#fun stop-motion fx

[videoreligion]

Flesh Gordon Meets the Cosmic Cheerleaders (1990)

[chadepitanga]

Fun fact i spent the last six months editing videos, some of them in 4k, for a video studio. I'm also a visual arts bachelor, w/ a technical specialization in theater sfx and illumination. Thinking about this, I have realized I can hate more efficiently. I'm being a bad hater by complaining vaguely.

So here's a lenghthy techinal infodump of why I hate how a lot of newer shows from the global north are shot & edited (sponsored by autism)

1. Never resting the camera

Why is the camera always moving? Well, in the age of 200 thousand types of information per second, they need to fight for your attention, right? By making the camera always move, esp in scenes like a dinner where the characters are mostly quiet, they trigger that part of our monkey brain that sees movement and pays attention to it. Sounds logical? If you're shooting a commercial, maybe.

The camera is a key part of visual storytelling, the camera is the POV- seems obvious, but that means that it needs to be coherent with the narrative. They're feeling, or actively being, watched? Camera from a distance, framing them through a hole, ruins, books, or whatever would be in front of a hiding spot for a creep, slight motion since the POV here could be a living thing and our necks arent 100% stiff; They're on a boat? The camera sways, like you're also at sea; Earthquake? The camera shakes considerably; Ship being hit/crash? The camera moves, shakes and/or tilts, taking in consideration the momentum of said crash. I could keep going.

So, what does it tell us when the camera is always doing that "drone over city" slooow panorama across the room, as a replacement for a still framing of the characters? It tells us that this is not a scene where people are "at rest". And it can be used like that in a good way- anime does this a lot, successfully.

When I say "at rest", I don't mean how the characters feel, I mean how the audience feels. If we are seeing a man in his own house, doing his usual routine, even if his mind is in a million places, we can't always be getting the panoramic view. We need him framed still, at least enough time of it so we know that this is a "rest" moment. Later, in contrast to this, "action" moments will hit better.

Something that goes "still camera > a swaying camera > a shaking camera > still cam > panoramic view > shaking cam > swaying cam > still cam"? That's a narrative. And I didnt yet add actors' performances to it, or even a story.

So yeah. Let us take a breath. It's not a fight against the attention span, the challenge is to convince people that it's better to watch a still frame of your character looking into the distance with little to no movement, than to do anything else. Move the camera when it needs to move, rest it when it needs to rest, and you're one step closer to that.

2. Relying too much on after-shooting corrections

This one is split into three categories so I can better flesh out why it's bad

2.1 CGI over props/makeup

Notorious complaint for sci-fi/fantasy/horror fans is how the CGI looks soulless, or just plain stupid. Visual fx makeup artists are unionized, the underpaid guy doing the CGI animations isn't. Also, it costs a lot less than physically making your props/sets. As long as you can keep quality and appeal for less money spent, there is nothing wrong with this. But they won't stop there. They do sacrifice quality to cut costs. And the end result is just what you would expect: it looks uncanny and artificial.

2.2 Luts

A lut is like a little pre-set of light edition you do when editing high-def videos. A lot of high definition cameras will record with less saturation and contrast in order to get small details that would be missed otherwise; the edition team will flesh out those colors, and save the scene's lut in order to re-apply it when necessary. This in and on itself is not a problem, the problem is when they reutilize luts without thinking if that color set really works for this shot, or even for the show's story and desired tone. This results in that washed out/sanitized look, or in a gritty, instagram filter from 2015 look - dark bits too dark or not dark enough, colorful bits inconsistent with the scene's emotional tone, too much or too little saturation, etc etc.

Part of the reason you can't see shit in dark scenes is that it was not properly edited, another part is because it was not shot thinking it should be visible at all before someone edits it.

2.3 Chroma keys (aka the infamous green screen)

Illumination suffers, suspension of disbelief suffers, the actors' performances suffer. Like everything here, this is a misused resource, not a demon to be burnt. But a chroma key needs to be veeeery carefully used, when all other options are either not possible phisically, or don't feel more adequate from a composition POV.

When chroma keying, you need to have in mind that the illumination of what you're relaying to it will not be the same as the set's, for a start. You also need to think of proportion, and of how you will blend the set lighting into it when editing. Adding one thousand filters/luts and making the whole thing seem artificial is one way to go about it. Disney m4rv3l is a big fan of this one.

3. "Tell, don't show", or neither.

When the dialogue is not nearly enough spaced out for the audience to process both the visuals, and what's being said, they need to chew it real tiny and spit it into your mouth. No time for nuance if you want your show to be binge-watched the night it was released. This doesnt mean everything will be literally verbalized, but scenes that could be subtle, i.e. a character picking up a hand gesture from another, will not be shown in a wider frame of the character, but directly focused on (with a shaky/swaying camera, more often than not....). Of course, these are choices. If it best fits to be real obvious about it as a pivotal point of narrative, do it. But is it, really?

Sometimes, it will also be literally said out loud, redundantly. A person who has just watched 10 hours straight of TV can't really be trusted to pick up on nuance, even if, when compared to a weekly release, they will have a fresher memory of what was said/done 8-9 hours ago.

So, gotta make sure everything is stated loud and clear. Or they think they gotta. I, personally, do not consider this to be a good creative choice.

Obviously, a lot of stuff is guilty of the opposite, sometimes at the same time: they don't care for consistency and will give you nothing substantial to tie in the story lines. No time for that, onto the next action-packed scene. Look at the sparks and lens flares and indistinguishable figures fighting in the dark as you squint. Here's a strong quote. Here's some more action. Here's some propaganda. We don't have to say anything about this because everyone gets the reference (nobody in the global south, or even another generation/demography, quickly gets or cares about the reference.)

4. Choosing to avoid bright colors, or always muting the pallette to look "mature".

There seems to be a huge fear of looking like your colors are too much, so they go for the "adults don't like colors" mindset. Cold, blue-ish tints on top of whites and greys and browns, or just that brown-ish filter most live actions from cartoons use to look "grown up". The problem is that this cold-ish, sanitized look, takes us to "this feels like a hospital, and with the amount of white walls and un-saturated costumes, it might as well be." - great for something like House MD, horrible for something like Star Trek, appalling for something like a coming-of-age, upbeat show. The brown-ish one is great for a lot of horror/psychological scenes, but never a good look for a whole thing.

Contrast is key- if everything feels the same all the time, it feels like nothing. If all scenes have a sad, anxious, "grown up zone no fun allowed" feel, your sad scenes don't hit like they should, and neither do the happy scenes. A show is a coming together of many takes and angles, and while having a signature look can be very good, having a generic, washed out look that everyone and their mothers are doing... is bad.

5. Light, shadow and color are too separated from the "shapes and lines" category when thinking of a composition.

I have talked about illumination a little up there, but now I'll talk about it a lot. Basically, when you do the lighting for a scene, "we can see them" is not the only end goal. The way we can see them matters, and what we can't see matters a lot too. How does the light hit this face? Which shapes does it create? Which mood? Where have I seen lights and shadows like this in real life? Do I go for the fantastical, dramatic etc, and leave realism aside for now, or is this a sober lighting moment? Why is it dark, where is it dark? Why is it light, where is it light?

It doesnt seem to matter. The goal seems to be "you can see this is a person" "you can see it's dark". It doesnt matter if the shadows on a character's face dont look appealing, or if they are unflattering to the actor, if it hits lipstick in a weird glossy way it shouldnt. Its a person doing something, you can get that? Good enough.

When thinking up a composition, you think of shapes and lines- where to put the actor so its balanced, which angle to frame from, where do the lines converge, where do they grow apart, what shapes does it make, what ratios does it make, which funitures to move around. But I can have a masterpiece of shapes and lines, if I shine bad lighting into it, I will have destroyed it- new shapes and lines are born from the edges, or the fades, where light meets dark. And the more I watch more recent shows, especially sci-fi/fantasy/thriller/superhero shows, the more I think at some point "shape/line" and "light/color/shadow" got divorced in this niche of US/US inspired TV, pairing up now only for the occasional exception. This is, also, another reason why you can't see shit in dark scenes- the shapes don't make sense, and to make it all worse, they are moving. Always moving.

Well, I have talked a lot. Idk if anyone will even read this. But if you do, ty for your time. Peace and long life <3

[kyunio]

"for you, i'm a whxxre"

cw ; lime, horny scaramouche character ; scaramouche/reader a/n ; i got inspired by the song "hands up"! if you know the lyrics to the song, you'll know ;)

You two enter the music blasting club. A club recently opened in the area. Rumours are spreading saying that there's something about the club which makes it so fun and exciting. You and Kuni decided to check it out together on a Saturday night, since you two have classes during the week.

Kuni suddenly takes your hands, and puts them up.

"Put your fuxking hands up when we walk into the club," he leans down and says to your ear. The way he says it, makes you excited. Your face turns pink, and soon you two are dancing to an area where there is some space to breath in.

"Tonight we won't be caring 'bout a single thing, sippin' drinks, smoking wax if you want.." Kuni winks. You two know that you're not allowed to, or you'll get kicked out of campus, but you two joke about that sort of stuff

"Ah.. I love all these 2012 hxes.. I love them so much, but bitxh I won't ever be yours.." He says, taking your waist, and bringing you closer to him. You decide to be bold, and place your arms around his neck, and kiss his lips.

His eyes widen, and he grins when you pull out of the kiss. He whispers into your ear,

"I'm gonna fx-k you up, fx-k good, so you'll ask me for more~" his voice sounds so horny, and you love it. He leans forward, and kisses you some more. His tongue enters your mouth, and he explores your mouth. He slurps your tongue as he backs out from the kiss.

"You're gonna dance with me, dance floor will forever be ours.." He says, knowing you'll listen to whatever he tells you to do. You two dance, all sorts of dances based on the music playing.

"You got everything you need... you give head, and I'll give you coke," he winks at you as he says this. You blush furiously at the head part, but chuckle.

"Which kind of coke? I prefer diet coke, you know.." You joke around.

Kuni stares at you for a bit as you two are dancing, and then he takes your hand. He walks out of the dance floor, with you following him.

When you two get to the more isolated area, he pins you to the wall, putting his knees between your thighs, and brings it slightly up, just so it's barely touching you.

"Do you want this? Because, I want to fx-k you up so badly.." He groans, his eyes motioning to his pants.

You look at his pants, and grins.

"Aw, look at you, you want me that badly?" Your hands trail from his neck, to his chest, and then right above his pants.

"And if I do?" He kisses you, his lips snaking down to your neck. He's about to give you a hickey, but you stop him.

"Kuni.. I have a class tomorrow.." You say, looking a little disappointed that you do.

"You can ditch it.." He says, his hand going to your chest.

