Marvel brings us a follow up to the original box office smash with more laughs and more dads! — Guardians of the Galaxy 2
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Voiceover Narration by Jon Bailey: http://youtube.com/jon3pnt0
Title design by Robert Holtby
Series Created by Andy Signore – http://twitter.com/andysignore & Brett Weiner
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Producers – Dan Murrell, Spencer Gilbert, Joe Starr, Max Dionne
Written by Spencer Gilbert, Joe Starr, Dan Murrell & Andy Signore
Edited by Kevin Williamsen and TJ Nordaker
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40 years later, Voyager 2 is really, really, really far from Earth.
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Sources:
NASA measurements for planetary distances (averaged due to elliptical orbit): https://nssdc.gsfc.nasa.gov/planetary/factsheet/planet_table_british.html
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August 20, 2017 marks the fortieth anniversary of the launch of Voyager 2. Along with Voyager 1, NASA sent the twin spacecraft to collect data about giant planets of our outer solar system. Voyager 2 was the first spacecraft to visit Uranus and Neptune, as well as discovering many new moons orbiting both Jupiter and Saturn. In addition to collecting data, Voyager 2 was sent with a copy of “The Golden Record”: a disk containing 116 images and various audio recordings that depict human life. Should Voyager 2 ever be encountered by an extraterrestrial, the record will be a means of understanding planet Earth. Besides the collection of data and the mysteries of alien life, perhaps the most wondrous aspect of Voyager 2’s mission is the distance it has traveled: nearly 11 billion miles as of late 2017. It is the second-farthest human-made object from earth (the farthest is Voyager 1) and it is currently on a one-way journey into the unknown depths of interstellar space. Unable to grasp the enormity of this distance, we made a video to try and visualize what that actually looks like.
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Raw Unstabilized file of the world’s smallest cinema drone + some failed attempts. Stabilized with ReelSteady for Adobe After Effects. www.reelsteady.com aerial inquiries: RobertMcintoshInfo@gmail.com
Kaucasyos-Tur is a short film about my journey through Georgia, Armenia, Azerbaijan and Turkey. This region is set in the border between Europe and Asia, where ocidental and oriental traditions blend together, making these places quite distinct. Have a nice trip. Directed and Edited by André Dip Music by Gabriel Guerra Color by Henrique Reganetti Post Production by Zumbi Post Thanks to: Zumbi Post, Giba Yamashiro, Luisa Neves, José Menezes, Matias Borgström, Leko Jakeli, Guro Mjavia, Thierry Bussy, David Nozadze, Vinda Folio, Ksenia Kozlova, Nicolai Schwartz, Arendse Gulløv, Lipe Fleury, Gregório Graziosi.
Directed by Páraic Mc Gloughlin. Shot in Ireland and Poland – a journey that explores ideas of decision, choice,consequence,circumstance and time among other things, a personal perception on how we try to find whatever it is we are searching for.The film looks at objects,people,and places which share common properties,our connection with one another and our environments in the very similar yet very different paths we share. This project became a little obsession of mine:) Thanks Dad,Kevin Mc Gloughlin,Pearse Mc Gloughlin and Jaroslaw Klups for all the help,and input..cheers:) Imagery: Personal photography Audio: Personal sounds Music: Excerpts from ‘Mate Ditat (The Sea Restores)’ by Nocturnes Stream: https://open.spotify.com/track/0mvfR4zmmxDTvlYyWmmJvG?si=KIHR2daoe ‘Chase’ by Pearse McGloughlin Composed for ‘Chase’
NOWNESS presents Doku-Tur, a film by ANDRÉ DIP and JOSÉ MENEZES. Directed by André Dip & José Menezes (vimeo.com/josetm) Original Soundtrack: Apeles Colorist: Henrique Reganatti @ Zumbi Post SYNOPSIS: Second video in the Tur series, “Doku-Tur” was shot in the Balkans (particularly in Kosovo, Macedonia and Albania), a region that has suffered from ethnical and geopolitical conflicts, during the month of August, 2015, at the height of the “immigration crisis”. In the occasion, the directors were invited to show the short-film”Boatman” (dir. José Menezes and Lucas Justiniano, dop. André Dip) at Dokufest Kosovo, in the city of Prizren. Our aim was to show a different side of a region usually misinterpreted in the media and public eye due to it’s historical and recent conflicts. The original sountrack was composed specially for the video by Apeles (Eduardo Praça). ORIGINAL SOUNDTRACK: Apeles, a.k.a. Eduardo Praça, is