#they may not agree on what it is mean to be mandalorian in modern times

[cienie-isengardu]

Jaster & Tor

For me, one of the most hilarious and no less furious aspects of Jaster Mereel’s treatment in the sources is how he is hailed as the great figure in Mandalorian history that brought back honor between Mandalorian Mercs and all but like, not getting any real development for over two decades. Sure, he got here and there mini encyclopedia entries and some mention in regard to Jango Fett, but never anything truly expanding his characterization beyond the general image of “good” Mandalorian created by tie-in sources - an image I find a pretty bland one compared to retconned “The Last One Standing: The Tale of Boba Fett” (in which Jaster Mereel originated from) and Jango Fett: Open Seasons comics series.

This is hilarious, because Tor Vizsla got a personal entry in Fact Files - an article biased as hell but still acknowledging both him as character and his impact on Jango & Mandalorians - and a whole section of Bounty Hunter Code for himself and Death Watch. And though I will forever stand with Jango that the Manifesto doesn’t sound much like him (but I like the idea the Manifesto is based on Tor’s notes just edited by someone to be more reader-friendly), there is like 30 pages expanding history and his person while Jaster is once again reduced to small mention here and there. And look, it is hilarious to me that Vizsla and Death Watch is the Mandalorians that Lucas wanted to keep for The Clone Wars, throwing out of window the supposedly great Jaster Mereel and True Mandalorians without any second thought but good damn, it is so frustrating we can’t get any solid material on him even though Bounty Hunter Code was the perfect opportunity to bring him back, as it would make a perfect sense for Jango to keep Jaster’s notes if not the whole Codex.

It is also frustrating because Tor and Jaster are like the two Mandalorians officially writting down important stuff and apparently both were versed in Mandalorian history & lore and I for one would love to compare their notes to get the feeling of middle-ground and see their ideas from the proper perspective not from biased sources that clearly favores Jaster - even if in JF:OS, after making research and interrogating Jango’s allies, Dooku’s only conclusion was that for Mereel Mandalorians were “merely highly-paid soldiers”. Which is hardly the same as bringing work ethic to your group (not that it does cross out the possibility of having actual moral standards, but it does not automatically mean the same). It is frustrating, because we don’t get that often Mandalorians with literary tendencies - hell, we didn’t get any other Mandalorian like that for years because almost everything is about the oral culture which makes Tor Vizsla and Jaster Mereel’s existence even more hilarious, as the two literature nerds that at some point sit down and write their own input - Tor about history and political goals for new members of Death Watch, Jaster about work ethics for True Mandalorians. And it is even more hilarious than that, because Jango Fett presumably read both works and HE DOESN’T READ BOOKS BECAUSE HE THINKS THEY ARE WASTE OF TIME:

Boba's father didn't read much. "Books? A waste of time," he said. "Read maps, Boba. Instructions. Warnings. Important stuff." [Boba Fett Book 1: The Fight to Survive by Terry Bisson]

[mod--soul]

~ Spoilers for The Book of Boba Fett Episode 3 ~

I want to take a look at the three most discussed “issues” with episode 3 of The Book of Boba Fett from a writer’s perspective. Because to me, as someone who has both worked with editors, sensitivity readers and near editor-level readers on my original stories and read other peoples original works as the latter, the writing does not seem lazy or bad, as a lot of people suggest.

Quite the contrary: It makes sure that BOBF is not just a simple repeat of the Murder-Hobo RPG-plotline of The Mandalorian and instead shows actual consequences of such actions. Plus the continued and stacked failings and vulnerabilities of a character that stood on such a high pedestal for so long is something rarely used in modern media and is therefore utterly fascinating to me. (In addtion to all the insights into species that so far were mostly known for being "bad". )

But let's take a look at what went down this episode.

Boba’s injuries

Let’s start with the easiest one. People have been complaining that Boba did not show signs of his injuries after the fight with the Wookiee.

Well, first of all: Krrsantan ripped him from a filled Bacta tank actively flodding the floor with its content.

This in turn means two things:

Boba was drenched in Bacta-water

Every time he fell onto the floor he got a new dosage of it.

With the interference of the Mods/Cyborgs that could have been enough time to rudimentally heal the most of that awful crunch. At least to an extent that he can pretend that he is not as injured as he really is. Which is technically underlined by the fact that Boba is still in the robe hours later instead of wearing the armor and unwilling to eat. (A lot of pain usally puts eating at quite a low priority ...)

What should be questioned instead is: How the heck did they get the Gamorrean in the human-sized tank?!

(I’m also pretty sure the Wookiee is going to be an ally later on in the season, paying back the kindness offered to him.)

The Mods/Cyborgs

The major complain about this is the fact that they look shiny, new and colorful. Yet, we don’t know if

they are from Mos Vespa

the modifications are aesthetically or aids

All we know is what the weaselly water vendor told us about them - and the one comment about the eye being expensive. So it may as well be that they have only recently moved to Mos Espa after buying and installing their gear. In the new environment they then found no employment causing their funds to dry out making them unable to have access to basic necessities. And of course they would have to keep their gear clean, as otherwise it would stop functioning, which is not good considering they are used as body part replacements. Though, I really hope that it will be revealed that the modifications are aids and not just aesthetics as that would add significantly to the representation they have already featured on both shows (plus SW in general). Even if it’d again be a case of “fixing” a disability with technological means.

(If anyone is interested in more information about the topic of Science Fiction trying to “fix” disabled people, you may want to check out the Podcast “Our Opinios Are Correct” where they talk about it with deafblind author and activist Elsa Sjunneson)

Considering that Boba knows about such modifications - having installed them in Fennec - it’s pretty clear why he gave them a chance, apart from the treatment they received.

As for the colors: You do realize that Mandalorians communicate their views on life through the colors of their armor? Which could make for quite a colorful group of people.

