#「visuals」rowen

[foxy-alien]

taz graphic novel thoughts… I’m putting it under the cut because… spoilers silly.

Forewarning this really got away from me and is unfortunately pretty negative. read at your own risk

Huh, this really is an adaption? After the eleventh hour this is a really big let down tbh. Just so much was cut and it felt SO rushed. In the first 3 scenes we lose taako’s “because I’m afraid no one else will have me” and practically ALL of Magnus and the void fish swimming.

Obviously things need to be cut, it’s a completely different medium, but all the emotional payoff was ruined. I was never scared they were going to lose something great, I didn’t even cheer for them when they killed Edward. All the sacrifices are so minimized FOR GOD SAKES MAGNUS AND GOVERNOR KALIN WAS CUT. Are you kidding me? One of the most important sacrifices and emotional moments of TAZ.

With every cut there is a cut to later payoff, in the eleventh hour that was balanced well but here it just doesn't work. So much is cut out of tsg that as a reader there were no stakes to win or lose. I knew they would win because its their story but i didn't care what would happen to them.

So Wonderland was too short, why do I care? because the very heart of the suffering game was lost.

This is the thesis of the suffering game summed up best.

What did they learn in wonderland? How did they change? They don't really. Taako doesn't choose the mission over himself, Magnus doesn't give up his main purpose in life, Merle doesnt lose his faith.

We don't get to see them at their worst because there is no one in Wonderland who their actions effect. I always, ALWAYS tear up at Rowen's "why?" after they go through their round with the monster factory. This catalyses Taako into later choosing to sacrifice his beauty. With the stakes cut we lose the emotional payoff of later scenes.

The solution of the suffering game being too long was not to cut out all of the spinning. It needed a restructuring. Heart attack has every interesting character moment cut, its barely a drive by of the original scene, why not just cut the moment entirely? It doesn't say anything about the character's emotional insights and True sight could have easily been cast at another moment.

Some moments have been adapted beautifully but they ended up reminding me what is lacking. Arms outstretched has great pacing that I had come to expect from the team. But compare that to Magnus's sacrifice and its just... nonexistant.

There was a way to trim down suffering game to fit it and the reunion tour that didn't require cutting every interesting sacrifice.

Now the reunion tour... what a mess. they cut out our narrator to show our plane being cut off, but this section dearly needed some narrative guiding. So much running back and forth in time and locations to make it run smoother but again, they needed a whole restructuring. Which some parts got but for all the wrong reasons.

I was happy that they cut the whole act with Magnus being dead when they get back to the campus because it barely works in audio form. But instead the campus is cleared because of the storm but then its packed for one panel when Carey and Killian cancel their side mission? why have the side mission at all? I'm assuming to drive Carey's and Magnus's friendship but it is a really clunky addition.

Everyone drinking the voidfish ichor separately is visually and narratively frustrating. It happens on a smaller scale in the show but by this point griffin has taken the reins back of the narrative and guides us through it seamlessly.

Griffin's final narration, has been separated and mutilated for what? it barely exists at all. its been replaced with an odd speech from Lucretia being happy about their return.

Its such a confusing moment to end on when you could have had idk THE ORIGINAL BELOVED ENDING?

"And from those pillars, the Hunger’s armies have begun to manifest, marching outward to raze the world below. It’s the end of the world. Again."

Tldr: bruh just read it, but seriously idk the changes made are clunky and dont make sense. and all the moments that are cut ruin the pacing of the rest of the book. It's especially confusing as this is probably one of the most straightforward arcs since petals to the metal and it is the most confusing adaption.

[definatelymrhyde]

Intro post (late edition) because I didn’t know these were even a thing until recently

-> About me

• My name is Rowen!

• I have had a longtime interest in a concerning amount of forms of art (Theatre/Musical theatre, writing, and visual arts, both creating and observing)

•I have ADHD and if given the chance WILL monologue on about whatever I’m fixating on

•I have not too great eyesight and yet refuse to wear my glasses when writing at night (which is a lot!) so as a result we get ✨so many spelling mistakes!!✨

•A good 90% of my humour is based off of sarcasm I apologize in advance

•I’m bilingual! I speak English as my first language and French as my second, I’ve been speaking French for almost 13 years now :))

-> Things I like

•Currently Fixating on: Jekyll and Hyde!!

•Acting

•Writing (Fanfics and my own original stories)

•Drawing. Constantly.

•MUSICAL THEATREEE

•Beetlejuice Beetlejuice Beetlejuice

•Pokémon (Samurott and Sylveon are my favorites)

•Dad jokes and bad puns

-> Boundaries n’ stuff

•If you want to draw any of my OCs or stuff feel free!! I want to see them too so @ me if you’d like to

•Just dont be an a-hole I guess 😎😎

-> Things I’ll probably post about

•Fixations! (Currently The Glass Scientists and Jekyll and Hyde!!)

