#( visual; weisz. )
Explore tagged Tumblr posts
ofcrossroads · 2 months ago
Text
I still think about them often ( wistful )
Tumblr media Tumblr media Tumblr media
6 notes · View notes
readtilyoudie · 4 months ago
Text
Tumblr media
EDENS ZERO Vol 3
8 notes · View notes
katiedrago · 2 years ago
Text
Tumblr media Tumblr media Tumblr media
2 notes · View notes
compneuropapers · 2 months ago
Text
Interesting Papers for Week 16, 2025
Cortical VIP neurons as a critical node for dopamine actions. Bae, J. W., Yi, J. H., Choe, S. Y., Li, Y., & Jung, M. W. (2025). Science Advances, 11(1).
Confidence regulates feedback processing during human probabilistic learning. Ben Yehuda, M., Murphy, R. A., Le Pelley, M. E., Navarro, D. J., & Yeung, N. (2025). Journal of Experimental Psychology: General, 154(1), 80–95.
Neural Encoding of Direction and Distance across Reference Frames in Visually Guided Reaching. Caceres, A. H., Barany, D. A., Dundon, N. M., Smith, J., & Marneweck, M. (2024). eNeuro, 11(12), ENEURO.0405-24.2024.
Bifurcation Enhances Temporal Information Encoding in the Olfactory Periphery. Choi, K., Rosenbluth, W., Graf, I. R., Kadakia, N., & Emonet, T. (2024). PRX Life, 2(4), 043011.
The origin of color categories. Garside, D. J., Chang, A. L. Y., Selwyn, H. M., & Conway, B. R. (2025). Proceedings of the National Academy of Sciences, 122(1), e2400273121.
Oppositional and competitive instigation of hippocampal synaptic plasticity by the VTA and locus coeruleus. Hagena, H., & Manahan-Vaughan, D. (2025). Proceedings of the National Academy of Sciences, 122(1), e2402356122.
Dissociable Effects of Urgency and Evidence Accumulation during Reaching Revealed by Dynamic Multisensory Integration. Hoffmann, A. H., & Crevecoeur, F. (2024). eNeuro, 11(12), ENEURO.0262-24.2024.
Allocentric and egocentric spatial representations coexist in rodent medial entorhinal cortex. Long, X., Bush, D., Deng, B., Burgess, N., & Zhang, S.-J. (2025). Nature Communications, 16, 356.
Limitation of switching sensory information flow in flexible perceptual decision making. Luo, T., Xu, M., Zheng, Z., & Okazawa, G. (2025). Nature Communications, 16, 172.
Sparse high-dimensional decomposition of non-primary auditory cortical receptive fields. Mukherjee, S., Babadi, B., & Shamma, S. (2025). PLOS Computational Biology, 21(1), e1012721.
Memory-based predictions prime perceptual judgments across head turns in immersive, real-world scenes. Mynick, A., Steel, A., Jayaraman, A., Botch, T. L., Burrows, A., & Robertson, C. E. (2025). Current Biology, 35(1), 121-130.e6.
Multisensory integration of social signals by a pathway from the basal amygdala to the auditory cortex in maternal mice. Nowlan, A. C., Choe, J., Tromblee, H., Kelahan, C., Hellevik, K., & Shea, S. D. (2025). Current Biology, 35(1), 36-49.e4.
Exploration in 4‐year‐old children is guided by learning progress and novelty. Poli, F., Meyer, M., Mars, R. B., & Hunnius, S. (2025). Child Development, 96(1), 192–202.
Aberrant auditory prediction patterns robustly characterize tinnitus. Reisinger, L., Demarchi, G., Obleser, J., Sedley, W., Partyka, M., Schubert, J., Gehmacher, Q., Roesch, S., Suess, N., Trinka, E., Schlee, W., & Weisz, N. (2024). eLife, 13, e99757.4.
Retinal ganglion cells encode the direction of motion outside their classical receptive field. Riccitelli, S., Yaakov, H., Heukamp, A. S., Ankri, L., & Rivlin-Etzion, M. (2025). Proceedings of the National Academy of Sciences, 122(1), e2415223122.
Dynamics of visual object coding within and across the hemispheres: Objects in the periphery. Robinson, A. K., Grootswagers, T., Shatek, S. M., Behrmann, M., & Carlson, T. A. (2025). Science Advances, 11(1).
Single-neuron spiking variability in hippocampus dynamically tracks sensory content during memory formation in humans. Waschke, L., Kamp, F., van den Elzen, E., Krishna, S., Lindenberger, U., Rutishauser, U., & Garrett, D. D. (2025). Nature Communications, 16, 236.
Information sharing within a social network is key to behavioral flexibility—Lessons from mice tested under seminaturalistic conditions. Winiarski, M., Madecka, A., Yadav, A., Borowska, J., Wołyniak, M. R., Jędrzejewska-Szmek, J., Kondrakiewicz, L., Mankiewicz, L., Chaturvedi, M., Wójcik, D. K., Turzyński, K., Puścian, A., & Knapska, E. (2025). Science Advances, 11(1).