Anyway, now for the most important one:

The Tuskens

I think we can all agree that the subtext of using indigenous-coded people for this is questionable at best, because it is too close to things that happen(ed) in real life. Something that writers should strive to refrain from reusing over and over again and instead focus on new narratives (which was well done in the previous episode). Yet, at the same time it is sometimes easier (and recommended) to tell real world problems through a fictional lens to make people understand how awful and wrong a “thing” is/was. With Morrisons apparent involvement it stands to reason that he and Rodriguez may have deliberately chosen this to show how wrong the treatment of indigenous people (still) is.

Because the thing is: Even if Boba had been picked up by, say, the people of Mos Pelgo, as long as they incorporated the train-plot the exact same thing would have happened.

Well, let’s take a look at the plot so far:

The Pyke train drives through Tusken territory, killing anyone they see on sight - with the Tusken trying to defend themselves.

Boba conjures up a plan to stop the train, which succeeds. Through that, they not just kill most of the Pykes, but also destroy the train and the spice, while ordering them to pay a toll to the tribes for trespassing/safe passage. (Basically causing major financial loss for the Pykes)

Boba then tries to negotiate the treaty and is informed that the Pykes have already hired security details (despite Boba’s insistence that the deal would be made with the Tuskens). Namely the Nikto-gang Boba beat up and stole the bikes from that then were used to destroy the train.

In that moment Boba decides and announces to get rid of the competition. Only to realize that they beat him to it. Most likely having heard the exact same words regarding the "double payment” before Boba even made it to Mos Eisley, giving them a headstart and the Pykes an opportunity for revenge.

To me that is a valid (if old) narrative. And additional fuel - and thus connecting memories and present time story arc - to the Pykes trying to take over the Syndicate and showing how they treat their “problems” by playing all sides involved, expecting the parties that stand in their way to eliminate each other instead of them having to dirty their hands. Something they, from what it looks like, also did with the Hutts and Boba by sending the assassins by using the mayor. This could even mean that the memories are a warning/prophecy that remind Boba of what the Pykes are capable of.

In short: Whoever had saved Boba would have died, because of the actions he took to repay their kindness.

It’s not a new plot, quite old actually, but it is definitely not lazy as a lot of pieces need to be laid out for this to work. Namely the involvement of the third party that was teasered but only now revealed to not just be a random view into the life on Tatooine. It’ll still be interesting to see this unfold, especially as Boba promised ten-fold repercussions (technically only for deaths dealt by the passing freighters, but that would be nitpicking a perfectly fine threat) ...

And yes, I too hope that some of the Tuskens survived/managed to flee/were taking as prisoners ...

[xmalereader]

Thomas Shelby X Male Reader X Din Djarin

—

|| Masterlist ||

-

This crossover will take place during the Star Wars universe! I tried to do a modern version but nothing came to mind so this’ll be my first Star Wars crossover with the peaky blinders, hopefully you like it! I tried my best. ｡ﾟ(ﾟ´ω`ﾟ)ﾟ｡

Requested: Is it ok if I simply ask for something with Din Djarin and Tommy Shelby? I want something with them but my brain isn't helping me with coming up with specifics for the fic :(

Warnings: crossover, language, violence, slight smut, mando’a language, Thomas is a dealer, din is manda’lore, darksaber is used, mentions of Bo-Katan, Grogu is with din.

-

@ge-m31

-

All of the townspeople were running to their homes, spreading the word that the ‘Shelbys’ have arrived. Everyone in town was running to hide from the dangerous man that ruled the place, claimed it as his own. He showed power just by crossing anyone’s path, not one dared to go up against the shelby family. Especially not their leader or else they will deal with the consequences. As the women ushered their children inside and made sure to lock their doors as the others hid behind homes or boxes as they watched a single man riding a Varactyl down the trail, passing by homes and markets. He would glance to his left and right every once an while, eyeing the people that lived there.

He pulled the Varctly to a halt causing the creature to huff softly and shake its head, looking around as the man turns towards one of the markets. Gently he hops off the creature and makes his way towards the small market that was selling gems and stones. He stands infront of the table and knocks on the woods, from underneath emerged a young women, letting out a nervous sigh as she avoids the mans eyes. “What can I do for you today Mr. Shelby?” She stutters out, gripping her gown softly. The man stands tall and watches her closely as he pulls out a puck from his pocket and sets it in front of her. “I have a bounty that needs to be caught for me and I am looking for someone that can help me.”

The women looks down at the puck and bites her lip. “I don’t know of any bounty hunter that can help.” She whispers out. The town watched in silence as the man reaches to take the puck back. “But I know who can help!” She is quick to blurt out. Thomas hand hovers over the puck. “Who?”

She bites her lip. “A Mandalorian passed by here a few days back, he was looking for a job—no one was able to give him any but if you need him than you can find him in woods. His ship is their and he isn’t alone.” She explains to him.

Thomas takes the puck and nods at her. “A Mandalorian, strongest warriors in the galaxy.” He says to himself as he heads back to his Varactly, riding the creature out of town and towards home.

—

“I don’t understand why we are here when we should be back on Mandalore, Bo-Katan is not going to be happy once she finds out that you left.” Said Y/n as he carries around a basket full of different kinds of fruits towards the Crest.

Din rolls his eyes under the helmet as he goes back to fixing the engines. “I may be the ruler of Mandalore but I also have my own freedom. I Can decided on what to do and like Bo-Katan said, when the time is right she’ll battle me for the Darksaber and she can become the new ruler.” He reminds his Riduur.

Grogu was sitting inside the basket as he listens to both of his parents converse with eachother, his head tilting back to look up at y/n who can only groan in frustration. They have been stuck on this god forsaken planet for a few days now, the crest had broken down and they have been trying to repair it but due to the ship being very old, it was sometimes hard to fix.

