#pixar filter

[jypsyvloggin]

How to do the Tim Burton's filter on TikTok [CapCut]

How to do the Tim Burton’s filter on TikTok [CapCut] @jypsyvloggin Dark, twisted and fabulous 🖤#aifilter #capcut #timburton ♬ original sound – 𝓖 TikTok filters are an easy and quick way to enhance your TikTok videos before posting. Whether it’s for fun or an occasion, you choose a filter to apply to your video based on whatever look you’re hoping to achieve. Each filter is a combination of…

[liaromancewriter]

Forgot to post the Ramsey Twins yesterday.

[dallasyt]

[seagrass-obsessions]

*neons your delinquent road hazards*

[giuliagt-art]

Today is Keith Ferguson's birthday (aka the 2nd voice of Lightning McQueen), so I wanted to celebrate him by drawing Lieutenant Lightning McQueen since he's from one of my favourite Mater's Tall Tales episodes (and Ferguson voiced Lightning in those shorts) ☺️

As you can see, I used a black & white filter so that the drawing could replicate the style of the short 😁

[toonsforkicks22]

Sooo…I attempted that VHS/90s anime effect (bc this started as a random doodle I decided not to erase)

I LOVE THIS SO MUCH 💕💕💕

[homoqueerjewhobbit]

[oneeyeisenough]

Experiment I tried out Ultimate Vocal Remover 5 and got rid of the vocals from that Duncan x Tylor edit that really brainrotted me for a while.

[desb3ar]

ANYWAY.

Goofy Miguel O’Hara Headcanons

i love making silly shit with him (and making him depressed asf lol)

Rarely, Miguel will have the WORST joke known to man. Gag is, the reaction TO his bad joke is the funniest part to him. he’d say some lame shit like “what do you call a can opener that don’t work? a can’t opener.”

If he EVER were to laugh hard enough, let alone laugh at all… Snorts and wheezes would be expected. Then he gets embarrassed cuz Mr. “im s’pose to be the big strong leader” gets caught sounding like a piggy. (Ha. Piguel O’Malley ref.)

When he’s focused on machine work, trying to figure out something on the fly, he’ll blow quiet raspberries. Lyla makes fun of him for that sometimes.

SPEAKING OF LYLA… SHE will laugh her ass off when she puts the most goofiest filters on Miguel when he’s trying to work. That one filter that makes it look like you’re crying, wet face n’ all with the frown and shit? All time favorite. Miguel always wanna assume her laugh attacks are malfunctions, but he see’s no problem on account of many successful diagnostics. So he gotta suck it up.

I wrote about this before, but I read he’s hyper sensitive, so I HAVE to assume that he’s ticklish. Gotta be. When people find out, sides are poked. He’d JOLT UP and swat people away like bugs (cuz they are kinda.) If you’re close to him, knowing you’re prone to tickle him out of nowhere, he’d get SKEPTICAL and flinch when all you want is a hug. (The amount of betrayal when you tickle him instead scarred him LMFAOOO). I couldn’t say you’d whisper in his ear and it will tickle him because he already has enhanced hearing so there would be no point.

I saw an actor au that i LOVE, right? i keep thinking that miguel, when he’s trying to be serious, he breaks character too often because he ends up laughing 😭 idk behind a serious character is someone who CAN’T be serious for more than 2 minutes. (i’d kill for someone to make a pixar’s after credits blooper animatic with atsv characters.)

[jypsyvloggin]

How to do the Cartoon Network filter on TikTok [CapCut]

How to do the Cartoon Network filter on TikTok [CapCut] @jypsyvloggin Cartoon Network vibes, activated! #aifilter #capcut #caryoonnetwork ♬ original sound – Stacey Harer TikTok filters are an easy and quick way to enhance your TikTok videos before posting. Whether it’s for fun or an occasion, you choose a filter to apply to your video based on whatever look you’re hoping to achieve. Each filter…

[liaromancewriter]

One more for Ethan and Cassie. This one came out a little weird for me.

