#motion and rotational blurs are hard

[grady1285]

This somehow only took me five days to finish

This scene is actually important to the plot of my story lmao

[deepdreamnights]

Vidu 2.0 - First Reactions

I am in the Vidu Artist's program, so I've had a chance to play with version 2.0 before the official launch on the 15th. What I'm working with is a pre-launch build, and has improved day-to-day, so this may not reflect the final release.

I haven't yet had a chance to give it the full paces-run-through it deserves, but here's some early samples, and early thoughts. (Converted to GIF because you can only upload one video per post.)

The short version is that everything has been incrementally improved: Better coherence, better prompt responsiveness, better motion, and way, way better speed. Without doing exact time-tests it's say it's at least 25% the time to generate a video of the same dimensions.

While there's still some of the "smudge-blurring" that you got with 1-1.5, it happens less frequently, and is more mitigated with an image/animation that match.

Motion varies gen-by-gen, but impressive results seem to be the norm.

While his sticks are somewhat flexible at full framerate, the cat drummer's cymbal hit struck me as particularly nice.

Control and Coherence

While the roar may not seem particularly impressive, roars, howls, and other emotional outbursts didn't work well in previous versions. Aunt Acid's fumes and drips are are particularly fun, and while it still has problems with her tail, PteroDarla's crest and wings are actually working the way they should (after a number of attempts).

For a long time, I've wanted the last shot of the TMax opener to be Max starting with a zoom-in on the eye going out to a roar and pose. While this isn't quite where I want it, 2.0 is the first time I've gotten him to go through the whole sequence. Which is promising.

Weird Stuff Works

What remains impressive about Vidu is how well it handles concepts and characters that are off-the-beaten-path. Hailuo just released a character consistency feature that only works with humans, but here...

Here's my friend Cole's OC, the Waffler (Intergalactic Bounty-Hunter.) He's one unbalanced breakfast. He's also rather resistant gen AI replication because he's an SD space man with a waffle for head, a very specific waffle for a head turned at a 45 degree angle. Vidu 1.0 wasn't able to work with him, almost always giving him a mouth or rotating his waffle, if not completely glitching out. 2.0 is much better to handle it.

The numerous dino-anthros above are all in the "Tricky for AI" box. If I was into doing what could be gened easily, however, I'd just be pumping out an endless parade of pillowy waifus.

In my defense, I classify SexBomb as more of a 'strifu'. This particular one was an attempt to see if a toony image prompt could be rendered live-action with text prompting. Long story short it can't, but it can produce some interesting effects like the faux-posterized background.

I've had AI gen close to her costume before, but it never adds the fuse or does the boob-window right, and here we are.

One of my old bits of Transformers fanart of the Pretender Monster Icepick served as the character model for the one on the right.

Fantastical Creatures in general are a lot easier to execute in this version as well.

And... Action!

Motion is a lot more natural this time around.

Weapons fire (though sometimes a bit literal) tends to come out of the barrel semi-consistently now, characters can fight the waves without melting themselves and...

A giant rubber monster can eat your protagonist (if you're lucky.)

Quirks and Flaws

Nothing is perfect, and all AI you see is curated. So lets talk areas to be improved.

A lot of stuff presently generates with multilingual gibberish captions sometimes, which I expect is an early model bug. Versions 2-3 of Midjourney would have similar artifacts, and that sort of thing isn't hard to correct for.

There are still issues with blurring/smudging, especially with things like tail-tips, hands, and any motion the robot doesn't quite get.

Sometimes stuff shapechanges or appears that ought not to, like the knight's floppy second blade.

Or speed gets off requiring being fixed in post.

And stuff just goes dumb sometimes, which one should expect (and in my estimation, desire) from any generative system, artificial or analogue. Should the water go on the fire rather than the firemen? Yes. Do I regret this gen? No.

One quirk of the system is how it resolves incongruous multi-prompts. I've been accustomed to Midjourney, which, when generating an image must blend everything requested. You can put two completely different backgrounds in as image prompts and it will blend them into something new and wacky.

Vidu resolves problems like having two background images at once by taking advantage of the 4th dimension. Confuse the robot too much and it will just cut/fade from one idea to the next.

And then there's stuff that just happens, like, a shot being perfect except a painted (and thus ought to be static) background object animating beautifully (going retro is a path wrought with irony) and the robot deciding it'd rather do CG-style than 2d.

And while it doesn't show up great in the gif of Max at the construction site there, 2.0 is more vulnerable to interpreting bad transparency-clipping as part of the character design, so be careful if you're using transparent PNGs.

Also, if you slap a character and a background together without elaborating on the setting with the text prompt, it will often slap the background back there as a static backdrop and produce a very "greenscreen-y" effect.

Rather than laden this post down with more animated GIFs, I'll be setting up a batch of them as posts for the upcoming days. At least, that's the plan.

[secret-smut-sideblog]

We The Drowned

Ascended Astarion x F! Tav

18+ fear, drugging, injury, fears of pregnancy, dubcon, longing, implied death, self sacrifice, just indulgent drama

Astarion long since ascended, Tav has made her mind up to escape his grasp at any cost...

-

Hands shaking, she laid awake. Plan already in motion. But Gods she was so afraid.

Tears sliding down cheeks she cursed herself.

It was what he wanted, what he begged her to help him achieve. Ascension. And Gods she had wanted the world for him. Wanted him to follow his own desires. Had trusted him. Trusted him to know what would be best for him.

She was wrong. So very wrong.

The man laying next to her was far from the man she fell in love with. Cruel. Cold. Vicious.

Oh how she had held on hope. Hope that he would come back to himself. To her. Staying by his side for so long. Years. The length of her hair, the state of her withering body, a witness to her despair, her devotion. Even searching in small moments, so desperate to see just a glimmer. But he was gone.

If she hadn't already known she did now. Pulling her into his bed chambers. Pushing her onto the sheets. Halfway through thrusting hard into her he had laughed, "My pet, I've made a discovery." Hand coming to wrap around her throat. "In this new perfect form I can do something novel. You can give me something precious, I know you want that."

Leaning into her ear, sharp fingernails digging into flesh. "You can sire me an heir."

Terror shook her body at the thought. She had refused being his spawn, that measure of control free from her. Much to his attempts at persuasion, then bitter anger. Knew it was only a matter of time before his precious little patience broke. That he would take her mortality by force.

But a child... his child.

No. No it had to be tonight. She had no choice. Before it was too late.

Held her breath in silent prayer. Felt a phantom twitch in her belly. If it wasnt already too late.

She had been working in secret on an escape plan for months. In the few moments when he would let her be alone she formed her route. Working out every angle, every flaw that she could. It was a great effort as he loathed to have her out of his sight, his reach. His consort.

His pet.

Now as he laid finally still next to her, drugged by the slow acting paralytic in her blood, she reached weakly against her numb limbs. Fighting the heavy pull.

Her handmaid rushed into the room. Right on time, Gods bless her.

"Here," She urged quietly, pouring the antidote into her slack mouth. "Good job, there you go." She encouraged sweetly as she shallowly swallowed, gaining strength.

Shakily she rose, adrenaline already throttling her spine. Gripping her beloved face in her hands. "He'll kill you. Oh Gods, Madeline I'm so sorry." Overcome in gratitude, in grief. Pressing a desperate kiss into her soft lips. Their last, she knew.

The memory of them holding hands in the garden, the overhang of the canopy shading them from the world. Leaning her head into the gentle curl of her shoulder. The tender way she had pushed her hair behind her ear. A love so brief, so bright. So little time shared.