“Giving her the darksaber isn’t a good idea, you saw the look on her face when she first found out—anger is what I saw.” He sets the basket down and takes the kid out, setting him on the grass for him to play with. “Bo-katan wants power and we both know that letting her take the darksaber isnt the right choice.” He was looking down at the Mandalorian.

Din knew that y/n was right, right about Bo-Katan only wanting the power that wielded the Darksaber but, he never cared about power. He was a simple Mandalorian finding his way through the galaxy, he can easily get rid of the Darksaber but something deep down inside of him was telling him to keep it and To properly rule Mandalore. He couldn’t allow her to win it from him.

“I hate that you can be right sometimes.” Said Din.

Y/n grins at the man. “See? Always listen to your Riduur.” He nudges his shoulder and turns his attention back to the kid who was trying to eat the grass. “Hey! No, don’t eat that!” Y/n bends down to pull the grass out of the kids mouth.

Din chuckles at the sight and goes back to working on the crest, double checking the engines and making sure to fix up the damage that was caused by the trees and creatures that they had to fight off. It has been a rough couple of a days but nothing they can’t handle.

As he puts his tools away he hears rustling in the trees, by instinct he pulls out his blaster and looks over to the trees. Not spitting anything he walks over to y/n and Grogu. “Someone’s here.” He says, catching the others attention as he holds Grogu in his arms and stands next to Din. Holding out his own blaster too as the kid glares into the distance.

The three hold their guard up. “Come out or else will shoot.” Says y/n, giving off a warning to whoever was here.

Some more rustling his heard as a young boy comes out, holding his hands up in surrender. “Don’t shoot, I didn’t come to cause any harm.” He says, giving the two a look. Y/n eyes the boy, he looked young and unarmed but that didn’t cause him to drop his guard.

“What do you want? Asked Din.

The boy lowers his hands and licks his lips. “My name is Finn Shelby, my family owns the town here and we were looking for someone who can help us.” Din narrows his eyes at the boy. “Whatever help you need can be done without us.” He says coldly.

Finn glares. “My brother sent me here to offer you a job, we have been told that mandalorians are the strongest warriors and we need you to hunt down someone for us.”

Din huffs and puts his blaster away. “No, thanks.” With that he heads up the razor crest. Y/n lowers his blaster and holds Grogu close, nodding towards Finn. “Tell your brother that he can hire someone else.”

“We’ve already tried!” Finn exclaims in frustration.

Y/n rolls his eyes. “Let me guess, no one accept the deal?” He says sarcastically.

“No.” Said Finn. “They’ve accepted the job but no one ever comes back.” This catches y/n attention. It wasn’t the first time that they’ve had an issue like this before, they’ve faced many dangerous jobs. Hell, they were able to survive Dark troopers!

Y/n looks at the kid up and down before pointing at him. “Stay right there.” He demands as he heads towards the crest, entering the haul he sets Grogu down and approaches Din. “Don’t tell me you spoke to the kid.” Said Din before he could even say anything to him.

Y/n chuckles nervously. “Okay but listen—the kid says that they have sent people out there and no one comes back meaning that whoever goes out their dies.” He states. “Also, we need the credits! We don’t have enough fuel to last us for the next couple of days and our rations are running low.” He walks over to Din, standing next to him as he watches the Mandalorian polish his blaster. “Din, we need the credits and it’ll be quick.” He says again.

The Mandalorian sighs deeply and looks up at his lover, giving him a glare from underneath the helmet before saying. “Alright, but if we are going to accept this job than you must listen to my instruction, do you understand?” Y/n nods quickly, “yes!” Y/n is quick to run back outside to confirm Finn that they’ll take the job.

—

They walk all the way back to town with the child inside it’s pod and protected, Finn had walked the entire time, not having a ride with him since he would rather walk.

Din on the other hand wasn’t too fond of walking, he liked traveling fast and being able to finish his job quick. But for now, he accepted the option to walk to their destination. It took a few hours before they arrived to town, the people were doing their daily business, selling parts and trying to strike up deals with other shoppers.

Y/n can’t help but look around, it was strange seeing such a lively town. I mean, Nevaroo is the same since Greef was able to make some changes with the place and finally bring peace but this town was somehow different. It felt different.

Finn guides them through the town, going through alleyways and far away from the city now into an open with long grass everywhere. Y/n was the first to notice the Varactyl causing him to halt in his steps. “It’s a Varactyl.” He breaths out with a small smile. He hasn’t seen one in years, thinking that they have gone extinct.

“Family rasies them.” Said Finn with a grin on his face. “Don’t worry, he won’t bite. He’s too entertained with the grass, keeps them happy.” He added and continues to guide the three down a path that lead them towards a large house. “This looks like a fortress to me.” Din mutters out, glancing over his shoulder to see y/n give him a shrug. “Like I said, this family could be rich.” He reminds him.

He steps ahead of Din, following Finn closely as the other pulls the doors open and allows them inside. “I suggest you leave your weapons here.”

“That’s not happening.” Said Din with a glare.

Y/n agrees with him. “We won’t leave our weapons here, not when we are in an unknown home.” He crossed his arms over his chest as Finn shrugs. “Very well, you’ll face the wrath of my brother.” He simple says as he leaves the two on their own—fetching his brother.

Y/n looks around the house and stands close to Din. “Have an escape plan in case things go sideways?” He whispers. Din nods his head once, “I always do and in case things go bad you make sure to take the kid.” Grogu was their first priority and right now they can’t risk losing the kid.

As the two wait by the entrance they notice spot Finn coming back but he wasn’t alone this time. Behind him followed an older man, he wore black clothing—almost making him look like a general that belonged with the empire. He held his head up high as he approaches the two, standing in front of them.