•Ao3 updates

•Art

•Theatre

•My OCs

•The universe I made up in which the majority of my OCs live (Blimps Away!!Airship Services)

-> DNI

•Homophobes, transphobes, sexists, racists etc

•People who like to make fun of beginner artists (Art lore people essentially) etc

-> Other stuff

•(Sigh) I’m the HJ7 pancakes guy… I apologize for the absolute monstrosity and will enjoy making more green food to make up for it soon 😔😔

•I am also the Jekyll and Hyde experiments guy. At least I’m one of them, I was the Jekyll out of the two of us :DD

•My favorite weather is rain

•I love listening to people infodump so if you need someone to infodump to I am all ears!! Just ask me first and chances are I’ll be there soon and very willing to listen

•My favourite colour is bright green!! As well as neon indigo

•My favourite type of music is mainly musical theatre stuff but I also really like alternative music

•I got my first ever big role in a musical this year! (2024)

•Singing wise I’m a high tenor, but I keep getting casted as alto and low soprano roles because I can falsetto really high. Help.

•I can do a beetlejuice esque raspy voice without hurting myself and use it for jokes constantly

•Aspiring voice impressionist (I can do Shaggy from scooby doo, Applebloom from MLP and I’m told I can do a scarily accurate Twilight sparkle impression but I’m not sure how much I belive that)

•My dream job is to be a comic book or children’s book illustrator

•My OC universe called Blimps Away!! Airship services is a story that I’ve recently made into a webcomic :))

[goose-duck]

◇Master List◇

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!!Our World is continued in Master List 2!!

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[idrisofficial]

cleric - brinne

paladin - rowen

wizard - zephyr

cleric: Does your muse believe in any god or follow any religion? What drives their faith? Or, if they're faithless, why? What would it take for them to find faith in something or someone?

brinne has an extremely complicated relationship with halcyonism. as a child, she took no interest in its restrictive and absolutist doctrine, and only participated in religious rituals when she was forced to or if she got to see adrian. however, post-near death experience, her feelings are much changed. hallucinating herself featureless as like halcyon while spiraling through afterlives was extremely traumatizing, and she knows she was lucky to survive being stabbed and mutilated. in brinne's teen years, she had crises over just about everything, and deep down she was very insecure about her lack of faith (how could she not be, considering her environment?). she became convinced that artemis's massacre was punishment for her sins, and immediately after healing took to halcyonism as the only thing that could redeem her. even still, her faith does not exactly come from a place of genuine belief; it's more that she forces herself to adhere to it because it validates her power as monarch and gives her some semblance of structure to cling onto. she doesn't believe that halcyon and his gods will save her, she believes that some gods Have To Save Her.

paladin: What does your muse fight for? What tenets or oaths drive them? Have they ever had to break a vow, and if they have, why?

rowen fights to be the master of her own destiny, fights so others can have the same, and fights in the name of those who can't fight. sometimes she's a little too liberal in extending "the name of those who can't fight" to people who fundamentally do not agree with her. she's kind of willing to twist reality to whatever she wants it to be for the sake of her ideals. she's deeply driven by feelings of oborligation to protect the oppressed, which is why her crowd is mostly starving children, immigrants, artists, etc. she's absolutely broken this vow lmfao, she literally burned down a school to escape it and demolish the institution it represented. yes, she created a somewhat viable escape plan for all of the other students, but there were definitely casualties, and most of the kids were traumatized abuse victims. not a good look. she'd never suck up to authority and harm the oppressed for her own sake, but if it advances her plans for the revolution or the "greater good" she'll do pretty much anything. you can then assess for yourself whether her vow can even be considered as such, which i won't pass direct judgment on.

wizard: What is your muse like as a student? Do they have the patience for studying? What do they like learning about? What do they most want to know?

zephyr really has no interest in academia. idrisian public school is basically just propaganda lesson after propaganda lesson, with basic mathematical skills thrown in. zephyr was perfectly happy to spend his life in the military doing practical things, because he is not one for the cerebral. geometry was probably the only thing he ever enjoyed in school, because he's good with visual representations (well...not anymore...) and applications he can understand. if he had the chance and the adhd meds, he'd probably think engineering was pretty cool. he's never really been shown the power of real education, and i think if he was he'd be a lot more excited about it. if he could make it long enough in school to get to how cool things like physics and architectural principles are, he'd be super interested in that.

[superwavesmasher]

The actual realization scene of what happened after the battle with Talpa

Rowen sat up groggily trying to figure out what all the movement was about. He reached for the one curled up next to him expecting for Cye to be trying to get up and get to the bathroom without getting sick first. His hand dropped to the other's head and he gently strokes the soft hair trying to see if he was awake or not, "Cye?" His voice was soft as he blinked his eyes a few times trying to get his eyes used to the darkness so he could focus.

Once his eyes focused, he looked down and saw Cye was still fast asleep. He got a slight moan from the smaller one and tried to put him back to sleep, "Shh it's okay. Just go back to sleep…" He trails off looking around the room, he knew he heard something move.

His Ronin Warrior instincts were kicking in as hair stood up on his arms, he took a deep breath closing his eyes and his armor orb appeared in his hand. He clenched it tightly before uncurling and pulling himself to the edge of the bed as carefully as he could.

With one hand he unwound Cye's arms from his waist and stuck a pillow between them instead. He got up and walked around the room silently before hearing more movement.

His eyes narrowed as he followed the noise into the hallway. He closed the door behind him before calling his subarmor in a dull blue flash. "Alright - whatevah you are, you bettah make yerself known before I blow you back to where ya came from."

He walks into the living room and stares wide eyed.

A green hue had engulfed the room and the halo armor orb floated projecting thoughts visually as if he were experiencing it at the same time. There were scenes from the final battle with Talpa and scenes that he'd never seen before, they must have been Sage's memories.

