost always physical. This may result in terrible consequences if used wrongly.

Chara likes chocolate

Chara only talks about their past life with Asriel. It is unknown if they remember the events of Undertale with Frisk.

Asriel is talking about Dess when he brings up his late girlfriend. It is implied he feels responsible for her supposed death.

Possessed characters will speak in Undertale text (usually. My own consistency is shaky lol)

[mastersoftheair]

"Masters of the Air details. Part 6-Bombsight and bombing.

"[...] I was brought in to Masters of the Air to teach actors how to look like they knew what they were doing, and the bombardier work would certainly be important to the series.

"[...] The Norden bombsight was being developed in the 1920’s by Carl Lucas Norden, a Swiss engineer, who worked for the US Navy. He developed this sight (eventually the Mark 15 series for the Navy and the M series for the Army) and the autopilot system that goes along with it. The autopilot was needed as it could fly the aircraft more precisely on the bomb run than the pilot could. Just don’t tell the pilot this!

"The Mk 15 Norden sight was a beautiful hand-built and fit device with an analog computer that would calculate the point in space at which to drop the bombs. The Bombardier would input information to the sight in the form of altitude, air speed and the ballistics of the bomb. On the bomb run he would pick up the target with the crosshairs in the optics and engage a motor drive that would keep the crosshairs synchronized on the target during the approach. On the run he would also make fine adjustments to be sure the crosshair stayed on the target for range and drift. When the sighting angle reached the predetermined dropping angle the sight sent an electrical signal to the intervalometer that would drop the selected bombs at the specified interval.

"The mission order would define what bombs were to be used and what the nose and tail fuses were to be used and their delay settings, if any. The order would also specify the aiming point and the interval to be set in to the intervalometer. This would space the bombs across the ground as desired. Maybe you wanted the bombs dropped quickly, right next to each other, to try and put a hole in the roof of the hardened sub pens. Or maybe you wanted to walk them down a long runway. The intervalometer would be set for your ground speed and how many feet apart you wanted the bombs to hit on the ground.

"If you wanted to drop a string of bombs all down a line, like a runway or a front line, then you would want the center bomb of the stick to hit in the middle so you would adjust the trail plate on the bombsight the right amount to drop the first bomb early and have the center bomb right in the middle. This center bomb spot would be the mean point of impact or MPI.

"When I arrived on set at MoTA they had several nose sections with varying amounts of the bombardier’s equipment and controls. They had one real Norden sight head called the hero sight in the hero fuselage. The hero label was attached to the best props where special or close up filming with lead actors might take place.

"The stabilizer is the lower half of the bombsight and contains the yaw gyro for the autopilot. The bombsight head sits on the stabilizer and pivots to keep pointed at the target.

"The hero sight was sitting on a prop stabilizer, and it needed more accessories and work to look as good as the real sight head. I asked if they had a better stabilizer around and they thought so, but where it was seemed to be uncertain. It was eventually located and cleaned up for mounting in the hero nose. It was still missing some items namely the directional panel and an Automatic Bombing Computer or ABC. The ABC was used on the bomb run so they could perform evasive maneuvers and not have to do the run and drift calculations again. I was told that a Norden Bombsight expert in the UK said that they didn’t use the ABC early in the war, if at all. I had to differ with that opinion as it was most certainly used throughout the early war and almost all the way through. Its use dropped off later in the war if anything.

"The ABC is quite visible on top of the stabilizer so I thought the hero sight should have the ABC not only for authenticity but for eye candy too. I asked my daughter, Sydney, to send out the directional panel and ABC set from our museum’s bombsight back home in California.

"[...] Like with the pilots and their own preference for hand positions on the throttles, the bombardiers were given the options of the two different hand configurations bombardiers often used to adjust the sight on the run. The more uncomfortable two-handed method or the single hand. Which eye to use while looking through the eyepiece was also their own decision as this would have been a preference item as well.

"We also taught them how to look over the sight to pick up the target then transition down to the eye piece and to uncage and adjust the gyro for leveling the optics in case this might be of interest to the directors. We went over the control sequence for the bomb bay doors, bomb select and intervalometer adjustments and the bomb run itself.