[thecurioustale]

Oh man, you just stepped in the landmine/bog/hornets nest of discourse that is "are the touden sibilings fat?"

Hah!!

I was looking up some details to be able to write that post, and the wiki page for Falin's character, in the stats section, had the Oddly Specific information of both her weight and her BMI—the latter being 24, which is Japanese for "unspeakably fat" (for a female character coded as young and conventionally attractive).

So the answer to that debate is a very obvious "yes," but with the caveat that the show's artists couldn't be / chose not to be overt about it and instead sent their message by pressing the envelope of conventional normality rather than just having an unambiguously fat character.

The subject of "conventional media depictions of fatness in conventional characters" is a fascinating one and itself a minefield. With reproductive-aged female characters in particular, fat representation simply did not exist until recently (and is still very much a fringe thing) except for characters coded as villains, comic relief, brutish minions of the evil class president, etc.* Even supes are like this. The erasure is so complete that it's almost like female bodies are physically incapable of becoming fat.

* I don't count the "Pixar mom" type with the caricaturized giant hips that sometimes appears in cartoons, because this is so clearly a caricature and in any case these characters' waists (and everything else besides their thighs and chests) are always comically tiny. But I suppose there's an argument to be made that they should be included.

So what ends up happening is that when, for whatever reasons, fat female characters are called for or desired, they are depicted the way Falin is: objectively thin, but fatter by comparison with everyone else. It's a negative space thing: By being less gaunt and skeletal, less tiny and wispy, even a BMI-normal weight can come across as "fat"—as it is meant to do by the casting directors / art directors. And so you can make either argument: You can point to characters like this and call them fat, or you can call them thin, and both are correct. This is also why fat-shaming in real life works on virtually anybody.

Another thing worth pointing out is that, in animation (and to a lesser extent in live action due to extensive filtering by the casting director), the bodies of these faux-fat characters are inevitably drawn unrealistically. Sticking with female characters (whose fatness is far more thoroughly erased), they almost always have the thigh gap, the big breasts, the narrow waists, the slender necks and chins. You never see the fatness that normally fills out these spaces, and you never, ever see rolls of fat, except for a kink just below the waist on each side where the hips flare out (technically this is the belly, but the drawing is such that it implies hips)—and in profile even this is completely lost, with little or no trace of a visible belly jutting forward. Fat itself simply is not drawn; faux-fat characters are instead drawn with exaggerated proportions of thin bodies. Or, rather, they are drawn with de-exaggerated skinniness, regressing from the visual aesthetic norms in animation toward more real-life shapes and proportions. Indeed, I say "unrealistically" above; these body types definitely exist in real life; but in real life we rightly call them thin or slender, or at least "average." This is not fatness in the qualitative sense (notwithstanding that there is necessarily more fat present in the body); it is the absence of emaciation.

I love character designs like Falin's, because they're usually the closest we get to fat representation of cute, attractive female characters. I am resigned to the fact that they're always going to be demons, or aliens, or anthropomorphic animals, or mythical beasts like in Falin's case or mermaids, etc., simply because "regular" human characters in this category aren't culturally allowed to be drawn as anything bigger than than moderately-to-extremely thin.

[justlookatthosesausages]

That scenery choice in Inside Out 2 where people in Riley's imagination department were forced to draw content for a plot they didn't like in tiny office cubicles was definitely made on purpose by Pixar's writers and I love that it escaped Disney execs filters

[randy-jester]

My Imaginary Ride The Cyclone Hybrid Live-Action and Animation Feature Film that only exists in my head: Part 1

I originally wrote this in response to @sleepboysummer 's post about wanting to bring back the "imaginary rtc production in my head' trend, but it got so long I felt like it deserved it's own post. And then that got so long that I had to split it into multiple parts 😅

Anyway, here's my concept for what I would want for a Ride The Cyclone movie. This part covers everything from the beginning (Introduction + Uranium Suite) to "Talia".

