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wrathofmanfullmovie123movies · 4 years ago

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Work of art in the form of a series of live images that are rotated to produce an illusion of moving images that are presented as a form of entertainment. The illusion of a series of images produces continuous motion in the form of video. The film is often referred to as a movie or moving picture. Film is a modern and popular art form created for business and entertainment purposes. Film making has now become a popular industry throughout the world, where feature films are always awaited by cinemas. Films are made in two main ways. The first is through shooting and recording techniques through film cameras. This method is done by photographing images or objects. The second uses traditional animation techniques. This method is done through computer graphic animation or CGI techniques. Both can also be combined with other techniques and visual effects. Filming usually takes a relatively long time. It also requires a job desk each, starting from the director, producer, editor, wardrobe, visual effects and others. Definition and Definition of Film / Movie

While the players who play a role in the film are referred to as actors (men) or actresses (women). There is also the term extras that are used as supporting characters with few roles in the film. This is different from the main actors who have bigger and more roles. Being an actor and an actress must be demanded to have good acting talent, which is in accordance with the theme of the film he is starring in. In certain scenes, the actor’s role can be replaced by a stuntman or a stuntman. The existence of a stuntman is important to replace the actors doing scenes that are difficult and extreme, which are usually found in action action films. Films can also be used to convey certain messages from the filmmaker. Some industries also use film to convey and represent their symbols and culture. Filmmaking is also a form of expression, thoughts, ideas, concepts, feelings and moods of a human being visualized in film. The film itself is mostly a fiction, although some are based on fact true stories or based on a true story. There are also documentaries with original and real pictures, or biographical films that tell the story of a character. There are many other popular genre films, ranging from action films, horror films, comedy films, romantic films, fantasy films, thriller films, drama films, science fiction films, crime films, documentaries and others. That’s a little information about the definition of film or movie. The information was quoted from various sources and references. Hope it can be useful.

❍❍❍ TV MOVIE ❍❍❍

The first television shows were experimental, sporadic broadcasts viewable only within a very short range from the broadcast tower starting in the 1930s. Televised events such as the 1936 Summer Olympics in Germany, the 19340 coronation of King George VI in the UK, and David Sarnoff’s famous introduction at the 1939 New York World’s Fair in the US spurred a growth in the medium, but World War II put a halt to development until after the war. The 19440 World MOVIE inspired many Americans to buy their first television set and then in 1948, the popular radio show Texaco Star Theater made the move and became the first weekly televised variety show, earning host Milton Berle the name “Mr Television” and demonstrating that the medium was a stable, modern form of entertainment which could attract advertisers. The first national live television broadcast in the US took place on September 4, 1951 when President Harry Truman’s speech at the Japanese Peace Treaty Conference in San Francisco was transmitted over AT&T’s transcontinental cable and microwave radio relay system to broadcast stations in local markets. The first national color broadcast (the 1954 Tournament of Roses Parade) in the US occurred on January 1, 1954. During the following ten years most network broadcasts, and nearly all local programming, continued to be in black-and-white. A color transition was announced for the fall of 1965, during which over half of all network prime-time programming would be broadcast in color. The first all-color prime-time season came just one year later. In 19402, the last holdout among daytime network shows converted to color, resulting in the first completely all-color network season.

❍❍❍ Formats and Genres ❍❍❍

See also: List of genres § Film and television formats and genres Television shows are more varied than most other forms of media due to the wide variety of formats and genres that can be presented. A show may be fictional (as in comedies and dramas), or non-fictional (as in documentary, news, and reality television). It may be topical (as in the case of a local newscast and some made-for-television films), or historical (as in the case of many documentaries and fictional MOVIE). They could be primarily instructional or educational, or entertaining as is the case in situation comedy and game shows.[citation needed] A drama program usually features a set of actors playing characters in a historical or contemporary setting. The program follows their lives and adventures. Before the 1980s, shows (except for soap opera-type serials) typically remained static without story arcs, and the main characters and premise changed little.[citation needed] If some change happened to the characters’ lives during the episode, it was usually undone by the end. Because of this, the episodes could be broadcast in any order.[citation needed] Since the 1980s, many MOVIE feature progressive change in the plot, the characters, or both. For instance, Hill Street Blues and St. Elsewhere were two of the first American prime time drama television MOVIE to have this kind of dramatic structure,[4][better source needed] while the later MOVIE Babylon 5 further exemplifies such structure in that it had a predetermined story running over its intended five-season run.[citation needed] In “DC1&”, it was reported that television was growing into a larger component of major media companies’ revenues than film.[5] Some also noted the increase in quality of some television programs. In “DC1&”, Academy-Award-winning film director Steven Soderbergh, commenting on ambiguity and complexity of character and narrative, stated: “I think those qualities are now being seen on television and that people who want to see stories that have those kinds of qualities are watching television.

❍❍❍ Thank’s For All And Happy Watching ❍❍❍

Find all the movies that you can stream online, including those that were screened this week. If you are wondering what you can watch on this website, then you should know that it covers genres that include crime, Science, Fi-Fi, action, romance, thriller, Comedy, drama and Anime Movie. Thank you very much. We tell everyone who is happy to receive us as news or information about this year’s film schedule and how you watch your favorite films. Hopefully we can become the best partner for you in finding recommendations for your favorite movies. That’s all from us, greetings!

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wrathofman2021onlinefree · 4 years ago

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❍❍❍ Formats and Genres ❍❍❍

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Thanks for watching The Video Today. I hope you enjoy the videos that I share. Give a thumbs up, like, or share if you enjoy what we’ve shared so that we more excited.

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angelofberlin2000 · 6 years ago

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Scott Mendelson Senior Contributor

Hollywood & Entertainment

I cover the film industry.