“It’s nice to know that Finn was able to get you two back here safely.” He says with a small smirk. Y/n narrows his eyes at the man, taking a step forward as he examines his face. Taking in the mans features as his eyes slowly widen in realization. “Tommy?” He blurts out. Catching the mans attention who eyed him in return, looking at him up and down before he too came to realization. “Well, well, if it isn’t My favorites womp rat.” He chuckles out as y/n laughs in return and rushed over to hug the man.

Din can only watch the two men in confusion, having no idea what was going on. “You know him?” Din asks, pointing over to Thomas.

Y/n pulls away from Thomas and nods at Din. “Old friend, we go way back.” He answers. Looking at Thomas with a wide smile, “Maker, you haven’t changed one bit.” He says.

Thomas grins. “I can say the same for you, it was hard to tell who you were since back then you used to wear a mask over your face. I couldn’t quiet tell who you were.” The two have known eachother for a very long time, y/n remembered working with the Shelby family at a young age before he left the family. He wanted to start his own path and left the Shelby family behind, forgetting them since he no longer needed their help. But, he and Tommy had grown close over the years—from becoming friends to lovers and soon after he had to leave Thomas behind.

“It all makes sense now, the Varactyl, the job and Finn Shelby—Maker he was only a kid when I last saw him.”

“He still is.” Said Thomas.

Y/n smiles at Thomas with a small blush on his cheeks before a cough brings him back to reality. Turning around to see Din with his hands on his hips, giving him the sass stance. Y/n clears his throat and nods. “Right—! We came because Finn told us that you needed help.”

Thomas nods. “Right, follow me.” He guides the three towards a separate room, approaching his large desk he pulls out the puck from his pocket. “A few years back I got myself involved with some problems—“ he sets the puck down and a picture of a women shows up. “Her name is Grace, she has become a spy in my town and has been watching my family closely. She’s been sending information about us to the republic and they have been wanting to toss us into prison for a very long time.” He explains.

The Mandalorian approaches the desk and looks down at the puck, taking in the information. “You said many others have taken the job but none returned, why?” Thomas gives off a small frown. “She’s smart and has her own ways to survive.” He states back. “But with a Mandalorian chasing after her, I bet she’ll give up in an instant—heard mandalorians are the strongest warriors in the galaxy.”

Thomas and Din both stare at eachother, the tension was strong between them that it was hard for y/n to break it. So, instead he placed a hand on Dins chest and gently pulls him away. “How much?” Asked Din, wanting to know how much they will get paid in order to capture the women and bring her back alive.

Thomas puts his hands behind his back as he gives the couple a price, causing y/n’s eyes to widen in shock. The amount of credits that will be given to them can last them for two years, enough for rations and for the foundlings that Mandalore is soon to claim.

“You really must be desperate.” Y/n breaths out.

Thomas hums. “Very, she contains valuable information that cannot be passed down to the republic.” He licks his lips and looks at the two, “so, will you accept the job?”

Din grabs y/n but the shirt collar, “Give us a minute.” He says as he drags him away towards a corner of the house, leaving grogu behind with Thomas. Grogu stares at Thomas and gives him a small glare. “Hello.” Says Thomas to the child who rolls his eyes and closes his pod, ignoring the man.

“What was that?” Asked Din, pulling y/n aside as he glares under his helmet. “what was what?”

“That look—I know you two were more than just friends.” He says, a hint of jealousy in his voice as y/n grins at the Mandalorian. “okay, we used to be together but that was a long time ago. Din, I am married to you, we have a kid together.” He whispers to the Mandalorian. “Also you’re Mand’alore and if Thomas ever tries something then we know that he will have to face the wrath of the king.” He teases out, trying to lighten up the mood a little bit, but of course, it wasn’t working. Huffing softly he places a hand on Din’s chest plate. “Nothing will happen, I trust you and I love you very much.” Din sighs deeply as he leans down to press his helmet against y/n’s forehead. “I’m sorry.” He says, gripping his hand softly. “its okay.” Said Y/n with a small smile.

“I’ll take the job, only because we need the credits—but you and grogu will stay behind. I can’t risk losing you and two.” Said Din after pulling away from his riduur.

Y/n holds Din’s hand as he nods along the explanation. “Okay, will stay here until you get back.” He knows that he can’t argue with him already knowing that he would lose the argument and be forced to stay behind with the kid. He knows that the bounty will take a few days but he didn’t mind, as long as he get back safe and alive.

Before Y/n can go tell Thomas about their agreement he is pulled back again, this time—Din wraps his hand around his wrist, pulling him forward as he places the darksaber in his hand. “Din—“

“Keep it.”

“Din, I can’t take this from you.”

“You aren’t taking it from you, I’m letting you barrow it. You’ll need protection and I trust you with it.” The Mandalorian lets go of his wrist as he holds the darksaber in his hands. “But the rules—“

“Fuck the rules.” Said Din. “I know that I am the only one to wield the darksaber but I trust you with it.” He bumps his head against y/n’s once more. “Use it to protect yourself and the kid in case anything bad happens, got it?” He questions, earning a nod in return. “Got it.” With that, Din lets go of him and walks back to Thomas who was leaning against his desk, hands in his pockets.

“Will take the job, but Y/n and the kid stay back in case things don’t go as planned.” Thomas smirks. “Very well.” He pushes himself off the desk and hands Din the puck and a tracking fob. “I have a room full of weapons in case you need something.” He offers as Din takes the fob and puck, putting them in his pockets and shaking his head, “With what I have will work.” Thomas nods at the Mandalorian and turns to look at Y/n.

“Looks like I’ll be in your care for the meantime.” Y/n walks over to the kids pod and opens it up, revealing the child who was playing with his favorite silver ball. Smiling he reaches down and picks him up, holding him in his arms as the kids ears move up and down every once an while as he looks around the room, taking in the decor. “Hope you don’t mind the kid destroying some things.”