The majority of the movie is shot in live-action, but colored in sepia (Think like the Wizard of Oz but while Dorothy is still in Kansas). The coloring is meant to represent how dreary the choir felt like their lives were living in Uranium.

Karnak will be a life-size animatronic creature puppet from Jim Henson's Creature shop.

The warehouse, despite presumably being abandoned for years, appears to look no worse for wear (for now). Sure, lots of old carnival stuff is stored here. Yet for some reason, nothing seems to have fallen into significant disrepair. It just looks kinda old.

Karnak's opening dialogue will have different jokes depending on whether the audience is watching the movie in theaters vs if they're watching it on home video. The theater version can keep the "armrest bit". But the home video will have it's own joke to replace it.

The first half of "Uranium Suite" is shown as a flashback. We see the choir in competition, snippets of them getting their fortunes read and enjoying the other rides at the carnival, then boarding the doomed Cyclone rollercoaster.

When Karnak says the line "hurtling the children to their deaths", we watch the choir's rollercoaster cart fly off the loopty-loop. But rather than hitting the ground, they stay floating through the air for a while. It's only when they say the lines "round and round and round" when they slowly start to descend toward the ground. Right when they're about to crash and hit the ground, the scene changes. We see the choir land in the warehouse, their souls summoned by Karnak. They get back up, almost robotically, and perform some (Karnak-controlled) choreography for the end of the song.

When it comes to the choir's individual songs, the visuals change to animation. And to reflect the individuality of the choir members, every song uses a different art style.

"What the World Needs" will use 3D CGI animation that has a classic Disney/Pixar look to it. This is meant to reflect multiple aspects at once (the happy/poppy style of the song, Ocean's bubbly personality, etc.)

During her number, Ocean dons a dramatic costume change. She's got a bright pink power suit (think like if Barbie was a businesswoman)

After her number, the world returns to normal (live-action and sepia). We see Ocean standing on the human pyramid wearing a loose pink necktie. This is meant to show that the animated sequences are "dreams" acted out by the choir. The costume pieces they get in real life were from storage.

"Noel's Lament" is animated in 2D black and white animation. Think like the classic Betty Boop cartoons from the 1930s. Additionally, his entire song is recorded through a radio filter (think like how Alastor sounds in Hazbin Hotel). That way it really makes him sound like he's from the "olden days".

"This Song is Awesome" will have a gritty, graffiti type art style. Whereas "Talia" will be done entirely in watercolor.

The transition from "This Song is Awesome" to "Talia" will be different from the stage version. "This Song is Awesome" will be framed like Mischa's dream bachelor party. We see him living it up as a world-famous rapper, partying with his friends, then taking the private jet to Ukraine. When he says "And then I see this girl. Shawty." at the end of "This Song is Awesome", there's a visual gap between where Mischa is standing (still in the graffiti art style) and where Talia is standing (in watercolor). We can hear the beginning notes of "Talia" being played in the background. Noel leans close to Mischa and asks, "Who's that?", referring to Talia in front of them. Mischa says, "That is my girlfriend. I was saving up to move back to Ukraine just to see her. Natalia Muruska Bolinska." As he says her name, Mischa steps between the gap, changing his appearance (and the rest of their surroundings along with him) to the "Talia" watercolor style.

EDIT: Here's the link to Part 2! Sorry for splitting it up. Tumblr literally wouldn't let me post it as one large chunk. ^^;

[tangents-within-tangents]

I can't believe people still say The Clone Wars and The Bad Batch are "just kids shows" when whatever this show is literally exists:

analysis of target audiences below (there's a TL;DR don't worry)

Okay so the whole "it's just for kids" fallacy/excuse/conversation stopper is such an issue as it is. Here's a good video about it, I'll probably do a whole rant at some point, but in short: the level of storytelling merit, emotional depth, and thematic exploration a work can and should achieve has never been limited by it's target audience/age group, nor it's storytelling medium. (And if you don't think that's true, try to tell me Pixar has never made you cry, go on)

So it doesn't matter if it was made for kids or not. There's nothing wrong with that and anyone can enjoy it anyway. But what I actually wanna talk about here is not the merits of "kids shows" but the misconception on what "kid show" even means.