A language model of problem solving in humans and macaque monkeys. Yang, Q., Zhu, Z., Si, R., Li, Y., Zhang, J., & Yang, T. (2025). Current Biology, 35(1), 11-20.e10.
Offline ensemble co-reactivation links memories across days. Zaki, Y., Pennington, Z. T., Morales-Rodriguez, D., Bacon, M. E., Ko, B., Francisco, T. R., LaBanca, A. R., Sompolpong, P., Dong, Z., Lamsifer, S., Chen, H.-T., Carrillo Segura, S., Christenson Wick, Z., Silva, A. J., Rajan, K., van der Meer, M., Fenton, A., Shuman, T., & Cai, D. J. (2025). Nature, 637(8044), 145–155.
8 notes · View notes
youremyheaven · 2 years ago
Text
Lisa: Kibbe Analysis
I had previously made a Kibbe analysis post for Jennie and now its Lisa's turn 😌 On Kibbe communities online, Lisa is often typed as a FN/Flamboyant Natural but she is in fact, imo, a Soft Dramatic.
People often don't type Lisa as an SD because she has a cute face and a very lean body and apparently does not look like a natural fit next to verified SDs like Sofia Vergara, Sophia Loren, Rachel Weisz etc. SD is a very womanly, sensual ID and Lisa "apparently" does not suit the Diva Chic essence and is not "womanly" looking.
I strongly disagree.
A Flamboyant Natural is described as straight, broad, and blunt. A lot of flamboyant naturals have a muscular quality to their bodies as well. Quite often the bust and hips tend to be straight or flat.
Tumblr media Tumblr media
From these pictures, its obvious that while Lisa has broad shoulders, she has a very waspish waist and full hips. Although she's lean, she's not muscular. Her body is not straight or blunt.
A Soft Dramatic is described as
taller than 5'5 inches/165cm (Lisa is 5'6 or 168cms)
usually have long limbs (Lisa has very long legs and long arms)
Most fleshy through the hip and bust (although not always if you are extremely thin) 
Moderate fleshiness on upper arms and thighs
A defined waist that is moderate in width in comparison to the rest of your body 
Tumblr media Tumblr media Tumblr media Tumblr media
As we can see from these pictures, Lisa is very long limbed, she's 5'6/168cms but she looks even taller. She has fleshy thighs and full rounded hips. If she weren't as underweight as she is now, she would also have a fuller bust. She also has a very well defined waist.
Tumblr media Tumblr media
another very important SD determining factor is the T shape silhouette.
T shape silhouette refers to broad shoulders, small waist and proportionate hips. Lisa has a T shaped silhouette.
Tumblr media
This is probably the only outfit of hers where she's dressed like an SD. She looks amazing as she honours her Diva Chic essence and looks very sexy, very womanly and bold. She does not look out of place in this look at all.
Tumblr media Tumblr media
However she does look very out of place here. So much so that she's barely recognisable. On the left is verified FN Gwyneth Paltrow, who looks good in a white gown with zero draping because she has the frame to carry it. Lisa may have broad shoulders but she is not "wide" and does not possess the frame to pull off this look. She looks unlike herself because nothing about this looks screams "Diva".
Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media
However all these outfits truly bring out her Diva Chic essence and make her shine. Be it the makeup or the styling, the pattern/print heavy looks really make her pop.
An SD face is described as having:
Full features, exotic essence
Large eyes
Full lips
Fleshy Cheeks 
Prominent facial features 
Tumblr media Tumblr media Tumblr media Tumblr media
Here is Lisa next to 3 verified SDs, (top right, Anita Ekberg, bottom L to R, Rachel Weisz & Sophia Loren)
All of them have full, lush features, an almost "exotic" appeal and are very visually striking. Lisa looks like she belongs to this ID along with the other woman.
Before you ask me, face matters A LOT when determining someone's ID. Don't believe people who say otherwise. You don't just dress for you body, you dress for your face as well.
Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media
Here's Lisa in a bunch of outfits that don't do anything for her. Stylists always seem to be so lost with regard to what to do with her and she often ends up with the most questionable-looking outfits. Due to her cutesy personality (never forget Mentor Lisa tho, she can be very serious when she needs to) I guess its hard to put her in ball gowns and ultra glamorous outfits but these are exactly the kind of looks she looks incredible in.
So much of her styling seems like a lost opportunity. Being tall and skinny does not make someone an FN and Lisa looks the most plain in denim looks. Since she's not particularly fashion-forward or experimental with her looks, we often see her in the same booty shorts and crop top outfit formula on stage and off stage, she's at the mercy of whatever her stylist puts her in. But bbg is an SD in disguise.
68 notes · View notes
thistlecatfics · 4 months ago
Note
3 for andromeda & bella !!
I am extremely not visual (I don't picture anything in my head when I read) (and it's why I think description is the part of writing I'm weakest at) (and I'm also terrible about faces and celebrities in general) so I've never been terribly invested in fancasts BUT
I've been suckered into the common Kiera Knightly and Katie McGrath fancasts, and they have grown on me.