Thomas chuckles at y/n. “I don’t think he likes me very much.” He points out which causes Din to laugh a bit.

This catches their attention, y/n smiles at the Mandalorian and approaches him. “be safe.” He says again. Grogu coos at his buir and with his tiny hand he reaches up and places it against the side of the helmet, giving it a small stroke as he too worries for his fathers safety. “Ill be okay kid, you take care of Y/n while I’m gone.” Grogu gives Din a stern look and nod, determained to keep his own family safe. As they say their goodbyes they watches Din rid off with one of Thomas’ Varctly.

“You look happier than usual.” He hears Thomas say, standing next to him as they watch Din disappear into the woods. Y/n sighs, “Being married to a king has its perks.” He responds back and turns his attention to the kid, playing with his ears as he heads back inside.

Thomas stands there for a few seconds before it hits him. “wait—KING!?”

[renegade-skywalker]

It’s a shame how underappreciated Mical is, really, especially since I think he gets the Luke Skywalker treatment when it comes to dudebros complaining about how whiney he is. But he is actually rather similar to Luke in many respects. Not just in appearance and temperament, but even in how they react to the things that happen to them, and unlike everyone else in kotor 2, Mical manages to remain a beacon of hope in a way that I think he may be some strange fictional past-life of Leslie Knope’s.

I may be jaded by nearly 12 years of fandom, but Mical is usually depicted as this goody-two-shoes, and he kind of is, but it’s not really his defining trait. Sure, he’s a nerd but he’s incredibly intelligent, and his opinions don’t actually differ from many of the other characters - namely Atton who has a distinct dislike of him and would probably rather die than ever admit that they’re at all alike. In most ways, they aren’t, but their opinions are actually far more aligned than I think either of them realizes, and if this game were ever remade with updated graphics/party banter/npc interaction etc. like many modern rpgs, this sort of interaction would be something I would totally want to see. 

Okay, okay, I’m already all over the place. Let’s start with when/where/how we meet Mical. Depending on whether you play as male/female, Mical’s role differs. If a female, he joins your party and you learn more about him bit by bit, but if male he has a Jedi-heavy conversation with you in the ruins of the Jedi Temple and then again back at Khoonda militia HQ aaaaand that’s it. Mical has a wealth of knowledge regarding Jedi history, and as an agent of the Republic can also provide insight regarding how the Jedi conflict(s) have also affected the galaxy at large. As eager as Mical is to become a Jedi from the onset (as a companion) he does have a very objective view of the Order. He’s more up-front with his view-points if you talk to him the second time as a male Exile, but he basically lays down the law for you. Like Atton, Mical understands how the rest of the universe sees the Jedi. Common folk don’t see a difference between Jedi and Sith, hence why the Jedi Civil War is called just that and does not at all reference the fact that Revan and Malak returned as Sith. Which is his main point. What makes Mical, well Mical, is his insight. He finds it curious that Revan made certain choices as a Sith Lord, such as keep Onderon untouched (even if it is plagued by its own civil war, currently) while other worlds were demolished, as if in preparation for something else, something unseen and unpredictable. But despite his astute observations, and regardless of what he believes Revan was actually trying to do, he does condemn both sides, Jedi and Sith. He mentions the fall of Exar Kun and Ulic Qel-Droma, and how it was potentially their masters who are at fault for what happened, the same going for Revan and Malak. But instead of shrugging it off and condemning the lot of them, he goes on to say why the Jedi are still important regardless. I think this is a lesson TLJ tried to teach us but didn’t give it enough time to really sink in. The image of the Jedi, what they stand for and what they mean in theory is part of what keeps other, larger gears in motion, like the Republic, and he believes the Jedi should be held accountable but also that they could do better. I think this is where Mical and Atton really differ.

One of the first, most poignant, conversations with Atton revolves around the events of the previous games. Atton acts as a bit of a conduit for the player establishing their world state as much as he acts as a representative for “average space folk”. Despite his past, Atton believes himself to be like “everyone else”, so his experiences during the Mandalorian Wars and even the Jedi Civil War are from that of an average non-Force Sensitive person. Since the discovery of the latter is what causes him to leave his Sith station, Atton’s experiences are still that of someone unfamiliar with the Force or the two ideologies surrounding the use/manipulation of it. He’s the first one to tell you that the average person sees no difference between the Jedi and the Sith, though namely because of the Jedi Civil War. Mical is the one to further explain why, and while he disagrees with how both factions handled themselves and essentially fucked the galaxy over because of what many saw as a pissing contest, Mical also sees the advantage of hope or at least the idea of it. The Jedi, despite their faults, do have the capacity to do good for the collective people at large. The Sith Code is not inherently evil, per se, but is a very self-centered ideology, whereas the Jedi Code does at least attempt to “protect” and “preserve” the whole of humanity versus the interests of a single person or party.

But what makes this perspective so meaningful for Mical is that he was overlooked as a padawan, he wasn’t even granted the opportunity to train despite his Force sensitivity, and he was essentially denied ever becoming a Jedi, at least formally. Despite the circumstances and despite his luck, Mical still has trust in the idea of the Jedi and finds hope in it. Perhaps it has something to do with his time before being called away, but he could also easily be bitter for it as well, but he isn’t. His bitterness could have been multiplied if he was holding a grudge against the Exile for not taking him on as a padawan and instead leaving to join Revan’s war. But, again, he’s not. This is a lesson that the other companions learn in one way or another, and even if they don’t trust the Jedi as a conglomerate, characters like Atton and Visas agree to train with you because they trust you and they believe that learning the ways of the Force can help them grow as people and to help you in your quest more effectively. Even if they don’t believe in the Jedi, they believe in you. Which does tie into Mical’s hopes for the future of the Jedi Order. As messy as things are, especially considering the whole Revan/Exile business is not really canon but has plenty of additional material what with the book and the SWTOR DLC and other related content, the Exile and their companions form the foundation of the Jedi Order that follows, which I guess is the only thing that makes sense since everyone else literally dies by the end of TSL. 