"I know," Her beautiful savior whispered, pressing their foreheads together briefly. "Now go. You have to go."

Choking back a sob she took fast to feet, grabbing the supplies she had hidden under her side of the bed. Forced herself not to look back.

Running down the hallway she knew her time was limited. It was a potent paralytic but he was so much stronger now, would overcome it much faster than a mortal man.

Hidden door. Thirty paces. Turn. She ducked into the servants side door, the shortcut. The dark cramped hallway rushing past her. Twisting and ducking under pipes. Slats of light striking her face in a blur.

Steps. Remember the steps.

Bursting from the hidden door she rushed through the empty ballroom out onto the balcony. Empty of guards, the rotation switch.

The night air mockingly peaceful. She gulped it in. Eyes already zeroed in on her next hurdle.

Throwing her pack over the edge. Shuddering at the time it took to hear its distant thud against the ground.

Only room enough for one long length of rope in her pack, she had one option.

Downing a feather fall potion she looked over the edge of the castle wall, trying not to let the dizzy height consume her. Her fear too much, she turned her back, her heels kissing the edge.

She caught a pulse of light high above her from an ornate window. A crash. Out of time.

Closing her eyes she stepped back into oblivion.

Falling. Falling.

How she had fell from the nautiloid ship. Both an escape. But the time she had a guardian to catch her was far behind her.

Back meeting ground, the wind knocked brute out of her. Even with the potion the fall had been too great. Felt a crack in her ribs.

No time for pain. She had to go.

Scrambling to feet she slung her pack over her back. Planting her feet and taking off like a shot. Bare feet scratching and angry against the underbrush.

"Provolo! " She cried with precious little breath. Could feel her feet move lighter, the momentum coming easier. Haste, another precious advantage.

The sound of rising voices from the castle walls behind her.

Fly forth.

Ducking and weaving around trees, over logs, she felt a tenuous joy start to rise in her chest. Oh Gods she might make it.

Bursting out of the treeline to the magnificent sound of the sea crashing angry below. The tree she had chosen was still here, her anchor.

She ran the rope around its base. So many lengths tied together, long enough to let her drop somewhat unscathed. Tying the knot, the one she had been practicing for weeks, against its ridged skin.

"Please hold." She whispered. Whipping the remaining length out, invisible over the side of the cliff.

Tying her meager possessions into a small bag tight around her waist. Pulling her long braid out of the way, looping loose around her throat. She rushed to the edge, vertigo making her stomach turn. No more potions. If she fell this was it.

Taking the rope in hands she planted her feet, her toes gripping the loose soil.

Gave herself a single moment to close her eyes, take a steadying breath in, out. Okay.

One step backwards, two. Dangling out over the edge. So far to fall. Three steps, four. Dangling. Feet planted against vertical soil. Hands releasing, lowering. Five steps, six. Between worlds, suspended in air.

A violent pull upwards.

Her eyes flashed up, terror gripping her.

A pale hand, fist white knuckled.

Red eyes above.

Eyes full of... fear? No it couldn't be.

Her heart slammed against her sternum. The desperation on his face crumpling her will.

Memories pummeled her. His hand trailing soft in her hair. Eyes bright with mirth as they fell laughing over eachother by the campfire, a stupid in-joke. His voice whispering sweetness into her neck as he gripped her, hips falling into her shivering body.

The pet name she had given him, the one he he insisted he hated, hands on hips. The little smile he couldn't hide as she drawled it at him.

"Starlight?" She asked breathlessly, eyes swimming heavy with tears.

His so wide, so soft again. Her love.

But then he was gone.

"Where do you think you're going," Other hand coming to pull. "Darling?" He hissed at her. Another handful of distance lost.

She rapidly released her grip, white hot pain against the tender flesh of her palms as she broke her descent. Ground gained but not nearly enough.

The smuggled boat waiting for her under the overhang of stone, she only had to make it to the mouth of the cave.

But she knew it was over. His strength was too great, she couldn't descend fast enough.

She would not be kept, he couldnt have her. Only one option.

She looked up into his eyes.

"I love you." Bitter tears burning her face. "I still love you."

"Please let me go."

He laughed, wrenching another length of rope towards his body. "And give up everything? Every gift you've given me?"

Eyes cutting into her. "Every gift you can still give me? No..." Almost face to face now.

"No, I dont think I will."

She was deeply afraid, but more than that, she was angry. Bright fury ripping through her chest. One hand relaxing it's grip.

Angry at everything she had lost. Angry at him for tricking her into thinking he knew his own heart.

Spiteful at every single piece of the life she had wanted with him, that his ambition had stolen. The beautiful thing they could have shared.

In her heart she let it all go.

"Goodbye Astarion."

His hand almost at her wrist, slipping away. "No!" He bellowed, lunging fruitlessly.

She closed her eyes as it all fell away. His wild eyes, the rope, the edge of the earth.

Tumbling through the air she went limp. It was finally over. His pet no more.

The air singing through her whipping hair.

It was done.

She was ready.

Now she just had to meet the water.

-

-

-

"Unghh..."

Far away. What was that? Gods, someone stop it. That sound.

She was so tired, just let her rest.

"Mmfhhh..."

Closer. Wasnt the afterlife supposed to be peaceful?

Was she not owed some Godsdamned peace?

"Uaaghh! " Her gurgling voice came to her all at once. Eyes shooting open.

Coughing great heaves of sea water, she rocked back and forth in the sand. Pinpricks of light in her eyes. Limbs rubber.

How. How had she survived?

From the state of her body she surmised she barely had. Broken, bloody, bruised.

And free.

She laughed wildly. He must think her dead.

Free.

Only time would tell if she had a new problem. Hand to her hunched belly. Gods above and below, spare her one more time.

Coughing and wretching she sat back on her haunches, exhaustion bone deep.

"Shadowheart!" She gasped, the plan suddenly coming back to her.

Sending a single folded letter with a servant, prayed it would reach to the Selunite outpost. Got a small book slipped under her door in return, a pressed night orchid in its pages.

She would be much earlier than she had estimated in her letter, but she knew that wonderful cleric would be waiting for her already. Not one to stand idle.

Pushing back with trembling arms. Rising on legs dead heavy. Heart lifted on high.

She began her long journey back to her life.

~

Part 2

[moss-bride]

Koi boi Chapt: 9

⚠️ WARNING! SMUT AHEAD ⚠️

She struggles to get the bonds loose. Rubbing and yanking she scoots the chair over to the plants where the scissors are. Trying not to make noise for the downstairs neighbor. Or any of the neighbors sharing a wall with them for that matter. If they heard her scream and fumble around they would for sure call the police and to have her Lawrence arrested would destroy her.

He left her and she feels shaken to the very core of her soul. Bleeding from her thighs the open air stings the shallow cut and cries out his name. To be carved again or to finish the job?

The sputtering start of a shower is the one sound in the apartment.

The sharp blade he used to cut her is close. If she could wiggle her chair close to the counter to grasp it, she'd be free.

She scoots the chair and winces at the sound. Looking to the bathroom door to hear any pause to his showering. Fog seeps out from the crack under the bathroom door. A bright spill of angelic cloud. 

She stretches her fingers and grasps it. Quickly maneuvering her hands so the sharp edge is against the bindings. Sawing it. 

“S-Shit…” She cuts her hands, the small nicks don't discourage her and manages to free herself. 

She rotates her wrists, rubbing the sore skin, doesn't bother trying to find a cloth to cover. Then rises unsteadily to her feet. 