Talpa's face appeared on one of them, "Once we drain your power and energy, you will be unable to fight. I look forward to seeing you unable to fight back, Ronin Warriors. Once the spirit's spell reaches your souls, your life force will begin to dwindle and little by little it will put out your life."

Rowen shivers at hearing the evil emperors voice and had to remind himself that it wasn't real that Talpa was dead. He swallows nervously glancing over at his friend.

Sage was on the floor in a meditative pose, eyes closed as he concentrated. Rowen glanced back to the scenes watching some of them replay over and over again.

"Your life force will begin to dwindle and little by little it will put out your life."

Another scene appeared, "Even if you escape, you may never have the power to call your armors again. The armors will be mine in the end."

"Torrent has no more strength, he has no more will to fight. Look at your friend and how he gave into my spirits, the armor of Torrent is now mine. You two will follow suit then I will take Strata and Wildfire next."

The point of view had to be from Sage, Cye was in the corner of his eye and didn't look ok. He hung limp from his arms, head hanging, he was pale and seemed to have no life in him.

Rowen felt sick to his stomach before he shakes his head pulling his attention away from the visions and scenes. Why was Sage doing this to himself? He takes a deep breath before walking over and kneeling beside his friend, he reaches out nervously and places a hand on the other's shoulder, "H-Hey buddy…Sage?"

He winced at the movement expecting to get hit or shoved aside. It was always a gamble on how Halo came out of his meditative state and usually whether or not, he thought you were Kento.

Instead he heard heavy breathing as the blonde pulled himself out of it. The green hue in the room disappeared leaving them in silence and darkness.

Rowen sat back breathing hard as well, "…w-what the hell was that?"

"I know where his POTS came from."

"Yeah, his mom?"

"NO. No. It's not his mother. I mean it could have made it worse.. But …Rowen, it's not that. He was FINE before the battles with Talpa right?! Even after Sarenbo and the White Armor, he was just tired but he was fine. It only hit after the final battle with Talpa, right?"

"Well yeah Sage but…"

"Don't you get it?! Did you see the visions?"

"It was kinda hard not too, buddy.. It was just there."

"What Talpa said. He stole Cye's life force. What if Cye never got it back."

Rowen blinks before laughing nervously, "Sage what are you talkin' about? Look it's late, you had a nightmare about being held captive.. i-it's all over and-"

"Rowen, Cye's POTS came from Talpa. It came from the torture Talpa put us through."

"No, that's not …it can't be…"

"It all makes sense. You're right, I had a nightmare about being held captive but what my memories told me started to make sense… his body viewed the aftermath of being tortured as an auto immune response. That's why there is no proof or solid pathway to how he got this bad. He never had it, his body didn't make it worse."

"But Cye's mother has POTS. It's an official diagnosis."

"Right, but he never showed any symptoms before that, right? Even Sayako said that Cye usually followed their father health wise. Their father didn't have any autoimmune disorder."

"S-Sage, you're reachin'…" Rowen's heart was beating quickly even if he said this. The other warrior had a point and he didn't want to think about it. He sits back, his hand gripping his shirt as his mind started to race. "I-If that's true… w-we could have…have prevented it… if we could have not been kidnapped or saved you guys faster…if Ryo hadn't of called the White Armor while we were in the Dynasty…"

[fearsmagazine]

Space Wars Quest for the Deepstar | Trailer, Poster & Images

SPACE WARS: QUEST FOR THE DEEPSTAR, starring Michael Paré (STREETS OF FIRE, EDDIE AND THE CRUISERS), Olivier Gruner (NEMESIS, SHOWDOWN IN MANILA), and Sarah French (PRETTY BOY, AUTOMATION).  The movie is set for digital release on May 2nd, with some theatrical play dates beginning April 21st, and has just been selected for screening at this year's Miami International Science Fiction Film Festival.

The film concerns a father-daughter team of space scavengers who must race against a band of evil mercenaries to reach the legendary treasures on board a lost mythical freighter.  Their quest will force them to navigate a universe filled with giant monsters, aliens, robots and a mortal enemy seeking vengeance.

The movie also stars Tyler Gallant (ALPHA WOLF), Rachele Brooke Smith (NIGHTMARE SHARK), Anahit Setian (AUTOMATION), Jed Rowen (BLIND), Elise Muller (DOLLS), and Sadie Katz (WRONG TURN 6).

In recent months, the film won the Golden Marquee Award for Best Feature Film and the Outstanding Producing Award at the Zed Fest Film Festival.  It also won the Gold Award for BEST Sci-Fi Feature at the Hollywood Independent Filmmaker Awards and Festival, a Gold Award and Silver Award for  Feature and Directing at the Hollywood Gold Awards, and an “Outstanding Performance” Award for Sarah French and Diamond Award for “Best Actor in a Sci-Fi” for Michael Pare’ at the New York Best Actor & Director Awards.

Garo Setian, producer / director of the award-winning sci-fi film AUTOMATION, directs and edits from a screenplay by Joe Knetter (BLIND), based on a story by Setian and Knetter.  Producers are Jeff Miller (THE RUSSIAN BRIDE), Robert Parigi (AGENTS OF S.H.I.E.L.D.), ‘Evil’ Ted Smith (GUARDIAN OF THE REALM), Ben Stobber (DEATH CLUB), and Joanna Fang (BRITNEY LOST HER PHONE), along with Garo and Anahit Setian, Joe Knetter, Sarah French and Bill Klinakis.  Miller also executive produces with Ronnie D. Lee (THE TOYBOX).