I also like Rachel Weisz especially as older Andromeda (she's about the right age for her too!).
I like Eva Green for Bellatrix. Alice Pagani is often fancast for Pansy but I like her as (young) Bellatrix too with her dark hair and light eyes.
My maybe unpopular opinion is that I hate Helena Bonham Carter as Bellatrix in the movies but I like young her as a Bellatrix fancast.
I also like fancasting them as the same actress - whoever you pick, because I just love thinking about them as creepily identical.
marauders character asks
12 notes · View notes
marcovaleyeah · 11 months ago
Text
21.07.24
#Mira-Marathon | MCU
Film Name: Black Widow (2021); Production Studios: Marvel Studios; Director by: Cate Shortland; Screenwriter: Eric Pearson, Ned Benson, Jac Schaeffer; Starring: Scarlett Johansson, Florence Pugh, Rachel Weisz, David Harbour, Ray Winstone; Genres: Science Fiction, Action, Adventure; Running Time: 2 hour 14 minutes;
"Black Widow" is a superhero film in which Scarlett Johansson plays Natasha Romanoff. After the events of Captain America: Civil War, she is forced to face her past and a dangerous conspiracy. Pros: Exciting and dynamic battle scenes, Interesting and unpredictable plot, Florence Pugh plays Elena Belova perfectly, Expands the Marvel Cinematic Universe with new characters, Impressive visual effects. Cons: Scarlett Johansson doesn't get much chance to shine, Leaving after Avengers: Endgame makes the movie less intriguing, The movie doesn't have a clear purpose in the context of the Marvel Cinematic Universe. Overall, this is a dynamic and exciting film with an interesting plot and new characters, albeit without a clear goal.
My rating:
⭐⭐⭐
Tumblr media
8 notes · View notes
makeitrealfromfictional · 3 months ago
Text
On the Topic of Vehicles:
Louis Weisz made a boatmobile from SpongeBob
The Patty Wagon has also been made, most notably by President Chay, Matthew Beem, and Build Break Repeat.
Lois Weisz, from before, also made this rock car from another SpongeBob episode (not a rock, unfortunately.)
Wayne Fults made a version of the Reptar Wagon (Rugrats). (The visuals are a bit different, however.)
Tumblr media Tumblr media Tumblr media
Links lead to—>supercarblondie.com, youtube.com, youtube.com, youtube.com, youtube.com, rugratonline.free.fr, and reddit.com, respectively.
2 notes · View notes
watchingalotofmovies · 10 months ago
Text
The Fountain
Tumblr media
The Fountain    [trailer]
As a modern-day scientist, Tommy is struggling with mortality, desperately searching for the medical breakthrough that will save the life of his cancer-stricken wife.
Still not convinced that the story makes a lot of sense. It feels like a somewhat random mash-up of different cultural and religious elements.
But the reasons to watch are Jackman and Weisz. And, of course, the visuals.
2 notes · View notes
ofcrossroads · 2 months ago
Text
I forgot how much I love this series... this trio 🥰
Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media
4 notes · View notes
readtilyoudie · 24 days ago
Text
Tumblr media Tumblr media
EDENS ZERO Vol 3
4 notes · View notes
juliopison · 1 month ago
Text
Tumblr media
CINE El jardinero fiel (2005) Título original: The Constant Gardener País: Reino Unido Dirección: Fernando Meirelles Guión: Jeffrey Caine (basado en la novela de John le Carré) Género: Thriller dramático, Suspenso político
Reparto: Ralph Fiennes, Rachel Weisz, Danny Huston, Hubert Koundé, Bill Nighy
Idioma: Inglés con subtítulos en Español
VER EN: https://memoriasdelcafe.blogspot.com/2025/04/el-jardinero-fiel-2005.html
RESEÑA EN EL CAFÉ
En El jardinero fiel, Fernando Meirelles adapta con fuerza y sensibilidad la novela de John le Carré para exponer una historia de amor atravesada por la injusticia global. Ralph Fiennes interpreta a Justin Quayle, un diplomático británico que, tras el asesinato de su esposa Tessa (Rachel Weisz, en un papel que le valió el Óscar), emprende una investigación que destapa una red de experimentación farmacéutica en África, encubierta por intereses corporativos y diplomáticos.
La película denuncia las prácticas abusivas de ciertas multinacionales en países empobrecidos, y lo hace sin sacrificar el componente emocional. Justin, reservado y pasivo al inicio, se transforma al asumir la causa de su esposa, cuyo compromiso social lo interpela incluso después de muerta.
La dirección de Meirelles conjuga lo íntimo y lo político con un estilo visual semidocumental, reforzado por la fotografía vibrante de César Charlone. La banda sonora de Alberto Iglesias acompaña con delicadeza la tragedia personal y la denuncia global.
