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miralbulk · 2 years

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Vidi space

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Follow us on Twitter and Like us on Facebook. VIDI SPACE is FREE but there are more add-ons 6.99 MONTHLY Subscription 69.99 YEARLY Subscription App Screenshots App Store Description Brought to you by Elizabeth Saint, Nick Groff and Justin.

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In the near future, VIDI SPACE will also be available through iOS / Android mobile, Apple TV, Roku, and Amazon Fire TV applications. We believe that the future holds an environment where entertainment is not just watched - it's experienced. Īccording to Elizabeth Saint, "As a company we believe in our slogan that We Saw The Future. They are welcoming submissions on their website,, or via email to. VidaSpace was founded to create a designer-centric experience, raising the bar for choice with its range of fashion-forward, responsibly sourced wood flooring and other interior finishes. is also branching out into acquired content through a selective process where independent and documentary filmmakers in all genres can showcase their works on the platform. VidaSpace provide New Zealand’s most extensive portfolio of unique and innovative timber wall and flooring solutions. Additional channels will be released over the next couple months covering a large range of different genres and topics including, but not limited to, documentaries, science fiction, crime, UFOs, adventure, horror, cyptozoology, music, and travel.Īside from their original programming, VIDI Space Inc.

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Note that other drivers with versions greater than 398.26 and less than 411.31 may also work. Cognex recommends installing version 399.24. All live streaming content will be available for VOD after the initial airing. The show is currently available exclusively on Amazon TV in the UK and Ghost Adventures Nick Groff and Elizabeth Saints Haunted Space via the VIDI platform. Nvidia CUDA drivers with version 411.31 or newer may not be compatible with ViDi Suite 3.2. The platform will be publicly released January 8th with the first live episode airing January 27th.

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If you make a purchase, I may receive a commission at no extra cost to you.Elizabeth Saint and Nick Groff. The visuals become transparent automatically, making it simple to explain START FREE TRIAL Book a demo Brand your Space Brand your Space Add your name, title, and company logo along with a side background strip START FREE TRIAL Book a demo Point at the item Position your visuals Feel free to move, scale up and down, rotate, or flip the images. If you make a purchase, I may receive a commission at no extra cost to you.Support the show ()Īllswell - Your Dream Bed Starts Here Free delivery on your first order over $35.Disclaimer: This post contains affiliate links.

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VIMEO ON DEMAND: Rent the Afraid of Nothing documentary here: PRIME: Watch the documentary on Amazon Prime and please leave a positive review.QOSM (a new paranormal streaming platform): Use the coupon code AFRAIDOFNOTHING which gives users 10% Off of ANY content on the website (i.e., tiered subscriptions, rentals and purchases). BE SOCIAL…īe sure to like us on Facebook and follow us on Twitter and Instagram.Īllswell - Your Dream Bed Starts Here Free delivery on your first order over $35.Disclaimer: This post contains affiliate links. HydroElite VIDI, which is the top model from Hydroware, is an integrated drive and control system for hydraulic lifts. Your gracious donation here () will be shouted out in an upcoming episode. Visit Vidi Space at and use the promo code (all caps) I LOVE SPACE to get 50% off the first year's subscription. An actress, model, paranormal investigator, electrical engineer and empath, Elizabeth does it all and brings a unique perspective that blends science and spirituality. VIDI.SPACE is an online streaming platform and production company that launched in 2018 as a niche streaming service initially focused on content within the paranormal and horror genres. Elizabeth Saint, one of the founders of the paranormal subscription channel Vidi Space, joins us to talk about her experiences on Ghosts of Shepherdstown, Paranormal Lockdown and some of her scariest investigations. WEIRD WORLD ADVENTURES We can never say it enough, but we sure do live in a weird world, dont we Think.

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eagles-translated · 3 years

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Answering Eagles questions before the season 3 finale (Part 2/2)

I've received a bunch of questions since 3x08 and 3x09 dropped, so I compiled all the questions into two posts. I had to split them up because Tumblr only allows 10 images per post. Anyway, keep reading to see my answers and enjoy! 👇

There might be some kind of collaboration between Amie and Ludde like last season—we have only heard snippets of Ludde's song submission to the music school and it wouldn't surprise me if we saw Amie perform the song in its entirety in the last episode. I touched on this a little in part 1 of answering these questions.

It seems like Amie singing at the end of the season has become kind of a recurring theme. She performed “Follow” in 1x08 and “Second Sight” in 2x10 (on the radio, but my point still stands). I wouldn’t be surprised if they followed this trend by having Amie perform a new song in the season 3 finale.

I'm not sure if she'll recommend Ludde to the record label, though. I honestly still feel like Amie's whole storyline with sending in a rather basic demo written by two teenagers with little to no experience and then getting praised on it with comments such as "it's going to be a real summer hit" felt so unrealistic to me. Maybe they only said that so Amie would accept their offer or something, but that's still very strange because she would have still said yes without a doubt.

I can understand that they thought Amie was marketable as a person and there was this bonus with her having gone viral before on Felicia's Instagram, but that demo did not seem good enough for me to be immediately released as a single and then have them decide on the spot that Amie would be given a contract.

I mean, come on. It never felt earned because we never really saw Amie struggling with her songwriting journey to achieve this dream. Sending in one demo to one record label and having them immediately want to make a whole album with you just doesn't happen in real life unless the song is extremely good or you have a very unique voice. Amie is really talented but there are hundreds of people just like her, if not thousands. I was never convinced by her getting signed so quickly in season 2.

I understand that they wanted to establish her as a successful artist, but that felt so rushed. I was so sure that the record label would screw her over and steal the song rights to record it with another artist who was already established, and that we'd have to see Amie work even harder to achieve her dreams. But we didn't get that at all. Where was the struggle?

Anyway, I'm getting a little off-topic here. To be honest I have a lot of problems with the writing sometimes, even if I still love the show and its characters. Of course I wanted to see Amie achieve success (and I was happy when she did), but the journey there was so bizarrely easy.

She didn't start to seriously work on making her music career become a reality until season 2. Amie had dabbled in music prior to that, like when she auditioned for the school band and did that performance of Follow, but she didn't truly start to work towards it until season 2 when she decided to have her work sent to professionals in the business. And then, just five episodes later, she gets contacted by the record label in Stockholm.

To put this into context—season 2 took place somewhere around March, and episode 5 around three weeks into April. So when Ludde first started helping Amie it took less than two months for her to get signed. You could argue that the song was just that good or that Amie is just that talented, but it never felt like a realistic storyline to me.

So, back to your question! I need to stop getting so sidetracked while answering these haha. I don't think it would be realistic for the record label to hire a teenager with no professional songwriting experience, likely a very small portfolio of his own work in both size and variety, having a criminal record, and on top of that being infamous in the press for abusing his ex-girlfriend. If Amie offered the ultimatum to her label that she'll only return with Ludde, who has an incredibly bad reputation right now, it feels like she would be running the risk of losing the contract entirely.

There's only so much her label can put up with. We've seen Amie ignore their calls with no intention of reassuring them that she's coming back soon. Honestly, with the way things are looking right now it makes the most sense for the contract to be dropped. By Amie or by the label, I don't know.

The episode description for the season finale says that Ludde will get some sort of justice and it could be about his music (or something related to whatever Andreas is doing).

I believe Amie will be doing a live performance of Ludde's song at a New Year's Eve party in episode 10 but I doubt that Ludde will be picked up as a producer. If he actually does I would find that to be a very unrealistic plot point, to be completely honest with you.

This is an issue I had with 3x08 and 3x09 as well. I had a hard time actually enjoying the moment between Felicia, Klara, and Amie knowing that her family was getting increasingly worried for her and even thought for a short moment that Felicia was lying dead at the bottom of the ocean. All that could've been avoided.

To add, it didn't make a lot of sense to me that when Klara finally decided to call someone she called Amie instead of Elias. An ex-friend of Felicia's instead of her brother who could've helped a lot more. What was Amie supposed to do when she showed up at the hotel, exactly?

I know there was the thing with Klara only knowing Amie's number off the top of her head, but there is no reason why she couldn't have gone down to the reception while Felicia was sleeping and asked to use a computer just to get a quick message to Elias. Like, "hey, Felicia attempted something bad but she's safe with me, we're at this hotel in this room but she didn't want me to call anybody, I don't know what to do". That would've been so much better than keeping quiet about the situation for nearly 24 hours.

I know that Klara probably has trauma from leaving her dad at the hospital after his suicide attempt and that she probably didn't want to go against Felicia's wishes. I understand the first part 100%. But Felicia was in a very bad place emotionally and was thinking that her whole family hated her when that wasn't the case. I feel like in a situation like that you kind of have to be the bad guy just to ensure the family that Felicia was safe. Even if everything turned out alright in the end, it could've gone so much worse if Felicia had wanted to be kept hidden for longer.

The ending of 3x08 was super tough to watch and I can't imagine the feeling of thinking your only daughter/sister drowned herself after you just yelled at her and showed no support. Klara couldn't have known any of this, but I feel like she should've at least contacted Elias if she wasn't taking Felicia to a hospital.

Elias calling Amie would've been an easy solution to this whole debacle but we would've lost the drama. It's still somewhat of a plot hole though, like you said.

Thank you for reading that whole post @detectivejulesohara!

The clip you're referring to was posted on Yandeh Sallah's Instagram account, so not in a trailer for this season.

I think that was either just fanservice or it will appear in season 4 since it was posted in May of this year, and I believe the filming of season 3 had already wrapped by then.

It might indicate that Elias and Amie will be a couple by season 4 (this actually seems very likely regardless if this is actually part of a scene or not).

I think Elias is getting increasingly frustrated with hockey and the fact that he doesn't really have any other ambitions to strive for. He was raised with nothing but hockey surrounding him and it's in his blood. Elias got drafted to the US at around the same age as Mats, but Elias left after a year because he just wasn't progressing.

That must feel like a huge step back, and on top of that Mats was probably thriving in his successful career around the age that Elias is now. It's a tough difference in success to have weighing on your shoulders when you're in a team that's second to last in the rankings.