"How else am I going to become a surgeon if I ditch a class?" You say, as he unclips your bra from under your shirt. It falls to the floor.

He chuckles, shaking his head. "Always talking about becoming a surgeon.. How about you talk about becoming mine for once?"

[edmturnmeon]

Pushing Kodak Vision3 500T Film - Shooting Handheld At Night

IvanYolo Here I go again with my second round of night film photography challenge by pushing Kodak Vision3 500T one-stop and shooting handheld at night. After the success of my first film photography at night, I decided to try something different giving more film speed by pushing Kodak Vision3 500T and using the diffusion filter.I was just wondering what my film photos will look like when pushing Kodak Vision3 500T, combined with one of my favourite FX filters for cinematic film look which is the Moment CineBloom diffusion filter. Previously I pushed the Ilford HP5 Plus 400 and got some excellent results, although it was grainy, it looks great. I can tell that when pushing the Kodak Vision3 500T, the film has high grain tolerance and still looks amazing.Most of the shots for this round are done with available artificial light and neon lights. Yes, I was hunting for neon lights while doing street photography in Kuala Lumpur at night. It was the weekend and the weather condition is good, compared to a few weeks ago it was raining almost every day. Whenever I wanted to go for a shoot, I always follow the photoshoot checklist so my shoot will go smooth.

Is It Fun To Do Night Photography on Film?

Contax G1 // Panggung KL, July 2022 Yes, I can say night photography on the film is fun because it is a big challenge at night to get sufficient light compared to daylight. This is where you get the idea of finding the brightest light at night. Low light photography on the film is not easy, as, with insufficient light, you will be using a low shutter speed and eventually if unlucky, you'll get shaky photos unless you use a tripod. But going for a photo walk, you want to go as light as possible. So a tripod is a no-go.I was photographing in Kuala Lumpur's major tourist areas, Chinatown and Kwai Chai Hong. After recovering from the epidemic, the nightlife in this city is somewhat lively. I had been 'camping' at the location for hours to acquire some photographs and had been circling the area on foot for approximately 4 hours.I was shooting wide aperture with the Contax G1 film camera with the Carl Zeiss Planar 45mm T* F2 lens, and I don't see any shaky images out of the 36 exposures although there were a few underexposed or ruined photos due to incorrect camera settings. I get out of the box, follow no photography rules and was shooting handheld without any tripod. But of course, if you want to get better and brighter photos with accurate exposure, it is recommended to shoot with a tripod because of the low shutter speed.https://www.youtube.com/watch?v=IJAx7wOVjcs

Pushing One Stop on Kodak Motion Picture Film

Contax G1 // Petaling Street, July 2022 Is it worth it by pushing Kodak Vision3 500T at night? For this test it was just a trial and error for me to find out what the photos will look like, after all, it is all up to our taste and mood. I love this series of photos I've captured at night. There is visible grain when zooming or cropping but still acceptable for me. It does look great when you share it on social media such as Instagram,  you won't be able to see the grain not noticeable on a smaller screen. I like the saturated colour when pushing Kodak Vision3 500T one stop underexposed. The film speed for Kodak Vision3 500T is 500 ISO so I set the film camera ISO to 1000 ISO and developed one stop at the film lab. In this series, none of my shots is blurry or shaky throughout the 36 exposures which I was quite happy about.On the Contax G1, I tried to use the exposure compensation to shoot 1/3 stop overexposure (compensate with a lower shutter speed) but I end up not knowing which photos that were shot overexposed. Next time I could try to note it down on my mobile phone.

Does It Work If I Use Diffusion Filter on Film Camera?

Contax G1 // Kwai Chai Hong, July 2022 Previously I didn't get good results shooting using a diffusion filter with the Yashica film camera but I was quite surprised and never expected it to look great on the Contax G1 film camera. It worked and I did get the cinematic highlight bloom and glowing on film stock this time. I was shooting with the CineBloom filter with 20% density. I know some photographers shoot on digital with a diffusion filter but I haven't seen anyone trying to use the filter on film stocks if I'm not mistaken.Feel free to give it a try when you're shooting film stock at night, you'll be surprised!

Contax G1 // Kwai Chai Hong, July 2022

Contax G1 // Kwai Chai Hong, July 2022

Contax G1 // Panggung KL, July 2022

Contax G1 // Da Bao Kuala Lumpur, July 2022

Contax G1 // Petaling Street, July 2022

Final Thoughts

What do you think? Pushing Kodak Vision3 500T or shooting at film speed at night looks better? Well, pushing film stock gives you more film speed but introduced more film grain and look saturated. I prefer shooting at film speed. I suggest when shooting film stock handheld at night to find the brightest area that is well lit with tungsten light or neon lights to avoid handshake or blurry photos.The best solution for night film photography- To shoot with a tripod, use a slower shutter speed and let more light into the lens - Suggested to shoot with a fresh film, non-expired roll - Hunt for the light source. Find well-lit areas with artificial lighting such as tungsten or neon lightsHere are some of the photos I took during my solo photo walk at night with the Contax G1 do check out the photo gallery for more shots. Happy shooting film and are you up for a night shoot challenge pushing Kodak Vision3 500T film? View Photo Gallery You Might Also Like Related Posts Read the full article

[agntofhydra]

Sawbones

summary: Red String of Fate Soulmate AU 

Soul mates have a red thread tied to each others pinkies that only one of them can see. 

You're the Resistance's head medic. You can see the red thread of fate that leads you to your soulmate. Poe doesn't believe in the soulmate / thread theory. You don't agree with his tactics, nor does he approve of yours. Leia and Holdo just really want a win. 

pairing: poe dameron x reader

rating: mature for later chapters

read me on ao3!

SAWBONES

ONE // TANGIBLE

You’d never given much thought to it, too many other obligations and priorities took precedence over where exactly that small, red thread tied around your pinky led. 

When you weren’t completely swamped, however, you’d like to see how far your eyes could follow the trail until it seemed to fade, yet still pulled taught by whomever was on the other end. You’d find yourself atop one of the many hills in D’Qar, wishing it was tangible, wishing you could actually pluck and feel the twang of the vibrations across the string. Maybe they could feel it too, wherever they were. They could be anywhere. The galaxy was infinite, and it was slim that people ever discovered their soulmate. Only one could see it, the other one blind until they had developed feelings for the other. 

A mechanical whir knocked you out from inside your head. A meddroid was standing to your left, waiting for you to take the chart from its grasp. 

“Sorry, FX-7,” you grabbed the stack of papers. 

“Engineer Jasti almost blew their left upper appendage off due to a malfunction in the blaster cannon of the x-wing they were working on,” FX-7 informed you. 

You blinked at the droid. Left arm, you thought. Just say left arm. 

“Bed 5,” the droid finished, walking away. 

Flipping through the pages, though you really didn’t have to because Jasti - along with several other engineers - frequented your medbay. You sighed as you pulled back the curtain. 

“Again?” 

Jasti shrugged. “Blame Dameron. He’s the one who puts these x-wings through hell.” 

You rolled your eyes, checking over the bandaging FX-7 had applied. Satisfied, you gave Jasti a bacta-shot just for good measure. She yelped and you threw the needle in the bin. 

“I’ve had words with General Organa. Is he scouting for First Order intel or is he just taking them out for the fun of it?” 

A snort came from the bed behind you, and you threw back the curtain. Laying in the bed with an arm over his eyes was Yolo Ziff, a pilot in Blue Squadron. Confused, you flipped through the pages in your hand, wondering why you hadn’t seen his name come up. 

“Snuck in here for a few seconds of peace, Doc,” he said, arm still over his eyes. “Dameron’s got us practicing escape maneuvers and barrel rolls until we run out of fuel. Even when I’m out of the seat I feel like I’m still piloting.” 

You audibly scoffed, handing him a small vial of blue liquid to quell his motion sickness. He took it gratefully as you dimmed the light above his bed. 

“The audacity this man has, to have his pilots coming to the med bay just to escape him.” you chewed the inside of your cheeks. “Doesn’t even check on them. I’ve never even met the guy.” 

“I’ve seen him maybe twice,” Jasti interrupted your rambling. “When he’s not in an x-wing, he’s in someone’s room. I think it’s Galen, that sweet holographer this week.” 

“That was the beginning of this week,” Ziff laughed. “She tried to soulmate trick him the other day. He got so pissed he took off into the hills with BB-8 and came back this morning.” 

“Soulmate trick?” You asked. 

“He can’t see the thread,” Ziff explained, arm now by his side and making eye contact with you. “Countless women have tried to convince him they can, and theirs leads to him. He doesn’t trust the concept anymore.”

“Can’t you see your thread, doc?” Jasti said quietly. 

You looked down at your right pinky, following the thread as it cut through the wall, leading to Maker knows where. The small action was an answer in itself and Ziff let out a low whistle. You don’t know how it got out amongst the Resistance base, and right now you wish you could slingshot whoever it came from into Dathomir.

“I’ve never met someone who could,” he said, now sitting up. “Can you just see yours or everyone else’s too?”

Uncomfortable with the topic, you had busied yourself with organizing the vials and beakers in the medicine cabinet between the two beds. 

“Just my own.” 

Both Ziff and Jasti seemed to deflate - just a little. 

“Do you know who yours is? Have you ever gotten close?” Jasti questioned. You locked the cabinet once you were finished and put both your hands in the pockets of your uniform. 

“It sort of disappears after a couple hundred meters…” you shrugged. “I’ve tried to see how long it goes for, but I think I’d need to be in somewhat close proximity to figure it out.”

“How close do you think?” 

“Same planet as least,” you reasoned. “Sometimes, I feel a vibration, a pluck from the string that makes me feel like whoever it is is near. I don’t investigate, though.” 

“Why not?” both Jasti and Ziff said in unison. 

“I’ve got my hands full with injured engineers and runaway pilots,” You replied, grabbing Ziff’s empty vial and tucking Jasti’s chart into the designated spot on the wall above her bed.

 “Get some rest. Both of you.” 

 ✗ ✗ ✗

 Vice Admiral Holdo regarded you with a small smile. Even through the hologram, she put you at ease. 

“I’m at about 35% of max occupancy,” you updated her, reading off your list you’d created only an hour ago with the help of FX-7. “Minor scrapes and injuries, nothing bacta and my steady hands can’t handle.” The corners of your mouth pulled upwards. 

“Thank you for being our most consistent asset, Doctor. Your work is truly invaluable.” 

“One thing, Vice Admiral,” you caught her before she signed off. “I have concerns about the quality of our x-wings and those piloting them. Do these constant missions hold any worth?” You almost winced at your bluntness. Of course, Organa, Ackbar and Holdo herself wouldn’t let Dameron and his squadron joy ride whenever they pleased. Yet, from what you’d heard of Poe Dameron, it seemed as though he could truly get away with whatever he wanted. 