Photo by Niko Tevernise - © Lionsgate

The question at the heart of Thunder Road and 87Eleven’s John Wick: Chapter 3 – Parabellum, opening courtesy of Summit and Lionsgate next Thursday night, is “Why bother?” That’s not a critical statement, but a thematic acknowledgment that we’re watching a man who probably deserves to die run, fight and kill for his life. You can (and perhaps should) enjoy this third chapter, in what the arguably the best “new” action franchise of the decade, on a purely visceral level. However, the screenplay, courtesy of Derek Kolstad, Shay Hatten, Chris Collins and Marc Abrams, doesn’t ignore the pivotal questions. Does John Wick deserve to live? Why does the famed hitman, who came out of retirement to avenge a puppy, continue to fight with so little left for which to live?

Once again directed by Chad Stahelski, this third and not-necessarily-final chapter in the John Wick saga (no spoilers, but it’s not like the world implodes at the end) continues to peel back the layers on our protagonist. The first film offered the easy fantasy of a reformed hitman slaughtering countless men to avenge a dog (and, implicitly, to avenge his wife who had just succumbed to cancer), while the sequel expanded on the worldbuilding while crafting a story where Wick’s targets were less conveniently diabolical and his thus vengeance was less morally absolute. This time out, it’s almost entirely self-defense, as Wick’s reckless actions have put a bounty on his head. Even so, there is collateral damage and cruel judgment awaiting those willing to help our anti-hero.

Courtesy of cinematographer Dan Lausten (who shot John Wick Chapter 2), this is once again a gorgeous-looking motion picture. The film may have cost around $55 million (compared to the $30 million-to-$40 million budgets of the first two), but it looks every bit as polished as the biggest-scaled James Bond or Mission: Impossible movie. This is digital photography at its finest, offering blinding richness and a polished European high-art palette for what is arguably a grindhouse actioner. The mix is intoxicating. The original John Wick distinguished itself from its VOD peers partially by the sheer beauty of Jonathan Sela’s compositions, and that continues here on an even more mouthwatering scale. If you have a trusted IMAX or Dolby Cinema auditorium available next week, spend the money.

If it’s action you crave, well, the first 30 minutes are as relentless and punishing as you can imagine, albeit delivered in a way that emphasizes the choreography and geography over sheer bloodshed. More so than any other film save for maybe Edge of Tomorrow or Jumanji: Welcome to the Jungle, this film looks and feels like a living video game. That’s not a criticism, as the fluid action sequences benefit from a relative lack of trickery. Evan Schiff’s editing emphasizes, rather than hides, the actual actors and stuntmen performing often insane feats of violence. While there is plenty of gunplay, there is also a bit more variety to the carnage. Along with shootouts, we get knife fights, chase sequences fisticuffs and animal-assisted murder.

There is, especially in the first act, a certain video game sensibility, as John encounters one distinct group of opponents and dispatches them only to run into a different batch of assassins in a different location who must be taken out in a slightly different manner. It’s not quite Double Dragon, but that’s what came to mind. Yes, there is a bit of character work here and there, including a few visits with folks (Angelica Houston and Halle Berry among others) from Wick’s pre-retirement past. Berry shows up in the second act and the big middle-of-the-movie action sequence (involving at least a few dogs) is a triumph of intricate action staging and editing that is a wonder to behold no matter how thin the narrative justification might be.

Ian McShane and Lance Reddick return while Asia Kate Dillon (as a ruthless “adjudicator”) and Mark Dacascos is a trip as the primary antagonist. He’s not necessarily a villain, as he just wants the same $14 million bounty as everyone else, but he’s a true John Wick fanboy and he’s overjoyed to be taking on the infamous “Baba Yaga.” The notion of a new wave assassin gunning for an over-the-hill legend has shades of The Shootist. The notion of why Wick even wants to live gives the film its emotional kick. Whether or not the film works as a parable for its globally famous but famously isolated star, or a more generic meditation on fame, that Reeves looks his age for once only adds to the pathos.

Yes, the third act set pieces go on a bit too long, and they are so physically draining that you’ll probably burn a few calories just watching them. But John Wick: Chapter 3 is a genuinely great action-adventure movie, filled to the brim with jaw-dropping set pieces, imaginative violence and scrumptious visuals, all buoyed by a stacked cast (including Reeves, again showing himself to a wonderful actor and an all-time-great action star) and just enough story and subtext (Wick is still newly grieving for the wife he buried less than a week ago in the film’s continuity) to make it more than just a hollow spectacle. The story can go on, be it in sequels or TV shows, but this works as a conclusion for Wick’s current arc.

#keanu reeves #john wick 3 #forbes

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theinquisitivej · 6 years ago

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A Quartet of Reviews: Missing Link, Pet Semetary, Shazam!, and Hellboy (2019)

Missing Link

As the technical accomplishments and detailed beauty of Laika’s stop-motion films are part of the reason I’ve chosen to study stop-motion animation for my current academic research, you’ll forgive me if I approach their fifth film with some bias. Plus, box office numbers suggest that a lot more people really should be seeing these, so the more voices there are singing Laika’s praises the better, frankly.

Missing Link is notably ambitious in that it strives to deliver an action adventure in the vein of Around the World in 80 Days or The Mummy (the Brendan Fraser one, not the “DARK UNIVERSE” one- yes, that did happen, and it is hard to remember), with multiple thrilling and complex action sequences, all in stop-motion. Given the labour-intensive nature of stop-motion and the limitations you’d typically expect of a medium that’s executed through real models that have a weight and substance to them that makes them less flexibly fluid than cel or digital animation, stories with an emphasis on dynamic action aren’t what you’d typically expect when it comes to stop-motion. And yet Laika demonstrate their full commitment to making Missing Link an energetic blockbuster through impressive choreography and painstakingly realised action set-pieces. While the charming characters and light-hearted tone help you stay engaged with the narrative, you’ll be constantly taken back by the seamless merging of traditional methods and modern technology in the animation which makes you sit up and take notice as you wonder how they managed to put together each scene. The best use of digital effects are the times where you’re not entirely certain it’s even there, and Laika’s approach to this modern tool definitely fits in that category.