There's even the accusation in the press that Mats paid for Elias to advance in the rankings, and I'm sure that's going to affect his career negatively.

I think Elias overworking himself could also be the result of him feeling like he has to prove that returning to Eagles—a small club that is probably having their worst season ever—was in fact the right choice and not the death of his elite hockey career. That choice was very questionable from the very start and his agent advised against it. Even Mats found it strange. Elias said that he didn't really have a choice most likely because of the clause in his contract, but then he also claims to Mats that things just turned out that way.

Ludde: You don’t regret coming back [to Eagles]? Elias: I didn’t really have a choice.

The idea that he didn't have a choice in the matter doesn't seem accurate. His agent told him there were other alternatives like Jokerit (a professional ice hockey team based in Helsinki, Finland) and that they could find something better than Eagles. Elias seemed kind of defeated already and the decision to return to Eagles didn't feel thought-through at all. It's almost like he just didn't care.

Agent: [...] Jokerit has called and I’ve had a great conversation with them, so they’re on. Elias: You know what? Let’s skip all the trouble. Let’s go with Eagles, it’ll be great. Agent: What? Elias: I’m so tired of moving all the time anyway, plus I’ll be close to my family. Agent: Wait, I thought that you— Eagles has big economical problems, and… Sorry, but their season started awfully. We can get a better team. You understand, right? Elias: Yeah, but we can’t get a team that needs me as much. Plus— If they say they want to see development, I’ll give them that. Agent: Wait— They’re under the line. We’re talking about qualifying down directly. You can’t in earnest believe you’ll change that on your own. Elias: It’s perfect. I’ll only go up, as you like to say.

It also seems like he's maybe realizing that hockey isn't everything and that there are other things he might want to explore and pursue in his life. I think Elias is feeling kind of stuck right now. He's been training his whole life for one purpose which is a professional career in hockey, and maybe he feels like Mats wouldn't allow him to quit. That option doesn't exist to him.

Like you said, Mats had that comment where he labeled Ludde a "quitter" and Elias stressed the fact that there shouldn't be anything wrong with losing interest and deciding to pursue something else.

Mats: Can you imagine that he’s just quitting? I mean, I’m completely— He really didn’t strike me as a quitter. So fucking close. [...] Elias: [...] Ludde, he’s… He’s not a quitter, he’s just didn’t want it anymore. That should be fair.

However, quitting is seen as failure to Mats. Mats dropped everything when he got drafted. He left his relationship with Petra seemingly without a second thought, because hockey comes before everything for Mats. Felicia even mentioned back in season 1 how her father was just a voice in a telephone for most of her childhood. He barely had any presence in her life because he was busy with hockey.

When Klara tells Elias that he's always putting hockey first, he gets angry but he doesn't outright deny it. In fact, he kind of changes the subject to shift attention away from Klara's claim.

Klara: This— You haven’t changed at all. You’re always putting yourself first. Elias: Excuse me? Klara: Yes, it’s either you or hockey. Elias: Stop! What the— Klara: I can’t take this. Elias: Are you leaving now? I wasn’t the only one you dumped. You’ve been acting like shit to Felicia. Yeah, and Amie and Ludde too, for that matter. You haven’t thought about that? So don’t come here and say I’m the egoist.

This is kind of an interesting thought—that maybe Elias subconsciously knew that was Klara is saying is true to some degree and that he has been putting hockey first. He decided to get on the train to the draft combine in Seattle instead of staying with Klara, and a year later he realizes that things didn't turn out the way that he'd planned and he returns to Eagles.

Maybe Elias is trying so hard to be someone who he just isn't, and it's affecting so many aspects of his life negatively. He lost Klara, he had to repeat almost his whole last year in high school because of moving to the US, and now he seems to be stuck in Oskarshamn. He's previously expressed to Amie that this isn't necessarily where he wanted to end up.

Elias: [...] Hey, is it just me or is there something about this town that… It sort of feels like no matter how much you try to get away, it… It pulls you back somehow.

It's kind of strange that he doesn't want to be in Oskarshamn, and yet he was the one who chose to return. Maybe he somehow feels like he has some purpose there because it keeps pulling him back. He just doesn't know what that purpose is.

Elias tried coming back to Eagles to turn things around for them, and they did win a game against the Capitals but that victory was later tarnished by the fight that broke out between the two teams (and to add to this, the loss of Ludde who used to be one of the star players and Klara as a sponsor). That kind of overshadowed their whole victory. Elias was very determined to do something to help and it very much feels like he needs Eagles to succeed—he needs to sort of "redeem" himself.

Elias: [...] Can I do anything? Can I go talk to— I could go talk to the sponsor. Mats: Let’s deal with it later. I’ll solve this. You have to go to school now. Elias: But we can finish talking— Mats: You can— No. Try to think of something else. Alright?

I think that Elias's desperation for Eagles to do well could absolutely lead to him eventually deciding to be a coach. He doesn't really seem to want the life that Mats had after seeing how success turned out for him—a broken family that he barely cares about because hockey occupies his mind more than caring for his children or repairing the relationship with Leila.

I think Elias being a hockey coach could suit him, but I would also love to see him exploring things outside of hockey—maybe even his interests outside of sport entirely.

I kind of agree with you on this. Klara has apologized to Felicia and been forgiven, but we've never seen her properly apologize to Amie for filming that video of her and posting it on social media. Amie and Ludde were in the wrong, yes, but that video being posted was humiliating for both of them. They had to deal with the ramifications of that for months after with the whole school judging them in silence.

To be fair, the video was posted a long time ago in the show's time frame (nearly two years ago if I'm right?) and they all kind of moved on from it. To add to this, maybe she felt it would've been kind of awkward to apologize with Felicia in the room.

Felicia was so hurt by that video being posted and I think it would feel very weird for her that Klara would apologize for posting the video when it's the sole reason Felicia found out what had been done to her. Without that video, she would've probably gone a few more months without being told what happened at the Halloween party.

I'm waiting for a Klara and Amie reconciliation in this season finale. I feel like this is something that should be discussed between just the two of them, and maybe they'll sneak in some blessing from Klara with the whole budding Elias and Amie relationship? I'd be happy with just a reconciliation, though, but I'm unsure if we'll get one. I have a feeling they'll start the season finale with a time jump and I don't know if Klara is even going to be in Oskarshamn by that time.

If we don't see them reconnecting in the season finale I will be pretty disappointed, to be honest.

Thank you! I really appreciate you too @lunawedlers (your gifsets are absolutely magical)!

This question was sent in a while ago but as season 3 had just started airing I was very excited to see the development of Elias and Amie, mostly because the director had been hinting on Twitter that something would happen between them this season. I've been really interested in them ever since 1x03 and so far the wait has been worth it.

I think all episodes have great visuals, but if I had to pick one I would probably say 3x06. All those shots of Elias and Amie on the walk through the park, the drone shots, and then the view from that bench spot were so gorgeous visually. That answer is more of a scene rather than a whole episode haha, but I think they really made the beauty of Oskarshamn stand out in those shots.

I think Amie will have some sort of performance in the final episode of a new song and that Elias will be watching her! After reading the episode description for the final episode and seeing that there will probably be some New Year's Eve party going on, I have a feeling that Amie will be performing. She's always had a performance of a new song in every season finale and this one should be no exception.

They tricked us a little in the season 3 trailer with us thinking that Elias would be at one of Amie's concerts in Stockholm, but now I'm sure that this scene fits in at the New Year's Eve party.

I think we should keep our expectations low for a kiss between Elias and Amie. They just started developing their relationship, and I like the slow pace they're going in. They're not rushing anything. I also have this feeling that their development has deliberately been so slow because they're sort of "saving the best for last".

Elias and Amie are fan favorites and their relationship has been very talked-about from the beginning. I can see the writers maybe having decided to push their relationship more towards the end of the show, which is why we haven't really gotten any Elias and Amie content until now. That's frustrating if you're impatient and I've seen some people thinking that maybe Elias and Amie won't happen at all, but I don't think we need to worry at all. The fact that Elias and Amie's development has been so slow should indicate that they're much more likely to be endgame.

A kiss in episode 10 could definitely happen, but I don't know. Maybe they'll drag it out further. As I've said before, if they don't get one in season 3 they will absolutely be getting one in season 4. I've noticed that it's always best to keep your expectations low when it comes to this couple.

The episode description for the season finale said this about Elias, which some have interpreted to be about Amie.

New Year’s Eve is here. [...] But is Elias brave enough to say what everyone else already knows?

This could mean anything, really. I'm actually leaning more towards this being about an individual thing rather than Amie being involved. It could be about Elias admitting that he's been overworking himself and not eating properly, or coming clean about the fact that maybe he doesn't want a career in hockey. This is something that everyone else already knows, so I think it might be about hockey.

Felicia has observed the overworking, Mats has told him to stop with it, and Ludde might've had some inkling about it while he was still on the team. Even Amie has probably also noticed that he's been spending a lot of time at the gym lately.

I could absolutely be wrong about this though.

Thank you for the question @lunawedlers!

This is a hard one because season 3 has had so many strong episodes already, and usually my favorite episode ends up being the season finale because it's basically the culmination of the whole season. I really loved 2x10 for this very reason since the ending montage was so well done.

If I had to pick between 3x01 - 3x09 though I would probably have to say it's a tie between 3x04 — Date night and 3x05 — Wounds! These two episodes showcased what Eagles should be all about so well, which is relationships plus the struggles you go through as a teenager in a small town, and then of course hockey. The hockey game episodes are really good, even if I don't think 3x05 topped 2x05 (the game where Ludde got tackled and knocked out).

I loved the contrast in Date night of the budding relationship between Elias and Amie and then that fight between Felicia and Ludde on the cliff. That whole scene between Felicia and Ludde on the cliff was actually really beautiful, especially when the sun had gone down.

It was interesting to see how this sweet gesture from Felicia turned into a fight between the two of them. I thought that was very realistic, because no matter how big of a gesture Felicia made to apologize there were still underlying problems that they needed to talk about.

I also loved the "non-date" between Elias and Amie in this episode. It was cute to see them goofing off before the movie started and then talking about it on the way home. I liked how Elias could connect to her on how they had both returned to Oskarshamn.