A rational person would go straight to the front door, checking the locks or looking through the drawers if the kitchen for weapons but she's a fucking idiot. No smarts strategic snooping that people in her position would do. 

Bloody footprints track the floor on her way to the bathroom. The loss is making her woozy. 

She bled on the floor. Dragging herself to the door of his bathroom took a lot of her energy and she leaned against the door, panting. Hearing him splashing water. 

She imagines how he looks in the water, drenched hair stickling to his scalps and back. Eyes closed to allow the spray to cool his features. Pale blue eyes moving beneath translucent eyelids. Peaceful.

Her lips almost kiss the wooden frame, need overpowering all other senses.

She twists the door knob, quietly creeping in. Her toes tingle with the mist of condensation from his shower. Droplets sticking to skin and the wet floor imprints pink footprints. Wet air further aggravating her fresh wound.

The curtains are fogged but the cream of his body is visible and she hungrily chases the sight of him, however blurred. He hasn't noticed her there, standing like a hidden mountain lion. Salivating at the beautiful painting he makes.

The first body she's ever seen bared. Oh, how she hungered for the experience, the emotionally rampant sense of such a vulnerable act as to be naked in front of another human being. And here he is. The fulfillment of a wish. God answering her prayers and delivering onto her the sustenance to keep going.

She pulls the curtains away. Metal shower rings do a horrible screech.

Lawrence startles badly. Turning to her in fear. Blue eyes wide and full of terror then they  become dangerously narrowed. Lawrence’s chest heaves up and down and he hisses. “Get the hell out. Are you stupid?!”

Yes. Yes. Yes.

She stays silent and breathes heavily the scent of his skin, the soap he uses. Clutching the curtains for help against her fading control. “You want to die.” His blue eyes burn and he's about to get physical.

She steps in. The water hitting the ground becomes pink and so do the droplets on his white thighs and abdomen. She could write poetry about the important symbolism of her blood and his water. “Lawrence-”

 His hands immediately snatch her throat. He slams her against the wall hard. Her head bangs against the tiled wall, it is not a gentle motion. She sees stars. Her feet slide easily and she's held by his hand at her neck.

He is squeezing the life out of her. Clamping down on her airways and she can't breathe. Her body has no other choice but to spasm in an attempt to get air. Eyes feeling like they are about to pop out of their sockets like one of those stress toys they give you in therapy.

Then he unexpectedly releases her and she collapses to the floor. Unable to hold herself up any longer. She hears his angry bull pants

“If you don't do what I say, i- “ he cuts himself off. “ ..you can't be here.” The resigned tone in his voice makes her panic. Please don't be disappointed in me. I love you. I love you.

There is a darker decision in his voice that she's oblivious to. He can't let her be here any longer! She interrupts him, demands attention and walks freely around his place and he has no control. Needs total and complete control, if he can't have that then she'll have to-

Frustrated he stomps out. Agitated at her movements, he grabs a towel. Blood loss is overcoming all her senses , she can't muster up energy to stand and follow except, gazing at the pink water slipping down the drain.

Even as the warmth fades she wants him. 

“L-law… peash….uh”

She lurches forward. Forehead hitting his knee. Hands clawing the tiles she sticks her tongue out and licks his knee.

Under her tongue the vibration of his voice quiets. The explosive anger switched violently into another emotion. She's focused on his kneecap and the stubble of hair on her tongue. Her senses are shutting down and the warm water spray, the soaking clothes, the pain on her leg, it is slowly fading. 

It transcends time, it could be her most treasured memory. Confirming the clean taste of skin. Her consciousness fades in and out trying to concentrate.

Something threads through her hair. His hand. Gripping her head to face him. She can't make out his face and closes her eyes against the harsh bathroom light as it stings.

Clinging to life, clinging to him like a leper begging Jesus for the divine healing of his godly hands. This half alive state tempts him, a devil in his desert. Limp and slouched, the blood draining out of her leaves her skin cold, lush lips tinged the gray blue he recognizes and adores 

And on her…..the sight is enthralling. 

Whatever he sees he must like because his hand on her hair clenches harder. Eyes still closed and almost slipping away, a giant woosh of air scatters across her face. Lost in her own world she can't focus on Lawrence's intentions.

A warm wet bulb pressed her lips. Parting them. It's a wet spongy thing with a salty taste.

For a moment she's confused about what fills her mouth and brushes her tongue. Too much effort required in opening her eyes she remains in the dark. Until she feels the vibration travel down. A groan.

Between her lips moves the solid piece of flesh she had briefly admired when pulling the shower curtain back. The last of her brain fires back up and sends pulses of strength to her sluggish limbs. Cold hands struggling for a perch.

He tugs at her scalp and she releases a soft moan around his cock. Her hands skate his thighs for perch. With all her ability she finally took him down to the hilt, her nose at his pubic hair and her lower lip at the seam of his sack. Leaking drool. It spills down onto her breasts. He is warm and throbbing on my tongue. Her wide eyes plead with him. 'please. Cum. Please. please, please, please

She sucked him like her life depended on it. Like it's the last thing she'll do because it likely is. Swallowing him whole. 

Happiness. ‘Thank you for doing this. For having sex with something as disgusting and awkward as me.’ That's what she's trying to say with her tongue on the underside of his cock. Her life has been leading up to this moment, the skin to skin contact that society and media portrays as quintessential to the human experience.

I'm here! I'm like everyone else now! Aren't I cool!? Aren't I real?!

This new action of a blowjob sparks an insatiable need for more sexual experiences that rises about her blood loss. His hands tangled in her hair as he guides her. Since she is new to this she finds herself loving and reveling in his moans.

She gags but continues to swallow around him. Determined to feel him spray down her throat. Her tongue licks the seam of his balls and her nose buries in his pubic hair. Eyes gleaming with tears from pleasure, silently asking 'like this Lawrence?' and pink lips stretched. Drool leaks out of her mouth.

She makes a surprised sound as she feels him spray down her throat. His hips buck and shove her down until finally he's spent. She releases him with a pop. A string of saliva connecting her lips with his cock. "Did you see that? I swallowed it all." She babbles, beaming up at him. Vaguely proud that her first time with a cock was good.

Or, at least she thinks she says that. What comes out is a strange string of noise coughed up. Hardly understandable. Once his hand released her head she collapsed on the bathroom tile floor. 

She curls up, knees to chest to conserve warmth, her wounds are aggravated and the action squeezes out more blood. 

 

Eyelashes flutter closed with beads of water on each lash. She feels herself being carried. Her lips are smiling.

Lawrence watches her. 

He should stop the bleeding. The tourniquet is in disarray and if it isn't tightened, she'll die, if she isn't already dead. 

He checks her pulse and finds the best quiet but steady. Should he be relieved or sad? He remembers dreamily about how beautiful of a corpse she'd be and the urge to finish her off here and now makes him harden again. 

She's….. surprising. He hates those, has since he was a child and yet…. A twinge in the dead cavity of his chest tells him it doesn't bother him. 

Each step of the way in their odd journey together, she has proven time and again that she harbors a need to please him and in turn for companionship. 

He tosses a blanket on her and leaves to the corner store, he'll need to buy another medical kit.

At the corner store he finds one consisting of ten bandaids, tweezers, scissors etc. He spots lubricant and snatches a bottle. The back of his neck burns as he brings it to the counter.

The employee scans his two items without question as to why he got the strange selection broke from routine. What of his usual convenience store sandwich? He doesn't know what to say to either of those questions

[muqaddasaman]

Blog 8 – Are Video Games Too Realistic?