a Berlin based Brazilian composer and musician. While touring and performing with international act Quarto Negro, have been scoring short films and features screened in various acclaimed film festivals around the world. (www.apeles.org) Watch the third and first part of the TUR series: Bosna-Tur: www.nowness.com/category/food-and-travel/bosna-tur-andre-dip-jose-menezes (premiering on NOWNESS this week) Kaucasyus-Tur: vimeo.com/129157849 Most special thanks for the support: Giba Yamashiro, Henrique Reganatti @ ZUMBI Post (www.zumbipost.com) and Eduardo Praça. Thanks: Samir Karahoda, Eren Kazaz, Narin Zekovski, Berk Skenderi, Pedro Burti, Kryeziu family of Prizren, Daniel Barosa, Havoc Klein, Lucas Justiniano, Gabriel Soares, Gabriel Guerra, the crew at DokuFest Kosovo, the staff at No Name Bar, Luisa Neves, Uta Ibrahimi, Alexei Dmitriev, Jetmir Idrizi, Gerti Pishtari, Gustavo Vidal, Rafael Dip, Cristiana Antoniazzi, Rafael Padu, Lipe Fleury, Veronica Ramadani, Irma Mehmeti, José Carlos Issa Dip, Menezes family, Minnie Carver, Toby Heard, Ana Rosado and everyone at NOWNESS. Nominated for Best Cinematography for Short Film “ABC Award 2016”) Read the full story on NOWNESS: www.nowness.com/story/doku-tur-andre-dip-jose-menezes
The Good Time Girls is Courtney Hoffman’s take on the classic Western. But unlike the films of Sergio Leone and John Ford, women are at the heart of the film. ABOUT SHATTERBOX Women accounted for only 13% of the directors on the 700 top grossing films in 2014 — and only 7% of the top 250 films. Refinery29 wants to change this by giving 12 female directors a chance to claim their power. Our message to Hollywood? You can’t win without women. ABOUT REFINERY29 Refinery29 is a modern woman’s destination for how to live a stylish, well-rounded life. SEE MORE REFINERY29 VIDEOS http://refinery29.com/shatterbox
An independent professional wrestler philosophizes on the craft, narrative, and possible meaning found in what some consider a fake sport. This film was originally published by The New York Times Op-Docs. Read the story here: http://nyti.ms/2sRe6Hl CREDITS Directer: Tim Grant Director of Photography: Bernardo Marentes Producer: Jon Muedder Executive Producer: Kathleen Lingo Executive Producer: Lindsay Crouse Executive Producer: Andrew Blackwell Editor: Tim Grant Editor: Bernardo Marentes Editor: Emilia Fuentes Associate Producer: Caleb Farmer Assistant Camera: Josh Swope Colorist: Ben Joyner Re-recording Mixer: Gary DeLeone Mixed at: Westwind Media Production Company: Caravan MUSIC “Ave Maria, piena di grazia” Written by Giuseppe Verdi Performed by Katia Ricciarelli and the Orchestra of La Scala, Milan FEATURED WRESTLERS Cauliflower Chase Brown Matt Hardy The Black Angel Peter Kaasa Kameron Kade JR Reynolds Eric Adamz Deon Johnson Ostgard WRESTLING PROMOTOR Derik Vanderford SPECIAL THANKS Aleeia “Sug” Brown Trans-South Wrestling Clay Tweel Steven Klein Brian Palmer Nathan Clarke Scott Lazer Phillip Kibbe Michael Beach Nichols Christopher Walker Chris Gervais Micah Troublefield Mikaela Shwer Andy McMillan Adam Hobbs Sara Newens Adam Gibbs Darrin Reed Adam Frazier
“Ask any VFX artist about their worst shot and I bet they can tell you the shot name. On Event Horizon, M255 was that shot for me.” – Sue Rowe
Now a visual effects supervisor at Sony Pictures Imageworks, Sue Rowe was back in 1997 a sequence supervisor at Cinesite (Europe) on Paul W.S. Anderson’s sci-fi horror space adventure, Event Horizon. Here, one of her tasks included a challenging composite for a shot – named M255 – that melded motion control plates of a miniature Lewis and Clark ship in the film with live action principal photography.
Sue Rowe.
For the film’s 20th anniversary, Rowe dives back into that monster of a shot and how she managed to pull it off, thanks to hours of work and sleepless nights. And she recalls a few other key memories from the production, one of which involved the clever use of cornflakes.
vfxblog: What were some of the ways compositing was being done at that time, in terms of tools and also how footage would be being brought into a facility?
Sue Rowe: Back then we were shooting on film so each frame of film was scanned and digitised. Motion control shots were shot in multiple passes up to 10 in some cases. Key light, spot lights, head light, atmos passes. etc. The motion control rigs were huge machines which weighed a tonne. Often the shoot would take 2-3 days to capture all the passes. Over the 2-3 days the studio floor would warp under the weight, so not only did we have a problem with film misalignment we had the weight of the MOCO rig on a wooden floor to take into account!