For one thing, I think when some people say "it's a kids show" they are lumping anything from like Winnie the Pooh to Avatar: the Last Airbender into the same category, and that's just not how it works. The above example demonstrates that not all kids shows/stories are the same anyway (partially bc level of development/education changes drastically between the ages of like 3 and 12, and these are things that are really taken into account in the publishing industry).

I found Disney's ratings guide and I think this should clear some things up:

For reference:

Young Jedi Adventures is listed as TV-Y

Clone Wars (2003), Rebels, and Resistance are TV-Y7-FV

Clone Wars, Bad Batch, and the Tales of the Jedi/Empire are TV-PG

Mandalorian, Ahsoka, Kenobi, Book of Boba Fett, Andor, and Acolyte are all TV-14

And if we put that in context with the films:

The Clone Wars (2008) film and the Original and Prequel trilogy are PG except for Revenge of the Sith which is PG-13 along with the Sequel trilogy, Rogue One and Solo.

So basically TCW and TBB are considered by Disney's own system to be about the same level as most of the films. They are 4 degrees away from 'Young Jedi Adventures' and only 1 degree lower than the live-action shows. Which frankly feels like we got some animation bias going on since all the live-action shows are automatically in one category (which is silly as is and undue here anyway (here have another video) esp since the Clone Wars animation style is clearly meant to be older/more realistic). But regardless, it's literally right there:

And again there is nothing wrong with TCW/TBB being kids shows, but some internet-ers dismiss it as "made for 7 year olds" and that's just objectively not true. Strictly from this system (which idk how it compares to whatever system Cartoon Network used when it aired) you could say the TV-PG might mean 8-13 years old (which is a wide range tbh, there's a big difference between being 8 and being 13), but since TV-G says "suitable for ALL ages" it's also not limited to that.

Also if TCW was aimed for ~8-13 year old's back in 2008 then those same people, who TBB was clearly meant for based on the marketing, were ~21-26 when it premiered in 2021 (and I think that is definitely reflected in writing).

Age of the protagonist is another a good indicator, though it's not a strict rule (i.e. Ender's Game and To Kill a Mockingbird have younger pov characters but are clearly meant for older audiences) and we have a wide range in these shows (Ahsoka 14, Anakin 20, Obi-wan 35, Clones early 20s, Omega ??? 10ish?? idk it's unclear) and time passes. (And while a lot of TBB is filtered through Omega's perspective, there's also plenty of scenes/subplots/episodes where she isn't even there. Also I doubt anyone would call TLOU a kids show just bc Ellie is 14)

But also target audience is a lot more than just content ratings. Note how the first few ratings above say "this program is designed for" the age group, while after TV-G it's about if it contains anything that could be unsuitable for age groups. And ratings can be pretty vague and arbitrary, especially since they change over time (like I get RotS but I could not tell you what makes the Sequels PG-13 compared to the PG films. And why is 13 the age we draw the line at? And why is it 14 for TV instead?)

I think TCW confuses a lot of people because it jumps around a lot; some episodes are about Jar Jar or the droids, and then some are, you know, Umbara. But on a rewatch, even some of the more serious episodes like the Citadel or Kadavo arc still tend to have a more juvenile or simplistic tone/writing style, like repeating information a lot or joking in the middle of the mission (like right after Echo died, hello?!). This actually feels like a writing issue to me, like maybe the writers weren't very clear on what they were going for. (Reminds me also of the only episode I watched of the live-action Atla, where compared to the original it increased the violence/death, but also dumbed down the exposition and didn't seem to trust the audience) Though there is also a clear difference between the seasons, again because the audience and characters are growing up as time goes on. I don't think TBB really had that issue though. It never talked down and it was much more tonally consistent, even in the lower stakes episodes.