With the advancements in entertainment technology, video games are breaking new frontiers in terms of immersion and realism. Yet, in pursuit of hyperrealism and absolute immersion video games risk stagnation in terms of creativity and losing the medium specific charms that once defined them. Is this the right direction in video game development or should the industry look back to their roots to find inspiration?

The entertainment industry has always strived to achieve ever more immersive heights in order to garner new audiences. Where authors once worked to engross readers in the pages of their books, today large development teams struggle to immerse their audience in 3-dimensional space. Nowhere is this effort more evident than in the video game industry, which has relentlessly pursued levels of realism that rival real life - all in order to achieve immediacy that would make the players become a part of the game itself.  

Immediacy, as described by Bolter and Grusin (1999), is a style of visual representation that aims to make the user forget the presence of the medium and focus solely on experience or art itself. However, video games, as a medium, inherently require physical components—a console, a display, a controller, and audio devices—constantly reminding players of the medium's presence. To overcome this barrier video game developers have poured immense resources into creating hyper realistic graphics, lifelike facial animations, and intricate motion capture. Technologies like virtual reality (VR) have further bridged the gap thus enabling players to explore ultrarealistic virtual worlds that seemingly erase the medium itself. 

But is this relentless pursuit of achieving ultra realistic graphics the correct course of action for video games? Recent titles such as The Last of Us Part II (2020) by Naughty Dog and Red Dead Redemption 2 (2018) by Rockstar Games have pushed visual fidelity to astonishing levels, blurring the line between computer generated and real life and garnering immense praise for their graphics, mechanics, and narrative storytelling. 

Yet, despite the ultra-realistic and life-like graphics achieved by modern video games many gamers are questioning the fundamentals of video games themselves. “The pursuit of hyperrealistic graphics often diminishes the imaginative quality of video games, where stylized art once encouraged players to fill in the gaps with their creativity” (Johnson, 2019). Was imitation of reality and the achievement of complete immersion the foundation of video games or was it something else? Why have recent video games like Ninja theory’s visually stunning “Senua's Saga: Hellblade II” (2024) fail to evoke the same enthusiasm as the far less graphically intensive titles like Sony’s “Astro Bot” (2024)? 

Despite the modern-day visage of video games as the pinnacle of realistic graphics, the history of video games is rooted in cartoonish and pixelated graphics. In the early days of video games, most games strived for creativity and storytelling above graphics with many developers understanding the inherited limitations of video games. Thus, the developers utilized hypermediacy to achieve realism through mechanics and storytelling using the limitations of the medium to their advantage. Creative mechanics like using a mouse to aim a gun or using thumb sticks on a controller to rotate an object in game were created allowed developers to make these physical components part of the game itself, thus increasing the overall immersion. 

A prime example of these creative mechanics can be seen in infamous Psycho Mantis boss fight in KONAMI’s “Metal Gear Solid” (1998). This creative boss reads the information from the player’s controller to predict their movement and attack. Additionally, the boss also taunts the player by referencing video games that are stored on the console’s hard drive. This inventive use of hypermediacy not only broke the fourth wall but also heightened player immersion, making the physical aspects of the game an integral part of the experience reaffirming Thompson and Carter’s (2022) claim that retro games with pixelated graphics often evoke a sense of nostalgia and charm that hyperrealistic games fail to replicate, which would suggest that visual fidelity isn’t always a measure of player engagement. 

Another component that has been the focus of attention in terms of achieving greater immersion is the narrative storytelling. Unlike other mediums with a pre-determined story, narrative storytelling in video games is far more personal with the narrative directly tied to the actions of the player. This has allowed developers to engross the audience by forging deeper bonds with the characters of their games, despite the pixelated and cartoonish nature of the game itself. Players are deeply involved with the lives of the characters and thus form a connection that is akin to real life, which heightens the emotions of the story and the weight of every decision leading to ever greater immersion. Furthermore, with the combination of creative mechanics like that in Metal Gear Solid, a player may find themselves completely involved in the virtual world, progressing a story of a character that is nowhere near realistic in appearance. Games like Mobius Digital’s masterpiece “Outer Wilds” (2019) and ZA/UM’s “Disco Elysium” (2019) which manage to not only engross the players by immersive storytelling but also through their creative gameplay mechanics and artistic visuals. 

To conclude, physical and technical limitations of video games are often seen as a deterrent in achieving complete immersion. This belief combined with the wild pursuit of achieving immediacy often blindsides the developers to the true potential of video games that can be achieved if the medium is utilized as intended. Developers must balance technical advancements with creativity, effective storytelling, and innovative gameplay design. By embracing the artistic freedom that video games uniquely offer, developers can create experiences that transcend mere visual fidelity. Sometimes, the bold risks of crafting less realistic but artistically rich games lead to masterpieces like Outer Wilds—games that remind us of the limitless possibilities inherent in this medium. 

Sources 

‌ Bolter, J.D. and Grusin, R. (1999). Remediation: Understanding New Media. Cambridge, MA: MIT Press, pp. 272-273. 

Johnson, L. (2019). Art vs. Realism: The Creative Paradox in Game Design. Game Studies Quarterly, 8(4), pp.12-25. 

NVIDIA (2024). GTC March 2024 Keynote with NVIDIA CEO Jensen Huang. [online] Available at: https://www.youtube.com/watch?v=Y2F8yisiS6E. 

Thompson, J. and Carter, R. (2022). Pixelated Memories: Nostalgia in the Digital Age. Gaming Culture Review, 10(1), pp.33-50. 

[awpro]

Solving Polar Pro ND Filter Challenges

Neutral Density (ND) filters are indispensable tools for photographers and videographers, allowing for greater control over exposure, depth of field, and motion blur. At AWPRO in Dubai, we offer a wide range of ND filters, including high-quality options from renowned brands like PolarPro. However, using ND filters can come with its challenges. In this blog post, we’ll explore common problems associated with ND filters, provide practical solutions, and highlight why AWPRO is the best place to purchase your ND filters.

Common Problems with ND Filters

Cross Polarization Effects

One of the most frustrating issues with variable ND filters is the occurrence of cross polarization, which can create a noticeable black "X" pattern in your images. This typically happens when the filter is rotated to its extremes.

Solution:

To mitigate this issue, opt for variable ND filters that feature hard stops at both ends of the adjustment range. These designs help prevent reaching problematic settings that cause cross polarization. The latest models, such as the PolarPro Peter McKinnon Chroma variable ND filter, have been developed specifically to address this issue effectively.

Vignetting

Vignetting occurs when the corners of your images appear darker than the center, particularly when using wide-angle lenses with thicker variable ND filters.

Solution:

Choose low-profile ND filters designed to minimize vignetting. Additionally, avoid stacking multiple filters whenever possible, as this can exacerbate the problem. Our selection at AWPRO includes filters that are optimized for wide-angle lenses.

Size Compatibility Issues

Many variable ND filters are larger in diameter than the lens thread size, preventing the use of lens hoods or caps. This can leave your lens exposed to potential damage.

Solution:

Select ND filters that fit snugly on your lens without excessive protrusion. If you need to use a hood, consider using step-up rings to maintain compatibility while protecting your lens.

Color Casts and Image Quality Degradation

Some users report color casts or reduced image quality due to reflections within the filter glass. This can lead to inaccuracies in color reproduction and sharpness.

Solution:

Invest in high-quality ND filters with multi-coatings designed to minimize glare and enhance light transmission. Shooting in RAW format can also help correct color issues during post-processing.

Focus Issues with Drones

Drone operators often experience focusing problems when using ND filters, leading to blurred images despite correct settings.