The film never quite reaches a point of emotional intensity that leaves me completely floored, as some of Laika’s previous films have managed to do. I didn’t walk away from the film remembering a moment where a character’s vulnerabilities are laid bare or a difficult but essential lesson is imparted in the most brutally earnest way. So, when compared against ParaNorman or Kubo and the Two Strings, Missing Link left less emotional impact on me. Having said that, the film still conveys numerous themes effectively through key story beats and striking visuals, with its central thesis being the importance of learning empathy towards others, and that you shouldn’t seek validation from close-minded proponents of outdated and toxic principles. As such, through a combination of entertaining characters with likable personality, an emphasis on globetrotting action, its refreshingly positive outlook, and tremendous animation on both the large and the small-scale across the board, Missing Link is a delightful adventure that you should make a point of seeing.

Final Ranking: Silver.

Boasting charm, an infectious sense of humour, and perhaps the best action I’ve seen in a stop-motion film, Missing Link absolutely meets the standard of quality that you’d expect from a Laika production.

Pet Semetary

As many other people discussing this film have noted, Pet Semetary is a Stephen King story that’s notable for being so bleak that even Stephen King felt it was too dark. He hesitated to submit it for publishing for three years, only submitting it when he needed to meet a deadline for a contract. In the subsequent years, King has been critical of the “nothing matters” mentality of the story. With that in mind, as well as the knowledge that several people I follow whose opinions on film I trust were not fond of it, I was prepared for the possibility that I wouldn't enjoy it, but nevertheless open to the film surprising me. After all, Stephen King is a consistently entertaining storyteller, and I’m always interested to see how people adapt his work. For a while, things seemed okay enough. Then it started to drag around the middle, and then it took a hard, fast, ugly turn, descending into the most distasteful experience I’ve had in a cinema this year.

As that summary indicates, the set-up is intriguing enough. A family move into a new home, and there are little signs that things aren’t quite right around here, as well as the telltale indications of a traumatic past that have left some of the characters with residual hang-ups that they will inevitably be forced to confront, and the tantalising promise of something unnatural on the horizon that will draw our protagonists in as they descend into horror. It’s competent ground laying work, and apart from the horrifying past of one of the character’s being uncomfortably demonising of the sick, and a lack of a distinctive visual style for the film to call its own, I didn’t have many serious issues with the first third or so.

Once you approach the middle portion of the film, things start to feel protracted. Even if you haven’t seen a trailer or heard the gist of this story and have a decent idea about the trajectory of its narrative, there comes a point where you start to know exactly where things are heading. Discussions of death and what may or may not come afterwards, repeated reminders of how dangerous and unexpected high-speed vehicles on the road outside their house can be, and allusions to some unknowable force that can make impossible things happen which the father of this family absolutely must not approach are all dots that anyone familiar with the phrase “monkey’s paw” can join together with little difficulty. Without an engaging dynamic between characters (a la IT), a self-aware bizarreness that results in humour, or a notable visual style, there’s little to keep you going as you wait for pieces to very, very slowly fall into place.

And the final act is just awful. It spits course language and nihilistic vitriol with little substance or point to its depictions of pain, misery, and spitefulness other than to wallow in this negativity with nothing else to say. Actors start to abandon any semblance of understated nuance in favour of ham-fisted bluntness, cursing out characters with an intensity that doesn’t feel earned as they clumsily fight against them in a way that lacks any sense of climactic satisfaction, and, because your investment in these characters rapidly drains with each new questionable decision and unlikable action, there’s no tension to these encounters either. There are numerous instances where the actors will do their best to deliver lines of dialogue that try to be shocking or wryly dark, but the material is so poorly thought out that it awkwardly misses the mark in both categories. It’s especially galling as the film spent so much time and effort on getting to this conclusion that it was trying to amp up as this big, horrifying finale that will shake you, when instead it’s just underwhelming and unpleasant without any purpose to itself. I was wishing for it to end, and yet when the credits began to roll, I couldn’t help but ask “wait, is that it?” It’s a limp ending with little meaning that leaves a bad taste in your mouth.

Final Ranking: Cardboard.

Pet Semetary’s first act offers some potential, but that’s all it is: potential. The middle act spends so long getting to where it needs to be and where the audience knows it’s going that, by the time it gets there, it spends what little time it has left on cruel, structureless nihilism without taking any ownership for the unpleasant material it lays down at your feet.

Shazam!

The DC movies are in a great place right now. I’ve yet to see James Wan’s Aquaman, but from the abundance of positive things I hear about it, as well as the profound impact Patty Jenkins’ Wonder Woman had on audiences, James Gunn and a whole lot of appealing casting choices being attached to the next Suicide Squad film, and the great feelings I have about the energy that the Birds of Prey teaser indicated, I’m very optimistic about the future of DC films. Now that Shazam! has released and proved to be a positively uplifting delight, my outlook on this series is cheerier than ever!

Hm? What about that Joaquin Phoenix Joker movie? Well... my feelings towards that are… complicated. I’ll save my thoughts on it for another time, but suffice to say, I think the film has the potential to be great, but I worry about the way it will be received, and that the worst crowd will embrace it and take the wrong lessons from it.