Her soft smile remained. “I’m glad you’ve brought this up,” she began. “We’ve recently come into some intelligence that calls for the creation of a true operation. I would like for you to be in attendance, inform the squadron of any risks and avoidances they should be attuned to.” 

“I will, gladly. When?” 

Upon your response, Leia Organa appeared over Holdo’s shoulder. 

“Whenever you get here. I advise you to walk fast,” Leia said with a wicked smile. 

Shaking your head, the hologram disappeared and you quickly buttoned your medical coat, making sure you didn’t have any mystery stains on yourself before beginning the trek through the underground hallway into the meeting room. 

You could hear the murmur of voices amongst the team, and as you entered, you were met with a rather small gathering. A few faces you hadn’t recognized, along with a few pilots, and of course Admirals Ackbar, Organa and Holdo gathered around the central table. Although you had never actually laid your eyes on him, you knew the man who also occupied the table was the one who had been the talk around D’Qar for months.

Poe Dameron was truly as striking as he was described. His gaze was locked on the planet slowly spinning in the middle of the table until the whoosh of the doors slid open, announcing your entrance. His palms pressed to the table’s edge, he straightened when he saw you, dark eyes making your stomach churn.  The room quieted as you took your place to the left of Holdo, across the table from Poe. 

“You must be the Doctor,” he smiled. His teeth seemed to illuminate the room and you hesitated for a second. A small, split second.

“You’d be correct. And you are…” you trailed off, feigning ignorance. You knew that a man like Poe Dameron was never not known, and you thought he could be knocked down a peg or seven. 

“Poe Dameron,” his hands folded behind his back. “Black Squadron Leader. We haven’t had the pleasure,” he lifted an eyebrow. “Yet.”

“No, we haven’t,” you responded, disregarding his innuendo. “I have, however, met several of your pilots. I wish the circumstances weren’t in the environment of my medbay.” 

Poe furrowed his brow at that, and you stopped yourself from widening his eyes from the realization that he wasn’t aware of his pilots basically hiding from him by coming to her med bay, feigning illness or just needing a quiet place to rest. This either meant that Poe was completely oblivious to the fact that he was working his pilots too hard, or didn’t care and wasn’t too happy with the fact that they’d sought you out before or after flights. 

Some leader, you quipped in your head. 

“I’m glad you could join us on such short notice,” General Organa said with a knowing smile. You nodded politely and Ackbar increased the size of the holograms of information on the table so it was visible to the rest of the room. 

“Our flight squadrons have recovered intel on a possible smuggling ship floating within the orbit of Kessel,” Leia nodded her head towards the planet, the cynosure of the table. “It’s been in our knowledge for a while, and we’d received no information that it didn’t simply belong to a spice smuggler.” 

“Until now,” Poe chimed in. “It’s been stationary, in the orbit of Kessel for too long not to be something, our intel suggests it’s a storage unit or pit stop for the First Order.”

“How do we know it holds something valuable, of interest?” a technician asked. 

“Red squadron and I flew by it last week. No need for there to be sleeping TIE fighters guarding it. I’m assuming the TIE fighters were manned, but off so they didn’t show up on our radars.” 

The technician nodded. 

“So, we aren’t gonna try our hand at the Kessel run?” one pilot muttered to another behind her and she pursed her lips, trying not to let out a chuckle. Especially in Leia’s presence. In all actuality, she’d probably laugh too. 

“What’s your plan?” you asked, eyes locking with Poe’s. You fought to keep the air in your lungs. 

“I take Red and Blue Squadron, and we find out what’s on that ship.”

That wasn’t enough for you. “You take your best pilots, blasters hot - and if it backfires? If you’re met with First Order reinforcements, a Star Destroyer?” Poe narrowed his eyes at you, but you weren’t going to stand across the table and let him flip a coin with lives. You continued.

“What if the ship is just spice?”

Poe clenches his jaw, rolling back his shoulders and you definitely don’t focus on the thick muscle peeking out from his unbuttoned flight suit, veins traveling up from his clavicle to his mandible. You wonder where he’s sensitive - the curve of his neck? His carotid? Maybe it was right under the curve of his mandible. Your mind berated you shortly after your thoughts dissipated for asking. 

“If it’s not? If we uncover invaluable information that could give us the upper hand on those bastards?” 

Carotid, you decide. 

“It seems too hasty,” you defend. “No extraction plan, no real strategy. I’ve heard plenty about you, Dameron. I know you’re good, but are you so good that you can protect all your pilots if it goes sideways? Are you able to abandon the mission without finding out what the ship holds?” 

It’s surprising that Ackbar, Organa and Holdo would let you two bicker this out. However, Holdo and Organa did ask for your presence and your insight, so they couldn’t really object to your extremely plausible concerns. 

“Would you like to hop in a ship and come with? Oversee the operation yourself, Doctor?” Poe said slowly. The edge he gave to your title made your blood burn. Never had someone ever used your title as an insult, made it sound like a slur. It was something you sacrificed everything for. More than he could ever know. 

“I’m sure you’re more than capable of overseeing an operation, Commander.” Two could definitely play this game. “But this isn’t an operation, this is you crossing your fingers and hoping your intel is reliable.” 

“I’d have to agree,” Holdo nodded. Ackbar threw his hands up in exasperation. 

“How are we supposed to gain anything by risking nothing?” He turned to you. Poe smirked at his words. You suppressed yourself from opening glaring at your superior and instead turned your direction back to Poe. 

“You risk these lives, you’re in charge of contacting the families of the fallen. You deal with the fact that it was all your call, despite the glaring fact that you need more information.” You bit the inside of your cheek - hard. It didn’t matter how good Poe Dameron was. The information and operation was too risky, too murky and grey when, for everything at stake, it should be a little more clean cut. 

“These pilots know what they’re risking every time they get in an x-wing. It’s why they joined. Do tell me Doctor, why exactly did you join?”

The tension in the air was so thick, you and Poe were mere centimeters from each other's throats. If he was close enough and you had a scalpel, you no doubt would slash at his. Leia minimized the holograms and cleared her throat. 

“We need to find out what’s on that ship, but I have to agree that we do need more reliable intel. Do some more scouting, more recon, and we’ll reconvene when there’s more to go off of.” She then turned the table off and it seemed that the meeting was over. Poe still held your gaze, his eyes never leaving yours as you sighed. 

“I can’t fix them out there,” you softened. “I can’t help. Understand that.” 

“Then you picked the wrong role,” Poe responded, crossing the table and coming towards you. “If we lose that ship and it turns out to be valuable, all because you want more information, that’s your call.”  

“As much as you may hate it, my judgement was asked for. I won’t apologize for having a conflicting opinion.” 

You swear his gaze flickered somewhere below your eyes before darting back, too quick to realize where exactly he had looked. He swallowed. 

“Neither will I. Pleasure to finally meet you,” he nodded curtly.  

A sharp twang vibrated your smallest finger on your right hand, the thread tied there felt like it was physically being pulled forwards from its resting place at your side. Now, the thread felt tangible. You could feel the cut into your skin, the pressure from the pull. You looked down, following the thread not even a meter away to see it end in a perfect loop tied to the pinky of Poe. 

He wrinkled his forehead as you looked up at him, face flushed pale and blood rushing and pumping so hard it was all you could hear. The room suddenly felt so loud and so small. It felt like you were trapped under Kaminoan waves, fighting for breath, fighting to surface but you were paralyzed. Poe voiced your name in concern and you barely registered it. Swallowing hard, your gaze flickered back down to his left hand that was now reaching up to grip your shoulder. You stepped back before he could make contact. 

“I will see you around, Commander.” 

And with that, you fled the room, all but sprinting to your medbay, your sanctuary, your haven.  You emptied the contents of your stomach in the refresher.

[discotreque]

LwD 1.10, “No Small Parts”

Well, that was the most fun I've had watching Star Trek in literally a quarter of a century.

I had high hopes for this series. I love TAS, largely because of its wacky outsized concepts that could only have worked in animation—not that they all did work, but the potential was so apparent to me, even as a kid reading the Alan Dean Foster novelizations—and as an adult, there's something about the imagination of Lower Decks's FX setpieces that transcends even the glorious CGI bonanzas of Discovery.

Pause for a confession. I've long pushed back against criticism of serialization in new Trek. That's just how TV is now, okay? Might as well complain about it being in widescreen. But I'm backing down a little, because I've realized there is something about Star Trek that's inextricable from at least a partially-episodic format. And while Picard was telling a different kind of story, I can't deny that my favourite episodes of Disco have been the ones with a mostly self-contained A-plot. After 10 delightfully episodic instalments of LwD, its focus on long-term development of characters instead of a season-spanning puzzle-plot (okay, mostly just Mariner, but we only have 10 × 22 minutes and she is the star) has been downright refreshing.

So here we are, at the end of the most consistent and well-executed Season 1 of a Star Trek series since, arguably, Those Old Scientists. And sure, if they'd had to produce another... yikes, 42 episodes? Then sure, they probably would have dropped a clunker or two—but they didn't, and winning on a technicality is still winning. I'm practically vibrating with excitement for Disco to come back next week, but damn, I'm going to miss this little show while it's on hiatus.

Spoilers below:

Something I've been keeping track of finally paid off this week! (Which never happens to me, lol.) The destruction of the USS Solvang marked the first present-day death(s) of any Starfleet officer on Lower Decks, the only other on-screen killing at all being a flashback in "Cupid's Errant Arrow". Which makes sense, being (a) a comedy, and (b) about typically "expendable" characters: it hasn't been afraid to flirt with a little darkness here and there, but killing people off at Star Trek's usual pace wouldn't just be wrong for the tone, it would be downright bizarre.

But... people die on Star Trek. That's one of the core themes of the show, really: space is full of knowledge and beauty, but also danger and terror, and believing that the former is worth the risk of the latter is (according to Trek) one of humanity's most noble traits. I'm the least bloodthirsty TV watcher I know, but the longer we went with a body count of nil—ships completely evacuated before they were destroyed, main characters hilariously maimed without permanent consequences, etc.—well, I didn't mind per se, but the absence of truly deadly stakes was definitely getting conspicuous.

Turns out they were saving it up for maximum impact. And holy fuck, I've never felt such a pit in my stomach watching a ship get destroyed that wasn't named Enterprise. It felt grim and brutal and somehow both much too quick and dreadfully inevitable—and yeah, it looked extremely fucking cool—and I'd like every other Star Trek property for the rest of time to take notes under a large bold heading labeled RESTRAINT.