But for all its lessons, TSL is still a precursor to the Jedi Council of the prequels, which we know is just as fraught with issues as the Council that dismissed Revan and the Exile yet sort of started this whole mess, so no matter what the Exile learned or changed about how the Jedi operate as a whole didn’t stick. I feel like this was a lesson missing from TLJ. Luke focuses on the failings of the Jedi that preceded him, and his argument for the Jedi to end is a good one. What we were missing is the thought-process behind keeping the Jedi alive, not because their foundational texts were law, but in that they represented hope and goodness and that’s what should continue, even if the rest of it changes (which it should). 

Anyway, this started out as a post about Mical… and he is essentially what I was hoping Luke would be, though he was missing a bit. He eventually came to the same conclusion in TLJ, that the Jedi are flawed but are needed, but he didn’t get to see that journey. What I also like about Mical is that he’s experienced the failing of the Jedi first hand but he still sees a use for them. Not only was he denied becoming a Jedi or training as one, but he was then sent to the corps so he ends up seeing the Mandalorian Wars up close, and as a medic he get’s a front row seat to the atrocities of war as well as the suffering that the Jedi at large are wholly ignoring. Even as a Republic officer or whatever he is, his interest in politics and history are what allow him to see through Revan’s ruse, he finds out where the Council went wrong and what could be done to stop it. There was even cut content from the game (not in the restoration mod, though, I don’t think this ever got to production) where Mical would lead you to hidden Jedi and Sith holocrons, perhaps in his attempt to preserve the teachings of the Jedi and any information about the Sith once it appears that both are gone from the galaxy. While the other characters either see things as dark, grey, or are just incredibly jaded, Mical is always as objective as he can be (and he admits his biases) as well as positive. In a game that is so dark, and often so defeating, it’s nice having someone like him on board. I feel like a lot of the (especially old) fandom view of him was skewed and only highlighted his more “annoying” qualities but I feel like it’s a nice counterbalance to the rest of the game and the characters in it. Honestly, the only other people as helpful and positive are the Ithorians and let’s be honest, it’s kind of a chore to get through those dialogue bits.

[youngerdaniel]

Traditions in Turbulence: 2020′s Year at the Movies

If there’s one thing I think we can all agree on, it’s that movies have saved a lot of sanity this year. Well, maybe they’ve just preserved what little is left. Who knows anymore? To be honest, addressing the spiky red elephant in the room feels untenable. My drafts folder is mountainous with aborted previous attempts. There are tirades, there’s introspection, there’s a lot of anger... And, well, none of it seems like it’s productive or what I want to contribute to the zeitgeist what with a new solar cycle beginning and all that. “But wait!” you may be thinking. “A writer must summon a take, must have something to say, must make sense of the madness!”

Here’s my take:

Making sense of madness is like herding cats with a disco ball.

All I can really say -- with any authority, at least -- is that 2020 showed us the tremendous value of story. As a means of delivering information; as a portal to escape said information when it gets too hard to digest; as a means of connecting when we’re all on proverbial house arrest.

I’ve spent the past year digging into old favorites, rooting out forgotten sensibilities and shaping up a few stories of my own--the unchanging beat in my story. It’s been a flagrant fuckwad of a year, but not without some exciting variations on my usual plate spinning, word-slinging antics. 

I’ve also gotten to see some pretty great movies and shows, and as is tradition, here's 10 of ‘em:

The Mandalorian: Season 2

By now, you’ve no doubt sampled the wonderful pairing of badass bounty hunter and adorable Force-wielding friend. Season 2 of Mando dug deeper into character, and doubled down on everything that made the first season work. The world building expanded in a way that rarely undermined the season’s focus. Was it a fan-service sandwich? Right up until the final moments -- then it kicks you in the gut and laughs at you with dramatic victory. You’ve seen the memes. You know it’s good. 

The Invisible Man

The thing a lot of contemporary horror “remakes” fail to do is justify their own existence. Modernizations really only work as well as their thematic intentions -- and in a world teeming with films bereft of such a concept, it’s refreshing when a filmmaker comes along and finds a way to make what’s more or less a bogeyman story turn into something deeply psychological. The Invisible Man is less about the titular character than it is about toxic relationships and domestic abuse. It’s a hard film to swallow, but it also strikes a great balance between heavy themes and riveting action. It’s a technical marvel of a film, and is Leigh Wannell’s best. Check it out if you dare.

The Queen’s Gambit

The more I think about this show, the more perplexed I am. First of all, it’s insanely awesome. Performances and character arcs are just electric. It’s interesting, because fundamentally, there’s not much new in the notion of a tortured maverick whose bad behavior threatens to destroy their lives. Execution really is everything -- and from production design to the cinematic expressions of thought, this show is damn well-executed. 

Bill & Ted Face the Music

If you know, you know. Bill and Ted is not for the intellectually stuffy, nor is it something that will appease the arthouse snobs... But what it is, is fun. There’s that trademark sentimentalism hiding behind the guise of time-traveling stupidity that made originals great. There are delightful callbacks and interesting developments, and I can’t remember the last time I’ve seen Alex Winter give such a killer performance. With themes of succession, unexpected surprises, and all the ridiculous antics you’d expect, this one’s bound to make you scream “STATION” and air-guitar your way into the new year.

Unless you’re a joyless sack. In which case...