Anyway, for the here and now, Shazam is a refreshing blend of joyous levity and unexpected intensity. The film offers endearing comedy with teens and pre-teens acting like excited kids who enjoy doing dopey things but can still come across as insightful and having an emotional heart to them that makes you happy to spend time with them. But it’s never saccharine and, through a fleshed out script and a cast of sharp young actors and actresses, there’s a clear sense of authenticity which makes these adolescent characters seem grounded and well-observed. Something I appreciated is that, whenever the film goes into background details of the history of magic in this world, grandiose prophecies of mystical destinies, or the villain going into his sinister plans, it’s usually being talked about by grown adults who are taking themselves way too seriously. The best exemplar of this is Mark Strong who plays the villain, Dr. Sivana, with an intensity that deliberately comes across as hammy, and the young characters within the film pick up on this and play off him in a way that deflates his bluster and points out how ridiculous he’s being. As a result, the tone of Shazam! feels like it’s poking good-natured fun at prior DC projects and other big budget action blockbusters where stone faced adults spout clichéd speeches without any sense of self-awareness. It’s an approach that points out how some modes of behaviour that are often associated with maturity and being an adult are actually quite childish when you take a step back. As a superhero film that focuses on the experience of being the age where you’re young enough that you still enjoy being a kid, but old enough that you want to call adults out on their bullshit, Shazam! is impressively realised and fun as hell.

But for as light-hearted as it can be, Shazam! nevertheless surprises you with the occasional brutal sequence that catches you off guard with such rapidity that I found it relatively shocking. It’s not so detailed, gory, or explicit enough that I’d say it goes too far, but it’s worth bearing in mind before you show it to a particularly young and impressionable viewer. The benefit of these sequences is that the unexpected escalation accentuates how in over his head Billy is when he eventually comes across a situation that’s genuinely dangerous, as, despite his newfound powers, he is still a kid, and he really shouldn’t be facing this kind of thing. Indeed, the film demonstrates an impressive grasp of and dedication towards themes of maturity as Billy faces difficult truths about something he thought he wanted and realises he’s been looking in the wrong place for what he actually craves, as well as develops into a more responsible version of himself that opens up to being part of a group built on mutual trust. There’s a cleverly subtle visual indication of the progress Billy has made by the end of the film where he remembers to lower his head as he walks through a door while in his superpowered adult form. One of the first things Billy does when he first transforms is hit his head on a train door to show how unused he is to this new body. The simple act of Billy seeing the doorframe and lowering his head as he steps through without any hesitation near the end of the film signifies the control Billy has developed over himself and his own actions, making his journey of maturation resonate that much more with me. The impact of shocking dark turns and the firm, confident grasp the film has on its cohesive themes of maturation and finding your place in life elevates Shazam! from a fun time to an uplifting and refreshing story that I think people are going to really enjoy for a long while.

Final Ranking: Silver.

Energetic, full of character, and with a strongly executed theme of maturation, Shazam! is highly recommended. It is perhaps a little longer than it needs to be, which results in the latter parts of the middle section feeling a little drawn out. Having said that, the finale sends a jolt of electricity through you that makes you forget any objections you might have and remember all the positive qualities that make this film so likable.

Hellboy (2019)

Oof… why did I decide to end this collection of reviews on Hellboy (2019) and write this after three other sections? Sigh… okay, let’s get this over with.

It would be insincere of me to say I'm the most impassioned proponent of the Guillermo del Toro Hellboy films. I found them memorable and atmospheric, and you could certainly feel the characteristic flair from the many people that put their artistic touch on those films to create something unique that marked them out from other comicbook movies, which is especially impressive in the mid-2000s, pre Iron Man era. But after going through the slog that is Hellboy (2019), I think I’m more appreciative than ever of what del Toro and his team managed to achieve.

For a while, it seemed like this new R-rated version of Hellboy was angling for a more faithful adaptation of the original books by Mike Mignola, given the various interviews that were had about it over the years. Sadly, the final result feels like the result of too many outside influences dictating what the film should feature, culminating in a hodgepodge of a film which regurgitates character beats from the del Toro films, and rapidly stitches together a half-hearted attempt at a King Arthur narrative to fill in the requisite new material (this is your regular reminder to check out The Kid Who Would Be King, a much better modern reinterpretation of Arthurian lore). The presentation is dour, unenthusiastic, and lacks any atmosphere or personality, and that is something you could never accuse either the Mignola books or the del Toro films of lacking. In the whole film, there are only two sequences that stand out, namely the fight with the three giants and the rampage of the hell creatures in London. Even so, the former is a relatively meaningless sequence that contributes very little to the narrative and lifts right out of the film, while the latter is so sadistic and mean spirited that it made me genuinely uncomfortable. It falls flat as both an adaptation of a beloved fictional series that’s brimming with atmosphere, and as a piece of technical filmmaking as well.

On top of that, when the tone and general philosophy of the film does emerge out from under the rest of the film’s mediocrity, it reveals itself to be genuinely unpleasant. The film opens with narration that rushes through the backstory with Nimue and the Arthurian set-up and does so with foul-mouthed irreverence. There is a bit of humour to someone casually tossing in the odd bit of shitty language as they tell you about ancient history that should be discussed with pomp and circumstance but is instead being discussed with ill-fitting coarseness. However, there needs to be some personality to go along with it, otherwise it’s implied that the swearing is the character and all that’s there to it. In the case of this opening narration, Ian McShane emphasises each fucking swearword and it becomes clear that the dialogue is using this as a crutch in an effort to make the film seem like it has an identity as this edgy superhero movie that’s different because it swears. It’s a juvenile approach that is laughable when you consider how effortless Ryan Reynolds’ delivery in each Deadpool movie has been, which demonstrates how swearing can be used to accentuate genuinely funny jokes and characters, rather acting as the joke in and of itself.

