#the wizard of speed and time

[haveyouseenthismovie-poll]

[80smovies]

[preventthefuture]

Late career horseshit from Mike Jittlov.

[gleaningcontext]

I was starting write a whole lead in but

You like wizards right? And practical effects? How about stop motion?

The Wizard of Speed And Time by Mike Jittlov

I promise it's an hour and a half well spent

[junipercalle]

I. Didn't know there was a song about this guy! Mike Jittlov. Other than the song he has in his video, I mean.

[iamthespineofmybook]

As my previous post intimates, I haven't gotten very far in House of Leaves yet, but I think one of the main reasons I'm enjoying it so much is the meta-ness of it. The fact that it's a horror story about a horror story that takes advantage of its format, rather than being just another spooky tale.

It's like my favourite movie, The Wizard of Speed and Time. It's a movie about how hard it is for main character Mike Jittlov to get the movie he wants to make made because of various obstacles Hollywood puts in his way. The special effects of the movie all add something to it, even the cheesy ones, and you find out at the end that the entire movie was, in fact, the movie Mike's been trying to get made all movie.

[adamwatchesmovies]

The Wizard of Speed and Time (1989)

There will never be another film like The Wizard of Speed and Time. Even if Mike Jittlov hopped in a time machine, reassembled the original cast, used the same equipment, the same locations and shot the film using the same techniques on the same budget, it could never be duplicated. Difficult to track down unless you know where to find it - at which point it becomes ridiculously easy to view - it’s got that “lightning in a bottle” quality.

Based on his original short film, writer, cinematographer, animator, composer Mike Jittlov plays himself as he attempts to create a short film highlighting his DIY special effects techniques for a TV network special. He’s a complete unknown and more than a little odd, prompting the executives to place a bet on whether Jittlov will meet the deadline.

A childlike sense of enthusiasm, giddiness and pleasant naivete radiates from every frame of The Wizard of Speed and Time. As you might’ve guessed, Mike Jittlov is essentially playing himself. He creates and then sells the film he made in 1979 to a system which has stomped all potential for off-the-wall thinkers and radicals with its unions, business models and rules. He’s ambitious and gullible. Of course making a movie isn’t as easy as he expects it to be. Although the obstacles standing in his way are recognizable to us onlookers as completely necessary - although perhaps a little restrictive - he nonetheless brings you to his side. You want nothing more than for him to overcome the odds and show the world what wild abandon can do.

You know the movie is going to get made because you’re watching the movie the real-life Mike Jittlov made. This makes his triumphs feel like your own. The meta aspect turns The Wizard of Speed and Time into an experience rather than a story you simply watch. If he can make his dream come true, so can you. You can “see the strings” in all of the special effects sequences - that’s to say you know how they were done - but it doesn’t matter. Your jaw drops seeing them because you know this man did it all on his own. More than that; he invented the techniques. Particularly striking is the stop-motion animation - the best of which features Jittlov himself as the titular Wizard.

This picture is inspirational and hilarious. It’s big and wild and colourful and cheerful and clever. Watch it a half-dozen times and I bet you’ll still discover previously unseen jokes tucked away in the corners of the screen. Rather than self-congratulating and self-important, it’s a humble little picture that never takes itself too seriously and takes every opportunity to make fun of how crazy it is.

The number of successful gags makes the film’s lack of a proper DVD release even more disappointing. You want to be able to pause and take a look at what’s written on those sheets of paper on the wall in the background, or turn on subtitles to make sure you don’t miss a thing while the room is filled with laughter. Be honest; you’d never heard of this movie before and it’s largely faded away… except to the die-hard fans who, frustrated with the studio’s utter lack of enthusiasm when it came to a new home release, created a version you can find online - all with Jitlov's approval.

The Wizard of Speed and Time isn’t just a movie. It’s has romance, humour, likeable characters, crowd scenes, chase scenes, special effects, etc. but they're used in wholly original ways. To watch it is to open up an old cardboard box in your attic and rediscover your favourite toy all over again. (On VHS, May 10, 2019)

[yesterdanereviews]

The Wizard of Speed and Time (1988)

Film review #625

Director: Mike Jittlov

SYNOPSIS: Mike is a stop-motion special effects artist who is trying to make it in Hollywood and get his screenplay produced. When his script catches the eye of some executives, they hire him to work on a feature for them, but being executives, they also make a bet on whether he can actually pull it off. Mike has to somehow assemble a crew and get his film done in the hopes of being paid...