1917

I hate war movies. There, I said it. But every now and then one comes along that elects to do something different than glorify the violence and paint the conflicting forces with cartoonish contrast. Obviously, 1917 is first and foremost a technical marvel of a movie. One take movies are rarely so clear-headed, and certainly struggle to sustain their tension... But 1917 is a fucking masterpiece in terms of writing as well. Want to see how to handle an entire movie’s exposition in 9 minutes? This one. Want to see a midpoint reversal that completely changes the direction of the story and deepens the emotional stakes? This one. Want to see a movie that shows just how hellish war is? This one. It’s great. It’s moving. It’s exciting. It’s a dang good picture. 

The Vast of Night

One of the great things about movies going directly to streamers is you get to see indie gems that might otherwise never make it to a screen in your city. The Vast of Night is full of style and interesting characters. There’s a firm bedrock of nostalgia driving this one, and there’s so much to like conceptually. So if you’re feeling like taking a trip to 1950s, but you want something in the flavor of Contact... This one’s for you. 

Mank

Every now and again, Fincher will really surprise you. This was one of those times. Following the troubled screenwriter of Citizen Kane as he struggles to turn in a draft and keep himself from falling apart, this movie’s a love letter to the Hollywood of old. When I think of why this one has stayed with me, it really all comes down to the characters. Gary Oldman is at his best, and the film never idealizes or sugarcoats its depiction of  Herman J. Mankiewicz. It’s a weird narrative, with multiple timelines and occasional moments of cinematic delirium -- but it’s only fitting given the subject matter. 

Palm Springs

Palm Springs is another one of those movies that on the surface seems fairly derivative, but through execution makes something that feels fresh. Maybe it’s watching Andy Sandberg give a muted, mopey performance that’s so opposite his usual choices. Maybe it’s just as simple as any genre convention that’s used to tell a story about real feelings works. Much like the mechanics of time travel, I don’t care to take this one apart. What I will say is, it was charming, it had heart, and it was weird. Watch it.

The Trial of the Chicago Seven

[Insert obligatory gushing about Aaron Sorkin’s writing.] You want snippy dialogue, important issues, and some of the most compelling courtroom drama you can find this side of the Social Network? Look no future. Literally everything about this movie blew me away. The performances were stellar. The dialogue was on fire. As a director, Sorkin left me underwhelmed with Molly’s Game (although it improves with every viewing), but the Chicago Seven was much more my speed. I guess despite the tongue-in-cheek gag that opened this section, I’m gushing about Sorkin. But I’ve got more gushing to do about another movie. So just go see this one if you haven’t.

Soul

This one ticks every single box that makes me happy. Musically inclined protagonist? Check. Hidden worlds? Check. This movie is basically three movies in one -- an afterlife musing, a body swap movie, and a follow your dreams narrative that comes to such a heartwarming conclusion. This is top Pixar. The animation is captivating, creative, and full of imagination. The story is full of heart, sentiment, and in a world dominated by hustle culture, its conclusions on how following one’s dream is more important than achieving it is profound -- maybe even a little too grown up for its target audience... And that’s exactly why it works. It’s a treat. So while 2021 won’t magically douse the world in hand sanitizer, and our problems are far from behind us, some traditions can be carried out from any distance. Maybe the year to come will yield more from me here; maybe somewhere else entirely. 

What I’ve learned to say in such uncertain times is this: We’ll see what happens. 

Stay safe. Stay sane. Hug your cat. Water your cactus. Grieve your grief. Do what you need to do if it keeps you going.

And keep hanging on -- we don’t feel it all the time, but this rock we’re on spins pretty fast. 

[aion-rsa]

Ghost of Tsushima: Essential Kurosawa Samurai Movies to Watch Before the Game

https://ift.tt/eA8V8J

Ghost of Tsushima‘s developers at Sucker Punch have been very explicit about the ways the samurai films of legendary Japanese director Akira Kurosawa have influenced their game. The PS4 exclusive even features a “Kurosawa Mode” that allows you to apply a stylish black-and-white filter to the experience, recreating the somber mood and film grain of the director’s work.

Anyone who tells a modern samurai story owes some kind of debt to Kurosawa. He may not have been the first director to tell a samurai story via film and his legacy as one of the greatest directors of all-time may have been secured even if he hadn’t directed a frame of a samurai adventure. What a shame it would have been to live in that world, though.

Kurosawa’s samurai films aren’t just some of the best samurai adventures told in any medium, they’re on the shortlist of the best movies ever made. So whether you want to hype yourself up for Ghost of Tsushima or you just want to experience some of the finest pieces of filmmaking ever made, these are the Kurosawa samurai movies you need to watch.

Rashomon

The rape of a woman and the murder of her husband triggers an investigation based on the recollections of four people who possess conflicting memories of the events which led to the horrific crimes. What follows is the search for truth in a world where even the liars may not be aware of their bias.

While Rashomon features samurai and a bit of swordplay, it’s probably not exactly what you think of when you think of a Kurosawa samurai film. It lacks much of the action and setpieces that typically define the director’s most exciting outings. That means that it’s also likely the Kurosawa samurai film that has the least direct influence on Ghost of Tsushima.

Then again, Rashomon offered such a fresh take on storytelling and perspective that nearly every piece of fiction which followed its release has been influenced by it in some way. Rashomon not only pioneered a new type of narrative device called the Rashomon effect — conflicting accounts of an event by several eyewitnesses — but it taught viewers to consider the potential influence of the unreliable narrator on their perception of a story.

Seven Samurai

This 1954 film tells the story of a group of villagers who recruit seven rōnin to protect their homes from bandits. The samurai not only contend with the bandits but the discourse within their own ranks as well as the villagers who begin to wonder whether they’ve made a mistake by hiring mercenaries.

Even if you’ve never seen Seven Samurai, we’re willing to bet that you’re familiar with it. Not only is it regularly referred to as a major cinematic achievement, but countless movies have borrowed filmmaking and storytelling elements from this masterpiece. Other beloved movies, most notably The Magnificent Seven, are even just straight-up remakes of Seven Samurai. Even The Mandalorian paid homage to Seven Samurai in its first season.