And this isn’t even the most egregious part of the film either, it’s simply a bad first impression. The worst aspect of the film’s outlook is how virtually every character espouses the notion that you should stop complaining, stop letting things get to or affect you, and stop taking time to process things. This is especially saddening when Hellboy’s father, a character that was played with wonderful vulnerability and heart-aching humanity by the late great John Hurt, tells Hellboy to “grow some balls�� and get on with things, making the emotional culmination of their time together on screen essentially boil down to ‘quit your bitching’. Characters in Hellboy (2019) show next to no empathy towards one another, and they continually reinforce the story’s outlook which, whether inadvertently or not, nevertheless encourages a state of being where you never have time to be open or vulnerable with the people around you. It’s profoundly disheartening to watch, and gives little to no thematic or visual sustenance to get you through a runtime that feels far too long.

Final Ranking: Manure.

David Harbour does an admirable job in the lead role and I was happy to at least have a protagonist in this film that captures the gruff sadness and down-to-earth affability of the character of Hellboy. But he’s drowning in limiting makeup and an even more stifling movie that has no visual flair and a boring, miserable narrative. The experience of watching this movie is draining and deflating, and I hope to never revisit it.

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vincent-marie · 7 years ago

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A Look Back on TREASURE PLANET

So recently I rewatched TREASURE PLANET for the first time in about fifteen years and… I'm not gonna lie, it's still my personal favorite of the 2D Disney animated features from the early to mid-2000s.

Let's be real. Of the 2D features Disney released around that time period, TREASURE PLANET is one of the more solid films. ATLANTIS: THE LOST EMPIRE had some interesting ideas and some really nice design work and animation, but it really needed to be at least two hours long if it wanted to flesh out the characters and the world-building without requiring supplementary material (like a special edition of Disney Adventure magazine). Hardly anybody remembers BROTHER BEAR was even a thing, and the less said about HOME ON THE RANGE, the better. (Seriously, that movie wasn't even worth the Steve Buscemi cameo.)

The only other film of that era that has really held up was LILO AND STITCH, and I'll admit it's probably a better film than TREASURE PLANET. It took more risks in terms of character, setting and originality, and emotionally it leaves more of an impact. (That scene when Nani sings to Lilo makes me cry like a baby every time.) My only problem with it is it always felt like two entirely different movies collided with each other and it never felt like they really meshed well. Otherwise, I agree with most fans that it’s a good film.

Also, of course, there was the excellent THE EMPEROR’S NEW GROOVE, which was just such a huge departure from Disney’s normal schtick and trying something more Tex Avery-esque, only for it to be a perfect storm instead of a total crash and burn. That is much to be proud of.

Going back to TREASURE PLANET, I can understand that most folks walk away saying it’s an "okay" film. I, however, am not one of those people. I've had a real soft spot for this movie ever since I saw it, but now I appreciate this film for additional reasons.

Namely, the animation and effects work. Holy crap, is this movie gorgeous! It's like watching Don Bluth's ANASTASIA, except I don't have to feel guilty about historical inaccuracies. (Now it’s just scientific inaccuracies, but STAR WARS gets away with that all the time.)

Directors John Musker and Ron Clements had apparently wanted to do a sci-fi retelling of "Treasure Island" since before they started working on THE LITTLE MERMAID. With that in mind I do feel like this movie would have fared better with critics back in the early 90s during the Disney Renaissance. However at that time they would not have had such elaborate and detailed CG effects within arm's reach. There's something I really enjoy about the use of 3D backdrops so that they may do sweeping camera movements, and that's not even getting into the lighting effects to establish atmosphere.

What's more, there are a lot of subtleties to the character animation that I never appreciated until now. You could just pick one character and focus on him or her during the whole movie and find a lot of fun little quirks in their dialogue or walk cycles.

Admittedly, much of this film’s appeal probably depends on how much of an animation fan you are. In my case I was watching John Silver’s animation and I suspected that Glen Keane was probably in charge of animating him (as there are moments when Silver looks so much like Ratigan). Those suspicions were confirmed during the end credits and I was delightfully geeking out about it.

It’s also easy to see where this film might not have had a lot of mass appeal. Most of the focus on the story is on Jim Hawkins and his daddy issues, which by the early 2000s was already a cliche of a character arc. And it’s not helped by the fact that Jim himself is... well, kind of on the bland side as a protagonist. There’s not a lot about him that makes him any more or less interesting than any other teenage male lead. But for what it is I think the movie did fine at establishing and building the relationship between Jim and Silver, which does have its warm and comforting moments. For both of them.

And at least the film is straightforward with its plot and characters and it’s not a structural mess like HERCULES, a previous venture by Musker and Clements.

Something I’ve noticed over the years is that TREASURE PLANET has a little bit of a cult following. I distinctly remember this one time when I was taking a storyboard class in college; we were assigned to do a “Master Study” assignment by recreating the key story frames in our favorite scene in a favorite animated movie. One of my classmates picked the scene when Jim is brought home to the inn by the police and embarrasses his mother. I recall being so impressed, and even a little envious, that she got the character design style down to a T. (If you’re wondering what movie/scene I picked for my Master Study, I picked the Big Ben scene from THE GREAT MOUSE DETECTIVE.)

Then, of course, some friends and I suspect that TREASURE PLANET might have fared better if it had been released a bit later, more towards the height of the Steampunk craze. It’s not quite what I would call “Steampunk”, as it takes place in a sort of alternate universe version of the 18th century and not the Gothic era, and most of their transport is solar-powered and not steam-based. Nevertheless it’s easy to see how fans of Steampunk could find it appealing, with its mostly earth-tone color pallet to evoke the painted illustrations of the classic novel it was based on. Also that combination of a pre-20th century aesthetic with out-of-this-world science fiction elements is pretty much, in my opinion, what makes Steampunk so much fun to play around with. Also, a robot made out of copper. End of story.

In terms of why this film didn’t do so well when it was released, I suspect what stunted its success was the marketing. I could be wrong, as I was actually living in Honduras at the time of the film’s release, but we got some TV stations from Denver, Colorado. I remember a lot of the TV spots spent most of their time highlighting the goofy comic relief moments with Morph, and there was a real emphasis on the presence of B.E.N., even though he's in less than one-third of the movie. In other words, the film's success might have been partially sabotaged by a marketing team that seemed to think if you don’t take your film seriously at all that will somehow draw in the crowd.