Más que un simple thriller, El jardinero fiel es un retrato conmovedor sobre la transformación ética y la responsabilidad individual ante la injusticia estructural. Una obra que, a veinte años de su estreno, sigue interpelando con fuerza.
Julio César Pisón Café Mientras Tanto
0 notes
marcmarcmomarc · 3 months ago
Text
Miraculous 6: The Re-Verse
Tumblr media
Written & Directed by
@jacquesthepigeon
@miraculouslbcnreactions
@red-balloon12
@zoe-oneesama
Produced by
TBA
Associate Producer
TBA
Based on the TV show created by
Thomas Astruc
Original Songs by
TBA
Music by
TBA
Original “Miraculous” Themes by
Alain Garcia
Noam Kaniel
Jeremy Zag
Original Crossover Media Themes by
Stephanie Economou, Ludwig Göransson
Harry Gregson-Williams, Henry Jackman
Ryan Lofty, Daniel Pemberton
Heitor Pereira, John Powell
Patrick Stump, & Jay Vincent
Story Supervisor(s)
TBA
Edited by
TBA
Production Designer(s)
TBA
Visual Effects Supervisor(s)
TBA
Production Manager(s)
TBA
Animation Supervisor(s)
TBA
Director(s) of Photography
TBA
Associate Visual Effects Supervisor(s)
TBA
Shading Supervisor(s)
TBA
Character Supervisor(s)
TBA
Sets Supervisor(s)
TBA
Tailoring & Simulation Supervisor(s)
TBA
Effects Supervisor(s)
TBA
Compositing Supervisor(s)
TBA
Crowds Animation Supervisor(s)
TBA
Crowds Technical Supervisor(s)
TBA
Global Technology Supervisor(s)
TBA
Dailies & Rendering Supervisor(s)
TBA
Character Art Director(s)
TBA
Sets Art Director(s)
TBA
Color & Shading Art Director(s)
TBA
Graphics Art Director(s)
TBA
Story Manager(s)
TBA
Editorial Manager(s)
TBA
Script Supervisor(s)
TBA
Art Manager(s)
TBA
Animation & Global Tech Manager(s)
TBA
Animation Pre-Production Manager(s)
TBA
Production Finance Manager(s)
TBA
Sets & Camera Staging Manager(s)
TBA
Character & Crowds Manager(s)
TBA
Shading Manager(s)
TBA
Tailoring & Simulation Manager(s)
TBA
Effects Manager(s)
TBA
Lighting Manager(s)
TBA
Dailies & Rendering Manager(s)
TBA
Post Production Producer(s)
TBA
Sound Designer(s)
TBA
Casting by
@marcmarcmomarc
———————————————————————————-
Cast
Marinette Dupain-Cheng: Cristina Vee
Adrien Agreste: Bryce Papenbrook
Tikki: Mela Lee
Plagg: Max Mittelman
Gabriel Agreste: Keith Silverstein
Alya Césaire: Carrie Keranen
Maxkov: Zeno Robinson
———————————————————————————-
Nino Lahiffe: Zeno Robinson
Trixx: Cherami Leigh
Wayzz: Christopher Corey Smith
Tom Dupain: Christopher Corey Smith
Sabine Cheng: Anne Yatco
Chloé Bourgeois: Selah Victor
Sabrina Raincomprix: Cassandra Lee Morris
Pollen: Cassandra Lee Morris
Alix Kubdel: Kira Buckland
Mylène Haprèle: Jessica Gee
Rose Lavillant: Reba Buhr
Juleka Couffaine: Reba Bubr
Lila Rossi: Lisa Kay Jennings
Ivan Bruel: Max Mittelman
Kim Chiến Lê-Ature: Grant George
Luka Couffaine: Andrew Russell
Nathaniel Kurtzberg: Michael Sinterniklaas
Kagami Tsurugi: Faye Mata
Nathalie Sancoeur: Sabrina Weisz
Max Kanté: Zeno Robinson
Wang Fu: Paul St. Peter
Nadja Chamack: Sabrina Weisz
Socqueline Wang: Ryan Bartley
Nora Césaire: Laila Berzins
Marianne Fu: Barbara Goodson
Nooroo: Ben Diskin
Duusu: Melissa Fahn
Ondine: Erika Harlacher
Félix Fathom: Bryce Papenbrook
Fei Wu: Xanthe Huynh
Marc Anciel: Alejandro Saab
Zoé Lee: Deneen Melody
Olympia Hill: Anairis Quiñones
Barbara Keynes: Anairis Quiñones
Jessica Keynes: Jaimi Grey
Aeon: Kimberly Woods
Markov: Grant George
Émilie Agreste: Colleen O’Shaughnessey
Delmar: Cedric Williams
Amelie Graham de Vanily: Laura Post
Su-Han: Kaiji Tang
Liiri: Cedric Williams
Manon Chamack: Stephanie Sheh
Chris Lahiffe: Alejandro Saab
Ella Césaire: Cherami Leigh
Etta Césaire: Cherami Leigh
———————————————————————————-