"[...] The standard procedure for the bomb run was developed early on by the 8th AF which was to navigate to a point where the bomb run would begin. This was called the Initial Point or IP. From the IP it was either a straight line into the target, or evasive maneuvers along this line to the target.

"At the IP, the bombardier would open the bomb bay doors. This would change the drag and the airspeed accordingly. It was up to the pilot to adjust power to maintaining a specific airspeed and altitude which was critical to accurate bombing. The pilot would also re-trim the aircraft so it would fly hands off at which point he would engage the servos of the autopilot and turn control of the aircraft over to the bombardier. The Bombardier would fly the aircraft through the bombsight and its connection to the autopilot.

"The main bombardier actor, Elliot Warren, portrayed James R. Douglass. Elliot was a quick learn and did a great job. He was a pleasure to work with and I really enjoyed his scenes.

"[...]Props made several Norden sights. Rubber ones and some with more detail. One was set up with squibs to detonate when the sight was shot by the actor with his 45 cal M1911 pistol. They were wired and the squibs went off with the sound of the pistol. It looked pretty good on camera.

"It was AAF policy to try and destroy the bombsight so it would not fall in to enemy hands. Some of the manuals actually discuss what should be done to destroy it. I would hope that the large gyro in the sight head was not spinning at its normal 25,000 RPM when the bullet hit the 2-pound rotor, as I would imagine that it would come apart and potentially send shrapnel back at the guy holding the gun!

"The lighting folks would control the instruments and lights throughout the fuselages, like the bomb bay door open light on the bombardier’s panel. We put in a lag between the bomb door handle operation and the door open light coming on. Not an accurate lag as we obviously will not be filming for the actual 20 seconds or so needed to open the electric bomb bay doors. It was a delight to work with the lighting crew and they did magical work especially with the custom made instrumentation.

"[...] Here is a full-on rant about the Norden so you might want to skip out!

"Keep in mind that this is my own opinion. An American who is discussing the Norden sight. Your mileage may vary.

"Recently there has been, what I call a ‘revisionist historians’ view of the Norden Bombsight. In short, this modern interpretation, pretty much lead by Malcolm Gladwell’s TED Talk on YouTube and his book Bomber Mafia, calls in to question the usefulness of the Norden. Basically, saying it was not effective and some of his followers have even been using the term ‘useless’ recently.

"Just keep a few thoughts of this rant in mind.

"The bomb sighting systems we had going into WWII were based on technology left over from WWI. They were simple sights with wires to sight down. They were meant for aircraft speeds and altitudes from WWI. Now skip ahead to the new bombers flying two to three times as fast and at altitudes up to 30,000 feet instead of 3000 feet.

"An all-new system was needed to solve this new complex bombing problem. Sperry was working on it and Norden, who had left employment at Sperry, started his own effort.

"The Sperry and Norden sights were the leaders of synchronous sights going in to WWII. They both were good sights which were constantly being improved. They had each also developed a highly advanced autopilot that the bombardier used to fly the aircraft on the bomb run.

"These were visual sights, so it was necessary to see the target in order to be effective. Not so easy in Europe all year long. Radar and other methods were coming online to help with all weather bombing but there were many limitations in play.

"Results would certainly vary from target to target, and it was a brand new technology made up of gyros to keep the optics level, a mechanical computer to make the calculations, motors to drive the optics. Lots of parts needed to be able to work at 200 degrees F to 50 below, not to mention the complex autopilot system.

"So, my main question is: If this new technology was so bad then what exactly was it that brought the German war effort to its knees?

"The RAF was going after cities and targets at night and the AAF was trying to hit specific strategic targets like submarine production, aircraft and weapons plants, fuel and machine parts to make the weapons work. The very things the Germans needed to wage war.

"What brought this production essentially to a halt?

"I submit that it was the bombing campaign.

"If it was the bombing campaign, then it was likely the Norden and Sperry sights that made it possible. Mostly the Norden as it was chosen as the primary system and the Sperry S-1 sight was discontinued.

"The invasion of fortress Europe was certainly needed to push the Germans all the way back to Berlin, but I would also submit that these efforts were made easier by the results of the bombing campaign.

"There were certainly mistakes and errors all throughout this campaign as there was a massive learning curve in doing something that had never been accomplished on such a scale before. How to amass hundreds to a thousand plus bombers to rally together to attack a target effectively and then get home. The attrition was unbelievably steep in the early years as so beautifully depicted in Master’s.