Although speaking of the comic relief characters, I actually don’t mind them that much. I always thought Morph had a lot of cute, funny moments that weren’t too obnoxious. As for B.E.N., I kind of have mixed feelings for him. On one hand, the directing team made better use of Martin Short’s improvisational skills than PEBBLE AND THE PENGUIN or WE’RE BACK! ever did. But on the other hand, does B.E.N. have to be so loud and shouty? However, while B.E.N. is a real screw-up, he’s not so much to the point where I want to see him get smashed with a sledgehammer. He’s generally likable, not at all loathsome, and just annoying enough, but not TOO annoying.

However while we’re still on the subject of B.E.N., I’d just like to add that the CG animation on him is really nice. Making him 3D gives him a sort of sense of solidity compared to his hand-drawn humanoid compadres, and to top it off his animation isn’t at all stiff or feels like the CG is holding him back. There is some really expressive squashing and stretching going on with his dialogue. It’s so subtle in places that you’d probably miss it if you’re not looking for it. A lot of CG animation studios at the time like Pixar and Dreamworks had not quite mastered squashing and stretching themselves, so kudos to Disney for pulling it off so well.

Now if I may indulge a little on why I remember this film fondly, my favorite characters were always Dr. Doppler and Captain Amelia. They are both fun and engaging on their own, but together they are weirdly adorable. Granted, I've always thought them getting together at the end was a bit rushed, but I still totally buy it.

(What I don't buy is that they'd be so eager to have kids after Doppler showed such annoyance and revulsion towards that toddler alien girl at the beginning. I get that the creators wanted some visual shorthand to indicate that they're an official couple, but they could have just been wearing wedding rings or throw in a little more of them dancing together.)

Part of the reason I love these characters on their own is the casting. I was already familiar with Emma Thompson from Ang Lee's adaptation of SENSE AND SENSIBILITY, and her character of Eleanor Dashwood was very quiet and reserved. You can imagine my disbelief and delight hearing her play an assertive, witty badass as Amelia. (As if I didn't already think Amelia’s design was cool.)

As for David Hyde Pierce, I had only occasionally watched FRASIER growing up, but when I saw this movie I was familiar with him through some other memorable voice acting roles, particularly that excellent Season 8 episode of THE SIMPSONS, “Brother From Another Series.” In other words, I already knew him to be funny, snarky and charismatic.

While I'm on about the casting, I feel like there's a totally wasted opportunity to have these two characters in a room together, say, before the black hole scene, exchanging witty banter to show how compatible they are in a casual setting. It’s a shame that Emma and David didn’t record their dialogue together, because with her being an accomplished writer and with his skills at improvisation, there could have been some good verbal combat by way of “Much Ado About Nothing-Meets-Frasier.”

But looking back, I remember I immediately loved Captain Amelia just on principal. As a kid I never really gravitated that much to any of the Disney princesses. I can’t really describe why, but it was mostly how they were marketed as just looking pretty and (arguably) kind of passive in their own stories. Not to mention how when Disney Princess became a brand, they really amped up the girly cutesy-ness to their preexisting images. Not to say there’s anything inherently wrong with cute or feminine things, but it really made me feel like a weirdo who somehow wasn’t fit to be called a girl.

Captain Amelia, on the other hand, had her own style of femininity by wearing a classy, more masculine captain’s uniform along with thigh-high high-heeled boots (that she has no problem running in). She had a no-nonsense attitude, she was focused and cool-headed in a stressful situation, she was downright snarky and took crap from no one. In other words, she was the type of woman I wanted to be when I grew up, and to this day she is my favorite Disney Lady, bar none.

And while I’m at it, I’m just going to add that I’ve always found Dr. Doppler more attractive than your standard Disney prince. Besides his character design looking like a canine version of Roger from 101 DALMATIONS, he just always seemed like he’d be fun to get a coffee with.

Well, that’s about all I really want to talk about regarding TREASURE PLANET. It’s a shame it’s not remembered by more people as it does have some really good elements to it, but in some regards I can kind of see why it wasn’t a huge critical success. If you haven’t seen it already I recommend checking it out as it’s a pretty solid standalone film that doesn’t need supplementary material and covers all the bases with the plot and some fun character moments here and there. If you’re an animation fan I cannot stress enough how you really need to watch it, or even rewatch it, because, again, the animation and effects work is just a real feast for the eyes.

#treasure planet #disney #animation #review #captain amelia #dr. doppler

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feijaozinhocomarroz-blog · 6 years ago

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G1 - Design e Expansão dos Sentidos

O que: o que é o projeto, para que serve, o que faz:

Como objeto de estudo desta pesquisa, optei por estudar o simulador Avatar: Flight Of Passage, atração do parque de diversões Animal Kingdom, localizado em Orlando, Florida e pertencente à empresa Disney. O projeto consiste em uma experiência imersiva 3D que simula o voo montado na garupa de uma criatura alada da terra de Pandora, o banshee, parte do universo do filme Avatar. Seu objetivo é trazer uma experiência memorável e divertida para as pessoas que visitam o parque, por meio da exploração do mundo místico de Avatar. A atração conta com um simulador que explora os sentidos da visão, do tato, do olfato e da audição.

Imagem 1: Sala de simulação (fotografia por Nick, coaster101.com)

Porque: qual a importância desse projeto, por que ele chamou a sua atenção.