Comedy doesn't need to do this, but my favourite comedy does, and in a way that few other art forms can even approach: lower my emotional defences by making me laugh, endear character(s) to me with goofy-but-relatable antics—then BAM, sucker-punch me in the motherfucking feels. M*A*S*H is probably the classic example on TV, Futurama was notorious for it, and even Archer has pulled it off a few times; it's also a staple of some of my favourite standup. I wasn't sure if Lower Decks was going to go there in Season 1—and wasn't sure if they'd earn it—but I knew if they did, that they'd nail it, and damn. Feels good to be right.

Last batch of notes for the season!!! I rambled enough already, so let's do it liveblog-style:

I fucking KNEW they were going to use "archive" visuals from TAS at some point, I KNEW IT :D

"THOSE OLD SCIENTISTS" ahahahahahahahahahahahaha

I like chill and confident Boimler a lot? You can really see—

oh bRADWARD NOOOOO

That opening shot of the Solvang tracking down to the red giant was extremely Discovery-esque... minus the motion sickness, that is

A lady captain AND a lady first officer? That's—oh hey, it's Captain Dayton's brand-new ship. Hahaha, that means they're totally fucked, right?.

Yep! They sure a—umm, wh—shit, okay, but—oh no—no, you can't—wait DON'T

...fuck

FUCK.

Narrator: "And then Amy needed a five-hour break."

[live-action Star Trek showrunner voice] "Gee, Mike! Why does CBS let you have two cold opens?"

Okay, yes, the bit with Rutherford cycling through all the different attitudes in his implant was transparently an excuse for Eugene Cardero to vamp while waiting for something to do in the story, but as far as I'm concerned they can contrive a reason for him to do a bunch of different silly Rutherfords in a row any time they damn well want, because that was classic!!!

EXOCOMP EXOCOMP EXOCOMP EXOCOMP

AND THE EXOCOMP IS PAINTED LIKE THE EXOCOMP IS WEARING A LITTLE EXOCOMP-SIZED STARFLEET UNIFORM

EXOCOMP!!!!!

The slow burn and now the payoff of the Mariner-is-Freeman's-secret-daughter plot has been executed so well. I'm beyond impressed with this writer's room, y'all—they are threading a hell of a needle here

"Wolf 359 was an inside job" would have been a spit-take if I'd had anything in my mouth

...how many memos do you think Starfleet Command has had to issue asking people to stop calling the USS Sacramento "the Sac"?

CAN WE TALK ABOUT HOW THEY'VE DECORATED THE SHUTTLECRAFT SEQUOIA THOUGH

Is, uh, is it weird if I'm starting to ship Tendi and Peanut Hamper a little? It is weird, isn't it. I knew it was weird...

Coital barbs??? I take back everything I said about wanting to know more about Shaxs/T'Ana.

The "good officer" version of Mariner is... kind of hot, tbh! But Tawny Newsome has done such a great job of building this character all season that her voice getting uncharacteristically clipped and martial and "sir! yes, sir!" is also deeply, deeply weird

Ah, so this is literally exactly like when TNG (and DS9) would bring in, and then blow up, a never-before-seen Galaxy-class ship, just to underscore that we're facing a real threat this week, baby. And hey, it fucking worked—my heart was in my throat, omg, for the reveal of the—

PAKLEDS?????????

The fucking PAKLEDS have been gluing weapons to their ships for the last 15 years. GREAT.

(We interrupt the SHIP BEING SLICED INTO SCRAP for an interesting bit of world-building: on Earth, the traditional First Contact Day meal is salmon!)

"I need a dangerous, half-baked solution that breaks Starfleet codes and totally pisses me off! That's an order." I'm starting to think Captain Freeman might actually be overqualified for the Cerritos, y'all—she's REALLY awesome

OH SHIT IT'S BADGEY, this is a TERRIBLE IDEA

"How much contraband have you hidden on my ship?" "I don't know! A lot!"

Awwww, Boims!!!

AHAHAHAHAHAHA, FUCK THIS, PEANUT HAMPER OUT

BADGEY NOOOOO

AUGHHHHH WHAT THE CHRIST DID HE JUST—BUT—RUTHERFORD'S IMPLANT????

RUTHERFORD!!!!!!!!!!

SHAXS!!!!!!

F U C K ! ! ! ! !

ahaIOPugdfhagntpgjrq90e5mgu90qe5;oigoqgw4ouegrw5SP;IAEHURVa IT’S THE TITAN???????????

IT'S CAPTAIN WILLIAM T. RIKER ON THE MOTHERFUCKING TITAN??????????

i'm screaming I'M SCREAMINGGGGGG​TGGGTGQER;​LBHAOIBVNV;​OAPBIJNVagr;h;​oagruipuwtnaetbaetgq35ghqet

I'M SO GLAD THIS WASN'T SPOILED FOR ME WTF

I AM WEEPING LIKE A CHILD

...

(Just a brief 20-minute pause this time)

And oh wow, seeing Will and Deanna hits different after Picard too, in a few different ways, which I may even get into later now that my heartrate is back to normal, lmao

Oh, I am always here for some jokes at the expense of the Sovereign class. The Enterprise-E sucked. They should have built a new bigger model of the D and new Galaxy-class interiors for the TNG movies, and I will die on that hill

OKAY, FINE, YOU GOT ME, RUTHERFORD × TENDI WOULD BE ADORABLE AND THIS IS ACTUALLY A PRETTY GOOD SETUP FOR IT

Awwww, Shaxs though :( Congrats on the single most badass death in Star Trek history, dude. The Prophets would—well, the actual Prophets would probably be slightly confused about most of it, but Kira Nerys would be proud of you and I feel like that probably counts for more. RIP, Papa Bear

I am here all damn DAY for the Mariner–Riker parallels, ahahahahaha

Pausing it to record my prediction that Boimler's commitment to not caring about rank anymore is going to last 3... 2...

Yep.

Bradward, how DARE YOU.

"Those guys had a long road, getting from there to here." OH FOR THE LOVE OF—

What a brilliant way to resolve and renew the various character arcs and relationships moving into Season 2! The writers could easily have brought everything back to status quo—chaotic Mariner fighting with her mom and being a bad influence on Boimler, etc.—and done another 10 just like these, but I suspect that wouldn't have been ambitious enough for these writers. What a blast. I cannot wait for more.

Thanks for following along, friends! Stay tuned for my (similarly patchy and amateur) coverage of Discovery, starting next week!

[d-criss-news]

Ryan Murphy’s (Kinda) True ‘Hollywood’ Story: 1940s Meets Gay Stars, Interracial Romance and (Gasp!) a Female Studio Chief

The prolific TV creator and Netflix unveil a revisionist take on the golden age of movies, showing how much (and how little) has shifted in entertainment and beyond: “'Hollywood’ can change the world.”

On an abnormally cold January evening, on the steps of Los Angeles’ Shrine Auditorium, history was being rewritten.

Two actors, one playing Rock Hudson, the other Hudson’s African American screenwriter boyfriend, Archie, were tucked inside a teal blue Packard Club Sedan, awaiting their cue. Outside, it was Oscar night, 1948, and despite warnings of grave backlash, the pair was prepared to step out as a couple for the first time.

Archie exited first, his eyes wide with trepidation, then Rock. In matching white tuxedos, they grabbed for each other’s hands and shuffled nervously down the red carpet.

The press box erupted in hisses, then boos.

“Are we doing the right thing?” Archie whispered.

“Absolutely we are,” Rock replied.

The two exchanged smiles, exhaled and made their way into the theater. Then they stopped and did it again. And again.

Ryan Murphy, the scene’s chief architect, was a few miles east, buried in one of his dozen other projects, but his fingerprints could be detected everywhere. The reimagining — part of his new Netflix anthology series, Hollywood — offers a world in which Hudson (played by Jake Picking) walked openly as a gay man, as opposed to the real-life heartthrob who remained closeted until his death from AIDS in the mid-1980s. Elsewhere in Murphy’s revision of history, an African American actress, played by Laura Harrier, is cast as the star of a major studio picture, written by Hudson’s black boyfriend (Jeremy Pope), helmed by a half-Asian director (Darren Criss) and greenlit by a female studio chief (Patti LuPone) and her gay head of production (Joe Mantello).

If Pose was Murphy’s effort to champion the marginalized, Hollywood’s his shot at imagining such marginalization was undone decades ago. The series, his first without his longtime collaborators at 20th Century Fox Television, drops in its entirety May 1, with a sprawling ensemble of real and fictional characters. It was supposed to feel timely, its period backdrop a reminder of how much and how little has changed in 70-plus years; now, landing in a world grappling with a global pandemic, its 1940s setting could be the escape so many are seeking.

“I’ve always been interested in this kind of buried history, and I wanted to create a universe where these icons got the endings that they deserved,” says Murphy, 55, who’s been waiting out the virus at his home in Los Angeles, with his husband and two young sons, who now require homeschooling. “It’s this beautiful fantasy, and in these times, it could be a sort of balm in some way.”

The Netflix executives who shelled out roughly $300 million for Murphy’s services in 2018 can only hope so. Already, they’ve had to cancel influencer screenings, scrap subway ads and punt on potential plans for a premiere benefit for the now hard-hit Motion Picture Television Fund, which houses several stars of the era in its L.A. retirement facility. As for the show itself, it’s certainly not the broad-sweeping, four-quadrant fare that Netflix is widely thought to prefer. The pilot episode alone features six sex scenes — a mix of gay and straight — and nearly all involve some sort of financial transaction. By episode three, which the show’s writers have nicknamed “night of a thousand dicks,” the characters have found their way to one of director George Cukor’s infamous pool parties.

Still, Netflix head of originals Cindy Holland says that Hollywood is exactly the kind of elevated, inclusive and ultimately hopeful programming that the company wants from Murphy, and the seven-episode limited series was fast-tracked as a result. “What I love,” she says, “is that Ryan is creating a world that he wants to will into existence.”

***

Murphy’s first inkling for Hollywood came over a celebratory dinner with Criss following their fruitful awards run for the Versace installment of American Crime Story. With rosé flowing, the two began discussing a next possible collaboration. Murphy wanted to do something young and hopeful; Criss proposed 1940s Hollywood. The 33-year-old actor had been fascinated by the lore surrounding characters like Scotty Bowers, the L.A. hustler who operated out of a gas station on Hollywood Boulevard, along with golden age stars like Spencer Tracy and Katharine Hepburn, and he was eager to explore the era with Murphy.

“There’s a blinking red light on it that says, ‘Ryan Murphy, Ryan Murphy,’ ” says Criss, “because it’s sexy, it’s fun, it’s glamorous, it’s dangerous and it has resonance now.”