The recent episodes that dropped last week (3x08 and 3x09) were very strong and discussed some important subject matters, but I had a few problems with them that I discussed in a question above. They were dark, but not necessarily bad because they needed to happen.

However, I have to say that I prefer Eagles when it's about hockey and teenage relationships. 3x04 and 3x05 made me kind of nostalgic for season 1 and I liked the vibe they both had.

I agree, but I think we could maybe get a combination of both! Relationships can have all these romantic and sweet traits like you described, but also be more passionate and show public displays of affection.

I think Elias and Amie fit the more laid-back and sweet characteristics, but we have yet to really see what Amie is like in a relationship. We've seen her with a crush on Ludde and we got a glimpse of that thing she had with Robin (which was apparently a relationship but I did not pick up on that at all), but we don't really know what Amie is like in a relationship. Maybe she's never really had a "real" one, either.

Nevertheless, I'm excited to see what's in store for Elias and Amie. I'm very positive that they will eventually become a couple in season 4.

#eagles svt #svt eagles #after writing this i kind of want to do a separate post discussing the writing in eagles because i have a lot more to say about it

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ahsnewsupdates · 3 years

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Exclusive Interview with Xander Smith: ‘AHS’ Concept Artist!

Xander Smith, the über skilled and talented concept artist who worked on four seasons of American Horror Story (Hotel, Roanoke, Cult, Apocalypse), was generous enough to answer some of our burning questions about the designs that he created for the show!

Throughout this interview, we will attach images of Xander’s work that pertain to the questions asked. You can check out his full, expansive portfolio by clicking here.

Thank you so much for agreeing to this interview! How did your involvement with American Horror Story begin? Were you a fan of the show beforehand?

Thanks, it's one of my favorite projects to have been a part of, so happy to talk about AHS!

I've loved the genre of horror my whole life, to me it's the one genre that you can push all emotions to their limits, and explore the human experience on a much deeper level than other genres. I think this accounts for some of the greatest stories being so horrific in nature: because it's innately human. This also accounts for the genre having the most lame movies too, haha, because it prompts storytellers to try to push boundaries, and oftentimes there's no reason to push a boundary if there's nothing substantive behind it. I think with American Horror Story though, that's not the case. It's deep, it's intricate, and it's very culturally significant.

I had seen the first season on television, and I remember thinking beforehand, 'this is going to be lame, you can't go as deep with TV as you can with an R rated film...' man was I wrong. It pushed boundaries and asked dark, human questions, all while staying relevant and mysterious. I never once thought that they were holding back due to it being on television.

As for the beginnings of my involvement with the franchise, that actually starts with my parent's love of genre films. When I was a kid they would take me to conventions, like Comic-Con, to learn more about film making and meet the cast and crews of various films. That's where my love of design came from. When I was in college, my Dad met Heather Langenkamp at a horror convention, and told her about my pursuit of concept art when I was going to school in Los Angeles. Heather was really kind, and said that when I graduate, I should send her my portfolio; her and her husband, David Anderson, own the legendary special FX studio, AFX. When I graduated in 2014 I did exactly that, they loved my work, and they hired me to work on American Horror Story: Hotel which would come out later that year. Since then, they've hired me to work on the next 3 seasons, I've also been hired by 20th Century Fox on 2 seasons, and by legendary Costume Designer Lou Eyrich for 2 seasons. I'm very fortunate and always have a blast working with the diverse teams that bring AHS to life.

Starting with American Horror Story: Hotel, you were part of the design process for the Addiction Demon [see above]. Can you talk about that? It was such an obscene being, but at the same time so true to form for the show.

Ah yes, the lovely Addiction Demon. That's one hell of a design to have worked on, ha.

I read that part of the script with David Anderson at AFX Studio, as they would be building the prosthetics, and the infamous 'drilldo'. He looked at me and just, 'alright, do your thing, make it horrific.' And that's what I did. I've seen people in the throes of addiction, and actually lost a good friend in my teen years to drug addiction, so when designing the Demon, I wanted it to be really visceral, painful to even look at. In the script, the Demon rapes a character, and as horrific of a concept as that is, I knew that it's one of those concepts that fits with AHS; pushing the limits, but for a good reason. That's exactly what addiction is: you think it's going to be like great consensual sex when it starts, but quickly the Addiction Demon materializes and it has its way with you whether you like it or not. Truly disgusting, but that's what I thought the design should encompass. So I sketched about 20 different versions, and 1 of those versions stuck, and we decided to take that one further. I sculpted the final design in Zbrush, and that's the concept that Ryan Murphy picked. The brilliant team at AFX brought it to life, and that's the demon you see in the show.

You also produced fantastic concept artwork for Lady Gaga’s character’s chain mail glove [see above], alongside costume designer Lou Eyrich and designer Michael Schmidt. How did that design develop? Was it fun designing for Gaga?

Thanks! Yes that might actually be my favorite piece I worked on. Lou Eyrich and Michael Schmidt were awesome, I think we came up with an iconic piece that's uniquely elegant and fit for a horror queen. It was very motivating knowing that it would be worn by Gaga, so as I was translating Michael's sketch, I wanted to maintain a balance of stylishness and darkness, something that both Lady Gaga and American Horror Story is known for. It was incredible to see it in the posters. Definitely a highlight for me.

Moving on to American Horror Story: Roanoke, you produced terrifyingly good concept art for another one of the show’s iconic villains, the Piggyman entity [see above]. Since that same figure was also featured in the first season, did you look back for inspiration?

Great question, because for Piggyman I was back at AFX Studio, working on the design with David Anderson, and we certainly had a lot of the same inspiration and ideas on how to do the design justice for such a horrific piece. There was a lot of shocking content surrounding him, like pig fetuses and butchery, and we just went all out on letting the character bathe in so much debauchery. It was also really fascinating to be designing while their FX team was sculpting the prosthetics (the production schedule was very intense), and I got to see sculptor Glen Eisner working on the pig head and stomach pieces in clay, only a few days after I had worked on the concept art. Incredible process.

On the same season you collaborated quite closely with the makeup department to design concept art for some of the season’s makeup looks, including illustrations for Kathy Bates’ and Finn Wittrock’s characters [see above]. Wittrock played incestuous hillbilly Jether Polk and the final product was quite frightening. How did that process go?

Also a really fun process, I got to meet some of the actors as they came in for face castings, while I was deforming their faces in the concept art- I almost felt guilty! We pulled a lot of inspiration from medical journals relating to birth defects, and we stayed pretty close to reality, as we saw fit for the Roanoke season. I was also busy terrorizing Kathy Bates image while designing what the character's demise would look like. Since there are a lot of complicated practical effects involved in the gory scenes, we spent time illustrating what the wounds would look like ahead of time. By the end of it, I had like 2 full pages of various gory ways Kathy Bates could meet her end that we presented to production, and they chose one of the most horrific ways that fit with the script (of course). Hopefully Kathy is used to it after so many years as a horror icon!

Arguably your most prolific designs for the show were for season seven, Cult. You produced some stunning concept art for the clown masks and general appearance [see above], some of which weren’t seen in the show but absolutely should’ve been. They look slightly ‘mechanical’. What was Ryan Murphy’s pitch there?

Completely agree, I really love the final designs. Unfortunately, for as much art as I did for this season, none of my designs fit the script well enough, I just couldn't hit the mark, and so my work did not make it to production. It happens, and that's why there are many artists on a project! I appreciate you saying they should have been in the show though! I think I focussed too much on the clown/mask angle, and less on the political/cultish angle, which is where the magic of that script was. In true American Horror Story form, it is a cultural commentary on the times, and I feel I was not paying as much attention as I could have. That being said though, I had a blast working with the crew at AFX Studio again, and we worked on a lot of pieces that at least helped move production forward. Sometimes it's useful to see a design that's not quite right, just to move the production in the right direction.

The last season you worked on was of course the crossover season, Apocalypse, for which you designed the Outpost Three hazmat suits [see above]. The plague doctor influences in those designs was a stroke of genius. How was it blending dystopia with 17th century Europe? Also, were you aware that Apocalypse was the crossover season when you started work on it?

I think I got my mojo back on this season, since not only were my illustrations on those hazmat suits finalized for the script, but I was also able to do some of the 3D modeling for the Plague Doctor masks that were 3D printed and worn by the cast as props in the show. That was a really rewarding experience, and I was working under Lou Eyrich again who is the genius behind the blend of dystopia and 17th Century Europe that characterizes Apocalypse. We did probably about 50 different sketches of those suits, and explored such a wide variety of directions and blends of dated technologies, medieval influences, hazmat suits, and gas masks. When we had a solid direction, I did a tighter illustration of a generic suit that could be worn by any one of those characters (one of the keys to the design was that they could be worn by several different body types, as per the script), and then did a final piece that showed Kathy Bates wearing the mask. I'm really pleased to have come up with the idea of the 'plastic plague doctor' design, and thrilled to see it on screen.

I wasn't aware that it was the crossover season either, I wasn't given that part of the script, but that let me watch the revelation in real time with the rest of the world!

Lastly, would you like to design for American Horror Story again in the future? What is your “dream theme” that you’d like the show to explore?

Absolutely I would love to return some day and help flesh out some new designs. Some of the later seasons have been less concept-heavy, but I've also had to pass on the work as I've been involved in other projects, and of course have been busy helping found my current company, Aliza Technologies.

But you never know what the future holds!

As for a 'dream theme', that's such a good question because I feel there are so many interesting directions the show could take. They've built such a rich world where stories can take place across a range of time periods and genres, and that's a real gift to horror fans. One of the elements I really love about AHS is that when it delves into the supernatural, it does it in a really measured way. I've always found ghost stories to be a little bland and heavy-handed, but since AHS is so nuanced in its supernatural material, especially in season 1, I think it would be really interesting to see them go the heavy handed way, lead the audience down a super super-natural route for half a season, and then absolutely pull the rig from underneath them halfway through, and have a natural explanation for all the 'supernatural' elements. It would be a complete mind-f**k, like 'wait, there were no ghosts at all??' and have that realization be even more horrifying. I'm no writer, but I think a concept like that could be really interesting... Also set the mystery across several different generations so that the supernatural explanation is more appropriate for an older generation, and is busted open by the modern take. Image what the flashback reveals could look like, and imagine the types of 'ghosts' I could illustrate...