SPACE WARS: QUEST FOR THE DEEPSTAR is a co-production between Hungry Monster Entertainment, Millman Productions, and Ron Lee Productions.

Michael Su is Director of Photography, Anthony Pearce is Production Designer, Jo Anna Heckman is Costume Designer, ‘Evil’ Ted Smith is lead prop fabricator, Steve Clarke and Paul Knott provide the visual effects, Jeff Farley handles practical creature FX and the music is by Joel Christian Goffin.

Uncork’d Entertainment is handling distribution and worldwide sales.

[susiron]

The fact that you can only have 4 horses in RDR2 hurts me so much

I currently have 5 I'm attached to and I hate it. I've got one of them chilling as a temp horse but it's so easy to lose your temp one if you bond with another horses ahhhh

My current roster:

-Thud the black shire (the one you can sell or keep)

I am very emotionally attached to Thud now.

-Shrike the bay mustang

I think it's one of the horses in the game that suits Arthur the best, both visually and thematically (also cute af)

-Rowen the buckskin standardbred

Newest horse I have; never used one that looks like her and she's very pretty

-Wine the blood bay thoroughbred

He's named after my main horse from my first playthrough, Cherry. She was ALSO a blood bay thoroughbred and it hurts a little to ride him but it's also nice and ahhh complicated emotions about using the same kind of horse. It feels right but it hurts and just weh

Temp horse: Hen the appaloosa (brown with a solid white butt patch)

She's tiny and cute and I stole her from some poachers. I call her cookie/sugar butt in my head and I can't decide if I like her or Rowen more enough to keep safe in the stable ahhhh

[alexcaldownapier]

Film Project - Critical Reflection

Longboard Nights is a film that, for me, delivers on its premise and although it occasionally loses what Kate would refer to as “Narrative Clarity”, I think the broad strokes (which is the bread and butter of an action film) are affecting and impactful. The moments that work best for me are the entrance to the flat, the bathroom scene and the final moment which I will analyse to show how my work has helped to deliver the film’s story.

As cinematographer, the developing framings of the opening shot of the living room sequence, does what I intended, showing the character's intentions and action in a way that emphasises their importance and psychology. We go from a close up on the door-handle, to a close-up on Alex’s knife, onto a single of Alex and then finally into a two-shot as they creep into the flat. The close-ups communicate the careful entrance and the murderous intent, while the framing of the actors shows their performance clearly: Alex’s grim look, her making sure Casca is silent when closing the door and her then taking the lead into the room. The tracking backwards emphasises the rising action and the creeping of the characters, pairing well with Rowen’s sound design to create a rising anticipation of the coming confrontation. The developing lighting, with Alex stepping into the low-angle toppled light source, also creates a change within the shot, moving us forward from what was a softly lit opening into a high contrast close up ending shot, again emphasising the movement into a more high-intensity scene. The clear communication along with the rising tension sets the scene up well.

Shot 5.1: Multiple framings as we track backwards as the characters enter the flat.

Where I think the film stumbles slightly is in the moments that are quickly cut in order to not just meet the time restrictions, but also to communicate multiple things quickly. As in the next moment, where Alex is distracted by the photograph of the husk and his daughter and in the opening scene where we set up not just the world and the characters, but also a whole backstory relating to our protagonist. In order to show the differences in time, I designed the flashbacks to be softly lit, in contrast to the rest of the film, shot at a 360 degree shutter angle and played back only showing every third frame. However, in post-production, we decided we needed a clearer visual difference between past and present so added another layer to the shots, where we brought in vertical streaks in the image and an overall glow. While these changes are necessary to contextualise the flashback narrative, when it is combined with the quick cutting and the world-building soundtrack, it becomes a little hard to follow. This aspect of the narrative, Alex’s past with her father’s turning and how it impacts her present actions, seems to be the first thing that can stop people totally engaging with the film. Having shown it to people who did not know anything about the narrative, this was the thing they found confusing. They didn’t understand Alex’s actions, which is really quite a big aspect of the story. The fact these scenes are a little underlit also doesn’t help the confusion. (Another well-thought-out part of Rowen’s work is the shrewd timing of the line “11 years ago” from the politician’s speech which he placed underneath the first flashback, helping to smooth over the gap in communication).

Shot 2.1: The flashback sequence, with post-production alterations.

The bathroom scene and final moment both display another strength I think the film has, which is an excellent central performance from Claire Cassidy, emotively directed by Ben. Despite working with an untrained actor, Ben, through his research into directing and acting techniques, was able to get Claire to the point where she was able to fully cry on screen and totally communicate the intense panic the character is feeling.

Again, I think I made the correct choices in the cinematography in these moments to best add to the emotions captured. The handheld camerawork combined with the wide lens creates a visceral panic and a very ‘present’ feeling, if that means anything.

Shot 6.1: Wide angle, handheld shot of the bathroom scene.

