#real-time sequencing

[retrochao]

Yeah this hedgehog's a star. No it doesnt mean anything <3 I Prommy <3<3

ALSO THIS TOOK TWO YEARS BUT I FINALLY FINISHED IT <3 ENJOY

[cococubess]

Now I am by no means an artist- I think my style would be considered “kids book that’s supposed to look overly simplistic”- but I had A Vision™️ of @snapscube if she was in UnderedTale or Deltadrune. I tried to fit as many goofs and gaffes from the streams as I could, I’ve enjoyed watching them so much!

[akallabeth-joie]

Listen Everybody

Lamarque is dead!

[d8tl55c]

they are dancing.

rendered again a lil different in minecraft /artmap bc i can't use normal art programs lately ig

[ashmcgivern]

We did a chunk of the scenes in house for the Animaniacs episode "A Brief History of History" and these were some of the ones I was assigned! These scenes were a bit rough to get through because we had a lot of rounds of revisions, and back then I wasn't really happy with my work. In hindsight, they're alright, so I figure I'd share them for all their flaws.

[syndrossi]

I did at last figure a way out of my own personal War of the Five Kings aka "if I had a penny for the number of opening scenes I've written for this chapter..."

It looks like the 2K+ Larys scene is getting pushed back and worked in to a later chapter, as I finally realized that the most compelling structure is for [REDACTED] to be [REDACTED] in order for [REDACTED] to make the most sense. I thiiiiink [REDACTED] might even make it into this chapter? I've been dying to write it for so long...

[kirby-the-gorb]

[starflungwaddledee]

...so, does, Starstruck wake up with headaches she can't explain, sometimes?

yes, sometimes she does! but it usually fades quickly.

more often than not most of the contents of the dream are forgotten almost immediately upon waking up, though she remembers snippets and has a vague awareness that she doesn't like sleeping.

the stronger recognition she experiences in the dream itself- such as her alarm at hearing his voice or the knowledge that she needs to wake up before the usual happens- only occurs once she's inside the dreams.

she is also usually quite aware of the fact she's dreaming and that she should be able to wake up-- at least, until the panic sets in.

[prettyboysdontlookatexplosions]

sam reid in the most recent ep had me feeling the way i feel about jason ralph on the magicians where it’s like… crazy that a performance so mesmerizing is happening on a show beloved by 12 gay people on the internet. like we have a scientific answer now to the question of who is the most charismatic living actor but nobody knows it bc it’s on the toxic gay vampire show that airs on a channel nobody watches. like we’re reaching new historic achievements in Acting and they are just going unheralded by the culture at large. insane

[sysig]

They’re both so cute, what’s up with that (Patreon)

[waddles-ex-machina]

btw on the topic of hilda the series having a death toll it will never not be funny to me that the two (2) times characters actually properly died for real it was 1) the main villain of the movie in the final showdown and 2) that dude in the witch episode who was literally Just Some Guy

[heyclickadee]

Because I have a tendency to get stuck in art blocks and s t r u g g l e badly with composition, and because I think The Bad Batch is a beautifully shot show, I’ve started doing rough grayscale studies of bad batch to unpack how line and value can be used to direct a viewer’s eye to where people want the audience to look. (I’m doing it with other movies and shows, but I do really like TBB, so….) That way, if I’m sitting in a period where I can’t draw, then maybe I can at least learn something. It’s not fan art, it’s just trying to break the composition down and make it make sense to me, but I think it’s interesting so I figured I’d throw them all here.

So! Potentially very boring things under the cut:

The thing that started this off was getting sent a gifset of the scene in “The Return” where Wrecker gives Crosshair his armor back. It’s a great scene, and one of the things that allows for the show to pull that moment off is the way that most everything in many of the shots is designed to draw the viewer’s attention to Crosshair’s face so that we’re paying attention to his reaction. For example:

It’s not a very high contrast shot, but if we block out the basics, most of the lines in the scene are directing us towards Crosshair. Both Wrecker and Omega make movements towards him in this shot, and then this movement is sort of carried over to Crosshair via the various lines in the background/Wrecker’s arm/even the crate. Additionally, our eyes tend to be drawn towards points of highest contract, which, in this shot, include the lamps in the far background against the pillars (forming a line from Wrecker to Crosshair) and the light hitting Crosshair’s face against the much darker background. Between all of this most people in the audience are going to end up automatically looking right at Crosshair who is, of course, the main person we’re supposed to paying attention to here.