Murphy didn’t disagree. As a student of Hollywood history, he’d already gone down the road with his FX series Feud, which centered its first season on Joan Crawford and Bette Davis. This would simply allow him to dig deeper on figures who’d long captured his attention, from Anna May Wong, the first Chinese American movie star, who was effectively run out of Hollywood, to Hattie McDaniel, the first African American to win an Oscar and not be allowed to sit with her cast in the theater. “I’m always moved by these characters who weren’t fully seen or didn’t get their moment,” says Murphy in an interview on the Paramount lot earlier this year, where he was directing Meryl Streep in The Prom, another Netflix production. At one point, he’d even toyed with the idea of doing a Biography-style anthology series with an episode devoted to each.  

Not long after that dinner, Criss was at a bachelor party when his phone rang. It was Murphy. “He says, 'Do you mind if I just do my thing on this?’ ” says Criss. “And I’m like, 'You’re Ryan fucking Murphy. Do whatever you want!’ ”

So, Murphy picked a collaborator, Ian Brennan, with whom he’d worked on Glee, Scream Queens and The Politician, and the two began quietly tossing around ideas. With the help of a few researchers, they landed on a story that revolved around a Bowers-esque service station, with a staff full of actors and directors looking to be stars. “It was super fun and sexy and salacious,” says Brennan, “but it was also about the #MeToo underbelly of 1940s Hollywood, which felt very, very contemporary.”

The men found it exhilarating to depict sex so explicitly and in every possible combination. “To be able to describe exactly what is happening is really, really cool,” says Brennan. And despite the appetite for such racy content varying dramatically around the globe, Netflix brass was passionate about its inclusion — a marked difference from his and Murphy’s experience on previous shows, where they fought tooth and nail over the mere mention of sexual terms. “I hope this isn’t speaking out of school,” he adds, “but the one thing [Netflix’s vp original series] Brian Wright said to me, was, like, 'Thumbs-up on the sex. If anything, dial that up.’”

From the Pose writers room, producer Janet Mock would see Murphy and Brennan huddled in a nearby room and wonder what the latest “secret Ryan Murphy project” was all about. At one point, Mock found herself pumping intel out of a writers’ assistant, who told her, “It’s a thing called Hollywood, it’s about this gas station.” Having seen the 2017 documentary Scotty and the Secret History of Hollywood, she figured, “OK, there’s no place for me in that. I’ll continue with Pose.”

But that would soon change, beginning with an eye-opening discussion in the writers room about which of the ensemble’s contract players would be picked to star in the film at the center of Hollywood. The role was that of real-life actress Peg Entwistle, a blonde Brit who jumped to her death from the famed Hollywood sign. “At first, we were like, “Well, it can’t be the black girl [Harrier’s Camille], they wouldn’t have done it. …’ And then it was like, 'Well, wait a second, what if it actually was? What if Peg becomes Meg,’ ” says Brennan. One what-if led to another and then another, and before long they’d decided to go back in and start revising history — this time, with Mock as a credited writer.

Now, rather than use the series to, say, showcase the powerlessness of a studio head’s aging housewife, in this case LuPone’s Avis, they tweaked the story so that suddenly it explores what would happen if Avis gained control of her husband’s studio. It was the same for several others, including Rock Hudson, says Murphy’s co-creator. Instead of telling the tragic tale of a person forced to hide, they allowed themselves to explore what would happen if he refused to do so. “Once we began asking, 'What if?’ it became a different show,” says Brennan, with Mantello adding: “It became a fable of what could have been.”

With Netflix execs eager to get the series up on the service, Murphy began loading the cast with his usual mix of familiar names — from Jim Parsons, as Hudson’s real-life closeted agent Henry Wilson, to Rob Reiner, as the head of the fictional Ace Studios — and newer discoveries, like Samara Weaving (Ready or Not) as Reiner’s daughter, or Picking as Hudson and Pope as his fictional boyfriend. As with other recent ensembles, he listed all of them not in order of importance or seniority but rather alphabetically on the call sheet. The message was clear: “The star of the show is the show,” says Murphy. Still, initial hires Criss and David Corenswet, who’d made his debut on The Politician, were given executive producer credits, along with backend points on the series. (There’s already talk of a season two, which would pick up in the late 1960s, with many of the same actors in entirely new roles.)

At some point in the production process, Murphy found himself scaling back the graphic nature of the series, too — a byproduct of his own personal recalibration, he says, having spent so much of his pre-Netflix life fighting to show so much as a woman’s nipple. “When you’re finally free, you have this tendency to go full tilt boogie, but ultimately I became much more interested in the emotion of the characters, and, frankly, I became protective of them,” he explains, suggesting every episode had an X-rated version, an R-rated version and a PG version, and, to the delight of participants like Corenswet, who plays an actor-cum-sex worker, Murphy would almost always select the R one.

“I think Ryan realized as we were shooting that the best part of the sex was the romance — and that’s always great to hear as an actor, especially when it applies to your five-page sex scene with Patti LuPone,” says the 26-year-old Corenswet. LuPone, for her part, was just thrilled she was still asked to do a sex scene at age 71. “Finally!” she bellows, praising Murphy for having both the vision and the courage to take the risks he does: “Ryan’s fearless,” says the Tony winner, who also popped up in Pose, “and I’m so happy to be in his world." 

***

Long before Murphy was a household name, with a big fat Netflix deal to ostensibly take all the risks he wants, he was a frustrated former journalist fighting to change a system that wasn’t built for him. His own secret had been revealed at just 15, when his mother found a drawer full of love letters from his then-22-year-old boyfriend at their home in Indiana. Horrified, she and Murphy’s father threw their son into counseling, hoping he could be "fixed.”

A decade or two later, after his first career as an entertainment writer, Murphy carved out a place for himself in television, where he could exist comfortably as a gay man — so long as he didn’t try to write anyone like himself into scripts. “There were lots of words that they’d use to discriminate against you,” he says, “too flamboyant, too camp, too theatrical, and they were all code.”

By the mid-1990s, he’d joined forces with 10 or so other out or soon-to-be-out creatives, a group that included Nina Jacobson, Greg Berlanti and A Beautiful Mind’s Bruce Cohen. Giving themselves the name “Out There,” they’d meet in courtyards and living rooms to swap horror stories and try to plot a path forward. “We were young and didn’t have much money, but we had a lot of energy and a need to connect with and support each other as gay people working in a straight environment,” says Jacobson, who’d later collaborate with Murphy on American Crime Story and Pose. “And for a lot of us, it was, for the first time, that feeling of community.”

In time, Murphy, like the others, found a way to “monetize [his] pain.” His first creation, Popular, debuted in 1999, and other opportunities followed. Popular begat Nip/Tuck, Nip/Tuck begat Glee, and before he knew it, Murphy had moved from TV’s fringes to its red-hot center. As The New Yorker once wrote, “He changed; the industry changed; he changed the industry.” In early 2018, he signaled that power by signing a nine-figure deal, among the most lucrative in the medium’s history.

So it is perhaps fitting that Murphy’s first project wholly for and from the service includes a scene that trumpets what he calls “the thesis statement” of his career. It begins with Criss’ character, Raymond, being regaled by the story of Anna May Wong’s awe-inspiring screen test for the lead role in the 1937 adaptation of The Good Earth, a part that ultimately went to a far less deserving Caucasian actress. Suggesting it was one of the saddest stories Raymond had ever heard, a film executive played by Mantello responds:

“What’s so sad about it? The picture was a hit. [They] were right. You can’t open a picture with a Chinese lead or a colored one, a number of theaters won’t run it.”

Raymond: “But you said she deserved the part?”

Exec: “Yes, but the hard fact is, had she gotten it, the picture is not a hit.”

Raymond: “How do you know that? You never made the movie, so how do you know it’s not a hit?”

Criss’ character continues with a monologue that is so perfectly Murphy you can almost close your eyes and picture him saying it.  

“Sometimes I think folks in this town don’t really understand the power they have. Movies don’t just show us how the world is, they show us how the world can be. If we change the way that movies are made — you take a chance and you make a different kind of story, I think you can change the world.”

Criss himself would argue that Murphy already has. “His dial is always in extremes. So, if he’s doing Glee or Scream Queens or this, it’s at an 11, almost as a middle finger to reality,” says the actor. “It’s like he turned the dial over to say, 'This is how I’d like to see the world in my wildest dreams. Ain’t it fun?’ ”

In the past two years, since he moved his creative hub from 20th Century Fox TV, where he still maintains a considerable roster, Murphy been responsible for producing roughly 200 LGBTQ characters, many featured as leads. At least a third of his Hollywood cast is older than 70 (“Seventy is the new 40,” he teases), and nearly every project he launches is fronted by a woman — and that’s just in front of the camera. “If you see it, you can be it,” Murphy says often.

It’s a worldview that appeals to Netflix’s Holland, for whom he’s already prepped two films (Prom, The Boys in the Band), two docuseries (Circus of Books, Secret Love) and five seasons of inclusive television, including a Halston miniseries that, along with his 20th programs Pose, American Horror Story and American Crime Story, shut down care of COVID-19 in March. In the weeks since, when he isn’t toggling between Tiger King and MSNBC, Murphy’s kept busy writing two new decidedly hopeful series, each with the express purpose of providing viewers and himself an escape. “Ryan’s the rare creator who speaks to many audiences,” says Holland. “It’s not just gay people or straight people or older people or younger people, it’s really all people who are interested in the human condition.”

To date, Murphy claims he has yet to hear the word “no” from his Netflix bosses, though he’s definitely been nudged in certain directions. “They don’t want me to do small, niche things,” he says, acknowledging that not too long ago a project like Hollywood would have been deemed just that. “But they know how to market this,” he explains, noting that Netflix will push his latest series on viewers who also like love stories, young adult series and LGBTQ fare.

For those who worried the ultra-competitive producer would chafe in a system that doesn’t provide a public report card (aka ratings), he argues that that’s been liberating. Brennan backs him up, revealing how they received initial numbers for The Politician a week or two after it premiered late last summer and then another trove of data a month or so later; and though the latter could effectively game out how many people would watch the series over time, Brennan says, “We were sort of like, 'I don’t think that’s helpful.’ ”

Murphy takes it a step further, insisting he’s no longer interested in the old metrics, like how many people are watching or how many awards a series has generated. “All the things that people tell you will make you feel successful … I have those things, they don’t,” he says. What matters to him now is being able to tell stories that he wishes he or others could have seen. To that end, he can’t help but wonder what his own life would have been had he witnessed Rock Hudson walking the Oscars red carpet as an openly gay man — and though it’s too late to change his own experience, Murphy would like to be able to improve the experience of others. So, he took a chance and made a different kind of story. “Hollywood,” he says, “can change the world.”