Again, I used multiple framings within one shot to emphasise specific narrative beats: Alex’s panic, Casca’s precarious situation, the blood on Alex’s hands, Alex feeling overwhelmed and alone. The long take was both a practical consideration, to ensure we had enough time in the schedule, and also added to the intensity of the content of the scene. The use of the 14mm lens throughout the film was mainly inspired by the films of Terry Gilliam where they are used to emphasise the unsettling nature of his dystopias and the characters within them. In order to ensure I could achieve a similar effect in this film, I also tried to emulate the chromatic aberration of the 14mm lenses used in his film Brazil (1985). I added a “prism blur” effect to the edges of the frame to disrupt the image and make it feel more disgusting and unsettling. I used this effect on all of the 14mm shots throughout the film as I had already saved the lens for the moments when the world was particularly unsettling and the characters were sliding closer to their fate, so the addition of lens aberrations would not be out of place.

While the final shot is a little shaky and quite poorly framed, I think it is also an example of where the cinematography was able to elevate the action on screen. The camera pulls out very slowly as Alex desperately tries to get Casca up on her feet, as if saying: they’re not going fast enough, she’s not going to make it. I asked Bethany if we could repeat the last frame of the film a few times as we cut to black to ensure that the final cut leaves an impact and we keep thinking of the characters through the final moments. This final frame, like the rest of the film, was shot with a 270 degree shutter angle, to create heightened motion blur and I think it really works to emphasise the desperation of the characters’ movements.

Shot 8.1: The final frame of the film.

Overall, I think the film delivers the emotional impact of the narrative: is tense when needed, is thrilling when needed and is depressing when needed. The art design and SFX is well displayed and elevates the film. Due to its quality, we didn’t need to hide anything in the design of our shots, so the believability of the gore and the action is at a level that ensures the audience are invested and their disbelief is suspended. The sound design is another thing that really helps sell the emotion of the film, with the final announcement over the black screen leaving a really bleak tone to the ending.

As for issues with the film and my work, there are inconsistencies within the film's visuals that, while not breaking the illusion of the film, could definitely be improved. In order for the action to work, the bathroom had to be directly connected to the living room, however, in reality, this was not the case. So, to cheat this, I had a light shine through the door when it was opened, trying to match it to the lighting of the following scene. However, I used a different wattage of bulb to cheat the bathroom from what I used to actually light that scene. Samuel Duner later pointed out that the colour temperature of a tungsten light varies based on the wattage of the bulb, which meant that it was harder to match the colour of the light between scenes. Something I should’ve researched before the shoot.

Another issue comes with the motivation of the majority of the film’s lighting. As the film is set at night and the camera needs to be able to follow the action in quite a wide arc, I chose to light the majority of the interiors by placing lights outside with a combination of gels and blackout material behind them to imply street lighting. However, often there is a bit too much spill from the natural light, no matter how hard we tried to black out the sun. On top of this, the colour temperature I chose can be read as golden hour sunlight, which kind of breaks the world of the film. I tried to push the colours to a more yellowy hue in the colour grade, to little effect. The room was also quite large so there are points in the scene where the action is between my two main light sources and therefore looks flat and underlit. In hindsight, more use of practicals in the living room scenes would have helped to properly light the scene and create the desired time of night.

Shot 5.7: My least favourite shot, complete with both lighting issues and poor framing.

There are other moments where the framing is leaving a bit to be desired, especially the shot showing Alex dragging Casca into the bathroom. Due to the movement, where I was tracking and panning with the action, I was consistently missing parts of the performance. My camera operating needs some improvement and while I did eventually get a technically good shot, the take used was the best one for the story.

Interestingly, one of the main critiques of the cinematography was of the coverage of the hallway scene - the only scene where we cut a shot. We tried to combine two shots (4.2 + 4.3), due to running out of time in the day, but I still missed a section of the action, leaving Bethany not a lot of room in the edit of that scene. I think the original shot list covers what it needs to, in a way that is both practical and emotive, however, I think more inserts of specific actions in the fight scene could have helped to clearly communicate the specific actions.

The use of hard light sources, heavy grain, 2.35:1 aspect ratio, foreground elements and darkly lit interiors all contribute to a grimy and intense overall look that suits the tone of the film and the psychology of the protagonist. I think the inspirations for the look of the film definitely come through as well, most notably, The Batman (2022) and Mandy (2018).

As I’ve touched on, the narrative clarity of Alex’s backstory and its impact on the film’s story is certainly lacking and there are some technical issues throughout the film, but I am still incredibly proud of the film and my work on it. I think the visuals (mostly) communicate the story and create the appropriate tone and emotions. I’m very happy after this term and I think my pre-production and conceptualisation work paid off.

[bonnienapierfilm]

documentary

big fat catchup

I haven't written much (actually nothing at all) about this module so far, apologies ://

So, I joined Jack's 'Khanistan' doc. I have to quickly say that it will no longer be called this. Some people know why, if you don't, good for you! (inside jokes 4 the girls). I think we may go with 'The Block', this is what the community call it. Anyways, I liked the idea and was very interested in meeting the people Jack had mentioned. I have always been amazed/impressed by people who "live by their own rules" and "off the grid", in a sense, I'm aware it's not exactly this but was unsure how to word it.

We have our roles:

Director - Jack

Producer - Rowen

Cinematographer - Jenny

Edit - Myself

Sound - Orla

We all got the bus to Glasgow last week to visit Florence, Jack's brothers girlfriend - who was just the loveliest person!! Jenny took many photos, I will show a few throughout the blog!