Barkk: Sabrina Glow
Fluff: Ryan Bartley
Mullo: Deneen Melody
Daizzi: Jessica Gee
Roaar: Sandy Fox
Stompp: Lauren Landa
Ziggy: Susannah Corrington
Xuppu: Sarah Weisz
Kaalki: Deneen Melody
Sass: Ben Diskin
Longg: Grant George
Orikko: Sabrina Weisz
Hou Hou: Brook Chalmers
Long Long: Christopher Corey Smith
She She: Carrie Keranen
Tang Tang: Mela Lee
Xiong Xiong: Sabrina Weisz
Ma Ma: Dave Trosko
Hu Hu: Yuri Lowenthal
Ying Ying: AmaLee
———————————————————————————-
Meilin Lee: Rosalie Chiang
Miriam Mendelsohn: Ava Morse
Abby Park: Hyein Park
Priya Mangal: Maitreyi Ramakrishnan
Tyler Nguyen-Baker: Tristan Allerick Chen
Ming Lee: Sandra Oh
Jin Lee: Orion Lee
Grandma Wu Lee: Wai Ching Ho
Auntie Chen: Lori Tan Chinn
Lily: Mia Tagano
Helen: Sherry Cola
Auntie Ping: Lillian Lim
Mr. Gao: James Hong
Stacy Frick: Lily Sanfelippo
Devon: Addie Chandler
Sammy: Lauren Tom
Lauren: Anna Brisbin
Kat: Madison Brunohler
Carter Murphy-Mayhew: Jackson Parfitt
Jaiden: Patricia Summersett
Robaire: Jordan Fisher
Jesse: Finneas O’Connell
Aaron T.: Topher Ngo
Tae Young: Grayson Villanueva
Aaron Z.: Josh Levi
Shrek: Mike Myers
Donkey: Eddie Murphy
Fiona: Cameron Diaz
Puss in Boots: Antonio Banderas
Kitty Softpaws: Salma Hayek
Perrito: Harvey Guillén
Gingy: Conrad Vernon
Pinocchio: Cody Cameron
Goldilocks: Florence Pugh
Papa Bear: Ray Winstone
Mama Bear: Olivia Colman
Baby Bear: Samson Kayo
Doris: Norm Macdonald
Queen Lillian: Julie Andrews
Artie Pendragon: Justin Timberlake
Heimlich: Cody Cameron
Horst: Cody Cameron
Dieter: Cody Cameron
Big Bad Wolf: Aron Warner
Blind Rat 1: Christopher Knights
Gordon: Mike Myers
Blind Rat 2: Simon J. Smith
Snow White: Amy Poehler
Sleeping Beauty: Cheri Oteri
Cinderella: Amy Sedaris
Rapunzel: Maya Rudolph
Farkle:
Fergus:
Felicia: Zendaya
Chloe: Becky G
Liam: Josh Peck
Catherine: Tara Strong
Zook: George Lopez
Zamfeer: David Koechner
Alpha: Patrick Stump
Charlie: Patrick Stump
Bravo: Patrick Stump
Quicksilver: Jeff Dunham
Mr. Wolf: Sam Rockwell
Mr. Snake: Marc Maron
Ms. Tarantula “Webs”: Awkwafina
Mr. Piranha: Anthony Ramos
Mr. Shark: Craig Robinson
Diane Foxington: Zazie Beetz
Misty Luggins: Alex Borstein
Tony Toretto: Tyler Posey
Echo Pearl: Charlet Chung
Frostee Benson: Luke Youngblood
Cisco Renaldo: Jorge Diaz
Layla Gray: Camille Ramsey
Ms. Nowhere: Renée Elise Goldsberry
Gary: Tru Valentino
Julius: Tru Valentino
Palindrome: Paul Wright
Sissy Benson: Similce Diesel
Wanda Benson: Kimberly Brooks
Tiffany Benson: Secunda Wood
Tuco: Danny Trejo
Ruby Gillman: Lana Condor
Agatha Gillman: Toni Collette
Granmama Gillman: Jane Fonda
Arthur Gillman: Colman Domingo
Uncle Brill: Sam Richardson
Sam Gillman: Blue Chapman
Connor: Jaboukie Young-White
Margot: Liza Koshy
Bliss: Ramona Young
Trevin: Eduardo Franco
———————————————————————————-
Rupert Marmalade: Richard Ayoade
Queen Narissa: Annie Murphy
———————————————————————————-
Aang: Justin Chon
Callum: Jack DeSena
Adora: Aimee Carrero
Blewis Clark “Blue”: Zack Keller
Redward “Red”: Ed Skudder
Vi: Hailee Steinfeld
Caitlyn Kiramman: Katie Leung
Ruby Rose: Lindsay Jones
Weiss Schnee: Casey Lee Williams
Blake Belladonna: Arryn Zech
Yang Xiao Long: Barbara Dunkelman
Singing Voices
Adrien Agreste: Drew Ryan Scott
Félix Fathom: Drew Ryan Scott
Snow White: Megan Hilty
Story
Editorial
Art
Camera & Staging
Animation
Global Technology
Dailies & Sweatbox
Simulation & Crowds
Characters
Sets
Effects
Lighting
Rendering
Production
Creative Development
Post Production
Stereoscopic 3D
International Production
Post Production Sound
Additional Voices