[solarpunkvegan]

solarpunk vegan stim boards

Hey guys! So, I’ve just started doing research for creating my own stim boards where everything shown is sustainable. This means no plastic, nothing non-vegan, etc. I’ve sketched a few ideas, come up with some themes, and I’m looking into how to make these things in a sustainable way. Things like slime, floam, kinetic sand, water beads/orbeez, wax melts, and more. Some of these things might be impossible to do in a truly sustainable way, and if so, I won’t do them. If they’re not possible I’ll try to replicate some of them in a new way, so instead of slime or floam I’d put my hands in dirt/soil/sand/mud, instead of water beads, I’ll use glass balls in water, instead of melting wax I’ll film vegan butter melting. As an example, today I’ve researched some eco glitters and found one that uses zero plastic but also uses shellac and so I won’t use it. I’ve also learned that you can make glitter with salt and food coloring so I’m researching sustainable, natural food dyes.  Some examples of things I know I can (probably) do sustainably: time lapse of baked goods rising, cutting into pretty cakes, food in general, incense/candles burning, bath bombs, watercolors, paint w/ palette knives & painting in general, confetti made from using hole punches on leaves/flowers, dying fabric w/ natural dyes, crystals catching the sun, plants moving in the breeze, time lapse of plants growing/drying, moving water, latte art, wind chimes, bird watching, herbarium bottles, land art/earthworks, plant mandalas/danmalas w/ stop motion, calligraphy, making smoothies, bubble tea, public domain/stock footage of animals, close ups of brushing/styling hair, petting animals/close up of fur (sanctuary or pets), sustainable makeup being applied (maybe nail polish?), flowering teas, homemade soaps, sand castles, and more.  (All of these will be researched of course) Most of these things will be new to me and the plan would be to make an entire video out of each thing. For example, when I make a bathbomb from scratch following a tutorial I’ll film my attempt and results. Then footage from that video will be used in a future stim board. Each video will explain how something is and isn’t eco-friendly, so I’ll explore for example, how most bath bombs are made, what parts are good or bad and why and how to make your own that’s eco-friendly. The stim boards will have links to each thing used, so if a board contains a cake, a bathbomb, and an eyeshadow, I’ll link a video for each one, me making the cake, reviewing or making the eyeshadow, etc.  Unfortunately, some of these things will not be good my first (or 30th) try. I cannot for the life of me make latte art or calligraphy. But I can try! My failures will probably make for a funny blogpost but will not get a video or be in a board. I’m also new to gif making so I have a lot to learn. (My background is in video editing & photography). I would also like to make things like what you can see here in these amazing videos by Shanks FX: https://bit.ly/35F48Nm I’ve always wanted to do these regardless, and I think they fit into stim boards nicely.  My boards will include things that are sometimes called “living photos” which are essentially just looping gifs. I made a whole project surrounding these in college, the fun part is combining an actual still photo with moving video and blending them together. One example I’d love to do is the steam rising off a cup of a hot drink. The intent with these is to not have any obvious cuts, but seamless loops. I know a lot of these already exist, but I’m attempting to make 90% or more of these entirely on my own. Footage of animals or moving streams are something I can’t really film right now, or ever in some cases, but if I can do it myself I’d like to. As for themes, I’ll definitely take requests, but one theme I’m excited for is bees. I see a lot of bee stim boards which usually involved destroying beehives, they’re gorgeous but I would like to make some that celebrate bees without destroying their habitats & food. No honey will be used (though I could film a honey replacer like beefree dripping on one of those sticks you always see). I’d use public domain/stock footage of bees and beehives, and do other things that represent them, a cake, makeup, showcase the flowers that are good to plant for bees, etc. I’m open to themes around fictional characters, but I want to have some basic themes under my belt first like aquatic, forest, high tech solarpunk, cottagecore-like, art nouveau, tiny living, zero waste, etc. I’m also really interested in all things vintage so I might make one w/ a record player. At the risk of getting too ambitious, another idea I had was creating soundscapes for the boards, if the board is on tumblr it could include a music player and/or a link to a youtube video w/ the soundscape. The board itself could be its own youtube video that loops w/ the sound. Or if it’s on my blog it could have a music player w/ each board. I’ve taken some sound classes in college but I’m no expert, so this might be unrealistic. If you have any suggestions and/or critiques I’d love to hear them. All of this is subject to change as I’m just starting on research now. Actually making the content will take even longer as any ingredients I need might not be readily available right now and I’m going out as little as possible. Thanks! (:

[fisherandhunterblog]

Best Pedal Kayak Fishing

Best Pedal Kayak Fishing Pedal kayaks are very popular around the world and they are currently available in the internet. Did you know that not all anglers and fishermen love using paddles every time they go fishing? Yes, that’s really true! However, fishing using pedal kayaks is not bad. Both paddles and pedals help fishermen and anglers explore seas and rivers to get their targets. You can definitely choose what kind of kayak you are going to use when fishing. Additionally, you can also use both pedals and paddles in one kayak. It is really amazing, isn’t it? Now, we have put together a great buyer’s guide of the best pedal kayaks that are popular and high quality pedal kayaks available in the market. Check this out! 1. Native Watercraft Slayer Propel 13

Check Latest Price This Native Watercraft Slayer Propel 13 is one of the popular and has the highest qualities pedal kayaks around the world. It can stop instantly and maintains casting distance. It has a good stability that allows you to stand up and cast. This pedal kayak is 13 feet in length and made for minimum depths of 12-18 inches. The Slayer Propel can travel up to 4.2 mph. This kayak is very durable and performs very well even in a bad weather. It is also large enough to accommodate bigger fishermen or anglers while still having plenty of room for fishing equipment and materials. Features Includes two flush mount rod holders Has a 5’’ storage hatch that is waterproofCan hold up to 400lbs of weightDurable and impact resistant 2.Native Watercraft Ultimate FX Propel 13

Check Latest Price If you want a lightest product, you can go with this Native Watercraft Ultimate FX Propel Kayak. IT is really lightweight that it only weighs at just a mere 50 lbs. Although it is lightweight, it can give you an excellent performance and has many great features. This Native Watercraft Ultimate FX Propel kayak has a built-in transducer mount that is found under the hull which comes with many rail mounts. It features the two vertical rod holders and tight line anchor trolleys on both sides of the kayak. This kayak is one of the highly recommended for anglers and fishermen that are looking for a durable pedal kayak. It would definitely meet all your fishing wants and needs. Features  3 ½ feet longComes with a built-in battery box that you can hook up to your phone or other USB port compatible electronicsIt has an extra space you can find under the seat and a hard shell bow hatch with a bungee cord for your fishing gear’s security.It can hold up to 400 pounds of weightYou can also save space by using built-in thwart box as a cooler 3.Hobie Mirage Oasis Tandem Kayak

Check Latest Price This pedal kayak is always ready for giving you some fun in the water. It has a length of 12 feet and has great feature like its push pedals that power two fins and guides you through the water effortlessly. This kayak uses original drive technology from one of the first and best pedal kayaks on the market. This incredible Mirage Oasis is also lightweight which comes in at 105 pounds. It can fit in the back of pickup trucks out there! It also has great adjustable seat and can be set at different heights with a lumbar support. There's a plenty of space for your fishing gears for it can hold up to 500 pounds effortlessly. It has a spacious cargo area and a twist and seal hatch with a tackle management system. Features  Plenty of space that can accommodate your fishing gearsThere is a designated cargo area for extra storageIt features 6brod holders for a great fishing experienceIt is made for both fresh and saltwaterThe storage hatch can also be used for cleaning fish     4.Hobie Mirage Revolution 11

Check Latest Price This Hobie Mirage Revolution 11 weighs only 64 pounds and considered as one of the lightest pedal kayaks. It has a length of 11 1/2 feet.  Because of being lightweight, it can hold up to 275 pounds which is much less than the competition. This kayak comes with sleek designs that will give an extra appeal. It also comes with a standard paddle in case you don't feel like pedaling upstream you can use the paddle on it. The pedal drive on this kayak is definitely optional. However, you are good to go. Features It comes with two rod holdersincludes a large coverage bow hatch and two 8" twist and seal hatchesIt can be easily transportedLightweight and the length are perfect. 5. Hobie Pro Angler 12

Check Latest Price This Hobie Pro Angler is very comfortable and convenient. It is only 12 feet long and can fit at the back of any pickup truck. It weighs 500 pounds and has four horizontal rods and two molded-in rod holders which simply mean that it can hold up to 6 rods in one go! This is one of the perfect kayaks for all of the anglers and fishermen out there! Features It weighs 120 pounds when fully riggedFull range of motion with a convenient elevated seat with a Boa System lumbar support.It has a lot of storage spaceThe kayak comes with a sail mountThe Anchor trolley system is available if you don't feel like pedalling.It also comes with replaceable mounting boards and dual steering The hull is made of polyethylene material It is equipped with a skeg instead of a rudderIt has a large rectangular hatchYou can also customize your rigging with the H-rail. Conclusion Kayaking has developed over the years, making many various kinds of outdoor activities.  I know all of you are now wandering what kind of kayak you are going to use in the next fishing activity. There are lots of health benefits you will gain in fishing, right? Also, your techniques and methods to catch big targets are evolving and developing. These special pedal kayaks are the best kayaks available in the market. Good luck to your fishing and more targets to catch!

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[actionjackson2998]

PRODUCT RATING: 4.5 out of 5 (Blank: Not Rated). Click on this link to see more information, images, reviews by real users and alternatives: Tips: The latest design is that You can turn it off by pressing the button, or you can aslo stop using the light saber and it will automatically off down after 25 second(Prevent battery consumption when no one is using it) PACKAGE INCLUDE: 3 x LED Light Up Swords COLOR：Blue/Green/Red Material: Plastic Size: can be expands from 18 to 33 inches MAIN FEATURES: 1. Made of high quality plastic, non-toxic and odorless. 2. Translucent LED Safe Blades which is totally harmless to kids. 3. Easy to use, the ergonomic handle provide max comfort for you. 4. The sounds (Motion Sensitive) bring real battleground feeling for you. 5. Powered by 3x 1.5"AAA" batteries (included and replaceable) Light up sword provides a new fun for you. Make you become a war fighter or warrior, you will find it’s really endless of fun！ Glow In the Dark Sword set include 3 colors of Light saber (red, green and blue). Just press the button on the handle to Power up the FX sound and led light effects. Enjoy with your friend in game party! Light Sabers toy can be expands from 18 to 33 inches in length. The LED Saber Sword is a great addition to any fantasy movie costume or cosplay props and treats and it is easy to store and carry for kids adult. Translucent LED Safe Blades Requires 3x 1.5"AAA" batteries (included and replaceable). Suitable for boy girl children 3 years ages and Up. Lightweight and It is no pressure to have hours of fun. Perfect for Light Saber, Galaxy War Fighters! Halloween Costume Accessories, Office Stress Relief, bday Birthday Parties, Christmas Gift Stocking Idea, Last Minute Gift and more! Pretend to be a star in battles! All the LED light up swords weapon are made of high quality plastic and components in high grade security, 100% non-toxic, odorless, durable, long lasting and easy to use. List Price: $27.95

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Flesh Gordon Meets the Cosmic Cheerleaders (1990)

[fireart-studio-blog]

Which is the Best Animation Style for Advertising?