THOUGHTS/ANALYSIS: The Wizard of Speed and Time is a 1988 semi-biographical film. Directed, written, produced, and just about everything else by Mike Jittlov, the film stars Mike Jittlov as Mike Jittlov (surprisingly), a special effects artist who is trying to make it in Hollywood. He gets his big break when some Hollywood executives task him with producing a feature. However, the execs make a bet with each other that he will not be able to complete it in time, so Mike must navigate that trials and tribulations of making a film in Hollywood to get it done on time. The film is an expansion of the short film of the same name, which was a showcase of some really creative stop-motion effects, and wrapping a semi-biographical story around it. The story is a fairly simple one, which takes swipes at the Hollywood film industry, as well as showcasing the frustrations Jittlov himself experienced in the industry. Despite that, it never feels bitter or defeated: the humour is quick-paced and sharp enough in it's satire that it pokes fun without being mean-spirited. Also, the focus of the film is ultimately in it's stop-motion scenes and effects that triumph over any negativity, expressed through statements of affirmation and positivity hidden within the sequences. This is also the message of the film in general as well: that the making of films, and the creativity, outshines any attempt by the film industries machines to dismantle creativity in favour of profit. The main story about Mike must making a film is a bit bland in isolation, but you can't really judge the film solely based on that: it would be like judging Jaws solely based on all the non-shark scenes. All the different elements of the film are weaved together well, and there's just an overall sense of fun and passion that shines through.

Packed full of little references and jokes that keep the film interesting, and never losing that personal touch, The Wizard of Speed and Time delivers something unique. It avoids the trap a lot of films mostly made by one person of being too self-indulgent and inward looking, but oddly enough, I think this is one of the most personal films of this type I have seen. It is reminiscent of Fellini's 8½ in a lot of ways, but rather than being a surrealist tour-de-force of the filmmaker, The Wizard of Speed and Time is a lighthearted, celebratory look at filmmaking rooted in it's time, with that 80's flair and synth-driven soundtrack that capture the feeling of 80's Los Angeles. Some of the humour gets a bit too involved with the intricacies of the industry, including union rules and the use of film reels, but these aren't too much of a problem.

Spending ten years in production, Jittlov refused any financial backing for this film that would have meant sacrificing any of his vision, and I highly respect that. The making of the film reflects the actual making of the film too, and it's this constant weave of real-life and fiction, interspersed with these explosions of creativity, which makes it so captivating. Apart from the special effects, you've got Jittlov doing some intense stunts, such as one scene where he spends two minutes underwater in a pool, which he actually did by holding his breath. The more you realise how much is authentic and done by hand or without stunt doubles, the more you appreciate the film as a whole. Maybe if you've got no interest in filmmaking or the creative process, then this film might pass you by, but I genuinely enjoyed all aspects of it, and it rises above the pitfalls of other films mainly produced by one person on zero budget with it's quick-witted humour and fun visuals.

[katsinspats]

Thematically appropriate comic for Make a Terrible Comic Day!!

I saw the original post this morning and it made me get out of bed to make something, so thank u Pseudonym Jones mission accomplished

[nabhx]

returning to my roots for mental health reasons

[steamclouds]

Finished the Hunter's Blade trilogy last week and spent the last couple days catching up on reading the Sellsword trilogy because I skipped them... just finished Servant of the Shard and......damn

[kenhowler2004]

OKAY I GOT IT MAXED OUT FOR NOW MY USER AND BADGES LINES UP ABUSE THE BUTTON ON ME IF YOU MUST BECAUSE I'M PRETTY SURE AN EVIL WIZARD WANTS ME DEAD FOR BEING THE MOST ANNOYING RABBIT LIKE FAMILIAR OUT THERE BECAUSE I DIDN'T STICK TO LAUNDERING FOR THE BASE 1K

[lordsardine]

.

well the fic is getting somewhere

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[talentforlying]

So gemma using magic in general is one thing, how would john feel about gemma getting deeper into magic? Like, going from occasionally casting Basic Shield Spell but otherwise living a normal life, to being some sort of wizard full time

ARE YOU THE SAME ANON FROM THE LAST GEMMA QUESTION!! regardless i love you for this.

ultimately, i think he'd see gemma getting full-blown into magic as a failure on his part, and as a betrayal of his sister's wishes for her. (a betrayal by him, not by gemma.) and john reacts to his own failures by trying to correct them at any cost, regardless of who else's decisions were involved. so he'd be upset, definitely guilty, definitely exasperated and shit-scared for her, maybe a little angry. he's never going to want her to see all the awful, awful shit that he's had to, that he knows she will see if she continues, and he might even sabotage her at points to try and drive her out of the life; just social, high-school-clique stuff, getting important connections like clarice to refuse dealings with her, scaring off artifact brokers, things like that.