Andrew Adamson, Guillaume Aretos, Preston Arsement
Nina Bakshi, Jacquie Barnbrook, Nina Barry, Sidney Bell, Wendy Bilanski, Sean Bishop, Suzanne Buirgy, Nicole Byer
Emma Chamberlain, Kelly Cooney, Ryan Crego, Jim Cummings
Madison De La Garza, Bernardo De Paula, Guillermo del Toro, Rich B. Dietl, Walt Dohrn
Will Forte, Karen Foster
Juju Green, Nash Grier
Jeremy Hollingsworth, Olivia Holt, Brian Hopkins, Richard Horvitz, Ricardo Hurtado
Eric Idle, Phillip Ingram, Qalil Ismail
Bob Joles, Jessica Schulte Jones
Tom Kane, Echo Kellum, Christopher Knights, John Krasinski
Constance Marie, Miguel Matrai, Jordan Matter, Salish Matter, Anthony Mendez, Zeus Mendoza, Christopher Miller, Mike Mitchell, Kevin McCann, Tom McGrath, Mark Moseley
Merk Nguyen
Cheri Oteri, Latifa Ouaou
Alina Phelan, Regis Philbin, Caleb Pierce
Da’Vine Joy Randolph, Taylore Rayne, Al Rodrigo, Sasha Roiz, James Ryan
Atticus Shaindlin, David P. Smith
Ericka Thomas
Pilar Uribe
Mark Valley, Conrad Vernon
Kari Wahlgren, Tom Wheeler, Tiffany Wu
Music
Additional Vocalists
Rena Anakwe, Lauren Ash, Dante Basco
Krystal Joy Brown, Paula Burrows, Artt Butler
Benjamin Callins, Dana Davis, Antony Del Rio
Zelda Ehasz, Jordan Fisher, Julie Fowlis
Karen Fukuhara, Vincent Gale, Jonathan Holmes
Jesse Inocalla, Keston John, Daniel Dae Kim
Merit Leighton, Vella Lovell, Jessica Matten
A.J. Michalka, Omari Newton, Sandra Oh
Adrian Petriw, Dionne Quan, Adam Ray
Génesis Rodríguez, Sasha Rojen, Isabella Russo
Marcus Scribner, Jason Simpson, N.D. Stevenson
Thalia Tran, Vivian Vencer, Christine Woods
Suzie Yeung, Román Zaragoza
“Everybody Wants to Rule the World” (“Despicable Me 4” version)
Written by Roland Orzab, Ian Stanley, and Chris Hughes
Performed by Cristina Vee, Drew Ryan Scott, and Cast
Original Song Performed by Tears for Fears
“Despicable Me 4” version performed by Steve Carell, Will Ferrell, Joey King, and Cast
Property of Mercury Records Limited; Copyright ©1985
ZAG Entertainment Team
Production Babies
Special Thanks
@aliavian, @anthurak
@brynnsasha191, @capndragn94
@cosmicfanon89, @firelordslove
@foulfirerebel, @gazelles-gazelles
@hadesisqueer, @iamafanofcartoons
@kokorolinkrun, @m4rs-ex3
@mal3vol3nt, @mandaloriandragontrainer
@matrixdragon, @matt0044
@onceuponalegendbg-rwby, @otter-and-terrier
@rayllurn, @sapphiresaphics
@sevenofreds, @tategaminu
@tumblingxelian, @twillean-sparks
@urhandsmypockets, @zvtara-was-never-canon
Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media
“Turning Red” is property of Pixar Animation Studios; Copyright ©2022
“Shrek” is property of Dreamworks Animation SKG; Copyright ©2005
“Gnome Alone” is property of Vanguard Animation; Copyright ©2017
“The Bad Guys” is property of Dreamworks Animation SKG; Copyright ©2022
“Fast & Furious Spy Racers” is property of Dreamworks Animation Television; Copyright ©2019
“Ruby Gillman: Teenage Kraken” is property of Dreamworks Animation SKG; Copyright ©2023
“Avatar: The Last Airbender” is property of Nickelodeon Animation Studios; Copyright ©2005
“The Dragon Prince” is property of Wonderstorm/MWM Studios/Bardel Entertainment; Copyright ©2018
“She-Ra and the Princesses of Power” is property of Dreamworks Animation Television; Copyright ©2018
“Dick Figures” is property of Mondo Media; Copyright ©2010
“League of Legends” is property of Riot Games; Copyright ©2009
“Arcane” is property of Fortiche and Riot Games; Copyright ©2021
“RWBY” is property of Rooster Teeth Productions and VIZ Media; Copyright ©2013
All brands depicted in this film are protected by trademarks and copyrights owned by their respective owners.