Thanks for the questions, now I'm off to do some script-writing myself...

(Also, special mention to Eryn Krueger Mekash and Mike Mekash who designed the makeup looks!)

Xander’s links:

Official Website: https://www.xandersmithdesign.com/

ArtStation: https://www.artstation.com/xandersmith

Behance: https://www.behance.net/XanderSmithDesign

Instagram: https://www.instagram.com/xandersmith_design/

#xander smith #ahs #american horror story #art #concept art

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pseudophan · 5 years

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If you don't mind sharing, what did you include in your portfolio? Did you have a theme? I'm trying to make one but I feel like nothing's good enough

personally i made a showreel and included parts of various films and videos to demonstrate a variety of skills, because although i don’t really like any of those finished projects they all had aspects to them that i did like and so i edited those parts together. i also attached my “website” which is just a tumblr under my full name with films, photography and art

admissions teams aren’t really looking for anything perfect, after all you are there to learn, they just want to see things that show promise in your field, you know?

#answered

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strpaloma · 5 years

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EIZA GONZALEZ, FEMALE, SHE/HER-——- Paloma Vega has been identified as a twenty-eight-year-old resident with super strength. their files indicate that they work as an actress, and may have no affiliation. they are known to be talented and jaded, and knew the deceased because she tried to be a whistleblower on a mutant testing operation years ago only for no one to believe her. (Louisa, she/her, 19, est )

TW: drugs, gaslighting

Paloma Vega was born for the spotlight. She grew up in Hollywood and from the moment she saw her first movie she knew she was destined to be on the screen. She got her power very early. From the age of five she was a whirlwind of a child, accidentally ripping doors off hinges and causing the family repair contractor to just become part of the family. It took her a while to gain control of her strength, but that is probably just because it takes five-year-olds forever to gain control of anything.

Little Paloma didn’t let her power distract her movement towards her goal. Every day she would come home from kindergarten and beg her parents to get her in front of some cameras. She would throw very destructive temper tantrums about the fact that she didn’t have a talent agent, a concept generally beyond most five-year-olds. Eventually her parents caved in and started taking her to auditions for child actors.

She was cast in a few commercials very quickly. Paloma was a beautiful child and had an energy and enthusiasm that was unparalleled. The tantrums stopped. She reined in control of her strength. When she was seven she got her big break as the titular character in “Raising Lola”, a sitcom about a family of non-mutants and their daughter who has super-strength. It had a laugh track. It was terribly written. It won no awards. But it was extremely popular nonetheless, and so it stayed on the air far longer than it should have. Her mother homeschooled her as Raising Lola filmed.

After the sitcom, opportunities started throwing themselves at her. There seemed to be no limit to how far her star could rise. She acted in a wide variety of projects before carving out a home for herself in the action movie genre. For many years she was action’s silver screen darling, playing a diverse portfolio of heroes and femme fatales and detectives and damsels that all probably should have been wearing just a little bit more clothing.

Then, during a film shoot in Diamond City, she witnessed something odd: a strange glow from the windows of a supposedly abandoned warehouse. She had spent enough time playing hero that part of her had begun to believe she was one. So, on a reckless impulse, she ripped the door to the warehouse off its hinges and waltzed into a mutant testing facility. Needless to say, she was immediately captured.

Most of her time in the facility is exceptionally blurry. She couldn’t be kept in restraints because of her power, so instead they kept her heavily sedated at all times. Occasionally she caught names and faces- among them, the name Raúl Suarez- but nothing more concrete.

One day, about two months into her stay there, someone made a mistake. Maybe they gave her the wrong dosage, or they gave it too late, or they forgot to give it at all, but Paloma woke up from her medicated fog. She immediately burst through the wall of the facility, kept running, and didn’t look back. She freed no other test subjects, she fought no testers, she just ran. In that moment she realized she wasn’t the hero after all. She didn’t have it in her.

Paloma did, however, run straight to the DCPD. She told anyone there who would listen about the testing facility- about where it was and what went on inside, about the names she had heard, the faces she had seen. Unfortunately, Paloma had made a key mistake. She was an A-Lister who had gone missing on set for two months, and the gossip columns had mostly hypothesized she was on a drug bender somewhere. Now she was showing up at a police station extremely disheveled, with drug tests showing she was high as a kite on a strange concoction of painkillers, confirming the rumors. She was laughed off by every officer except one, who kindly said they would check out the facility tomorrow. Only by the time tomorrow came the facility was gone, and the warehouse was just a warehouse.

For a few days Paloma wondered if she really was just a celebrity recovering from some bad trip because she’d been gaslit to hell, but when she tried to get back to work she found peculiar roadblocks that drugs couldn’t explain away. Yes, her first instinct wasn’t to find out more about what had happened, it wasn’t to find other cops or heroes who would listen, it was to act again, even despite the fact that she was going through heavy withdrawl symptoms. Above all else, it is her passion for acting that drives her.

She returned to the set of the movie she had been shooting before she went into the facility in hopes that they had miraculously been waiting for her. No, her part had been recast. Fine. Understandable, it’s a tough industry and she was missing for two months. She called up her agent she had worked with for twelve years and he answered the phone only to say that he no longer wanted to work with her. Sad, but maybe it was better for his PR if he didn’t work with people who were suspected addicts. As she ran through her list of industry contacts from the A-Listers to the guy who directs the commercials for male pattern baldness medication, every single one of them turned her down. That cued her that something sinister had actually happened. If anything, her two month absence should only have made her a more desirable hire given all the press she’d gotten. Whoever was orchestrating her blacklisting clearly had one hell of a reach- Though she could never fully shake the thought that maybe it all had just been one bad trip.

In theory, she could have gone to the press with her story. None of her press contacts seemed to be blocking her the way her film contacts were. But she had learned a lesson. If she didn’t have evidence, no one would believe her and she would only become more of a laughingstock.

She stayed in Diamond City after the debacle (which was two years ago) because she didn’t want to go back to Hollywood and stare at the stardom she could no longer have. The whole incident left her jaded as hell. Her career and reputation she’d curated for over twenty years was gone overnight and she didn’t have the skillset to do anything about it. On top of that, the people who did have those skills didn’t believe her. She spent most of those two years trying to kick a painkiller addiction and only slightly succeeding, telling the press her early retirement was a personal choice (super false), and keeping her head down.

And then a few weeks ago Raúl Suarez died and his speculated connection to the underground was released to the public and she knew, she knew she wasn’t crazy and finally people would believe her and finally she would be able to act again and she wasn’t crazy and-. No. Calm down, Paloma. Nothing was solid yet. There was still nothing she could contribute to the investigation and she didn’t exactly trust the DCPD. Besides, even if they uncovered the whole operation it wouldn’t necessarily un-blacklist her.

But for the first time in a long time, Paloma has begun to hope.

TLDR: A-list action movie star makes a dumb decision, ends up in a mutant testing facility, escapes but finds she’s been blacklisted from the film industry and loses her sense of purpose.

Power: She has super strength. It’s pretty straightforward. She’s never done any combat training other than stage/stunt training because she’s a normal civilian though so like she doesn’t really know how to use it in a Useful Manner ya know? Other than Lifting Stuff and Pushing Stuff. She hasn’t learned how to be a badass, but with some actual training she could probably become a real powerhouse.

Personality: Paloma is a jaded diva. She won’t sign autographs, she’s incredibly cynical, and she’s fairly paranoid. She’s not mean (bc i can’t play ppl who are Mean), she’s just distinctly not nice. However, it’s worth noting that she can change her personality at the drop of a hat as needed. #acting

Wanted Connections:

Under construction i gotta think on this but hmu for whatever

#this got EXCEPTIONALLY long im so sorry #about #paloma #ruse:intro #i made up a lil bit about the testing so lmk if any of that doesnt fit and ill swap it around #i did my best to leave it all intentionally vague #theres a tldr at the end for anyone who wants the short version lol

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adamwatchesmovies · 2 years

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Rumble in the Bronx (1995)

Rumble in the Bronx overcomes its weaknesses by delivering what you want from a Jackie Chan action film. The acting may be weak, the plot a little jumbled, but you don't mind. Not as long as the leads are charming, the choreography inventive, and the action is exciting.

Mao Hon Keung (Jackie Chan) is traveling to New York to attend his uncle’s wedding. There, Keung gets embroiled in a battle with a biker gang and professional thugs serving the White Tiger (Kris Lord) after a diamond heist goes wrong.

Examining the film's plot does it no favors. You won’t remember what was going on while Chan wasn’t around kicking butt. There’s a bunch of villains, they need to get beaten up. Some of Keung’s newfound friends are endangered, he needs to save the day by knocking them over with various impromptu weapons. That’s it. It’s important to know this in advance. If you don’t, you’ll be frustrated trying to figure out how all of these different characters fit together. Anita Mui as Elaine is fun to watch, but her character is superfluous by the time the end credits roll. It’s like the plot is a mashup between two films, one where Chan’s love interest is the meek businesswoman who can’t believe her eyes when the boy next door is able to do these amazing physical feats, and the other would have focussed on a woman who’s turned to the dark side of the streets (Françoise Yip as Nancy) that slowly realizes the error of her ways and eventually joins with our hero. The bad guys are flat, the plot is disposable. It’s not a good thing, but you can get over it.

The reasons to pay attention despite the flaws are the stunts and the action. It’s Chan at his best among a sea of bad dialogue and lame performances. Every segment where Keung faces off against a meanie is gold. There’s a wide variety of action segments and the comedy is well woven in. It’s a trademark of his so if you’re a fan that’s nothing new, but the guy’s getting older. We’ll never see him in his prime again. A film like this - while not the best in his portfolio - shows why he became a superstar. Even if you’re not already a fan, the footage of stunts gone wrong during the end credits put everything in perspective. You see the effort needed to choreograph and perform these stunts by seeing footage that you might have overlooked if it had been banished to the “special features” menu on your DVD.