but i do think eventually john would come to realize that if gemma's determined to be an occultist, and a serious one at that — which, even john doesn't think of his magic as a full-time gig — then it'd be better for her to want to come to him for advice or assistance, knowing he'd always be willing to help, than for her to want to keep him in the dark as much as possible, knowing there's a non-zero chance of him being a pain in the ass to her about her future plans. he knows that gemma's smart, and savvy, and as well aware as he is by now that people will lie, cheat, steal, and kill to get what they want in this world; despite his inclination towards overprotectiveness, i think he'd come to trust that she can keep herself alive. bottom line, he'd end up working to establish himself in her orbit as a conflicted but stalwart source of backup, information, and offered comfort, so that she never has to go it alone the way he often has.

(i also think he might be secretly relieved that there's another constantine on the scene to take on the hard jobs, the endless violence, the ceaseless horrors. he'd be guilty as hell about feeling that way, because that's his niece and he doesn't want her seeing any of it, but it'd mean he could maybe retire from the constant vigil knowing there's someone he trusts handling things. and maybe become gemma's link back to normalcy in the same way cheryl was for him, if the retirement lasts.)

and, again, he'd come to be so proud of her. sometimes you just can't walk away from knowing something bad is happening, he knows that better than anyone, and to see that quality in gemma would lighten his heart tremendously.

(assuming that's why she continues in magic, of course; if she's just seeking fame and power, he'd do everything he could to shut her out of that world in a heartbeat, and take her hatred for it all the way to the grave.)

[chipped-chimera]

Okay. Gamedev nerd here gonna throw in some inputs. Also neuroscience nerd because it's actually relevant here, believe it or not. (This is long so buckle up)

No game needs to run faster than 30 fps

So this one is a funky one. Whether frames are 'detectable' or not to the human brain, comes down to exposure. Human brains are amazingly efficient at sifting out what I'll call 'junk inputs' - floaters in your eyes (that everyone develops eventually), the phone you chronically keep in your back left pocket to the point you're slapping your body going 'where's my phone?' only to find it exactly where you left it - the same pocket as always. Your brain got so used to those inputs, it's filtered them out because they're deemed 'not important' to be constantly shoved in your experience of reality.

Up until maybe the past 10ish years, most media that we've been exposed to has run at about 30fps. Our brain is used to this and makes it indecernable. As tech has improved, allowing for higher fps rates, you can now be more exposed to 60fps - in fact 60fps has been the broadcast standard for quite some time. If you get used to the higher frame rate, your brain grows to EXPECT this frame rate in order to efficiently throw out the junk information (the pauses between frames) so anything below that threshold becomes noticeable.

I run a pretty beefy PC with a high quality monitor, and it's gotten to the point where I can now distinguish whether something is running less than 60fps to the point I start fucking around in graphics options because I feel like my game is lagging slightly. Sometimes I will consciously run at 30fps if it's more stable for various reasons, but I do notice. 60fps comes across much smoother to me now, whereas 30 has this barely perceptible jitter - that's because my brain is no longer used to filtering out those junk signals.

So with regard to this - it is true that games COULD only run at 30fps, but it would have to be literally EVERY GAME to stay imperceptible to the user. It'd also have to be every video, every film, every piece of media we ever consume in order to REMAIN imperceptible.

Studies have been done on this and while 60fps has been accepted as the 'upper limit', it's uncertain if that will hold. Current data suggests 75fps might be the last noticeable threshold before diminishing returns. Ultimately this comes down to the user and what kind of monitor they have available, and what that refresh rate is capable of. After all, we don't see reality in FPS. End of the day, more frames = closer experience to a frameless reality = smoother experience. Now since I'm talking about the tech component, that brings me to -

No texture should be bigger than 2k

While for the most part this would have been a yes ... the fact is tech is changing. Or honestly has changed. Like yesterday. 1080p, once known as your 'HD' has not been 'High Definition' since maybe the mid 2010s. Your average phone screen - arguably the thing that most of us are exposed to on the daily - if it has been built later than 2014 is likely to be running a 2k to 4k definition screen. If you ever wondered why text looks so damn crisp on your teeny tiny mobile phone, but not on your monitor - this is why.