©2029 ZAG Entertainment
All Rights Reserved
For the purposes of copyright law in the United Kingdom, ZAG Entertainment was the owner of copyright in this motion picture immediately after it was made.
Created and Produced at ZAG Entertainment Paris, France
6 notes · View notes
katiedrago · 2 years ago
Text
youtube
"It's a journey of being touched by different layers of your mind." - Paloma Varga Weisz
0 notes
ulkaralakbarova · 11 months ago
Text
The Brothers Bloom are the best con men in the world, swindling millionaires with complex scenarios of lust and intrigue. Now they’ve decided to take on one last job – showing a beautiful and eccentric heiress the time of her life with a romantic adventure that takes them around the world. Credits: TheMovieDb. Film Cast: Penelope Stamp: Rachel Weisz Bloom: Adrien Brody Stephen: Mark Ruffalo Bang Bang: Rinko Kikuchi Curator: Robbie Coltrane Diamond Dog: Maximilian Schell Narrator (voice): Ricky Jay Rose: Nora Zehetner Young Bloom: Zachary Gordon Young Stephen: Max Records Charleston: Andy Nyman The Duke: Noah Segan Himself: Ram Bergman Apple Cart Vendor: Craig Johnson Albino: Dubravko Jovanović Young Girl: Esme Tyler Young Boy: Jovan Vitas Charleston’s Wife: Ana Sofrenović Chief of Police: Vladimír Kulhavý Snack Car Attendant: Alek Rodic Oafish Foster Father: Josif Tatić Foster Dad: Slobodan Ćustić Foster Mom: Branka Pujić Excited Boy: George Bocchetti Excited Boy: Elis Derham Bar Patron: Joseph Gordon-Levitt Bar Patron: Lukas Haas German Bar Owner (uncredited): Stefan Kapicic Film Crew: Casting: Mary Vernieu Costume Design: Beatrix Aruna Pasztor Writer: Rian Johnson Production Design: Jim Clay Original Music Composer: Nathan Johnson Director of Photography: Steve Yedlin Producer: Ram Bergman Casting: Shannon Makhanian Executive Producer: Wendy Japhet Producer: James D. Stern Editor: Gabriel Wrye Executive Producer: Douglas Hansen Music Supervisor: Brian Reitzell Music Editor: Drew DeAscentis Stunt Coordinator: Glenn Marks Set Decoration: Sophie Newman Script Supervisor: Nada Pinter Co-Producer: Tom Karnowski Co-Producer: Matthew J. Birch Unit Production Manager: Elena Zokas Unit Production Manager: Richard Sharkey First Assistant Director: Sean Guest Second Assistant Director: James Andrew Haven Hair Designer: Graham Johnston Supervising Art Director: Paul Kirby Art Direction: Jasna Dragović Assistant Art Director: Branislav ‘Bane’ Stevanović Assistant Art Director: Mladen Lisavac Assistant Set Decoration: Dejan Anđelković Property Master: Dave Fisher Unit Publicist: Alisa Buckley Still Photographer: Slobodan Pikula Transportation Coordinator: Nenad Kokot Post Production Supervisor: Philip Harrelson Visual Effects Supervisor: Ron Simonson Sound Designer: Jonathan Miller Sound Recordist: Jason Gaya ADR Mixer: Andrew Morgado ADR Mixer: Judah Getz Foley Mixer: Zach Michaelis Foley Mixer: John B. Cormier Driver: Aleksandar Ilić Movie Reviews:
0 notes
filmsrus · 2 years ago
Text
ON-SET PRODUCTION READING
American Cinematographer (July 2023)
Aspect Ratios for Home Exhibition - Shot Craft - Jay Holben
The composition is integral to the visual storytelling and aspect ratio is an intrinsic component of composition. 
After WW2 when home televisions became commonplace, screens were based on the cinema standard of the time - 1.33:1 or 4:3. By 1952, 30,000,000 US homes had a television and cinema goers declined, just as ‘This is Cinerama’ premiered - a documentary as well as a handful of Cinerama-photographed films shot with a 3-in-1 camera system onto 3 individual stripes of film, projected respectively from 3 projectors, overlapping slightly into a singe 2.59:1 imagine. 
To combat this, Hollywood studios began putting more widescreen movies into production to lure audiences back to theatres, thus sparking the 1950s format wars. Anamorphic which originated as 20th Century Fox’s CinemaScope process, emerged as the most commonly used, settling an aspect ratio of 2.35:1 (which became 2.39:1 in 1970). 1.85:1 was chosen for ‘flat’ non-anamorphic films. 1.33:1 practically died in cinemas. TV remained at 1.33:1 for almost 5 decades. In Europe however 1.66:1 became the dominant flatscreen theatrical standard and 2.35/2.39 for TV.
Theatrical releases then had to be squeezed into the 1.33:1 ratio when showing on TV. This was solved by either adding cuts from one side of the screen to the other or panning to show whichever side of the screen had the more crucial information. Movements or cuts like this could look awkward and compromise filmmakers’ creative intent.