It speaks volumes about Jackie Chan that he’s able to take an unmemorable script and inject enough charm, humor, and excitement in it to make Rumble in the Bronx worth seeing. It took me a bit to get used to, but once settled in, I found Rumble in the Bronx entertaining for a myriad of reasons. (On VHS, June 20, 2016)

#Rumble in the Bronx #movies #films #FilmReviews #MovieReviews #StanleyTong #EdwardTang #FibeMa #JackieChan #AnitaMui #FrancoiseYip #1995movies #1995films

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brand-it · 3 years

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InVideo Review: How to make $1000 in 2021

Have you ever utilized Canva and admired how it aided non-designers in creating eye-catching images? If you answered yes, you would undoubtedly like InVideo. It performs the same thing but with an emphasis on assisting you in the creation of videos. I'll go through the following topics in this InVideo review:

What is InVideo, what are its features, and how much does it cost?

Should you go through with it or not?

How to make $1000.

How to Use InVideo Even if You're Not a Freelancer.

Sounds interesting. So let's start with an overview of the platform, particularly if you've never heard of it before.

What is InVideo?

InVideo, which is hosted on invideo.io, is a newcomer to the video editing business. It also allows you to use templates to produce various eye-catching videos, similar to how Canva allows you to create pictures.

You may also turn your blog entries and articles into videos with the assistance of InVideo, And I think it's a fantastic concept, particularly if you're a blogger who likes the notion of reusing your material. And what distinguishes InVideo from the competition?

“With little to no technological experience, almost anybody can make videos.”

That's correct, even though I am not a specialist in video content creation. Despite this, I've made several movies using InVideo over.

So, if I can make it, you certainly can as well. But, do you still not trust me? Then, allow me to take you through the steps of making videos using InVideo.

InVideo Review: How Does It Work?

The site of InVideo describes how the platform's video production works. Why? Because the team understands that it is the platform's most important feature. So all you have to do is “Sign Up” for an InVideo account, and you'll be able to get started right away.

To get started, choose a template that reflects your brand's narrative or concept. Following that, take advantage of InVideo's free stock of music, pictures, and videos. Colors, timings, typefaces, and other details may all be changed. You may also begin with a blank design and add components of your choosing.

After you've finished editing your video, export it. Within site, InVideo also allows you to post it on social media.

But first, let's learn a little bit more about the platform's features.

What Makes InVideo So Special?

For non-professional video producers like you and me, InVideo has a ton of features. Please have a closer look at them!

Audio equipment

Overlay of text

The media library

Aesthetic effects

Merge at high speed

Reseller privileges

Shareable link

High Definition Resolution

Fonts in a Variety

There are many stickers.

Changing the speed

Templates for font quotes

Templates that are already created

Video splicing and merging

From a blog post/article to a video

Character length is unrestricted.

Video Production and Stabilization

Shapes, text boxes, and other elements are available.

Uploading pictures and videos is possible.

Collage, masks, and other enhancements

And so forth. All of this comes with a 60-day money-back guarantee and support. But you're probably thinking that it's going to be too costly. Wrong. Let me now take you through InVideo's price structure.

Pricing for InVideo

InVideo operates on a freemium basis. Therefore, you may also start utilizing it for nothing. As a result, it has certain restrictions, such as the InVideo watermark.

Free Plan from InVideo

Let's see what you can obtain for free.

InVideo Watermark

4500+ Video Templates by InVideo

3 million+ standard media library

Text-to-Speech Automation

Each video lasts 15 minutes.

You get a lot more than you anticipate for free, in my opinion. And, if you're just getting started, I suggest enrolling for free at first and then upgrading later. Other options available include ‘Business' and ‘Unlimited.' Now let's look at them.

Business Plan from InVideo

If you pay for a year in advance, the business plan is $15 per month. If you don't want to commit to a full year, it's $30 per month. Without a doubt, you will appreciate the abundance of materials provided by InVideo. You may also export 60 videos each month.

I suggest the ‘Business' plan only if your video production business has grown significantly. Also, if you think it's worth it, you may pay for a full year and get a 50% discount. The information was accurate at the time of authoring this article. You should, however, go to InVideo's price page for confirmation.

Unlimited Plan from InVideo

The ‘Unlimited' plan from InVideo is really unlimited. You may also export an infinite number of videos, view 120 iStock images, and access 1 million. If you pay for a year, the ‘Unlimited' option costs $30 per month. If you don't want to commit to a year, it costs $60 each month.

Again, I think you should purchase the ‘Unlimited' package for a full year to take advantage of the 50% discount. After that, you only go for it if it's worthwhile. That leads me to a review of the platform.

InVideo Review: Worth the Money?

You probably already know how much I like InVideo, so I'll give it a good review. It does, however, have certain drawbacks. So, I'll discuss both the advantages and disadvantages. Does it seem reasonable?

Pros of InVideo

You may customize everything.

Detailed lessons are available on the YouTube channel and the blog.

You'll find a plethora of sticker options, text effects, and filters

Highlight the terms to search for related video footage.

Because you have complete control over them, you can sell and share videos easily.

Millions of stock photos, video clips, and audio are available to you.

Without question, there are many advantages to utilizing InVideo to produce your videos. But it leads us to the disadvantages.

Cons of InVideo

These are not the main drawbacks of utilizing the InVideo platform. However, the squad could improve on the following points:

First, only 50 scenes are allowed (you'll notice the recurrence after a while).

Second, it takes a long time to preview and export.

Third, your layout selections will be lost if your mind is changed.

All of these disadvantages aren't game-changers, but they are unpleasant. And, without a doubt, InVideo is an excellent video editing online tool.

How to Make $1000 with InVideo

InVideo enables you to produce many kinds of videos for several platforms. Among these platforms are:

Facebook

Snapchat

YouTube and Other Resources

You may also select from the following kinds of videos to make your work easier:

Coupons / Promotions

Advertisements for Branded Products

Invitations to Presentations

Motivational sayings

Promotions for webinars

Bite-sized ads

Testimonial videos

Videos suitable for snacking

Listicles and other resources

Without a doubt, creating movies based on all of these categories is a breeze with InVideo. I provided freelance video ad creation, Instagram postings, and YouTube intros and outros. And in this manner, I have earned about $1000. Let me show you how to earn even more.

InVideo Review: Freelance Service Suggestions

By using InVideo, you may provide a wide range of services. Let me offer three service concepts that I've tested.

Intros and Outros for YouTube

As the world's second-largest search engine, YouTube is also the world's most popular video platform. As a result, you may find every kind of video maker there.

You can imagine how many prospective customers there are for you. Ask them to consider having you create intro and outro films for their YouTube channel. Make a Fiverr Gig out of it. And, like a pro, advertise your gigs or services.

Video Ads

Every once in a while, millions of entrepreneurs emerge. And, to be honest, every one of them should run video advertisements since they work so well.

Instagram Posts

Instagram is full of influencers. And they must all publish excellent material on Instagram. Videos are now worth their weight in gold on Instagram. Inform Instagrammers that you may assist them in creating amazing videos right now.

How Can You Market Your InVideo Services?

So you've made a fantastic video portfolio using InVideo. So, what now? You can't simply sit back and wait for the money to come into your account. You must get the word out about your freelancing services.

Here's how to do it:

First, make some video advertisements for InVideo, Distribute them as samples of your work and pitch them to prospective customers.

Second, create and advertise freelancing jobs on sites like Fiverr and Upwork.

Third, Cold emailing may help you sell your services.

Fourth, If you have any of these services, include them on your website.

And there are many things you may do to develop and market your freelancing services. Because it's not only the InVideo review, let me provide a way for you to become motivated for your company.

Go to InVideo's price plan and choose the ‘Free' plan. And consider it a game to go from ‘Free' to ‘Unlimited.' It will undoubtedly keep you motivated.

If you're new to freelancing, put these practical ideas to use.

Not a Freelancer?

Or maybe you do not want to provide freelancing services. If you operate an online company, InVideo may still be useful to you. Instead of offering services, make films to help you grow your company. For instance, if you own an e-commerce site, you might make product films.

Also, use video advertisements on social media. Videos are becoming more popular. You may also make similar videos if you have a blog on any subject. Everything is as simple as putting a link to your blog article into the InVideo.

Final Thoughts: InVideo Review

There is no reason not to make money online nowadays since the possibilities are limitless. You may make a full-time income by writing web content or creating videos with InVideo. InVideo is a potent tool for creating videos without any technical knowledge.

Here's a brief rundown of your options:

Begin experimenting with InVideo for free.

Make YouTube intros, video advertisements, and other services available.

Promote your freelancing opportunities.

Slowly expand your company.

This article is more than simply an InVideo review; it is a comprehensive introduction to the subject. Thank you for reading, and please share your views in the comments section below.

#invideo #makemoneyonline #how to start freelancing #freelancing #how to make money online

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officialotakudome · 3 years

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New Post has been published on Otaku Dome | The Latest News In Anime, Manga, Gaming, Tech, and Geek Culture

New Post has been published on https://otakudome.com/spirit-untamed-dated-on-home-media/

Spirit Untamed Dated On Home Media

Universal has dated Spirit Untamed on home media:

Universal City, California, August 10, 2021 – Join pals Lucky, Abigail and Prue in SPIRIT UNTAMED, an epic journey brimming with family, friendship and adventure that you can watch over-and-over. The all-new film is yours to own for the first time on Digital August 17, 2021 and on Blu-ray™ and DVD August 31, 2021 from Universal Pictures Home Entertainment and DreamWorks Animation. This release is jam-packed with more than an hour of bonus content, including deleted scenes, multiple at-home activities, including how to make your own “campfire” indoors, cast interviews, sing-alongs, and much more!

SPIRIT UNTAMED is a story of adventure, family and friendship. Free-spirited Lucky Prescott moves to Miradero to join her estranged father. She is decidedly unimpressed with the sleepy town until she discovers a unique tie to her late mother who was a fearless horse-riding stunt performer. She quickly forms a bond with a wild mustang named Spirit and makes two new pals who love horses as much as she does. When a heartless wrangler plans to capture Spirit and his herd, Lucky and her friends set off on an epic journey to rescue the horse who has given her an unbreakable connection to her mother’s legacy.