I upgraded to a 2k monitor last year after my ancient, literally pre-hd Cintiq drawing tablet of 15 kilos made the death knell of glitchy buttons. She had dead pixels. She was 12 years old. She was my beloved, glass topped art workhorse I had gotten as a high school graduation present that I'd slap the side of and say 'don't make em like her anymore'. But as good as she was, the difference between her and even my basic 1080p monitor was noticeable. After doing some reading, and a lot of that reading was saying '4k is now the standard' which sounded INSANE but now they're putting out 6k/8k resolution screens, I decided it'd be more cost effective to just get a screenless drawing tablet and a better monitor. I could always upgrade the screen, therefore keeping my tablet in action longer.

Hooking up that 2k monitor for the first time, last year, when this was considered literally the 'lower end' of the current market? It was like I'd put on my glasses. But I was already wearing them. Everything was so much clearer and crisp to work on. It was VERY noticeable.

But what happens when you have a 2k monitor? Well now 2k is the baseline. A 2k texture on a model, displayed on your screen where it is close enough to be at full resolution is now noticeable if it's NOT 2k. You know when a character is talking on your screen and you're getting distracted by the pixellated quality of their armour texture? That's because the texture is no longer matching your monitor resolution. It has more pixels to fill, and if the information isn't there ... well that's how you get pixellated looking textures.

So what is a Gamedev to do? 2k resolution textures are NOT SMALL. Ballpark average for a single image might be around 2MB for 2k resolution with standard channels. If you need MORE channels embedded in the image, like an alpha channel for example - well that's more information for the image to hold, therefore more file size. Crank that up to hundreds of images - diffuse textures, normal maps are a bare minimum, add on other stuff like alpha masking, tintmaps - if you want a custom character creation system that's actually decent? Multiple armor options? Recolouring options? Textures? That's a lot of images already + a lot of file size and you haven't even put in the actual game yet.

So you've now got to get creative with it. This actually brings me to what made me want to write this post:

There’s zero excuse for Baldur’s Gate 3 to be 150 GB when Skyrim is 6 GB

I'm a recent modder, but I've had the privilege of messing with Baldur's Gate 3 and I intimately know exactly how their textures are formatted and used at this point - and they are the epitome of 'get creative with it'. So I mean it when I say you're lucky BG3 is JUST 150gb.

Anyone following me knows I have gone on about it before, but as someone who was trying to rebuild models in blender post launch, you'd know that BG3 uses a very unique texture system for character models to basically stretch these textures to the absolute limit while maintaining a high fidelity resolution.

This horrendous flow-chart-from-hell is me attempting to reconstruct this system (and this is maybe only half of it). While it's likely since been cracked by someone else since I last looked at it, the best I could do was get close.

Here's how BG3 textures work: they are not your typical 'baked into one diffuse texture' image thing we're used to for most games up until this point, where you've basically flattened the skin out into a 2D picture with all the colour information.

What Larian has done is make everything grayscale, and most of them work like layering masks. For those familiar with digital art, this would be your transparent layers layered on top of each other, with or without effects. For an even more basic analogy - think of stencils, on top of each other, until you have made a composite image. This means, instead of making a texture for every single skin colour available in the game it's now only three pictures -

These three pictures contain stupid amounts of information however, because while we see a composite image, actually you're looking at 3-4 images PER IMAGE. Because in reality, this is what it looks like -

This is my reconstruction folder of separated images to reconstruct in blender. Each contains a layer of information - how much freckles to put in the face, where the ambient occlusion goes, the vein amount yadda yadda. Remember what I said about 2k images being big? Larian managed to reduce that to three out of a potential seventeen. And while an absolute pain in the ass to reverse engineer in Blender shaders, honestly I was kind of giddy at the genius of this.

It's actually what makes the entire game really flexible and modder friendly, because once you understand how it works the engine is SUPER versatile when it comes to being able to recolour things. You can share these textures across multiple models and make them look completely different by altering the value of each colour, per layer, per texture.

So if we were to extrapolate this onto the old 'flat diffuse texture model', I'll be generous here and say it's three images (eyebrow/makeup masks + flat diffuse + normal map a.k.a. the thing that adds microdetails like pores and shit) at a very modest estimate of 2MB x the 350 skintones available in the character creator?

That's 700 Megabytes - because to get the colour for each one, you now need a separate image for each one. Sure that sounds 'small' but that's just faces, and only ONE face! For the character creator. Then you have your multiple face options with different textures. And multiple races. Then there's hair. Tattoos. Armor. NPCs. World textures etc. It adds up and it adds up quick. Instead this means they can use just 3 images, for one face in the character creator for all 350 skin tones. That comes down to a measly 6 Megabytes.