A importância desse projeto para o Design é o elevado grau de imersão alcançado por meio da experiência, ultrapassando outros simuladores dos parques da Disney em termos técnicos. Em 2018, a atração recebeu o prêmio de "Outstanding Visual Effects in a Special Venue Project" pela Visual Effects Society (VES) no VES Awards, que ocorre anualmente. No mesmo ano, também foi indicada ao Annie Awards, evento com premiações voltadas à área de animação, na categoria "Outstanding Achievement for Animated Effects in an Animated Production", perdendo para o filme Coco, da Disney Pixar. Além de sua importância para o meio de efeitos visuais e animação, o projeto também se destacou para o público visitante dos parques da Disney, sendo classificado pelo site touringplans.com como a atração número 1 no ranking de melhores atrações do Walt Disney World e constando entre as 10 melhores atrações em outras listas. Seu sucesso com o público e premiações unidos à sua maestria em explorar os sentidos humanos me chamaram a atenção, levando-me a dedicar este estudo ao projeto.

Como: como funciona, especificações técnicas.

O projeto garante seu sucesso por um conjunto de fatores técnicos e narrativos que operam em conjunto:

Um dos elementos essenciais para a consolidação da imersão é a narrativa. Ela é contada pelos cenários, música ambiente, iluminação e objetos presentes nas salas; culminando no oferecimento da oportunidade de o visitante ser conectado a um avatar e visitar Pandora, conceito-chave do filme.

Em mais detalhes, a experiência imersiva começa na fila da atração, onde as pessoas caminham por salas diversas. Dentre elas, há uma sala de comando, onde se pode observar um Avatar (a criatura azul do filme) em repouso dentro de um tanque fechado.

Imagem 2: Avatar em tanque (fotografia por Brandon Glover)

Após passarem pela fila, as pessoas são levadas em grupos de 16 a cabines fechadas.

Imagem 3: Porta das Salas de escaneamento (imagem retirada de vídeo 4K Flight of Passage Queue & Pre-Show | Pandora - The World of Avatar, de The DIS)

Lá, assistem a uma transmissão de um cientista que tornará possível a conexão com os avatares. Neste momento, a atuação se configura como um elemento de suma importância para o storytelling, pois é o cientista que explicará sobre o mundo de Pandora e sobre sua animação em poder apresentá-lo aos visitantes.

Imagem 4: A importância da atuação (imagem retirada de vídeo 4K Flight of Passage Queue & Pre-Show | Pandora - The World of Avatar, de The DIS)

Por meio dele, as pessoas recebem a instrução de pisar sobre números de 1 a 16 no chão. Assim que todos pisam sobre os devidos números, a tela mostra que cada pessoa está sendo escaneada e, após o escaneamento, revela o Avatar correspondente de cada pessoa.

Imagem 5: Escaneamento (imagem retirada de vídeo 4K Flight of Passage Queue & Pre-Show | Pandora - The World of Avatar, de The DIS)

Imagem 6: Avatares (imagem retirada de vídeo 4K Flight of Passage Queue & Pre-Show | Pandora - The World of Avatar, de The DIS)

Após esse momento, um vídeo de instruções sobre a sala de simulação é mostrado na tela e todos entendem que estão prestes a entrar no mundo de Pandora. Após o vídeo, as portas da sala se abrem para uma sala onde se veem veículos semelhantes a motos dispostos lado a lado.

As pessoas são orientadas por funcionários da atração e por um áudio na sala a guardar seus pertences em recipientes específicos e a se sentar inclinadas para a frente sobre os veículos. Quando todos estão sentados, telas à frente dos veículos são reveladas e nelas é projetado o cenário 3D de Pandora.

Imagem 7: Sala de Simulação (imagem retirada de vídeo 4K Flight of Passage Queue & Pre-Show | Pandora - The World of Avatar, de The DIS)

Durante a simulação, podemos observar os demais elementos técnicos que contribuem para a imersão do projeto. Em segundo lugar, há os óculos 3D, que foram projetados especificamente para a atração e contam com um diferencial em relação a outros óculos: são mais largos e possuem lentes mais leves que óculos projetados para atrações similares (Cameron, James: Avatar Fandom).

Além dos óculos, há também os estímulos sensoriais que se modificam conforme o cenário. O viajante sente a mata da floresta, vento e neblina em pontos diferentes da animação.

Somado a isso, há o estímulo tátil, gerado por meio do contato das pernas das pessoas com o veículo, que simula mecanicamente o movimento dos músculos que promovem o bater de asas da ave banshee, gerando uma credibilidade da experiência ainda maior.

Modificações: Criticar eventuais falhas ou deficiências na situação pesquisada e sugerir alternativas ao partido adotado.

Como todo projeto, o simulador Avatar: Flight Of Passage possui algumas falhas que podem ser aprimoradas. Como a atração se propõe a ser uma experiência imersiva, poderia ter sido experimentado o sentido do paladar, algo que revolucionaria o alcance sensorial dos simuladores existentes. Também poderia ter sido explorada a visualização do corpo de cada pessoa como um Avatar, por meio do uso da realidade mista, transformando o corpo da pessoa no da criatura azul e contribuindo para a imersão da experiência. Por fim, poderiam aparecer elementos de cenário analógicos em conjunto com a projeção da tela, como outras atrações de simulação fazem.

Imagem 1: https://www.coaster101.com/2018/12/11/what-makes-avatar-flight-of-passage-so-immersive/

https://disneyparks.disney.go.com/blog/2018/02/avatar-flight-of-passage-honored-with-industry-award-for-outstanding-visual-effects/

https://annieawards.org/rules-and-categories/achievement-categories/outstanding-achievement-for-animated-effects-in-an-an-animated-feature-production

Cameron, James: https://james-camerons-avatar.fandom.com/wiki/Flight_of_Passage?amp%3B_Pre-Show_-_Pandora_-_The_World_of_AVATAR=undefined

http://vfxvoice.com/avatar-flight-of-passage-a-cinematic-multi-sensory-3d-experience-that-soars/

Imagem 2: https://touringplans.com/blog/2017/08/05/s6_wdwhighestrated/

Imagem 3, 4, 5, 6 e 7: https://www.youtube.com/watch?v=d9mULTbRRic

https://www.theverge.com/2017/5/27/15702590/pandora-world-of-avatar-flight-of-passage-ride-review

https://james-camerons-avatar.fandom.com/wiki/Flight_of_Passag

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sarahoberoi-blog · 8 years ago

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Corporate Video Production Company in India

A corporate video production company is generally responsible for converting a client brief into a script, and produce the video based on the agreed schedule and delivery date. The scale and duration of the production depend entirely upon the requirements and budget for the video. While some videos are made possible even by the smallest crew and essential equipment, some large scale corporate videos that have similar or often higher budgets than that of TV commercials, invite levels of production on par with those of broadcast television.