SPIRIT UNTAMED stars Isabela Merced (Dora and the Lost City of Gold), Marsai Martin (Little), Mckenna Grace (Captain Marvel), Walton Goggins (“Justified”), Andre Braugher (“Brooklyn Nine-Nine”), Eiza González (Fast & Furious Presents: Hobbs and Shaw), with Julianne Moore (Kingsman: The Golden Circle) and Jake Gyllenhaal (Spider-Man: Far From Home). The adventure is directed by Elaine Bogan (“Trolhunters: Tales of Arcadia”) and co-directed by Ennio Torresan (The Boss Baby). The film is produced by Karen Foster (How to Train Your Dragon) and the film’s score and original song “Fearless” is by composer Amie Doherty (Marooned).

BONUS FEATURES ON BLU-RAYTM, DVD and digital:

DELETED / EXTENDED SCENES

FINDING YOUR SPIRIT: Meet the cast and filmmakers behind SPIRIT UNTAMED and discover how they brought this incredible story to life. Find out how this film fits into the overall Spirit story and learn the secrets behind the animation process.

BEHIND THE VOICES – THE CAST: It’s always fun to see the people behind the voices. In this series of short featurettes, we not only meet the cast but we discover what characteristics they share with their on-screen personas and how they inhabit them.

COWGIRLS RULE: This featurette goes into more detail about the female-focused story and explains why it’s not just a “girls like ponies” movie.

DRAWING SPIRIT – SPIRIT UNTAMED: A unique look and chance to learn from one of the talented artists how they bring the characters, both human and equine, to life.

CREATE YOUR OWN INDOOR ‘CAMPFIRE:’ Using crepe paper and LED lights, build your very own campfire at home!

HOW TO UKELELE: Discover how to create your very own ukulele at home. Then, learn some simple chords so you can impress your friends and family around the campfire.

SNACK TIME – S’MORES: During their adventure, Lucky and her friends enjoy a campfire snack that we all know, and love-s’mores! This tasty “how to” feature will teach viewers to safely make their own traditional toasted treats along with a selection of not so traditional recipes.

ABIGAIL’S HAND SHADOW SECRETS: Ever wish you could tell stories using hand shadows, just like Abigail? Well now you can! With the help of a hand shadow master, a simple lamp and an old sheet, anyone can learn how to create cool creatures with nothing but your two hands.

HOW TO ZOETROPE: Lucky Prescott discovers her mother’s horse-riding talent when she finds a zoetrope at her father’s house. This “how to” video teaches fans of the film how to build their own and bring it to life using the drawings they learn in the “drawing spirit” feature.

SING-ALONGS: Watch these fun lyric videos featuring songs from the film and sing-along around your own ‘campfire’.

FEATURE COMMENTARY: Commentary with director Elaine Bogan, co-director Ennio Torresan, and producer Karen Foster.

SPIRIT UNTAMED will be available on Blu-rayTM, DVD and Digital.

Blu-rayTM unleashes the power of your HDTV and is the best way to watch movies at home, featuring 6X the picture resolution of DVD, exclusive extras and theater-quality surround sound.

Digital lets fans watch movies anywhere on their favorite devices. Users can buy or rent the film.

MOVIES ANYWHERE is the digital app that simplifies and enhances the digital movie collection and viewing experience by allowing consumers to access their favorite digital movies in one place when purchased or redeemed through participating digital retailers. Consumers can also redeem digital copy codes found in eligible Blu-rayTM and DVD disc packages from participating studios and stream or download them through Movies Anywhere. MOVIES ANYWHERE is only available in the United States. For more information, visit https://moviesanywhere.com.

For artwork, please log onto our website at www.uphepublicity.com. Website: https://www.uphe.com/movies/spirit-untamed-the-movie Trailer: https://uni.pictures/SpiritUntamedTrailer Facebook: @DreamWorksSpirit Instagram: @dreamworksspirit Hashtag: #SpiritUntamed #DreamWorksSpirit

FILMMAKERS: Directed By: Elaine Bogan Co-Director: Ennio Torresan, Jr. Produced By: Karen Foster, p.g.a. Screenplay By: Aury Wallington and Kristin Hahn Score By: Amie Doherty

TECHNICAL INFORMATION BLU-RAY™: Street Date: August 31, 2021 Selection Number: 1946213879 (US) / 1946214649 (CDN) Layers: BD 50 Aspect Ratio: 16:9 2.39:1 Widescreen Rating: PG for some adventure action Languages/Subtitles: English, French Canadian, Latin American Spanish Sound: English, French Canadian and Latin American Spanish DTS-HD Master Audio 7.1 Run Time: 01:27:33

TECHNICAL INFORMATION DVD: Street Date: August 31, 2021 Selection Number: 1946213878 (US) / 1946214648 (CDN) Layers: DVD 9 Aspect Ratio: 16:9 2.39:1 Anamorphic Widescreen Rating: PG for some adventure action Languages/Subtitles: English, French Canadian, Latin American Spanish Sound: English, French Canadian and Latin American Spanish Dolby Digital 5.1 Run Time: 01:27:39

ABOUT UNIVERSAL PICTURES HOME ENTERTAINMENT: Universal Pictures Home Entertainment (UPHE – www.uphe.com) is a unit of Universal Filmed Entertainment Group (UFEG). UFEG produces, acquires, markets and distributes filmed entertainment worldwide in various media formats for theatrical, home entertainment, television and other distribution platforms, as well as consumer products, interactive gaming and live entertainment. The global division includes Universal Pictures, Focus Features, Universal Pictures Home Entertainment, Universal Brand Development, Fandango, DreamWorks Animation Film and Television. UFEG is part of NBCUniversal, one of the world’s leading media and entertainment companies in the development, production and marketing of entertainment, news and information to a global audience. NBCUniversal owns and operates a valuable portfolio of news and entertainment networks, a premier motion picture company, significant television production operations, a leading television stations group, world-renowned theme parks and a suite of leading Internet-based businesses. NBCUniversal is a subsidiary of Comcast Corporation.

ABOUT DREAMWORKS ANIMATION: DreamWorks Animation (DWA), a division of the Universal Filmed Entertainment Group, within NBCUniversal, a subsidiary of Comcast Corporation, is a global family entertainment company with feature film and television brands. The company’s deep portfolio of intellectual property is supported by a robust, worldwide consumer products practice, which includes licensing, and location-based entertainment venues around the world. DWA’s feature film heritage includes many of the world’s most beloved characters and franchises, including Shrek, Madagascar, Kung Fu Panda, How to Train Your Dragon, Trolls and The Boss Baby, and have amassed more than $15 billion in global box office receipts. DreamWorks Animation’s television business has quickly become one of the world’s leading producers of high-quality, animated family programming, reaching consumers in more than 190 countries. Creating a diverse array of original content in a variety of formats and delivering deep, fully immersive worlds served up with compelling characters, the prolific studio has garnered 31 Emmy awards since inception in 2013.

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portfolioshowcase · 6 years

Text

Interview, Autumn Durald - A Transforming Force

Hey, Autumn! Are you having fun shooting a western film?

Unfortunately the western I was supposed to shoot at the start of the year was pushed. When we do start shooting it will be a wild ride.

Are you doing things differently with this project or there are significant changes to how you shoot?

The short film has the same storyline so we already had a test run at the visuals. On the short film, I shot 35mm anamorphic and I flashed and pulled the film stock. I plan on doing that as well for the feature along with some other tricks.

As the imagery should tell the right story, and each story has it's own look, Do you think it's possible for a Cinematographer to have a particular visual aesthetic?

When I first started out I didn’t use to subscribe to this theory, however, I do now. I find that people often tell me that there’s definitely a particular visual style in all of my work. Which made me think more about other Cinematographers work I love, and now I can see why someone would say that. Every story has its own distinctive look, but a DP definitely brings their taste and eye to each project, and if you have a strong one then it shines.

How do you translate the combined vision of the writer and the director - on film? Have there been times when you went a little too adventurous?

All of my feature work, now six features have been with writer-directors. This makes it easy when talking to the director about the vision since he/she also wrote it. I wouldn’t say I’ve ever gone too adventurous, nothing the director and I didn’t dive into together. On the Arcade Fire “porno” music video/documentary film I shot for director Kahlil Joseph in Haiti we definitely did some adventurous things, but he is a very adventurous filmmaker so it’s par for the course when you shoot with him.

Do you feel that the courage to allow the moments of the characters and the overall atmosphere to be raw, not just as a form of a mental stimulation but more visible is something that makes increases the viewer's investment into the film? Can it increase the emotional magnitude of the film?

Some stories should be told visually with a lighter touch, then the characters stand out the most. It’s not our job as Cinematographers to take our audience out of the story by showing how flashy our work can be or how cool our framing is. If our choices don’t suit the story and add depth to the emotional quality of the scene then we aren’t doing our job correctly. I don’t think an image has to be handheld and only naturally lit to feel realistic or raw. If those qualities are appropriate then great, but I do think you can manufacture a realistic tone through lighting it and keeping the camera more still.

When you are shooting, do you ever think about whether you would want the audience to be an experiencer standing by or let's say a third actor in the film? How do you experience the movies or photographs you reference to or enjoy?

Definitely depends on the project. I’d say for Palo Alto it was important to express intimately what these teenagers were going through and have you feel like you were a part of their world. We also chose not to shoot it in a gritty handheld doc style. I don’t think the camera work or look has to be loose for audiences to feel like they are apart of the scene. Gia and I favored a much more considered camera style and dreamy visuals, and we knew our audiences were sophisticated enough to relate.

Coming back to your process, can you talk to us about how you transform the use of light according to specific scenes and according to the nature of the film? Can you please share with us some of your experiences over the years shooting and working with light?