The Rise of Animation for Advertising

The rise of animation advertising goes back in history. In fact, animation was first used in advertising back in the late 1950s, when now-familiar faces were introduced, including the Trix Rabbit and Tony the Tiger. The Flintstones premiered in 1960 and so many others! These and other animations for advertising had a significant impact on modern cartoons and commercials. 

How is animation used in advertising?

Animated advertising and video expansion do not clutter the page and illuminate more vividly than static posts. You may pack any message into animation. I may help you reveal the data in detail and explain complex things simply as much as possible.

Animated ads and posts get more attention and are more informative, and thus, more effective in pursuit of your business goals. Instead of one frozen slide, you get several frames – practically a story for a couple of seconds.

Even a photo with motion may convey a variety of emotions: serious, when talking about business, funny, if you want to have fun, etc. Animation suits any industry, content policy, and tone of the voice of the page.

Finally, the animation is inexpensive and simple. Even if you don’t have any special skills, creating an animated post for a personal or brand page is easy.

The Benefits of Animation for Advertising

The advantages of creating advertisement animation are obvious: availability, compactness, and significantly lower cost compared to television advertising. At the same time, the effectiveness of advertising campaigns using animated commercials is very high. An animation character is a fictitious image that can be used in the production of cartoons, flash games, and corporate videos. A corporate character has its own charisma. It has its own unique image (character, facial expressions, habits, voice). Thus, it is well remembered by the viewer, and begins to live their own life to engage over and over again.

Using an animated ad immediately sets your business apart from others who advertise through more generic means. Furthermore, you’re establishing a positive first impression with people experiencing your brand for the first time. (522 Productions)

Creating an animated ad is a very serious process that requires studying the specifics of the company, the objectives of the advertising campaign, the image of the company, the target group, etc. thus, it brings benefits at a deeper level, either financial or any other.

What Kind of Animation to Use for Your Advertising Campaign

To get your post or ad noticed, you need to do your best in choosing the right animation style for your animation in advertising. If the publication does not stand out among others, it is simply ignored, so mind the composition and pick the technique accordingly.

2D Animation

Good old 2D animation is a way in ads. Since it’s the art of creating movement in a two-dimensional space, it may include characters, creatures, FX, backgrounds, etc. The illusion of movement is in fact created when individual drawings are sequenced together over time, which greatly affects your animated advertisement.

3D Animation

3D animation advertising is a preferred type. Because 3-dimensional animation or CGI looks visually astounding, it’s the number one choice for most brands looking to create high-quality and top-industry video content, including commercials. Stop Motion Animation

Stop Motion Animation

 Stop-motion animation may also be applied in ads. The big advantage of its experience and usage is that they’re short and very catchy. Besides, this one is probably one of the cheapest ways to apply animation in an advertisement video. The big advantage of its usage – is they’re short and very catchy. It is probably one of the cheapest ways to use animation in the advertisement video.

Kinetic typography

As a variation, kinetic typography is another animation technique that may be used for moving text to capture attention, set a tone, as well as educate and entertain. Now commercials, music videos, mobile apps, and websites contain text and use it to make their message more impactful and simply add an element of artistry to wording.

Factors To Consider When Making Different Types of Animated Videos

Before you get to work on your disruptive animation advertisement, it’s wise to consider the factors that may affect the process to avoid mistakes and make it a success:

Clear Objectives

Creating animation videos for business or explainer videos for your business is quite an interesting process that should fit your marketing strategy and the business objectives, otherwise why even make it. 

The Script

Essentially, your script will convey the narrative and message of your whole commercial video and include the following elements: scene descriptions, characters, descriptions that provide context for filming scenes, etc. A video script is an important document that outlines how your marketing video is going to run in the end.

The Storyboard

Traditionally, apart from the script, your animation video production will contain a storyboard. A storyboard is a way of graphic representation of how your video story will unfold, shot by shot, frame by frame. It’s made up of squares with illustrations or pictures representing each shot, with notes on what’s going on in each scene and what’s being said in the script during that shot.

The Voice-over

Also, decide if your ad will need voice-over. You are always welcome to make a professional voice recording of the script for your animation ad, video game, or other types of media. The actor speaks words that are written in text form and their recorded voice is used to narrate the story.

The Timing

Timing in animation refers to how long an action actually takes from the beginning to an end. The timing should be considered to create movements that obey the laws of physics, as well as add interest to your videos. Timing may be equally implemented by applying scaling properties, weight, and emotion.

Designs and Illustrations

The animation style you pick may need some extra illustrations, graphics or other design ideas.

Explainer Distribution & Copyright

Of course, if you’re actively engaged in intellectual work, a copyright issue is essential.  Decide on how and who will distribute your video if any and if there will be any transfers in the right of authorship.

Conclusion

Animations will help to diversify the content, attract attention and explain complex things to people. So do not be afraid and choose animation advertising examples from our video for marketing portfolio or go straight to the contact form to ask for an ideal animator for creating an ideal animated design for your business needs which is easier than it seems at first glance with Explain Ninja experts.

[hunterfast147]

Corel Videostudio Pro 2018 Keygen

The ultimate in video-editing software Total creativity meets surprising ease of use in VideoStudio Ultimate X9. https://hunterfast147.tumblr.com/post/665763185006084096/swades-full-movie-on-dailymotion. Tell your story from every angle with the new Multi-Camera Editor. Correct, enhance and add unique creative effects with valuable premium effects apps from our industry-leading partners. And add impact with automatic audio tools that deliver crystal clear sound.

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Powerful video editing Cover all the angles with the new 6 angle Multi-Camera Editor and get top-quality sound with automatic audio-enhancing features.

Complete creativity Express your vision with 2,000+ customizable effects, titles and templates. Add impact with Freeze Frame, Stop Motion, multi-point Motion Tracking and more.

Perfect for all skill levels Make a movie in minutes with FastFlick and Instant Projects, then move up to multi-track timeline editing, and add customizable special effects to achieve your unique vision.

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proDAD Mercalli SE Get video stabilization capabilities that ensure rock-steady video, no matter how fast the action. Rolling-shutter compensation removes wobble and skew caused when panning. NewBlue FX Motion Effects NewBlue FX Motion Effects This popular plugin helps you correct common problems and make video clearer with more than 100 presets in 10 incredibly efficient tools.

proDAD VitaScene LE Bring style and truly stunning transitions and effects to your productions with more than 100 broadcast-quality fully customizable professional effects, filters, and image enhancements. proDAD Handscript Animation proDAD Handscript Animation Say goodbye to complicated keyframing and title animation. Now you can instant turn your titles into realistic, near-magical onscreen handwriting! UPDATED! Boris Graffiti 7 Titles Boris Graffiti 7 Titles Now with new title templates, this amazing array of broadcast-quality titles and graphics capabilities lets you easily make sophisticated title animations, such as type on text, text on a path, jitter, and randomization.

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Efficient & powerful NEW! Multi-Camera Editor Multi-Camera Editor Tell your story from every angle with the Multi-Camera Editor. Easily trim and edit footage from multiple cameras and sync clips with Audio syncing, Markers, shooting date and time, or manually. Supports 6 angles in Ultimate or 4 angles in Pro. ENHANCED! Normalize Audio Normalize Audio Working with multiple clips may cause inconsistent audio levels. With Normalize Audio, it’s easy to balance the volume of selected clips or the entire track to keep audio clear and consistent. ENHANCED! Audio Ducking

Audio Ducking Fine-tune the lead in/out time for Audio Ducking, the feature that lowers background sound to make narration and dialog clear. You can now customize the Ducking Level and Sensitivity. ENHANCED!Motion Tracking Motion Tracking Now you can track up to 4 points in your video. Add moving text or graphics to your video, or apply a mosaic blur to faces, logos or license plates that you want to obscure. Subtitle Editor Subtitle Editor Reduce the time and effort required to add subtitles to your video. The Subtitle Editor automatically detects speech in your video, providing an instant, editable list of potential subtitle moments, making it fast and easy to add subtitles!

Multi-Trim Easily extract multiple segments from any video clip. The AccuCut timeline makes it fast and simple to zoom in precisely on the exact frame that needs to be trimmed. Set the Mark-in and Mark-out buttons on the segments you wish to keep, and re-adjust or edit clips in the Timeline later.

Screen Capture Bonus Software: Recording directly from your screen is a great way to add custom content to presentations, demos or training videos. With Screen Capture software, you can easily capture both system audio and microphone sound. ENHANCED! Media Library management Media Library management Quickly backup and restore your custom libraries when you upgrade software or computers. Easily import your existing organized media folders into the intuitive Media Library. Save and re-use video projects, customized Filters or transitions in future projects.

ENHANCED! Timeline Timeline VideoStudio works hard to keep editing videos easy. Now you can easily add or delete tracks directly in the Timeline while you’re editing just by right-clicking. NEW! FastFlick template creation FastFlick template creation Now you can create your own FastFlick templates for use in both VideoStudio and FastFlick.

Thumbnail Ticking Thumbnails in the Library show a checkmak when a clip has been used in the Timeline to help you avoid reusing the same footage.

Save your Favorites Build your favorites folder by marking your preferred effects and transitions. My Favorites has been extended to let you save and re-use your customized filters settings too. Perfect for all skill levels FastFlick easy slideshows and videos FastFlick™ easy slideshows and videos Bonus Software: Make movies and slideshows in just 3 steps. Select a template, add your media and share your movie to Facebook, YouTube, Flickr, Vimeo. The Adjust tool lets you choose the part of your photo or video you want to feature. Save your project to a variety of video formats.

Instant Projects Fast-track movie creation with these pre-assembled movie projects. Simply exchange the placeholder clips and photos with your own media and you’re done. Combine multiple templates in one project if you wish. Slideshows that impress Slideshows that impress Experiment and add a unique look to your videos and photo slideshows with your favorite transition effects. Select only the transition effects you want and add them to the Random Effects category.

Easy 1-2-3 workflow Get into the flow of video editing with the Capture, Edit and Share workspace that guide you through your project. Or rearrange the customizable workspace to suit your needs.