Solution:

Before flying, test your setup without the filter under similar lighting conditions to identify if the filter is causing focus issues. If problems persist, consider switching to solid ND filters for better optical performance.

Why AWPRO is the Best Place to Buy ND Filters in Dubai

AWPRO offers a wide selection of high-quality ND filters, including fixed and variable options from top brands like PolarPro, ensuring you find the perfect fit for your photography and videography needs. Our expert staff provides personalized guidance, and we prioritize quality by sourcing from reputable manufacturers for optimal clarity and color accuracy. With competitive pricing, regular promotions, and a convenient location in Dubai alongside a user-friendly online store, AWPRO makes it easy to access the best gear. Customer satisfaction is our priority, so explore our ND filters today and grow your creative projects!

Conclusion

Using ND filters can enhance your photography and videography by providing greater control over exposure and creative effects. However, being aware of potential issues and knowing how to address them is crucial for achieving optimal results. At AWPRO Dubai, we are committed to helping you find the perfect ND filter while providing expert guidance and exceptional customer service.

Explore our extensive range of high-quality ND filters today at AWPRO and grow your creative projects! Whether you're shooting landscapes or capturing fast-moving subjects, we have the right tools to help you succeed.

[mkwatchesreplicawholesaler973i]

How to Spot a Fake Rolex Yachtmaster: A Comprehensive Guide

The Rolex Yachtmaster is a prestigious luxury watch that embodies elegance and precision. However, with its popularity comes a surge in counterfeit versions. Knowing how to distinguish between a genuine Rolex Yachtmaster and a fake is essential for any watch enthusiast or potential buyer. In this guide, we will explore the key features to look for when assessing the authenticity of a Rolex Yachtmaster.

1. Examine the Weight

One of the first things you should do when evaluating a Rolex Yachtmaster is to assess its weight. Genuine Rolex watches are made of high-quality materials, making them significantly heavier than their counterfeit counterparts. If the watch feels unusually light, it might be a fake.

2. Check the Engravings

Authentic Rolex watches have precise and clean engravings. Pay close attention to the Rolex crown logo on the dial and the case back. The engraving should be sharp and well-defined. In counterfeit models, engravings are often poorly executed, with blurred or uneven lettering.

3. Inspect the Cyclops Lens

The Cyclops lens, which magnifies the date on the watch, is another crucial feature to examine. On genuine Rolex Yachtmasters, the Cyclops lens magnifies the date by a factor of 2.5. If you find that the date appears small and hard to read, it’s likely a fake. Additionally, the Cyclops should be perfectly aligned with the date window on the dial.

4. Analyze the Movement

The movement of a Rolex is where quality truly shines. Authentic Rolex watches use high-precision Swiss movements that are smooth and reliable. If you notice the second hand ticking in a jerky motion, it’s a strong indicator of a counterfeit. Genuine Rolex watches have a sweeping second hand that moves fluidly.

5. Examine the Serial and Model Numbers

Every Rolex Yachtmaster has a unique serial and model number engraved on the side of the case. These numbers can help you verify the watch's authenticity. Ensure that the numbers are clearly visible and properly spaced. You can also check these numbers against Rolex's official records to confirm authenticity.

6. Look at the Dial and Bezel

The dial and bezel of a Rolex Yachtmaster should display flawless craftsmanship. Genuine Rolex watches feature a smooth and glossy finish, with no imperfections. The bezel should rotate smoothly, without any grinding or resistance. In contrast, counterfeit models often have rough edges and poorly finished surfaces.

7. Assess the Bracelet and Clasp

The bracelet of a Rolex Yachtmaster is made with high-quality metals and should feel sturdy and secure. Pay attention to the clasp as well; it should close firmly with a satisfying click. Counterfeit watches often have flimsy bracelets and clasps that feel cheap and may not close properly.

8. Buy from Reputable Sources

To avoid purchasing a fake Rolex Yachtmaster, always buy from reputable sources. Websites like Luxe Replica Watche offer a range of replica watches that closely resemble the originals, allowing you to enjoy luxury without breaking the bank. Make sure to read customer reviews and verify the seller's credibility before making a purchase.

Conclusion

Identifying a fake Rolex Yachtmaster requires attention to detail and knowledge of the brand's authentic features. By following the tips outlined in this guide, you can confidently assess the authenticity of a Rolex Yachtmaster and make informed purchasing decisions. Remember, if you want to enjoy the luxury of a Rolex without the exorbitant price tag, consider exploring the stunning replicas available at Luxe Replica Watche.

[4056-pau2]

Camera Controls

Frozen Motion

Azul soars in flight to reach his precious fairy, the scene is clear no clouds or wind. A full moon illuminates his way, a few stars shine still behind, the nature sounds are far behind on the ground, and so the cold smell of rain. With his tensed unfolded wings flies like an arrow, led by a chant straight to the grotto where Lulith awaits. He looks engraved like he had always been there, as part of the night holding himself tight to the impulse enough to stay in the sky. The moonlight pierces his wing membrane, gliding without rest so fast it seems static.

Blurred Motion

Going up on the roller coaster red lights flicker, mechanical sounds, and epic music. Blurry screens with the guardians on them, a soft scent breeze, fuzzy stars in a dark sky, the lights distort becoming lines rotate enveloping us on the path of the rails. Feeling my cart turn backward, I hear Gamora´s voice ´´ I think we are jumping back´´ Abruptly we are pulled, the adrenaline rises, One Way or Another blast but is dragged along with my singing, dancing, shouting the movement is too fast a tear escape, the ride is almost over but I'm still trapped in that first impulse.

Depth of Field

In the middle of a gold dome ballroom, two souls unite dancing along classic music, turning and spinning around with graceful movements they are in perfect syntony, dazzle by each other eyes, drunk at her perfume, loved by him. All eyes are on them, but they feel as the only ones that ever existed even the orchestra disappears. Nothing else matters just the company of their beloved. Ignoring the stunning decorations, crystal chandeliers and hundred candles the light they provide is just a blurry and distant heat. They could be dancing in the rain and it will feel the same.

What difficulties did you find when trying to apply the three photographic techniques to writing?

What limitations did you find when you tried to apply these techniques to your photographs?

The first limitation I had was my camera and the controls on it, even though I looked at the manual and tried to find videos to understand better its function it was still hard to set the controls in a way I could take the photos in the techniques I had been asked. As well I was changing the settings to get the techniques according to the presentation of the class sometimes the camera became darker or lighter but it didn't modify the rest of the controls that I needed to, when I tried to have a faster shutter speed, the camera will become darker even when the ISO was contrasting that. On the other hand, difficulties in my writing were the world limit as I had to be precise and try to describe the idea I visualized in my mind in a way that was understandable and relatable to each technique that didn’t surpass the 100 worlds limit. I wanted to introduce as many details as I can to describe the vignette but in the first ideas, the limit was over. Also, the hardest thing to describe was the smell and touch because it needed so many details and I didn’t know how to incorporate them.  