I won't get too into the visit as I want to focus on aims/visions for the documentary. But I made a Proof of Concept ish, that i'll link: The Block - POC . However, I want to note that I cannot use my camera very well and I have no clue how sound works. Enjoy!

I have been thinking about themes and angles we can push with this project, as there are a few ways we can take it. There's the bond between a community that I like, which I think still follows the brief as we wouldn't be focusing on a specific person, but a community of people making a place a home, without them it wouldn't be as special. Linking to this they all put their own creative spin on rooms and exterior, which is a focus I like. Florence had mentioned the summer at the building, in which they all sat for hours in the garden. With a bonfire, music, drinks, drugs and art. She explained how close they all were during this time, and showed us photos / polaroids / videos. However, now it is not so warm they don't spend much time together anymore, and the garden is not so beautiful and colourful as it once was. Which is another possible focus, changing of season and friendships. Also, there is the whole thing with Mr Khan himself, the man who rents the rooms and owns the buildings. From the stories we heard, everything he does is insane, it's actually not legal I don't think. From not fixing broken windows to 'allowing' squatters. I would love to focus on him and how he came into possession of the building and his morals and his life and everything about this mysterious man, however, we can't focus on a person and he seems like he wouldn't be up for a camera in his face. So, we are still trying to decide a proper direction and focus for this. But something along the lines of community, friendship in hardship.

Onto the more visual side of storytelling. Jack had mentioned he wanted some footage on a cam corder, which I think is a great idea as it links to the idea of family videos and being home, and could also help us create, what would seem like, footage from their summer to go with the photos we get from them. I think we have decided to go with a participatory doc, and show our presence, at least through sound, featuring. I think this will help show the friendly side to the people who live there, as they were so kind and welcoming to silly little students who want to film their homes and invade privacy! Edit wise, I don't have any solid plans yet. I hope for heart warming voiceovers and media given to us by the community that I can use. And sequences along the lines of 'Dark Days' - just filming people in their environment doing activities they normally would, talking to the camera and each other. I know that's not really edit, but it's what I hope to edit...? I'm not too sure on Jenny's plans for cinematography just yet, but after seeing her photos from the visit I'm sure she's got some cool plans!!

We are currently working through our powerpoint for the pitch next week. I'm happy we have the photos and footage, as I feel it's hard to put into words the people and the place. But yeah, feeling confident about this! Once again, can wait to see other groups ideas!

[tomcalvinfilm]

Film Adaptation - Pitch

This is just me thinking about what I want and need to do for the pitch in a couple of weeks, I am the editor of this piece and so will need to thinking about what I want on my shopping list. after having the workshop with keiran we ran through a lot of thing that are needed when discussing shots that are needed and such, he also mentioned pitching is tricky to do as an editor because all of the things I will talk. about will be hypothetical and dependant on if we get the shots needed. But for my shopping list, the list of shots I will ask for from the cinematographer and director, I want to ask for sweeping shots to then intensify do interesting transitions between the different worlds our character goes through. for the visual effects side of things I unfortunately am not very proficient in that aspect but luckily Rowen in our group is very good, I will be asking for lessons but most likely will be asking for his help when doing the actual edit. Therefore I want to have a meeting with Rowen to see what he thinks we will be able to pull off but also what type of shots we will need to help these effects look the best they can. all this talk leads back to what I will be able to offer when talking in the pitch but also means that I can confirm with my shopping list that I will be able to pull these off, especially if im offering them in the pitch. 

This is rowen first example of how to show our character entering into a world, things being rendered in like a game. Im so impressed by him work and hopefully ill be able to pick some of it up when working with him. 

[rmsblog17]

Film Genre - Critical Reflection

I thought for the most part, the feedback we received was quite fair and constructive. The whole worry about ambiguity being too present in our piece wasn’t very necessary as it worked quite well as a whole. When writing a script, I always thought ambiguity is your friend, like an almost get out jail free card, and I’ve used it a lot but in the context of James’ script I thought it worked. Zoe mentioned during our rough cut showing that we could do with a slight bit of exposition in regard to their situation which is why we brought the radio announcer in and it fit really well just to ease the audience in. David mentioned how we could have had a few more cut backs to the ashes while they’re reminiscing about their dead friend. I thought it could have worked but I really enjoyed how the camera remains on them throughout the entire conversation, it’s intimate and keeps the audience engaged with what they’re saying. At the beginning, we had established the dimensions of the car in regard to certain points the audience must see, one of them being the bag of ashes on the dashboard and there were moments where the characters look at the bag during the conversation and I preferred how we stay on them and not cut away.

I think Zoe mentioned how there was a drastic shift in tone from the conversation to the morning where we go from a calm and endearing conversation between two people to a thriller. I enjoyed this sudden tonal shift as it feels very unexpected and unpredictable. That said, the pacing did feel quite fast and rushed, perhaps elongating the conversation could have remedied this to a degree. One comment was that it felt a lot like an extended trailer which I could understand given the crescendo towards the end and then title card. However, it left people wanting more from it and personally, I really enjoy it when something leaves me wanting more or leaves me asking questions because it demonstrates my engagement with the film. There were, however, certain moments that didn’t quite make sense continuity wise such as the fact that no one turns off the radio but it falls silent anyway and that “Frank” had no reason to climb over and go out the driver’s side. There was also my little cameo in the reflection that became more infuriating the more I watched it because without it, the shot is really nice. All of these were very fair points.