In 1984, RCA introduced letterboxing - reducing a film in side to fit the frame and filling the empty space with black bars. Spielberg was a real critic of the crop and pan techniques, pushing for letterboxing. The difficulty came with loss in resolution. VHS only had 240 horizontal resolution lines so losing almost 100 of them to the 2.35:1 ration made the quality intolerable for some. With the use of LaserDiscs in the early 1990s letterboxing became commonplace and to fulfil the needs of those that were and weren’t fans of it, studios released two versions of hundreds of titles. 
In 2003 BlockBuster video announced it would give preference to letterboxed DVDs and a new era came. On DVD, the format evolved into a modified anamorphic image scene where meant that viewers were only limited by their own TVs pixel count as resolution was not lost. Even so, it was rare to see letterboxing on air as cable channels did not warm up to it. 
With the introduction of HDTV in the late 1990s, new aspect ratios emerged - 16:09 or 1.78:1. the wider HDTV screen made the black bars easier to accept but TVs would also build in the option for viewers to expand the image and crop the sides to remove the black bars. Home-video released in 1.66:1 and 1.85:1 just about died out.
In 2013 Netflix released House of Cards in a native letterboxed format of 1.0:1 - a compromise that became popular outside of the broadcast networks. 
Letterboxing eventually spread to cable TV to shows like Fargo (2.0:1 since season 3. For decades HBO maintained a ‘no black bars policy’ (Sopranos and GOT were 1.78:1) broken only in 2019 with Chernobyl (2.0:1). Viewers complained of being distracted by them.
Netflix and Amazon leave the decision to filmmakers (and viewer).
Seeing Double for Dead Ringers - Mark Dillon
Amazon Prime limited series based on 1988 Cronenberg classic, about ‘a pair of pathologically codependent identical-twin gynaecologists who steadily make their way toward psychosis and self-destruction’.
CAMERA
Jody Lee Lipes (DOP) commented on how Sean Durkin (Director) would begin unsure, open to input, needing to talk and things things out before making a clear decision - able to share insecurities then commit to a strong viewpoint when needed.
Capturing Rachel Weisz as both twins called for similar slow-motion shots to the 1988 film, made possible by the crew experienced in twinning actors. On a Sony Venice camera on an Arrowhead repeatable remote-head system run by operator from Super Controls computer, they filmed the scenes with a stand-in for the other twin, meaning every scene was shot with Weisz as one twin then the other. The performances were then composited in post though AI deepfake technology was sometimes applied in aftereffects where the stand-ins performance was kept but her features replaces with Weisz’s.
Lighting continuity between side A and B was the largest challenge especially in direct natural light with the moving sun, this was overseen by key grip Erbes-Chan. For example, side A was shot in the shade of a building and side B’s sunlight blocked with Ultrabounce Magic Cloths and nets. Because of the location, they used stands instead of cranes
The hardest scenes where those where the twins touched. Weisz would rehearse both sides and the stand-in would memorise them, listening to dialogue played out on an earpiece. On the video assist, they would split screen side B with A to make sure they matched.
SET PRODUCTION
The birthing centre’s atrium filmed in an underground recreation centre, Elliot’s lab at the TWA Hotel at JFK Airport and the birthing rooms were staged at Silvercup Studios. 
The vision was ‘demystifying childbirth and people being able to watch and interact with loved ones’ by shooting though windows and obstructions to create layers in relation to lenses and aspect ratio. 
LIGHTING
The blur between real events and those through Elliot’s drug-fuelled imagination were conveyed through camera and lighting. DMG LEDs used for light-colour flexibility on the actors. Titan Tubes in the soffits lit the perimeter walls.
A 5 foot fixture was rigged with hybrid LED tape of the kitchen island below a built skylight and DMG Maxi panels provided soft ambience. DMG Minis plus Magic Cloth - sometimes up to 4 layers - sometimes used for almost shadowless, super soft light. Minis sometimes mounted on boom poles.
The lights could be running at only 25-percent output, which is all they needed shooting with the Venice at an exposure index of 6,400 ISO in the 2,500 ISO base mode. This is why Lipes chose the camera, after having experimented with it on the Netflix movie The Good Nurse.
COLOUR
A LUT was used that Lipes has been developing over the years (also used with adjustments for the Good Nurse). “The idea is to help stuff in the lower luminance range go slightly cooler, and stuff in the higher luminance range go warmer — [while adding] low-contrast, milky blacks,” Lipes explains. “It’s a gentle image — not too saturated, but pushing the color contrast.
LENSES
Lipes paired the Venice Camera with Panavision G Series anamorphic lenses - stylised and pushing reality, aided by the 2.39:1 aspect ratio. Most shots were done 75-100mm, with a few 50-60mm for wide shots, also often using the ATZ 70-200mm T3.5 and a 50-500mm. Zooms used for unsettling effect.
A couple of H Series spherical primes used - they matched the Gs and gave more detail. Primo Artiste spherical lenses were used for some senes too - warmer and faster than the Gs. 
0 notes