"Just how do you get back in that bomber the next day and face near certain death once again like they did. Again, as seen in Master’s. Just a few of the wonderful aspects of this series and the history behind it.

"Having a PR campaign about the weapon that would help win the war, like Harold T. Barth created for Norden, was not such a bad thing. If it rallied the troops and home front to keep up morale, then I think it was a good thing. Just open any wartime magazine and look at the full page ads all throughout. Each ad promoting the companies contribution to winning the war effort. BF Goodrich with their new Rivnut or Seeger Refrigerator building bomb racks and feed chutes for the 50's. It was a nationwide industrial and personal team effort to wage this war against the Axis. Norden was one of them.

"Barth said that the sight could hit a pickle barrel from 20,000 feet. When the press asked if this was true Norden replied ‘sure if you tell me which pickle you want me to hit’. Some folks nowadays are taking this literally and complaining that it really couldn’t hit a specific pickle. No kidding. Say it isn’t so. Those bastards!

"To Mr. Gladwell and his followers, I'll ask again: What was it, in your mind, that allowed all of those bombs to take out the German AND the Japanese war efforts? If it wasn’t Sperry’s S-1 and Norden’s M series bombsights, then just exactly what was it?

"Rant over. Flak vest, with crotch protector, and helmet, on."

[averlym]

" just...come here. just sit here with me" (...that one scene from princess momonoke, click for better resolution)

[gianttol]

oc idea where a sleepy girl is constantly pulling all nighters to get assignments done so when shes asleep shes out for the night. the borrower in the house gets too used to that fact and tries going for her coffee and sleepy girl wakes up

[kcamberart]

I wanted to say that your 3D rendering is some of the best and aesthetically pleasing that I have seen in so long, it's my absolute favorite...! You are so talented. Thank you for always blessing my eyes with your beautiful work.

Thank you so much!! I've got a lot in store for this year already, so I really hope you'll enjoy seeing everything else I have to share with you all!

[al-luviec]

still haven't moved on from zane in this episode (aka I hit tag limit again and am unhappy about it)

[deus-ex-mona]

i miss renrennnnnnnnnn

[sapphic-luthor]

Honestly mon-el is hardly the worst instance of bland white hetero male character from the cw, but when you consider the circumstances of his character being introduced (abusive misogynistic showrunner self inserting) and the show he was introduced to (a show supposedly centered around a woman, with the ostensible purpose of her breaking free of the shadow of her more popular male counterpart) it does shoot his utter unlikeability through the roof past his more onerous peers.

see i wasn’t around in s2 so i didn’t/don’t know any of the behind the scenes stuff about the character choices or anything. i popped in right around the end of s4 i think and even then, years on, there was a lot of hatred toward mon-el that imo had the bang of a specific type of terminally online tumblr-callout-post off it. like just weeklong threads fighting with karamels and big huge posts about how problematic he was etc etc when honestly he’s like… fine, in the context of what he is, which is a cw character.

i honestly believe mon-el (and winn to an extent) both were victims (in this fanbase) of the modern online thing where we strive to equate unlikeability with moral failings to prove our own points; like it’s not “i hate this guy” it’s often “i hate this guy and he is problematic and here’s a callout post listing why.” and i totally fell for it because i went into this rewatch waiting for him to be this horrific unlikeable scumbag and he was pretty much fine.

obviously i don’t like the guy because straight men annoy me and we all know kara’s rightful place on earth is on her knees between lena’s legs, but all in all the ire that this fandom had for mon-el really does feel quite pearl-clutchy and overblown in retrospect lol

[bisexual-horror-fan]

I promise Multi-May stuff is still happening! But life is life-ing real fucking hard, and I am doing my best.

[transxfiles]

obviously people who go in and record bootleg masters on broadway are ballsy as fuck but i'm even more in awe of the people who hack into the house cameras and conductor cams and such and then share those videos. there's an artistry of sneaking a camera into a professional show and managing to film the whole thing don't get me wrong. gods amongst men. i love bootleg masters they're the best. i think the difference is that i can conceptualize how it's done y'know, there's less mystery. meanwhile. with all the official cameras that BELONG to the theater and stuff im like. Wait. How did you do that.