In terms of roles, we decided early on that we would divide the roles between technical and visual sides. James and I took on the visual approach while Rowen and Peer dealt with the technical side, that being, sound and cinematography. This divide worked quite well in retrospect although we all had a hand in deciding certain visual elements in the end. For example, Rowen, James and myself formulated the shot list that ultimately served as the basis for our interpretation. Moreover, Peer made many creative choices in regard to sound during post production which worked really well. The switch from night to morning was loosely inspired from the series ‘Dark’, the premise of the show revolves around time and it is very common to hear a ticking sound whenever there is a scene change. I personally felt that my role in post-production was a little too minimal compared to Rowen, Peer and James. My unfamiliarity with Avid and Pro tools made me a little reticent to try it and Rowen and James seemed to know their way around Avid quite well. That said, I did try my hand at colour grading on Da Vinci which I roughly got the hang of after watching Rowen do his thing. I think I’ve said it before but I really do just need to dive head first into it, whether it’s sound or editing or cinematography, it’s becoming a bit of a recurring theme for me to shy away from the things I’m most unfamiliar with. Compared to last year though, there have been instances this year where I have just gone for it so I’ll cut myself a little slack.

All in all, this has been probably the best experience I’ve had working in a group so far on the course. Everyone pulled their weight and despite the mishaps we faced along the way we got there in the end. It was also just so fun to work with these guys and it feels a bit pointless if you’re not having fun along the way. It was a pleasure working with you, RoRo, Peerbear and of course The Fantastic Mr Fox.          

[galaxitic]

Do you have any visuals or audio associated with your story, setting, and characters? I'd love to hear about that! (Feel free to take your time to answer.)

damn! it’s been awhile since i’ve gotten a character ask- thank you so much, anon!

there are a ton of songs i associate with my oc’s, but i’m not completely sure if that’s what you mean. ,,,,mostly the songs are just for brinne anyway- the ones that currently come to mind for her are gasoline by halsey, lukewarm by penelope scott, oh ana by mother mother, and little pistol by mother mother.

for rowen? well, i once tagged this picture half-ironically as “rowencore,” so um. make of that what you will

grace in general i associate with dark academia! also the song rät by penelope scott, but my reasons for that are sort of vague so ¯\_(ツ)_/¯

fucking lennox, man- just- white suits. that’s just his brand at this point. expensive wine and white suits. also silver blades.

evander deserves an aesthetic but i have been cruel to him and he has no character development or individual style yet. i promise i’m working on it-

the song be nice to me by the front bottoms makes me think of adrian! teen adrian, at least. i haven’t explained much of the lore with adrian and brinne in their teen years here, but there is tea.

i know i haven’t talked about zurielle at all, but i associate the song waving through a window from dear evan hansen with her!

thank you so, so much for your ask anon, it means so much to me when people ask about my WIP. feel free to send another ask if you’re interested in hearing more! i’m always taking questions for it.

[alolanrain]

Gen 1-4 with everyone’s (that I remember currently) wings. I’ll add visuals on a different post for each Gen separately and under the cut so it’s not to long of a post and clogs everyone’s dash.

Gen 1-2:

Ash: Raven

Delia: American tree Sparrow

Red: Crow

Oaks: Eagles

Blue: Indigo Blunting

Silver: Euphagus

Gold: Haast’s Eagle

Yellow: Yellow Canary

Crystal+fam: Snowy Goose

Misty: New World Orioles

Misty’s Sisters; Pigeons

Brock+Fam: Brown Thrashers

Tracey: Common Buzzard

Ritchie: Crow

Lance: Scarlet ibis

Clair: Mountain Bluebird

Lance+Clair’s Family: Turkeys

James: Violet-backed Starling

Jessie: Pompadour Cotinga

Arianna: Euphagus

Giovanni: Vulture

Nurse Joy’s: Dove’s

Officer Jenny’s: Pigeon’s

Professor Ivy: purple Martin

Professor Elm: Bewick’s Wren

Gen 3:

Steven: Blue Jay

Wallace: Cerulean Warbler

Wally: Florida Scrub-jay

May: Brown Creeper

Max; Brown Pelican

Norman: Brown Pelican

Drew: turaco

Sapphire: Brown Creeper

Ruby: (Male) Red-wing Blackbird

Brendan: (Male) Red-wing Blackbird

Professor Birch: Gray Vireo

Gen 4:

Paul+Reggie: Common Starling

Barry: Yellow Canary

Dawn: Blue Jay

Zoey: Red Summer Tanager

Kenny: Cardinal

Conway: Green “Rose Ringed Parakeet”

Ursula: Pink Browned Rose Finch

Cynthia: Snowy Owl

Candice; Agelauis

Diamond: Northern Mockingbird

Pearl: Yellow Canary

Professor Rowen: Whooper Crane

[nightshadedawn]

New Fictional Disease to Use Instead of Hanahaki

I call it Tachiki. Like Hanahaki, it has to do with Love. But unlike Hanahaki, it’s not because of unrequited love that you get this. It’s because you reject your love. You are in love, but you cannot be.

Some examples may include:

- Enemies who stand on two different sides; good and evil, light and dark, demon and angel, ect. 