When I was at AFI (my graduate film school) my focus was always more lighting driven. The DPs that inspired me to choose Cinematography as a career had a very strong sense of light in their work. Gordon Willis, Harris Savides, Conrad Hall, and Michael Ballhaus. Sadly none of these DPs are with us anymore but their work is incomparable. So I made it a point early on in my career to learn lighting and what a gaffer does, and what they do well. I find the technical aspect of lighting intriguing and early on I always paid attention to what my gaffers and electricians were doing on set. When I read a script one of the first things I can visualize is how the light falls in the space or scene. I’m not sure why that is or when in my career this happened but it's something that becomes apparent first. After discussing the look with the director this definitely evolves, but I start from there. If it’s a period piece there are already some limitations set in stone depending on the genre. I favor using hard and soft light together in a scene. And most importantly where the light comes from should serve a purpose.

Can you share with us the experiences you went through in order to widen your vision, your imagination and your dreams? Is it exhausting to spread your wings in a society as it is?

The two most important things a good DP should draw from is her/his sense of taste and their confidence. When you have a good sense of taste and the confidence to carry it out that’s where the images speak for themselves. It can be exhausting at times to get the projects you want to shoot. This career has a lot to do with determination and patience. Since Palo Alto, I get offered a ton of coming of age films. That is not the only story I want to tell or can tell. So it takes some work convincing this industry that you can shoot a variety of genres. Putting in that work can be exhausting but you’re a better DP for it. I wrapped a film called Teen Spirit last summer, it was an amazing experience and probably the film that most widened my vision and imagination. The film turned into something so special that I couldn't’ have predicted that when I read the script. Those are the most enlightening experiences, when you work your ass off, along with your team, and your directors' vision shines and they ultimately put together a good film. Those experiences can be few and far between. That’s when you feel your wings spreading when everything just comes together and you're proud of the final film you shot. Finding directors to work with that inspire you and you trust to tell great stories is one of the most important things I’ve learned making films.

Do you feel as more women come into filmmaking, they are going to bring an entirely new perspective to it and ultimately inspire a life from the heart than the mind?

The best and most successful films ultimately all come from the heart. That’s why you feel so emotionally connected to them. Female filmmakers started making films in the late 1800’s. It’s only now we’ve decided to shine a huge light on the subject. If audiences were paying attention, female told stories and perspectives have been out there for a long time. Now this current light on female filmmakers is allowing more women opportunities which are allowing more of those stories to be told. Hopefully, one day making it more of an equal landscape, mainstream films directed by women and men. Instead of what we’re most used to seeing at the box office, female and male stories told by men. I appreciate both perspectives, I think it’s fascinating to watch a female protagonist directed by a man and then see one directed by a woman. This diversity is what makes filmmaking so fun. You don’t need to be a male to tell a mans story and vice versa. Just because I’m a woman doesn’t mean I can’t shoot a masculine film. One of my favorite lensed films is BLOW, I remember the first time I saw it I looked up who the DP was. I was so delighted and inspired to see it was shot by a woman. Ellen Kuras is one of the reasons I thought I could even do this job when I finally decided to pursue it. Great cinematography or filmmaking shouldn’t see gender.

Before I ask you the last question, can you tell us, how would you compose silence?

Not sure how I would go about that, but if I was brainstorming a way to do it, I would start by sitting in a room with a Rothko painting.

Lastly, what would you suggest or share with other cinematographers?

Find your own sense of visual style and taste and run with it. Great work comes from the soul and only you can tell that story. Don’t be too concerned with making everything so precious in the frame. When you do that it tends to draw you away from the actual story and also the other artists making the film with you. You learn more about your style, the way you shoot and telling stories by all your mistakes. Take those mistakes and learn from them, don’t forget them. I am fortunate enough to do this as a career and I love my job, but this job is nothing without the people I work with. Filmmaking is a team effort and without that support, we as DPs can’t carry out our vision. Always appreciate your hard working crew and figure out the best way to lead them. And last but not least, for all you girls who want to be DPs but are discouraged by the lack of diversity in the industry, just go out and do it. There shouldn’t be anything stopping you. If you have a unique perspective and can create beautiful images, that is enough to get your foot in some door. I hope seeing more female shooters now is a testament to that.

Interview with Autumn Durald Arkapaw

WWW.AUTUMNDURALD.COM

www.instagram.com/addp

Interviewed by The Portfolio

#Interview #Cinemtographer #Palo Alto #Untogether #One and Two #The Good Time Girls

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artbypino · 3 years

Text

Stand and semi-stand development of film

What Is Stand Development? What is Sem-Stand Development?

BACKGROUND

When developing (Black & White (BW)) film, one can refer to the developing chart specifications typically mentioned inside the carton of the film. For color film, there are two primary and standardized ways to develop them. The most common one is the C41 process and the one for reversal or slide film is the E6 process. While there are creative experiments one can do with C41 and E6, for the most part, it is a fairly standardized process.

Developing BW film is an entirely different and highly creative process. The same film stock can be developed in a variety of different chemicals or chemistry with varyingly creative results. Some commonly used BW chemistry is D76, HC110, Rodinal, Ilford DDX, Ilfosol and, more. Each chemistry has its specifications in regards to how long to use it to develop a film at varying ISO.

You can download the developing information by doing a Google search for the name of the film followed by ‘data sheet.’ For example, ‘Kodak TRI-X 400 data sheet’ will show you the pdf for the film along with other interesting information including the various formats - 35mm or 120 medium format or sheet film sizes that it is available in. Included is the recommended developing time for the film. You can also download the data sheet for the chemistry which would show you the varying times for different BW film stocks. An excellent resource for developing times for various BW film stocks is the website and app called Massive Dev Chart. It shows you the developing time for various BW film stocks when used with different chemistry.

On an average the developing time ranges anywhere from as little as 6 minutes to about 12-13 minutes depending on the film and the ISO. Such timing is based on using the recommended ratio of water to the chemistry or the developer. So, for example, if you are using Ilford DDX and developing Ilford Delta 100 at a dilution of 1+4 for a developing tank size of 300 ml, you would have to use 60 ml of DDX and 240 ml of water at 68F. It would take 12 minutes at 68F and 9 minutes at 75F. So, a 1,000 ml (1 liter) bottle of DDX would give you the ability to develop 16 rolls (16x60 = 960 ml ). At $23.99 a bottle + 8.25% sales tax + $9.95 shipping = $35.92. For 16 rolls, that is $2.24 per roll. Quite pricey. But, then, the results of DDX are quite impressive. Of course, HC110 or D76 or Rodinal are about half the cost and provides beyond acceptable results.

So, the above described process is simply knows and ‘Development’ or developing your film.

In Stand Development (SD), a much smaller amount of developer is used but, the time to develop it is extended significantly. So, instead of using a less diluted chemistry, what you are doing is that you are highly diluting it and offsetting the dilution by extending the time the film ‘stands’ in the developer. Another way to look at stand developing is that you are not doing the inversions or twists that you normally do with developing film and instead you fill the developing tank and do an initial stir or twist or inversion that ranges anywhere from a few seconds to 30 seconds or a minute. Each person coming up with the recipe for SD has their own preference for what the time should be. So, for example, in the case of Ilfosol 3 while developing Ilford Delta 100, where one would normally use 1+9 for 5 minutes - 33 ml + 267 ml water while following normal developing instructions, the same film could be developed by using 1 + 50 for 60 minutes - 6ml + 294 ml water in SD. Note that when I am developing 120, I always use 500 ml total inclusive of the chemistry. The 500 ml also develops 2x35mm rolls. So, I use 6ml + 494 ml water. You would pour the chemistry in the developing tank and stir for 20 seconds and then leave it alone for 60 minutes. Again, that is my recipe. You can Google ‘Ilfosol 3 stand developing recipe’ to see what others have discovered. The net result of doing SD is that instead of using 33ml for each roll, I am able to use 6ml and get 5-10x (depending on how many 35mm and 120 rolls I am developing) more rolls per bottle of Ilfosol 3.

In Semi-Stand Development (SSD), the approach is the same with one minor variation. Going with the Ilfosol 3 example above, I would do 2 x 30 minutes and stir 10 seconds initially and 10 seconds before the second 30 minute time slot. Nothing else changes. Why break it down into two slots instead of just letting it stand for 30 minutes? Depending on the chemistry I am using, I may want to slightly enhance the effect of that chemistry. So, the second stir at midpoint works a little harder to produce the desired effect.

Here are my tested recipes for SSD regardless of whether using 35mm or 120 medium format. I prefer SSD over SD. YMMV. Experiment at your risk. In all my recipes, I always use water at 68 F and a minimum of 6 ml of chemistry even if the math says to use less. Again, I use 500 ml for either developing 1 120 roll or 2x35 mm rolls and 1,000 ml for developing either 3x35 mm rolls or 2x120 rolls or 1x35 mm and 1x120 - all in the same tank.

Rodinal - 6 ml + 494 ml water or 10 ml + 990 ml water - 30+30 (minutes) 10 second stir at start and midpoint

HC110 - 6 ml + 494 ml water or 10 ml + 990 ml water- 30+30 10 second stir at start and midpoint

Ilfosol 3 - 6 ml + 494 ml water or 10 ml + 990 ml water - 30+30 10 second stir at start and midpoint

Ilford DDX for single roll - 15 ml + 485 ml water - 22+22 10 second stir at start and midpoint.

Ilford DDX for 2 rolls - 25 ml + 975 ml water - 22+22 10 second stir at start and midpoint.

As you can see from the above DDX recipe, my cost per roll goes down with SSD. Now, I use 15 ml per roll or 25 ml per two rolls (or 12.5ml per roll). Meaning, I get 1,000ml / 25 = 80 rolls if I develop 2 at at a time or 1,000 / 25 = 66 rolls if I develop 1 at a time compared to using 60ml per roll in normal development. This makes DDX quite affordable to use on a regular basis.

The possibilities are endless with SD or SSD. Next, I plan on using two different chemistry on the same roll, one for the first SSD slot and another for the second SSD to see if there is a difference in the results. I will post my findings.

MY film Portfolio - a work in progress

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pastelkittygore · 6 years

Note

Someone I know is interested in animation at UNCSA but would like to know how many people are actually accepted into the program--is it hard to get in after foundation year?