Even then they cut corners where they can. There's a reason there's so many upscaling mods available for BG3 - some textures aren't 2k. So to say that they're somehow at fault for not making their game smaller while maintaining the current visual fidelity is honestly doing Larian a major disservice. These Devs scrimped and scraped for EVERY inch of room they could possibly get out of their textures, and I've seen it. I'll say it again for emphasis -

We are lucky it's ONLY 150gb.

lower poly counts > high poly counts

Okay so as a Gamedev-student-turned-modder, I agree. Most gamedevs will agree too - because they're likely already using the smallest polycounts they can within the restrictions of current generation consoles (which are always less powerful than PC) and while maintaining the baseline fidelity of likely at minimum 2k textures. I spent 3 months learning how to make 'Real Time Hair' for games a.k.a. hair that can be rendered real time as you play the game, as opposed to engine heavy simulated hair you see in CG film. If you don't want your game to turn into a frame-sink slideshow you have to keep the polygons as low as possible. And it is actually really, really hard to get nice looking hair with volume while sticking to this. If you wondered why so many hairs in game tend to be super straight and flat - this is why. It's easier to obscure a lack of volume when you're basically constructing a cardboard cube. Once you start distorting layers, like with curls for example, you're more at risk of exposing that this is just a really thin mesh.

This is the hair I built. It looks great - but it's about double to triple the standard polygon count for most of Cyberpunk 2077's in-game hairdos. I only went with it because it was a personal mod and I knew my PC could handle it. (And even then, it's still more modest than some mods out there - I've checked).

Super low poly can work too! But it often affects style in turn. There's no point putting a 2k texture on what we associate with 'low poly' models, but that's a completely different game at this point like Zelda: Wind Waker. The unfortunate reality is, if you're going for realism in your game, the faster the frame rates, the bigger the textures = the closer to literal reality it feels, and the more current your tech needs to be.

There's a bit of a psychological phenomenon around this. I vividly remember sitting cross legged on the carpet of the library as a mere 10 year old listening to my computer science teacher go off topic to gush about the 'realistic graphics' of a game that'd just come out with the boys in the class.

For context, I am 31 this year. That game? Halo. The first one. No not the remaster, the literal, first, potato-ass looking Halo.

Also remasters are a fiddly metric to measure by - often what can be done to improve the game is limited by the engine, which is also probably a dated engine. But also using a tiny resolution image to compare larger resolution improvements in textures is not going to make a discernible difference. (And also arguably the technical skill of the Game Developer and given I call Bethesda 'Bugthesda' my bar ain't very high for them but that's my personal opinion.)

End of the day, the fact is this:

Whether a 150GB game looks any different from a 20GB game comes down to a lot of factors, and the majority of them come down to what you're running. For some people yeah! Below 1080p at 30fps will run absolutely fine and look great! And there are plenty of low-poly games with smaller graphics that do really well - a good game is a good game!

But as tech evolves, things change - and so do industry standards. The current 'standard' definition television? 4k. So what might not be noticeable to you, might be very noticeable to someone else.

And Gamedevs are aware of that. They are also keenly aware of the fact people complain about filesize, and you bet whatever size you are presented with (unless you know that company to be notorously incompetent coughs loudly in Bethesda and arguably whatever the fuck the sims 4 team is doing atm) that is the smallest size physically possible that they can present you with on launch day after way too many crunch hours.

Be nice to your Gamedevs guys. The majority of developers are out there just wanting to give you a fun experience and tell a story. And I think that should be appreciated.

here are my biggest gaming hot takes:

- no game actually needs to run faster than 30 FPS

- no texture needs to be bigger than 2k, and most don’t need to be bigger than 1k (save for megatextures). A good chunk should actually be smaller than 1k

- lower poly counts > high poly counts

Once you pass a certain threshold, it doesn’t even affect the style of the game that much, and you’re just using exponentially more power to get exponentially smaller results

Like, for example, the original Skyrim was 4 GB. The remaster is 22 GB. That’s five-and-a-half times more space for the exact same content! The graphical improvements are honestly negligible, especially when you consider the massive leap in storage and RAM used.

These sorts of things just hit diminishing returns so quickly— My eyes can’t tell the difference between 1k and 4k textures.

We have so many fun ways to get the maximum mileage out of every pixel and every polygon. It’s sad to see those techniques slowly trickle away from big-budget games!

Even as storage space becomes less and less of a concern, there’s something satisfying about keeping everything as small and tidy as possible

[whereisthedamndaddymanual]

Was it an illusion?

That water was very real.