- People who think they don’t deserve the person they love; rich and poor, royalty and peasant, successful and practically useless, ex-bully-turned-tentative-friend-slash-rival and the kid they used to bully (you know who I’m looking at)

- All the gays

- Probably others that I’m not thinking of but oh well.

What is Tachiki? Let me paint you a visual.

Imagine for a moment, a world where there are cracks in the concrete, in sidewalks and in roads. Children jump over and step on them like they’re games. You walk down the sidewalk, you know where these lead and why they’re there. Fruit trees line sidewalks, but no one picks the fruit. They thrive even in winter, and that one peach tree at the end of your street is always taken care of by an old couple who makes sure that the fallen peaches don’t become rotten and makes sure that no dead branches hanging off it. It’s not rare to see around town either. There’s a forest that no one ever chops the tress down from. No one dares. If you think you see a face in them, you’re probably right. Different trees, different people. The same story. 

The story they will tell of you someday. They’ll tell the way your bones crack and fight their every bend, how stiff you feel within the first few months. They’ll tell of the rough callouses that form on your skin, that wrinkle and harden and turn brown. They’ll tell of the way branches and vines wrap around your heart, your lungs, how they cages you from the inside out before turning your blood to wood. They’ll tell how it began to push out, how your nails became chips and splinters and bark. They’ll tell about how the tips of your hair grew leaves that you tore away so no one would see. They’ll tell how branches like horns grew out of your head, making you seem like a forest spirite just weeks before it took you.

You know that if you continue, you Tachiki will take you. Will you end up one of the few who simply stopped walking one day in the middle of the street, or will you venture and go to the forest, live out the rest of your days there? What kind of tree will you turn into? Will you be a weeping willow, like so many ended up? Maybe a fruit tree, lemon or apple or orange. Maybe ash or rowen or evergreen instead? 

You know you could be cured, if only you could be with them. Your family simply wants them dead, because that would cure you too. You don’t have the heart to remove the cage around it. But that... that could kill you. The splinters might infect you, they might pierce something vital. Or the surgery to remove the roots from the center of your heart could kill you. It would be easier to have a new heart.

Some people are too far gone. Some have their horns before they have the roots removed. If they do, they can go on living again, but they’ll never be the same. You haven’t gotten far yet, you still have the chance to go back to being normal. But would it be worth it? Is any of this worth it, for an unreachable love?

[mcalhenwrites]

A-16, B-9, C-8, D-5, E-3, F-9, G-22

Thank you for the ask!A-16Favorite Kid CharacterMao is my favorite, but following him: Elize, Anise, Sophie, and… does Lambda’s flashbacks count to add him to the list?B-9Favorite Found Family(haha you know me well!)Oh, I’ve got a couple of found family dynamics I really love. One is the Xillia party, with Rowen taking an almost grandfatherly affection to Elize and Leia, and Alvin finding a place among everyone, and Elize giving him that sweet kiss on the cheek and telling him that she’ll be his friend… The other is from Graces, where I half-heartedly OT3 Asbel with Richard and Cheria or just have him single (I don’t have any diehard Asbel ships tbh so I’m rather loose with him and actually prefer him single)…but Asbel being Sophie’s dad, and in an AU, Lambda’s dad. I think he’d take good care of those two. Asbel x dadisms is my true ship!C-8Favorite Plot Twisttbh I never pay attention to these much, so this is a tricky one… But I think I can list one that stands out to me.Finding out in Regulus Knoll that Farah wasn’t truly responsible for the events in Rasheans. I think that hit me hard. D-5Favorite BuildingOhhh this is tough only because I keep thinking immediately of all the places in Fennmont! I love the shop hub, Orda Palace, and Talim Medical School. Oh, and the hotel is nice. The interiors and exteriors of all the homes in Nia Khera, too! The spirit artes used to decorate the outer parts just make it so gorgeous and rustic, and the insides really feel like the kind of inviting place where - if you ever found yourself lost and stumble into some random village - all the townsfolk will make a space for you to eat and sleep among them and it would be homey. :)Oh, and I love the palace in Kanbalar, it’s absolutely beautiful inside. The same goes for all Auj Oule inns, as well. They’re fucking gorgeous, from the textiles to the light fixtures. I’m in awe each time I go inside of one.And the mayor’s house in Hamil! I feel like I could live a very rustic life out in a place like that, and be pretty happy!(Yes, these are all Xillia, I think it has my favorite architecture out of all the games!)

E-3Well this E3 was fantastic, I got all the things I wanted from itFavorite Mystic ArteJade’s Indignation hits high, but he’s completely knocked out of the park by Max’s Elemental Master. That shit is so ridiculously funny in English, I spammed the heck out of it for kicks. “ELEMENTAL… BWHAHAHA!” Jade’s is just impressive in another, less goofy way. :’DF-9Favorite openingTales of Innocence! Specifically not the remake! “Follow the Nightingale” with those visuals was amazing… I loved it so much.Some worthy mentions: Eternia, Zestiria, Graces, and Rebirth!G-22Favorite Halloween costumeOh, this is tough. Meredy, Rita, and Jude all come to mind!I think Rita’s #1 though, simply for nailing my favorite Halloween aesthetic

[maladaptivemind]

The Twins

Live portrait maker is so addictive. I highly suggest you get it if you have trouble visualizing your paras!

Anyhow, here’s an update on my parame and his twin

Larkin

Rowen