[hemihr12005]

W2D2 fundies (software)

(more) photoshop tools:

layer 1 is transparent and background is solid

b = brush

e = eraser

option, delete = fill selection. (if nothing is selected it will fill the whole screen)

shift, command, delete = fill selection wth background colour

window, brushes, genera; brushes = brush options (main 2 are soft or hard brushes)

can get soft or hard erasers too

[ ] = shrink or enlarge brush stroke

command A = select all

delete = clear everything on that layer or selection

number keys = tool transparency:

1=10% 5=50% 9=90% 0=100%

option= colour picker

command D= deselect (so helpful!)

command z = undo

shift, command, z = redo

hold down v then option and copies selection

-in move tool photoshop will move whats under your pointer

command j = like paste in place

holding shift = add to your selection (shape).

holding option = subtract from your selection

holding space = reposition the selection segment.

masks:

new layer mask looks like black and white japan flag (beside layer adjustmentd)

white pixels means visible

black pixels mean clear

option click mask to see inside

when using mask and using black brush make sure you are on the mask part of ur layer and not on normal layer

command t = tranform gizmo

in adjustment layer properties pallet there a setting that effects only the layer you are on

p = pen

same as illustrator really.

arrow, direct selection tool (the one that looks like mouse) same as A on illustrator.

window, paths, command click = shows paths an make adjustments after clicking.

shift command i = inverse selection

messing around with pen tool on photoshop. we used brush (b), eraser (e), fill selection which s just what you have selected and then option - delete. we also used shift - command - delete which is fill selection with background colour. We also played around with brushes and found how to access all the different brushes that are available. I found a spotted one and played around with it. the square brackets means you can change brush larger or smaller quicker. command a was select all -which is different than illustrator that uses A for direct selection tool (on photoshop its on the tool panel). we also played around with transparency.

we also learnt taking cuts out of selections, like circles and overlay another circle a scissor tool shows up and allows you to cut the shape. when selecting while holding shift you could add to your selection (shape). holding option you could subtract from your selection. holding space allows you to reposition the selection segment.

we also learnt layer masks, which is a good tool to help edit in other images to photos seamlessly. in layer settings beside image adjustments there is a tool that looks like a little japan flag and you just select the layer you want a mask on and then click the layer mask button. you can then click into the mask by option - lick. then you just can use black pen in the mask selection to rub out part of the mask. so for the boats above i used black pen to rub out the water around the boat we added in so it looked more realistic. then we changed free transformed the boat to make it smaller. then made the boat lighter by turning down the opacity so the boat looked further away in the distance.

bird edited ready to go into new photo. turned background into layer one so there was a transparent background. used = image - image rotation - flip horizontally to flip bird. then used pen tool to make the wing cleaner so there wasn't any of the original grey background when the image is put into its new background. doing this with the pen tool did get rid of the grey colour but it made the lines very clean and removed the blur effect of the beating wings. so we went back in with blur tool and blurred the ends of the wing and tail so the bird looked in motion still.

some of the settings i used when i put the bird into the new backround. then we used curve adjustment to make the bird look like it had the same lighting as the background picture, which makes it look more realistic. i used the square box pointing down tool to make the curve settings only apply to the bird. for a little extra fun i created a small segment copy from the background and created a 2nd layer of some small flowers which i placed in front of the birds beak so it looked like it was getting food and actually at the plant. You can see this in my final image below.

really enjoyed this task it was fun. :)

[group11herts]

Final rendering

Minghan Wang

Today is the last day, and everyone is making the final preparations, today I adjusted the camera and animation and added the black hole, it can be said that today is a difficult day, everyone worked hard, and still worked in the evening, and we tried to render many times before, but the final effect is not very satisfactory, maybe we increased the difficulty. It makes the camera rotate and creates motion blur. But I think we still learned a lot, how to render generated sequences, and how to synthesize 360-degree VR video in ME. I think it's all a personal improvement but we still have a long way to go. Thanks for my team efforts.

[mi6011mez]

Phone Animation test

this test occurs in the merging of case study 3 and 6

so the first step was to create the TV, which I created in 3D using maya, I'm also using the colour scheme that the RSA uses on their website when talking about the SDA centenary, the reason I have the screen in green is because I'm going to green the TV screen so I can have different images appear on the screen such as the phone appearing

The next step was to model the phone, which I also made in 3D with a green screened screen so I could change the visuals on there too

Another thing I did was add In a little phone stand to lift the phone up slightly, this made the rotations of the phone feel a lot more natural

Next up I started to make all the UI elements that would go on the screens, first creating the promo art that advertises the return of spitting image, showing that it has moved into a new age

The most complicated part was the way the phone works, so the way I made it was to create different layers of the UI and edit them together so I could animate the movement of the apps changing

This includes the way that apps work on phones, when you open and close them you see an animation of it fading into the centre. When I combined all the layers into adobe premiere, I was able to then animate the different apps such as scrolling features on Instagram

I just made the UI in photoshop trying to match what an iPhone looked like in 2016

and then I did the same thing with the Instagram UI, making sure that it was accurate to Instagram's design in 2016, the Instagram layout was hard to make since I had to make a lot of different layers for the phone itself, the Instagram overlay and then ones for the posts, since I wanted the Instagram posts to scroll

I also created some art, that I used for the Instagram post, using pictures of what they look like

Another important thing I considered was using motion blur, this makes every clip flow smoothly together but it also does a great job at hiding the errors in movement when I do these zooming in shots. Since I've made everything layer by layer it worked great for movement in the apps but when I wanted to zoom in on the screen I noticed that my 3D frames with 2D images didn't line up perfectly when zooming in. So all I did to fix this was go frame by frame to adjust the scale and values to make sure it lined up perfectly

That left me with my finished animation test, I am very happy with how this turned out, my next steps are to finish off the promotional art for the Pluumo brand section

[gertlushgaming]

Warhammer Age of Sigmar Realms of Ruin Review (PlayStation 5)

For this Warhammer Age of Sigmar Realms of Ruin Review, wage a campaign of brutal conquest in this realm-shattering real-time strategy game set in the Warhammer Age of Sigmar universe. Become a warlord and lead four unique factions to conquer the wild and savage Realm of Ghur's intense and tactical battles.

Warhammer Age of Sigmar Realms of Ruin Review Pros:

- Beautiful graphics. - 15.24GB download size. - Platinum trophy. - Own in-game achievements called awards. - You get the PlayStation 4 and the PlayStation 5 versions of the game. - Graphics settings - motion blur. - Accessibility options - color vision deficiency, subtitles, subtitle size, background opacity, speaker image for subtitles, speaker name, hide subtitles in fullscreen mode, easy read font, mute background noises during conversations, mono mode, tinnitus filtering, and ui scaling for - tutorial tips/subtitles/notifications/boss health/minimap/abilities/victory points/objectives/resources. - Three ways to play - Single-player, multiplayer, and conquest. - Controller settings - remap controls, Invert axis and sensitivity sliders, default movement mode, control mode, deadzone, and input curve sliders. - Create mode - map editor, publish workshop, army livery, and army load out, all can be saved, uploaded, and downloaded with the community. - Conquest mode is where you go through a mini-campaign and have unique modifiers and battles in play until the final Showdown. - Online multiplayer modes - ranked 1v1 quick game, casual 1v1 quick game, custom game, and leaderboards. - Single-player modes - main game, chapter select for all unlocked battles and Ai skirmish. - Powerful soundtrack. - Cross play - on/off. - Editor options - camera speed slider, orbit camera speed, game view speed, top-down camera speed, and measurement unit (meters/feet). - The minimal can be set to rotate on/off. - Four difficulties - lorekeeper, warrior, veteran, and champion. - Fast loading times. - In-game cutscenes with the option to skip them. - Excellent voice work. - Action RPG gameplay. - Direct move (can be turned on and off) is where you choose and place markers to chain your unit around, with this mode it's possible to walk past combat unless you lay down the marker. - A 3D world with full 360-degree camera control. - Tutorial pop-ups as you play. - Capture regions on the maps and locations. - Units can have special abilities that can be cast over the whole unit. - Good-looking fighting animations. - Command posts heal your troops when you are near them. - Quick button press to have your unit flee/retreat. You choose if they go to a set place or the nearest command HQ. - Sword-type units can charge at the enemy to deal additional damage. - The locations are really quite stunning. - Handy press the right stick to have pop-up text explaining what's on screen like the Hud, resources, etc. - They have done a good job of making the gameplay well with a controller. - Create your own group of units and assign them to the d-pad selection shortcut. - Save and load when you want. - Battletome in the menu is where tutorials are housed. - Combat works on a simple rock-paper-scissors-style mechanic. Sword beats shield, shield beats arrows and arrows beat swords. - In direct mode aiming and setting the distance of the movement reticle is governed by how hard you move the right stick. - Fog of war is in play. (the map and area uncover as you move) - Earn exp and level up to get rewards like player card backgrounds, avatar frames, etc. - End of chapter breakdown. - In each chapter, you have 3 optional bonus challenges. - Terrain affects movement and combat. - You need to capture regions and conduits to get resources. - The units will auto-attack when near an enemy unless told otherwise. - To summon/recruit new units, you need to use command points and population. - Realmstone is used to buy upgrades and higher-level units. - Play how you want at the level. - You can break down certain parts of the environment. - The campaign lets you have 3 save slots. - Full stats screen. - Customise options - avatar, avatar frame, banner, banner frame, banner background, and profile background. - The art for the player profile is really cool. - Very strong story. - Aside from 1v1 you can do 2v2 and mix it up with Ai and real people. - Map creation options - map size (standard/large), game mode (1v1 or 2v2), primary and secondary biome (Tundra/swamp/petrified swamp/sulfa), surrounding area (hills/mountains/island/canyon), asset pack (Kruleboyz sulfa/petrified swamp/temple/swamp/storm cast town/tundra/Kruleboyz swamp/Kruleboyz citadel/ghur/sulfa), and preset terrain (flat/enabled). - Map Creator is powerful with its terrain tools, to balance it out Creations have requirements and a budget. - You generate a landscape in the creator and then edit it. Warhammer Age of Sigmar Realms of Ruin Review Cons: - A lot to take in. - Mechanics and abilities are slow to learn. - Dealing with unit management is still a huge undertaking as to maximize it you really need to group up the right troops and it's just layer after layer. - Capturing conduits is slow and not always straightforward. - Getting used to all the troop speeds is annoying. - Cannot skip the in-game interactions. - Had actions continue when in serious cutscenes. - Performance issues like slowdown and pop-in. - Chapters take a huge time commitment. - I didn't find the campaign to have a huge replay draw to it. - You do have to link or create and link a Frontier account to use online and the online creation tools. - Cannot change the game speed. - No local multiplayer. - You need an online subscription to use the Frontier workshop where you download other players' Creations. Related Post: RoboCop: Rogue City Review (Xbox Series S) Warhammer Age of Sigmar Realms of Ruin: Official website. Developer: Frontier Publisher: Frontier Store Links - PlayStation Read the full article

[alexcaldownapier]

Film Project - Post-Production Colour

Colour grading seems to me to be a process of slowly uncovering everything wrong with how you shot a film. I’m still very positive about how the film looks, but I do think going through each shot made me painfully aware of how there were things I could have taken more time to perfect during the shoot. My main issue is with the colour of the lighting throughout the flat. It looked far too much like golden hour sunlight to be read as street lighting. I think one way to get around that (aside from my technique of making the light be more yellowy than orangey) is to be able to see the light source and the darkness around it through the window, something I would’ve only been able to do had we shot at night. But yeah, I tried to counteract this by bringing up the green in the shadows and slightly rotating the hue of the lights. I think it helps, but there is something about the lighting that doesn’t totally scan as street lights coming through the window. I think using more practicals in the scene would have definitely helped, but more on this in my critical reflection, right now, I’m talking process, colour-grading process.

The opening scene was a pleasure to grade - the simplicity of the lighting made it easy to match each shot and there was quite a bit of contrast in the lighting already so I didn’t have to work too hard to get what I wanted from the shot. I was trying to emphasise the contrast and the black and red colour palette - one technique I used for this was to desaturate the shadows, so they read as black instead of dark red. This, paired with the added grit and grain, makes for quite a nice, almost comic-booky look. The only issue I have with this scene is the amount of bounce I was getting off the opposite wall which kinda takes a bit out of the high-contrast intentions. 

Working with film-grain overlays was a lot of fun. As Ben and I had discussed from the start, we wanted a gritty image and being able to dial in the amount of texture we wanted was really helpful. After watching the final version, however, I kinda want to push it further, make it more noisy. Maybe something to revisit before we do anything else with it. Another post-production process for adding texture to the film was adding chromatic aberration to the shots on the 14mm lens. I was wanting to emulate the vintage lenses that had inspired the use of the lens in the first place so I added “prism blur” to the edges of the image. I really like the final effect and feel it adds to the dirty aesthetic and the idea of warping/distorting/deteriorating the world that the 14mm lens was used for. 

I think I took the time with the grade to make it work as best as it could. I was trying to pay attention to all the little details, like matching the streetlights in the exterior shots to the light coming into the interiors, and making the grain continue through the black at the start and end of the film. Ben was always present for notes and ideas throughout the grade which really helped to shape the style. One aspect of our planned visual style that we ended up mostly throwing out was the motion tracking. The only shot we kept the tracking on was in the opening where Alex is punching the bag.

This is the only shot that we had planned the motion-tracking for where the effect worked as intended. We wanted to emphasise the movement and violence of the character and this shot does that, we’re better able to feel her anger and force with the tracking. The other shots we had planned to use this effect on were the skating shot (which was shot to mirror this one) and the head-smash shot. The idea was to draw a thread through Alex’s neglect of her friend and tie that in to violence. In her rage she is neglecting the friendship, by racing off and leaving her she is ignoring Casca’s concerns and then we see the result of her actions when Casca is attacked due to them being underprepared for the fight. But with these shots, the tracking felt distracting and ugly so we took it out and I also think that that theme is still present in the film without it. 

We also pared back the flashback effect. While, the opening is still heavily affected, as the film progresses, we took layers of effects off so that the narrative beats were a little clearer. The final flashback has no effects on it at all as we felt that it was a scarier moment when you could totally see what was happening. It is also less than a second long, so yeah, narrative clarity had to come first. This was the main intention behind the look for the flashbacks as well - narrative clarity. We had to make clear that these shots are from the past as there is a lot of exposition happening in the opening minute of the film and this effect (while a little cliche) communicates that well, I think. I think it does need a little less in hindsight, so we can better see what is happening in the shots as, currently, it is pretty unclear.

Overall, I am pretty pleased with the grade and the final film. Hearing Rowen’s sound design with Bethany’s edit gave me chills and made me very happy. In another post, I’ll reflect on the crit, which I was also very happy with.

[shangtusianheroes]

She shifted her weight when he yelled and felt the rabbit jump into her to knock her out of the way. The massive robotic arm crushing the stone and earth under it and the impact knocking both of them through the air even despite Snatches attempt to prevent just that. As they rolled across the ground, Carol shifted her weight and dug her claws into the ground leaving a long slash in the earth as she slowed them down and prevented more damage.

" Ok no more nice kitty! the claws are defiantly out now! "

Carol turned and dug her claws into the ground in a runners pose, and let out a vicious roar! and dashed across the landscape toward the robots arm! She was done playing games, as she lept into the air spinning like a top in a wild rotation! before releasing her jump Disc at the bot! it made a whirling sound as it cut through the air before skipping off of the hard armor of the bots shoulder! She slowly descended down as the bots large hand was poised to swat her like a fly! But she wasn't a fool, and it wasn't her first rodeo!