Personally TBB feels generally grittier than TCW, though it doesn't really have any of the dark/gruesome deaths and "this is a kids show?!?!" moments like TCW (i.e. clones getting airlocked, decapitated, cut in half by doors, squished by Grievous, and whatever the ever living eff Colt's death was). Though actually come to think of it, there are a few things (like Crosshair killing civilians, the electro suicide pills, and the clone on Tantiss who got skewered (rip)) but I don't think they stand out as much, maybe because they're given the proper weight so they fit the tone rather than feeling out of place. Well, most of the time at least...

Like the friendly fire incident is probably one of the heaviest moments in TCW but I don't see it in those compilations, maybe because the characters respond appropriately and it fits within the Umbara arc. Verses when stuff happens in the middle of lighter more childish plot lines that feel more shocking because they are somewhat brushed off.

But also here's the thing. I think people get really fixated on the darkness/violence/death thing, but it isn't actually as big a deal as we tend to think. Like you'll find "this is a kid's show?!?" compilations for so many shows like these (with a similar age range, like Gravity Falls) that are just anything remotely creepy or intense or related to death, as if kids can't handle anything at all. Like I'll admit it's surprising sometimes (Infinity Train traumatized me bro lol) but most of the time I think we're underestimating kids. Like do you remember being 12? It's not that young.

There just seems to be this misconceived barrier, like the argument goes: "Clone Wars is just a kid show" "No it's not, look at this death scene!" But like there's death scenes in Disney movies all the time, you know? I think that's also why we get so many of these MA animated shows (i.e. Invincible and Vox Machina) that feel the need to overdo the blood and gore to like prove themselves as adult shows (bc again, animation bias).

As a writer that's just not really where the distinction is. This came up in my 'Writing for Children and Adolescents' class and we were all a little surprised when our professor said that death/violence is actually fine for middle-grade (8-12, the 'golden age of reading' and probably the equivalent to TV-PG). Like think of stories with ~12 year old protagonists like Percy Jackson, Harry Potter, Gregor the Overlander (tho Suzanne could stand to tone that one down imo lol). Basically, violence is okay actually. And most the TCW and TBB characters are way older than middle-grade.

(Also I think the difference is usually more in the delivery. Like death and violence being more implied (no blood, or cutting away/seen with shadows), and themes/emotions generally being more clear, simple and stated upfront rather than more nuance, subtle and subtextual. (And tbh writing for kids is actually usually a lot harder btw))

The distinction we did learn about that has been most insightful for me has a lot more to with the story itself: what topics and themes does the story deal with? And what age group/phase of life does that speak to?

For example, Love You Forever is a picture book (generally considered 3-6 yr old range) but it deals with topics that are clearly aimed for an adult. It follows the parental character until they are on their death bed being taken care by their kid, that's not something a 6 year old would care about or relate to. That's why age of protagonist typically aligns too, bc they will be dealing with/worried about things that the reader is dealing with in their life too (like high school struggles vs career and family struggles etc).

Aaaand this post has (once again) gotten away from me lol so I don't feel the need to analyze all of the topics and themes in TCW and TBB, but basically look at what is being explored and how it is being talked about (since a lot of things, esp with war, aren't necessarily age exclusionary) and that can give you a good idea. I think it's clear TBB generally deals with things in a more nuanced and complex way than TCW (most of it at least, honestly the difference between seasons is stark). And there is a main emphasis on family and parenthood, especially with the very end speaking to both young adults growing up and moving out, and the parents letting them go.

TL;DR:

-Animation doesn't automatically equal for kids

-For kids doesn't equal lesser

-Not all kids media is the same bc not all age groups are the same

-Violence doesn't necessarily equal NOT for kids

-Age of protagonist and themes/topics are a better indicator

-The Clone Wars is def middle grade, and The Bad Batch is probably more YA to adult

-But nothing is exclusionary regardless