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Time-lapse / Strobe Effect Easily create cool time-lapse or strobe effects from a series of photos. Capture consecutive images of that evening sunset or rising tide every few seconds over the course of a couple of hours and turn these images into a time-lapse movie. Learning resources Learning resources Access a range of learning resources from within the Help menu. Search the latest Help, download the User Guide (PDF), or watch one of the many video tutorials in the Discovery Center. PLUS, get a free 30-day all-access pass to StudioBacklot.tv! Learn from videos, tutorials and access the royalty-free stock library.

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Free Stop Motion Software

Stop Motion Pro is a software tool for making stop motion and other animated films. It requires a video camera, webcam or digital still camera. Some of the animation tools include:Onionskinning. QStopMotion When you want some stop motion software that is completely free, then qStopMotion is a great place to start. QStopMotion is a free software that can run on Linux as well as Windows. It comes with a simple user interface, which means beginners will find it easy to start with this software. For windows version some of the stop motion software is “qStopMotion”, “IKITMovie”, “SharpAnimator”, and “Purple Elephant”. For Mac Os some of the stop motion software is “JellyCam”, “Smoovie”, “Dragonframe”, “Time Lapse Assembler” and “zonMotion”.

Free Stop Motion Software Windows 10

Free Stop Motion Software For Windows 10

Free Stop Motion Software For Windows 10

Free Stop Motion Software

Free Stop Motion Software With Onion Skin

FREE STOP MOTION SOFTWARE Trial

Free stop motion software Trial –

Limitations of Trial Copy:

Contains only a sample of the 2,200 sounds effects,

Sample of the chroma images and videos – lots more in the full version –

10 Sessions , each 10 minutes in duration. ( projects are saved )

Get started today with a Free stop motion software Trial version of iKITMovie stop motion software 4. This is the same software used by school and home users in USA, UK, Europe, Australia etc. across the Globe.

Try LEGO Animation for fun – easiest way to get started with stopmotion.

This is your opportunity to check and test the software before you purchase it. We highly recommend that you use this time to test your camera and the features of the program and send feedback.

We have many resources to help you get started. Start by watching our Video Tutorials. Visit our support center to find Support Documentation, a list of FAQs, and instructions for requesting additional help. You can also seek out help from our Stop Motion Software Tutorial Page…

The trial is valid for 10 sessions ( 10 minutes for each session ) and you can save your project. It allows you to see if iKIT suits your PC and your needs.

iKITMovie is designed to be easy to use. It’s graphical user interface has been laid out in sections to represent all parts of the animation process. The live preview of your characters can be expanded to full screen. The sound effects (fx ) , voiceover and music library are all onscreen and ready to use. The captured images are placed at the bottom of the screen in a timeline. This can be scrolled back and forth during the process to review work completed to assist in the next steps.

Stop motion software enables creating stop motion animation by adding physical images that are captured from any device. They allow adding pictures of popular formats like PNG, JPG, BMP, GIF, etc. They allow resizing images, setting frame rate and save them in animated video formats.

Related:

To know more about these software one can search Google using “stop motion software free”, “best stop motion software”, “free stop motion software for windows” or “stop motion software download”.

Dragon Frame

Dragon Frame is professional stop motion software. It allows digital still cameras and video cameras. It comes with various animation tools which can be used with keypad controls. It allows setting timeline for frames using timeline editor. It allows synching lip movement and audio easily. It allows customizing x-sheet with ease.

Stop Motion Pro

Stop Motion Pro comes with well-designed interface for creating stop motion animation easily. It comes with best frame editor tool. It allows adjusting pictures and adding frame painting, markers, frame counter, cross hair, etc. It allows exporting output images to many file formats and allows uploading to YouTube as well.

Free Stop Motion Software Windows 10

AnimatorHD

AnimatorHD is useful software for creating stop motion animation. It comes with advance frames feature and allow adding plenty of variants for each sequence. It has “overlay” and “markers” features. It comes with latest audio scope and lip synching features. It allows controlling animation with great flexibility and previewing test shots.

Stop Motion Animator

Stop Motion Animator helps to create stop motion animation easily and quickly by capturing images taken from the webcam. It allows resizing and setting frame rate for animations. It allows saving animation images in AVI file format. It allows working fast and is simple to install as well as easy-to-use software.

Other Stop Motion Software for Different Platforms

Free Stop Motion Software For Windows 10

With plenty of stop motion software available for various versions like Windows, Mac Os and Android, one can go through the below mentioned software details including their features illustrated for each version individually. They are purely dependent on platform that they use and hence should be checked for platform compatibility as well.

Free Stop Motion Software for Windows – MonkeyJam

MonkeyJam helps to create stop motion pictures from digital and webcam cameras by creating any number of frames. It allows previewing frames and allows making necessary adjustments. It allows adjusting FPS rate and edit layer names as well as colors. It allows saving and re-loading x-sheets. It supports multi-languages also.

Free Stop Motion Software for Mac Os – FrameByFrame

FrameByFrame enables stop motion movie creation with ease and quickly. It allows importing pictures from any camera for creating stop motion animation. It allows exporting completed stop motion animations. It is simple to install and very easy-to-use software and allows removing unwanted frames. It comes with timeline feature to display different takes.

Free Stop Motion Software for Android – Stop Motion Studio

Stop Motion Studio allows creating stunning stop motion animations with great ease. It comes with grid mode to place objects easily. It comes with movie editor which allows previewing each frame at various speeds. It comes with timeline zoom in and out feature to handle thousands for frames too without losing any frame.

More Great Stop Motion Software for Windows, Android and Mac Os

Free Stop Motion Software For Windows 10

For windows version some of the stop motion software is “qStopMotion”, “IKITMovie”, “SharpAnimator”, and “Purple Elephant”. For Mac Os some of the stop motion software is “JellyCam”, “Smoovie”, “Dragonframe”, “Time Lapse Assembler” and “zonMotion”. “Stop-Motion”, “Clayframes”, “Stop Motion Maker” and “PicPac” are some of the stop motion software for android application.

Free Stop Motion Software

Most Popular Stop Motion Software for 2016 is iStopMotion

iStopMotion comes with most advanced features which makes it popular stop motion software. It allows previewing the animation even before capturing the frame thus helps to make changes. It allows setting time-lapse and printing animations to desired format. It allows screen capturing and turns them into animation easily. It supports images taken from wide range of cameras and devices.

What is Stop Motion Software?

Stop motion software captures images from various devices like cameras and webcams to create stop motion animations. They allow creating frames for each sequence quickly and allow setting time lapse easily. It allows adding sounds or music to the animation. They support many image file formats to create stop motion animations. It allows uploading completed animations to popular websites like YouTube directly.

To know more about their varieties and get more information about them one can search Google using “stop motion software mac”, “stop motion software, free download”, “free stop motion software for windows 7” or “free stop motion software for mac”.

How to install Stop Motion Software?

Installation instructions are supplied by the vendor along with the stop motion software installation file download. One can go through these easy-to-understand instructions which are provided with screenshots for each step of the installation and complete the software installation. One should check for system requirements that are described in the software website.

Benefits of Stop Motion Software

Stop motion software are the best tools to create stop motion animations or movies quickly in professional way. They allow adding multiple layers for each frame and adding images in the animation frames. They allow previewing each frame and adjust the frame rate accordingly. They are built in such way that they can process any number of frames easily without missing a single frame.

They allow capturing images from webcam by plugging it to the system. They help creating animation movies with great sophistication and they are very flexible to make various adjustments to pictures using simple techniques understandable even for novice users.

Free Stop Motion Software With Onion Skin

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[barkercast]

191: Ed & Nina Martinez – Remembering Cenobium

Thanks for subscribing and listening to the Clive Barker Podcast, the only podcast dedicated to the imagination of Clive Barker. In this, Episode 191, Jose and I talk with Ed and Nina Martinez about the Clive Barker Fanzine days, and particularly their work with Cenobium, collaborating with Clive Barker and many other friends of the show. We also talk about Ed's special effects work.  This episode took some planning to pull it off, and we'll probably have to have them back again for a part 2. 

We have a treat of an episode today. Before we start, I want you to go read this feature article I wrote a short while back, Deep From The Vaults #02: Coenobium Magazine. If you're familiar with Ed and his work in the FX industry and are a Coenobiumcollector, then go right ahead and listen to our episode. Ed & Nina Arlene Martinez were kind enough to join us on Skype this week and we're bringing you a pretty in-depth discussion about Hellraiser, FX work and how Hellraiserbrought together friends and lovers over the years.

From the origins of Coenobium, to the Hellraiser: Bloodlineand Lord of Illusionsset visits, meeting Clive Barker and discussing other fan magazines of the 90s, cosplaying in horror conventions, we go on a long conversation that goes the early inspiration for Ed's love of movies after watching King Kong, (King Kong's armature in Bob Burns' collection), Getting sketches for Coenobium straight from Clive's sketch book, working with talented artists and writers, talking about the Hellraiser sequels and the future of Hellraiser and what we'd like to see happen in the near future - #BringBackPeterAtkins, #LetDougBradleyDirectHellraiser- We cover it all.

Ed worked in movies like Galaxis, The Dead Pit, The G-String Horrorand Black Devil Doll(click for YouTube trailers!), and we briefly touch on those as well, and how hard it is to get extras to sit still on the chair to become slime-covered zombies, stop motion animation robots, Ed's work at ATARI, his work sculpting and producing limited run model kits of the Engineer and the Chatterbeast, and all sorts of fun memories of interviews and dressing up as Tolkien Orcs! Here's an article on how they did it titled: Making a Moria Orc - by Ed and Nina!

Nina and Ed also have a youtube channel where they upload their Papa George and Duckyvideo series mentioned in the show!

If you're interested inCoenobiumand Hellraisercollectibles, Ed and Nina are currently still selling some back issues and other collectibles, so you can reach them via Facebook: Ed Martinez on Facebookor e-mail at edwardamartinez@sbcglobal.net

Jeremy Slate as Dr. Swan from The Dead Pit, as Pinhead? 

And this podcast, having no beginning, will have no end.

The Clive Barker Podcast (or @Barkercast) is an independent  editorial fan site and podcast that is not affiliated with or under contract by Clive Barker or Seraphim Films.  This is a labor of love by the fans, for the fans.

And this podcast, having no beginning, will have no end.

web www.clivebarkercast.com iOS App| Android App, iTunes (Leave a review!), Stitcher,Libsyn, Tunein, Pocket Casts, Google Play, DoubleTwistand YouTube Facebook and Join the Occupy Midian group Twitter: @BarkerCast| @OccupyMidian

New episode of the Clive Barker Podcast