In a flash of green motion, Carol lept across the battlefield spinning her body around to land firmly on her jump Disc directly above the big robot! She pushed off of it like a green bullet whizzing through the air and past the stone and debris that was kicked up by that swinging arm! A large rock flying up as if it would hit Carol and yet it was only sliced to ribbons by her wild claw strike!

She landed on the big robots shoulder and recalled her disc into her hand as she charged toward the robot's head, running along it's shoulder! She let out a fearsome roar as she drug her disc along it's neck! swinging herself around the bots head in a swift blur of green motion! Lilac may be faster, but Carol spent years chasing her down! if there was anyone who could keep up it was Carol! and beyond that! Carol was a vicious fight and she never pulled her punches!

" FEEL MY POWER!!!! "

She roared out as she flung herself clear around the bots neck area! and swung out away from the bot flipping herself out and away from the bot as she was in a total free fall!

For a moment it seemed as if--- it just wasn't enough as the bot seemed to be turning its body toward her, and yet all at once the entire head seemed to detach itself hovering in the air a sparks flew and crackled! and then, explosions from within the bot roared through its damaged areas. Sparks flew, and debris shot out from the bot as it began to detonate! Carol feeling the shockwave of the blast covered her face. Shrapnel thudded into her fore arm, and another in her leg before she felt herself hurtling across the sky!

" SOMEBODY FOXTROTTING CATCH ME!?!?! "

She screamed out as she was in total free fall at that point---well it was a win! and if she died! it was totally an awesome way to go! she told herself as she braced for the inevitable impact!

"The head, it's armor is weakest up there."

Snatch was about to lean down and pick up another big scrap piece, but then the Robot tried to use its other arm to slam down and crush the two of them.

"Look out!"

He immediately dived to knock Carol and himself out of the way before the huge hand could squish either of them.

[bowtiesnmusicals]

Here is my recap of the Emma Pillsbury (Jayma Mays) episode of the podcast.

Jenna did a Dory impression. It was funny.

They said Jayma is one of their favorite people. That she is the sweetest, funniest, and cutest.

Kevin said they learned a lot talking to Jayma.

There was a lot they didn’t know and they laughed a lot.

They learned about some people’s journeys to glee.

Jenna said Jayma was really funny and hopefully you peed before you listened to this episode.

Jayma was sick for weeks before Snixxmas. She’s fine now.

Jayma wanted to be on the podcast. They joked that she forced them to let her be on it.

She was doing press and she still gets asked about Glee. They asked if she was going to be on the podcast.

Jayma says she get her intel from the podcast.

Jayma met Matt before the show. They did another pilot together probably two years before Glee.

The pilot was called Nice Girls Don’t Get The Corner Office. They were sort of like love interests on the show.

Jayma thought they would never cast them together again. The pilot was never picked up.

Jayma auditioned for Glee. She was a newlywed in Canada. She thought the script was good. She flew back and auditioned.

She went into a room with a table to do her audition and had to sing. She thought it was a really bad audition.

Jayma sang Toucha Toucha Touch Me during her audition.

Jayma says she is not really a singer.

She had done Rocky Horror in Los Angeles.

I’m Not Getting Married in one of the hardest Broadway songs. Jayma thought she couldn’t do it. She thought it was impossible. It took a lot of recording. She kept getting stuck at the candlesticks part.

Jayma got to do some cool musical numbers.

You’re All The World To Me was memorable because of the rotating box they filmed in for that number. They had to take Dramamine because of the motion sickness from dancing in the box.

Jayma thought she was hallucinating because Baby Spice was on set during one of the rehearsals.

The box is called a gimble box.

Kevin was excited about the gimble box because he had seen it in a NYSNC music video.

He was also excited about meeting Baby Spice.

Baby Spice was on set because she was interviewing the cast for a special on Sky Tv for Glee.

Every time Jayma did a musical number it gave her clarity on what the rest of the cast was always doing and even more respect for them.

Kevin said that Jenna and him felt that way whenever they had more then two lines in a scene.

Kevin and Jayma had a contest at one point to see who was the most expensive extra for an episode.

Kevin said he laughed so hard when he got to work with Dot and Jayma. He said Jayma is one of the funniest and wittiest person he knows. He said Naya and Jayma have the quickest wit.

Jayma and her husband could have their own sitcom.

Jayma embarrassed her son for the first time. He didn’t want her to come to school.

Jayma said her son is funny. He tries to make his friends laugh. He likes physical comedy.

He watched Jayma in Disenchanted. He didn’t know if he was acted to watch his mom in a movie. He told her not to come home wearing her big blonde wig. At the end of the movie he said good job mom.

Working with Adam Shankman was fun. He is a ball of energy.

Adam directed the Rocky Horror episode.

Jayma said the funniest was Amber and Chord. She handed Mercedes a pamphlet that said your a hoe and Sam one that said so you are in love with a two timing hoe.

There are so many good ones.

Jayma likes character stuff. She said this was one of best jobs she had because it was all set up for that. They always had the perfect props. It felt like everyone from hair, makeup, and costuming was influencing her character in the best way possible.

Kevin texted Ryan to ask who came up with the pamphlets and it was Ian Brennan.

Emma had the best wardrobe of the entire show.

Emma wore a pencil skirt during her audition.

The costume was all Lou Eyrich and Ryan.

Jayma’s said at times Glee felt like a blur. She remembers the first 13 the most. They were special because they hadn’t aired yet and they were kind of in a bubble.

She was doing a lot of new things at the time. She was newly married and had just bought a house.

She knew this was really special and felt thankful to be a part of it.

Kevin’s all time favorite scene is Emma in the car singing All By Myself.

Jayma thought that moments where we see a different side to Emma were nice.

She loved when Emma calls Will a slut.

The pulled out al the stops for the All By Myself clip.

She loved sitting in the auditorium watching the cast sing.

Jayma didn’t know that John Stamos would be on the show. It was a funny little poke.

Working with John Stamos and Gwyneth Paltrow was memorable.

Jayma made a joke that they were trying to keep her away from anyone famous to keep her from drooling on them.

Jayma said it was very hard doing stuff with Jane.

Jane does not break.

Kevin doesn’t think Jayma broke during the show.

Jenna loved when Matt broke because he has a boisterous laugh.

Kevin said he was intimated to work with Jayma and Jane.

Everyone respected and admired each other.

Kevin brought his friends to see a movie that had Jayma and Tom Cruise in it.

Jenna’s favorite Emma lines right now have to do with Ken Tanaka. Kevin likes the line about not having a gag reflex.

Jayma loved all the innocent stuff about Emma.

She liked doing Afternoon Delight.

Everyone had the flu during Hello/Goodbye and they were all vomiting when they filmed this scene.

The did some of the greatest hits from Mattress.

Jayma thinks Ian Brenna wrote for Emma.

She has noticed more people are watching Glee again. It tends to be teenage kids coming up to her. She said its lovely that people are watching it and its found a new audience.

Jayma said the feeling glee left her with is happiness. It’s always been a special experience that she got to be a part of and it massively influenced her life in all he most wonderful ways. It’s been a life changer for her.

There were times early on that getting noticed in public was overwhelming to her.

Glee will be one of the most incredible things that she has ever been a part of and she is supremely grateful for it.

Jenna calls her daughter weird nicknames and realized she was using nicknames from Glee that Ken would call Emma.