One of the Lewis and Clark models built for the film is on display at Musée Miniature et Cinéma in Lyon. Here it is hoisted into place from outside the museum.The Lewis and Clark model inside the museum.
vfxblog: For M255, can you talk about the various elements that had been shot motion control or produced in CG? Had any planning of the shot been done (such as boards, previs, rough comp) at all?
Sue Rowe: The shot was not previs’d, it was a few lines from the mind of the director Paul Anderson. The VFX sup Richard Yuricich and the miniature cinematographer Dave Stewart designed the shot, I guess.
I had a video comp of the shot and was asked to match to it. It consisted of at least 4 L.A. plates, which needed to seamlessly integrate with each other. We started as an exterior shot at the tail of the space ship (the Lewis and Clark) then it traversed along the side of the ship and came in close to the cockpit of the miniature model, it was supposed to look like it was all one shot traveling in through the window and on to the monitors inside the ship. To do this required melding many different plates.
The miniature model didn’t hold up when the camera got close so the plan was to join the exterior and interior plates in post. So on set there was a second pass, the shot was supposed to start on the outside of the LA set and travel through the cockpit glass past the pilot and finish on the TV screens in the background. However they didn’t build the exterior of the set, only the windowpanes.
The resolution of the miniature meant that the model looked soft if we went too close, so we took Hasselblad photos of the miniature model at high res and I used these to make up the outside of the live action set. We then traveled through the glass past the pilot and then on to a bank of monitors on the set. This was before we had live feeds to on set monitors. In all I must have had about 25 elements in one composite. I remember that to actually render this shot almost bought down the facility – all the other shots had to go on hold!
Richard Yuricich came in to see the shot with Dave Stewart, they took a look at it and said, wouldn’t it be cool if we could smooth out that moco move and re-time it so it travels in faster, then speed ramp it slower etc etc. I was a bit green back then so I said, ‘Yeah, I can do that.’ I worked on that shot for 3 months. It was the hardest thing I ever did.
One Saturday night I was working late and Richard and Dave called by to see how it was going. They told me they needed the shot for Monday. So I worked all night and all Sunday on it until it was done. I slept under my desk on Monday morning, when they came in they said it was good enough! I was very happy.
The matchmoving of all the plates was the hardest thing back then, that’s no longer the case – matchmoving software has developed so much in the last 20 years. For example, on a similar recent show Independence Day: Resurgence we did similar shots with real time tracking on set supplied by Ncam. Now DOPs and directors can line up shots using virtual sets and a key mix to actors on a green screen set. What was hard then is now comparatively easy.
vfxblog: Any other memories from Event Horizon?
Sue Rowe: My favourite shot in the film was of Sam Neill with his own eyes gouged out. Charlie Tait and Dave Houghton were fresh out of animation college back then and they took on this shot. They used a cheap flatbed scanner to scan a cabbage leaf and a raw steak combo to make the interior eye sockets. One day my Mum came to the office to see what her ‘little girl’ was up to in this new crazy film industry and she saw us working on this shot. Charlie was adding blood pulsing out of the eyes – she ran out of the office screaming. I was actually pretty proud of the extra attention to detail. I heard that the director loved it!
My personal fave shot is the electrical storm over Saturn that I did. I had animated the clouds to make then look like they were illuminated from within. Each frame was hand painted. Creating digital clouds that you see in Pixar films now was impossible back then. These clouds were digital matte paintings, to render self illuminating clouds in 1997 would have taken years of R&D, so we faked it by being creative.
I do have a funny story about one of the shots where the Lewis and Clark explodes! Dave Stewart told me that they filled the miniature full of cornflakes painted black so that when it was exploded at 120 fps you would get loads of debris catching fire. The shot was a great combo of well thought out motion control and so great CG work. My colleague Chas Cash made the awesome green shockwaves to enhance the live action explosions using the classic Maya Marble textures! We didn’t have shader writes back then so you had to be creative with the procedural textures that Maya gave you. I still think they hold up to this day!
vfxblog: 1997 was such a big year in VFX films, but I also think it showcased what the London shops were up to – can you remember what the feeling then was about work done in London compared to work done in Hollywood?
Sue Rowe: In 1997 we didn’t know if we could do it, but we also didn’t know that we couldn’t, so we just tried it! The team of artists I was working with, like me, had degrees in animation and then took masters in computer animation. I studied for 4 years to become a VFX artist. So we were a group highly skilled creatives, passionate about filmmaking.
Many of those artists are now VFX supervisors themselves, so there was a drive back in London in the early days to prove ourselves to be as worthy as Hollywood. VFX was a new industry on both sides of the pond, so we were all trying new technologies to make movies, it never felt like us and them, we all just felt like we were at the start of something new and exciting as a genre.
Looking for more retro materials from the production of Event Horizon? Here’s a run-down of just some of the visual effects coverage and videos about the film.
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