This isn’t actually a full frame. I sort of grabbed a screenshot over the interwebs for this one, but The Bad Batch actually has a very wide aspect ratio. From what I understand it’s shot and aired in a CinemaScope ratio (2:39:1 or 2:35:1, though TBB is 2:39:1). It’s basically super ultra widescreen, an aspect ratio used when a filmmaker wants to make something feel more epic or cinematic, and as far as I know it’s the same aspect ratio used for the original trilogy before any cropping happened. (For reference, The Clone Wars was also shot in a CinemaScope ratio, 2:35:1, but was cropped to 16:9 for airing on Cartoon Network, and Rebels was shot and aired in 1:78/more or less 16:9.) So an uncropped screenshot of TBB would look more like this:

This is from “The Outpost.” It’s actually a fairly dark shot with Crosshair faced away from the camera and the value of his figure blending right into the rest of the foreground, which actually comes communicate a sense of someone who isn’t trying to draw attention to themselves (to me, anyway), but our eyes are drawn to Crosshair anyway by every major line in the shot as well as the highest point of contrast converging right over Crosshair’s shoulder. That, and the line of his rifle/shoulder and the support pole forming a big, well, cross-hair right in that same spot. Otherwise, he would blend right into the foreground and be easier to miss.

Unlike Hunter in this shot from “Plan 99”

Where basically you’ve got the exact same thing happening, every line in the shot converges on Hunter’s location, but instead of using just high contrast to draw our attention, we’ve got a fairly middle-gray scene with our eyes being drawn to the focal point by having one bright spotlight.

The orange cross mark I’ve drawn here is just to mark the center of the frame, which I wanted to point out since, at least as far as I’ve noticed, TBB has a tendency to save center and slightly off-center shots for really specific moments. I’d have to check on that and what the pattern is, though, since a few of the remaining shots in this post are center shot. (Filmmakers area generally taught shoot in thirds or, alternatively, on a phi grid or other away from center set of focal points, though you do get some center shot movies and shows. I think Raiders of the Lost Arc has a lot of center shots.)

In fact, a pretty good example of shooting in thirds (or on a phi grid—I laid it out and I think it fits the phi grid slightly better) is this shot from “Faster”

Where you’ve got Tech and Tay-0 placed on slightly close thirds on either side of the frame. If we’re just looking at line and value, with this shot we actually get this sort of interesting back and forth between where our eye is being drawn. A lot of the lines in the shot are directing us to look at Tech, but then you’ve got one of the lines going through, and the sweep of Tech’s arm and datapad pointing towards, Tay-0, whose face and body are outlined with a much higher contrast in value. And then we have that one very bold arc connecting the two. The result of this is that our eyes sort of bounce back and forth between these two characters as they get into their conversation.

Most of these shots have had just one or two (at most three) characters, and there are many scenes of TBB with everyone where our gaze is sort of directed to the group collectively, but sometimes you’ll have group scene where our attention is directed more towards one individual than others, like with this shot from “Battle Scars”

Once again, you’ve got most of the lines in the shot converging towards Rex as well as Rex’s person serving as the point of highest contrast while everyone else sort of melds into the background in terms of value. He’s also the first (and maybe only) figure who breaks fully above objects in the background to be shot directly against the sky. Line and value aren’t the only things directing the audience’s gaze towards Rex in this shot—there’s actually a lot of desaturation happening as we move from Rex, to the other characters, to the far background that helps as well, buuuuut this is a grayscale breakdown so that unfortunately doesn’t show up...here. (This is a center shot scene if we’re going horizontally, but Rex’s head, which is really the focal point, is right around the top third of the frame; it’s not exactly a low angle shot, but we are still looking up at him.)

Anyway, the reason any of this is important is because when you’re shooting with an incredibly wide aspect ratio like this, there’s a LOT of information being conveyed with every frame. You can fit a lot of stuff on screen at once. And while people generally going to rewatch and pay attention to background details (if nothing else, TBB is a goldmine for those background details), you do want to draw your audience’s attention to the most important parts of the frame—especially when an individual shot typically lasts only a few seconds. Or less. Like with this:

So this shot from "Faster" is up for less than a second before the camera turns to follow the speeders and then changes to another shot, and I had a devil of a time even getting screengrab of it. (Mostly because I was trying to grab it on my phone, but that's not really the point.) In less than a second the people making this have to communicate where Tech's speeder is, what's happening, what we're even looking at, while the objects in the scene are all moving incredibly fast. .

So, to communicate that, you've got multiple speeders moving in the shot, but only one (Tech's) standing out in terms of value against a fairly dark ceiling, as well as a combination of some real direct one-point linear perspective and the more or less arrow shape of the ramp pointing directly at the point Tech's speeder is going to be when it reaches the peak of its crest over the ramp. That way we're already looking at where Tech is going to be before he gets there and end up following his speeder as he zooms by.

[icekingandbetty]

memory of a memory + simon petrikov

[foulbearobservation]

this shot in specific is making me feel insane.

[spacetrashpile]

the injury mechanic annoyed me too much for me to really miss it during inquisition and veilguard but i have to admit that sometimes i do miss the drama/comedy potential of them. remembering tonight when i picked up zevran in rhiannon's playthrough after the fight where she and alistair had been basically instantly downed. picked zevran up and was going "come on alistair, calm down, zevran's fine, it's not like he actually killed us. i mean he only gave me a wrenched limb, what about you?" and then i clicked over to him and zevran had cracked his skull open. out loud went "oh okay i guess i see why you're mad about that one."

[basilpaste]

get osis memed. boom sfx.