About 90 people are accepted into film every year. If your friend is really talented then they have nothing to worry about. Make sure they have a good variety though and are open to learning about more than animation. Unfortunately the interview process is very unfair to animators. I have my portfolio on my YouTube channel (maddie_kitty97) that got me into school. I made a sculpture out of clay too and they really seemed fascinated by that. If they want to apply for a certain year, they do have to be prepared before the due date. Feel free to DM me or ask any more questions! Good luck!!!

#uncsa #film #art #animation #ask

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helloyoucreatives · 6 years

Video

youtube

The Perfect Day.

BBC Three celebrates life, with no filter and experiments with new and unique ways of telling stories. This short film is a reflection of a variety of different, individual perfect days from a mix of people who have featured in stories, documentaries and comedies across BBC Three delivering the lines of Lou Reed’s iconic song.From Rochelle who has vitiligo whose Perfect Day is being herself without having to put make-up on, to Chris who lost his legs whilst serving in the army, whose Perfect Day is to feel free in the water, via Kerry and Kurtan from hit comedy, This Country, where being with each other is their idea of a Perfect Day to Annie who has severe facial scarring as a result of a fire when she was a baby and has just had her own baby; her perfect Day is being a Mum.Damian Kavanagh, Controller, BBC Three, says: “In the two years since moving online, BBC Three continues to push boundaries. We present real characters and stories that reflect the different faces of youth culture in an authentic way and this film offers an unfiltered view of life and individuals that BBC Three celebrates. Due to our multiplatform approach, whether it is comedy or current affairs, no matter the genre, no one else can tell the stories we do, like we do.” BBC Three moved online 2 years ago and in that time has achieved critical success with shows such as Fleabag, People Just Do Nothing, Thirteen, Murdered By My Father and Life and Death Row, plus many more, whilst it’s shortform commissioning has seen online series such as Amazing Humans rack up hundreds of millions of views globally. The channel recently announced that it is expanding its commissioning remit with an additional £10million investment to launch a new editorial pillar.

Credits

BBC Creative

Director Marketing & Advertising - Justin Bairamian

Executive Creative Director - Aidan McClure

Executive Creative Director - Laurent Simon

Head of Creative - Jamie Starbuck

Senior Creative - Amar Marwaha

Senior Creative - Arvid Harnqvist

Head of Production - James Wood

Producer- Rachel Roberts

Project Manager - John Trevor

Production Manager- Jenny Broad

Digital Producer – Greg Marshall

BBC Marketing

Portfolio Head of Marketing Younger Audiences - Nicola Carr

Marketing Manager- Kelly-Ann Barlow

Media Scheduler: Lauren Bradley

Pulse Films

Directors: 32 - Dylan Southern & Will Lovelace

Managing Director- James Sorton

Executive Producer - Lucy Kelly

Producer - Alistair Payne-James

Director of Photography – Ben Fordesman

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enderaz-blog · 4 years

Text

Week 4 Mastery Journal - Organizational Structures

Connecting / Synthesizing/Transforming

According to Cousins of Design Shack, kinetic typography is a great tool to utilize in projects where you want to create emotional content or capture attention. Kitney of Creativeblog provides an area with many examples of creative kinetic typography and they many emotions it can emphasis. A connection can be made between the two of these resources that shows kinetic typography can cover a wide variety of projects and the entire spectrum of emotions all based upon how animated text is utilized. For instance, fast moving or shaky objects can emphasize a chaotic or fast paced environment. Where slow moving texts and animations can be utilized to emphasize a sad or even peaceful emotions. Research has also shown that an audience is more likely to be captured by animated text versus the use of static typography (Abry, 2012). To show this in my work I had chosen to create a kinetic typography video based on the chaotic ramblings of Donald Trump. To emphasize how he is all over the place in his speech with no coherent thoughts, I chose to have the typography appear on the screen from many different angles in a quick and chaotic manner. The use of color was also used to emphasize different words such as highlighting a question mark in red when even though the speaker was asking the question it was meant to emphasize that we as the audience want to know that same thing (e.g. why would anyone go see him talk).

Problem Solving

During this months' work one problem that I experienced occurred during the motion movie poster project. In this project we were given a poster that we were to animate into a motion movie poster. This is a process that can help a movie poster come to life (McGregor, 2017). The problem that I encountered was that the tutorial of the project assumed that you already had a specific baseline knowledge of Adobe Photoshop and skipped the steps needed to break down the image into a format that could be easily used for motion movie posters (C.M. de la VEGA, 2017). One solution to solve this would be to watch a tutorial specific to the skills that I needed which were to break down a flat image into a multi-layer image while preserving the background. Another option would be to try to find a tutorial that included every step from the beginning without any assumptions. Since I felt more comfortable than I had with the Adobe suite in the past, I opted to find a tutorial about removing objects in photoshop while preserving the background instead of looking for an all in one solution. For this I found a video that focused primarily on removing objects since I already knew how to create and add layers (Photoshop Tutorials by Webflippy, 2018). In the end the project was a success and I was able to create a movie poster that looked as if the mummy was moving and the environment felt like it was lit with a lantern light flickering. Thought I still have some room for improvement as you can still see a bit of the background that does not quite look natural and could be blended a bit better.

Innovative Thinking:

Comparing how my work compares to others is a bit hard at this point with such a limited portfolio. At this point there is still a ton I need to learn on the technical side to truly be competitive among my peers. As for my kinetic typography assignment, it shows both innovative thinking as well as copying elements or styles from existing artists. My design for instance was inspired by the design by StepDraw where they created a kinetic typography video based off a skit from the show The Office (Stepdraw, 2015). The inspiration of which topic to focus my kinetic typography came from a Rolling Stones article about a Trump speech in which he talks of how great a speaker is, then proceeds to ramble complete non-sense (Bort, 2018). In this case I feel the design itself was innovative as it did not follow too closely to the original inspiration, but shared some elements. Realistically innovative thinking is in the eye of the viewer as some people may view what innovation is differently from simple changes to completely new ideas (Owen, 2012).

Acquiring Competencies

This entire month was filled with learning new concepts and technologies.

1. Adobe Premiere

a. This software suite was a new experience for me and provides a powerful tool for video editing.

b. This skill set can be used in both the academic and professional environments.

c. The premiere suite a was a new technical skill set, but still relies on video concepts to effectively use.

2. Adobe After Effects

a. The After Effects suite offered powerful new ways to enhance video and motion graphics.\

b. This tool can be utilized in both the academic and occupational environments.

c. This tool I would describe as a new technical skill set.

3. Editing

a. This month we learned many different techniques that editors use to enhance their motion design

b. I would consider this both a conceptual and technical skill set.

c. This could be used in both the academic and professional setting.

4. Motion Design Insights

a. From the pitching process to final product, we've learned many techniques to find inspiration in motion design and avoid overload.

b. I would consider this a conceptual skill

c. I feel that this falls in the occupational and academic setting.

5. How the brain visualizes

a. This month we learned how our brain interprets motion and how motion designers can take advantage of how our brain works for maximum effect within design.

b. I feel that this an academic topic that is carried over to the occupational side.

c. I also feel that this is mostly conceptual from the graphics designer perspective.

6. Human Centered Design

a. Human centered design focuses more on how the audience interacts with the design versus the physical aspects of the design itself.

b. This can be both academic and occupational as we need to learn this skill set to enhance how we employ it in the occupational setting.

c. This would fall under the conceptual area versus technical.

7. Unintended Consequences

a. This month we also learned about un-intended consequences in graphic design which can have both positive and negative impacts on the viewer.

b. This again can be considered both academic and occupational as everyone needs to read into their design and request feedback to help avoid any un-intentional negative consequences. Now if the consequence has a positive unintended impact that is always good.

c. This is both conceptual but still utilizes technical skills such as feedback workshops to help identify.

8. Animated Logo

a. Animated logos add a way to spice up traditional logos and help achieve a positive customer impact.

b. The theory behind animated logos and their concepts is conceptual, however to create them in tools such as After Effects requires technical skills.

c. This skill would primarily be used in the occupational setting, but there's nothing that says it couldn't be used in an academic setting as well.

9. Motion Movie Posters

a. The motion movie poster is a way of taking a static graphical movie poster and adding motion elements to it to help capture the eye of your target audience.

b. I feel that this would most likely be used in the occupational setting as there is probably little need of this in the academic environment with the exception of teaching motion graphics.

c. This skills requires conceptual theories for the underlying goal of what you're doing, but emphasizes technical skill in practice.

Kitney, A. (2019, October 4). Kinetic typography: 42 must-see examples. Creative Bloq. https://www.creativebloq.com/typography/examples-kinetic-typography-11121304

Cousins, C. (2015, August 5). Kinetic Typography: An Introductory Guide. Design Shack. https://designshack.net/articles/typography/kinetic-typography-an-introductory-guide/

Abry, M. (2012, October 31). Textual Emotion: Kinetic Typography | Talking Typography. Talking Typography. https://blogs.uoregon.edu/kmabry/2012/10/31/textual-emotion-kinetic-typography/

C.M. de la VEGA. (2017, May 14). After Effects Tutorial - Create a Movie Motion Poster. YouTube. https://www.youtube.com/watch?v=v-Ly2hN8-sA

Photoshop Tutorials by Webflippy. (2018, September 2). How To Remove ANYTHING From a Photo in Photoshop. YouTube. https://www.youtube.com/watch?v=q2DSXNEqStQ

McGregor, L. (2017, July 13). Bring Your Film Marketing To Life With a Motion Poster — PremiumBeat. The Beat: A Blog by PremiumBeat. https://www.premiumbeat.com/blog/create-marketing-motion-poster/

Stepdraw. (2015, November 27). The Office・Kinetic Typography Animation. YouTube. https://www.youtube.com/watch?v=vAQ82U6oWFo&feature=youtu.be

Bort, R. (2018, July 6). Extremely Focused Trump Now Comparing Himself to Elton John. Rolling Stones. https://www.rollingstone.com/politics/politics-news/trump-elton-john-696490/

Owen, M. (2012, February 6). What makes something innovative? Econsultancy. https://econsultancy.com/what-makes-something-innovative/

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