Corporate Video Production Process

The corporate video production process will frequently involve the following stages:

Pre-Production Stage – This is the planning phase, which includes scriptwriting and storyboarding. This phase also involves the budgeting for the whole process, between the corporate video production company and its client.

Video Production Stage – This is the main execution phase including the filming of the video. This phase brings in the various elements involved in the actual filming such as a camera crew, director, and also actors and presenters if there are any.

Post-Production Stage – This is the editing stage, where the filmed (live action) footage is pieced together. Any other form of editing such as audio voice-overs, visual effects, the addition of soundtracks, and/or animations takes place. This is the final stage of production, after which a completed product is handed over to the client.

Corporate Video Production Company Services for Youtube

Product Promotional Video – Need a new product promoted? We do it in a way that highlights the various selling points of your product, in a way that keeps their attention hooked.

60-90 Second Corporate Video – Customer Testimonial Video – Testimonials always work, because having someone else praise your brand speaks volumes about the quality of service you provide.

Corporate Recruitment Video – Videos have now become the favored method of showing a prospective employee just how ideal it is working for you. Be it a behind-the-scenes of your company’s process, or an insight into the benefits of working with you, a video makes your company more real for potential employees.

Company Profile Videos – One of the more common corporate videos, it tells your target audience about your company’s history, gives them an insight into your success, and tells them why you are the solution to their needs.

Brand Films – Brand films are used to showcase how you are different from other companies providing similar services. Light on the details, these videos tell your target audience who you are and what you do.

Fruitbowl Digital is the best digital marketing agency and media production company in Mumbai, India providing services like Social Media, PPC, SEO, Website Development, ORM, App Promotion & Branding.

#corporate #video #production #company

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thechapelstudios-blog1 · 8 years ago

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How The Chapel Studios Ranked top in the list of Best Recording Studio in London?

(There is something unique about The Chapel Studios, it is one of the most premier recording studios of London. Read below to know more about its super specialties and services)

The Making of The Chapel Studios

The foundation of The Chapel Studios was led by the London's famous music producer Steven A Williams in the year 2003. It is ranked top amongst the list of best-Recording studios in London. Its founder Steven A Williams is himself a famous music producer of London who has given so many musical hits in the industry. The Chapel Studios offers one of the most outstanding recording consoles, the Solid State Logic Duality consoles. It is primarily located in Wimbledon, South West London, UK

The Specialties of The Chapel Studios

The Chapel Studios caters to a variety of requirements such as recording, mixing, engineering and mastering. Its services include production, recording, mixing and mastering of commercial releases; voice-overs and audio to visual overdubbing, songwriting as well as music composition for TV adverts and scores for Hollywood films.

Core Services Provided by The Chapel Studios (In detail)

1. Production

Under the expert guidance of the chief producer Steven A Williams, any music production can take lead to the right path. It offers SSL Duality recording consoles moreover the professional team of the studio is efficient in using all types of musical equipment.

2. Mixing

For sound mixing the studio provides Miller & Kreisel speakers and subwoofers, Klein & Hummel speakers and the classic Yamaha NS-10s for a reference, no doubt The Chapel Studios offers a fantastic mixing space.

3. Recording

At The Chapel Studios, a perfectly quiet control area and live space are easily available for a peaceful recording experience. Also, the state of the art Solid State Logic Duality console and the fantastic selection of microphones, including Neumann, AKG, Coles, B&K as well as SSL Super Analogue pre amps, Neve 4081, 1073 and API 3124 are a bonus to world class recording experience.

4. Voice-over

It uses some of the best voice-over techniques to achieve a full, rich and appropriate vocal sound. For an outstanding voice over it offers an experienced voiceover team, State of the art equipment, voiceover LCD/Plasma screens, the phone-patch facility for remote listening & instruction and lots more.

5. Mastering

For sound mastering, it uses the highest quality analogue and digital equipment. For stereo mastering and mastering for I-Tunes also, The Chapel Studios is best.

6. Video Production

It provides highest-quality cameras and lenses so that every moment could be captured with immaculate detail. Ranging from simple music videos to a full-scale production, The Chapel Studios is best for any type of video production.

7. Surround Mixing

The Chapel Studios provides acoustically treated control rooms for a world class 5.1 surround mixing environment.

8. Location Recording

The Chapel Studios specialise in recording gigs, concerts, brass bands, orchestras, voice-overs, demo production and much more.

9. Post-Production

For the post production services in film or animation, corporate video, advertisement, new-media or multimedia project, The Chapel Studios is best.

10. Composition

The multitalented and professional team of Steven A Williams is best at making the best compositions as per the requirement of clients. They all are an expert in a range of musical styles and sound design effects.

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The Chapel Studios is a high-end recording studio in London which provides some auxiliary services as well, like arranging sessions with musicians, recording vouchers, vocal coachings and lots more.

For bookings or to know more about this famous music studio of London, Visit Here or please follow this link www.thechapelstudios.co.uk.

#Music Producer London #Pop Music Producer London #Recording studio London #Voice over studio London #Recording Studios London #Recording Studios UK

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