Considering that Seven Samurai has impacted the works of many great directors who have emerged since its release, it’s hardly a surprise to hear that Ghost of Tsushima‘s directors consider Seven Samurai to be one of the most important influences on their game. When you picture samurai, there’s a good chance you’re picturing this film.

Throne of Blood

In Throne of Blood, two samurai return from battle only to be met by a spirit who predicts their future. When the spirits predictions come true, the wife of one of the samurai encourages him to murder their lord and take his place as ruler of their land.

In other words, Throne of Blood is a samurai-themed remake of William Shakespeare’s Macbeth. There are many who even consider it to be the finest film adaptation of Macbeth despite the fact that Throne of Blood doesn’t share that play’s name.

Excellent plot aside, Throne of Blood is arguably most famous for its incredible visuals. The thick fog that weighs heavy on the movie’s setting not only perfectly captures the protagonists’ dangerous desire to see the road ahead but it helps set the stage for climactic battles and scenes which border on horror.

The Hidden Fortress

This 1958 film follows two peasants who agree to escort a man and woman through dangerous territory. What they don’t know is that the man and woman are actually a general and his princess and they’re being hunted by dangerous enemy forces.

Perhaps best known as the inspiration for Star Wars, The Hidden Fortress is one of those films you may feel like you’ve seen without having actually sat down to watch it. A few familiarities aside, Hidden Fortress stands alone among Kurosawa’s other samurai (or samurai influenced) films due to its incredible sense of adventure.

The Hidden Fortress is an excellent adventure that perhaps focuses a bit less on character development than some of Kurosawa’s other films but more than makes up for it with a story that reminds us why we love movies in the first place.

Yojimbo

A samurai wanders into a town where two competing crime lords vie for his services. No, that’s not the start of an old joke. It’s the basic premise behind one of the greatest samurai films ever made. You may also know it as the premise of classic Spaghetti Western flick, A Fistful of Dollars.

While the Clint Eastwood-led Yojimbo adaptation successfully translates many of this story’s elements to the Wild West, there are certain qualities in Yojimbo which are unique to samurai mythology and culture. This tightly told adventure focuses on the perception of power that surrounds the wandering warrior as well as the greed that plagues men regardless of their station.

Ghost of Tsushima’s open-world setting will be filled with side missions to complete. Some of these missions will undoubtedly pit you as a samurai for hire in situations not unlike those found in Yojimbo.

Sanjuro

Originally conceived as an adaptation of the Shūgorō Yamamoto novel, Hibi Heian, Sanjuro was re-written to incorporate Yojimbo’s protagonist following the success of that film.

Sanjuro follows the adventures of the rōnin from Yojimbo as he tries to help a group of young samurai who suspect that their lord chamberlain is corrupt. What follows is a complex and fascinating tale that sees the young samurai and the rōnin battle their enemies while struggling to come to terms with their roles within their world and society at large.

Ghost of Tsushima’s directors cited Sanjuro as one of their biggest influences, and it’s not hard to see why. Not only does Sanjuro find Kurosawa at his most reflective in terms of the morally ambiguous mystique of the samurai, but it may be his most stylish samurai film. The film’s final battle and climatic duel are often cited as two of the most influential pieces of samurai action ever committed to film.

Kagemusha

A thief is recruited to serve as the double of an elderly warlord in order to help confuse potential assassins and other rivals. When the warlord dies, his top generals agree to have the thief stay on as ruler. Soon, an attack from a rival clan forces the thief to become a true leader and warrior.

While Ghost of Tsushima’s appropriately named Kurosawa mode focuses on the director’s legendary black and white visuals, Kagemusha proves that the director’s legendary eye for cinematic style and the romanticism of the feudalism era isn’t limited to a monochrome point of view. In fact, a memorable nightmare sequence in this film reveals that he had a surrealist side that required a full spectrum of color to fully showcase.

Kagemusha also features some of the most impressive large-scale battles ever seen in a Kurosawa samurai film. It’s one of those films that shows the director’s truly special ability to combine the intimate and the epic even as he sets a feast for the eyes.

Ran

A dying warlord decides to relinquish power and divide his extensive kingdom among his three sons. But when the sons begin to fight over their lands, it becomes clear to the warlord that he may be witnessing the dying days of his empire and family. Like Throne of Blood, Ran is essentially a remake of a William Shakespeare story. This time, it’s King Lear.

Released in 1985, Ran is often described as Kurosawa’s last epic. Like his previous samurai movies, much of the joy of watching Ran comes from watching Kurosawa in complete control of his craft, even as the scope of the tale grows and grows.

So far as Ghost of Tsushima goes, it’s certainly interesting to hear that its directors will be using wind as both an environmental building block and a narrative device designed to organically point you in the right direction. While wind is present in many Kurosawa films, its essentially a featured player in Ran where bursts of wind emphasize the chaos of a rapidly changing world.

Ghost of Tsushima is out on July 17 for the PlayStation 4.

The post Ghost of Tsushima: Essential Kurosawa Samurai Movies to Watch Before the Game appeared first on Den of Geek.

from Den of Geek https://ift.tt/3iZXWG8

[techscorn]

Incredible tech! via TechCrunch

“The Mandalorian” was a pretty good show. On that most people seem to agree. But while a successful live-action Star Wars TV series is important in its own right, the way this particular show was made represents a far greater change, perhaps the most important since the green screen. The cutting edge tech (literally) behind “The Mandalorian” creates a new standard and paradigm for media — and the audience will be none the wiser.

What is this magical new technology? It’s an evolution of a technique that’s been in use for nearly a century in one form or another: displaying a live image behind the actors. The advance is not in the idea but the execution: a confluence of technologies that redefines “virtual production” and will empower a new generation of creators.

As detailed in an extensive report in American Cinematographer Magazine (I’ve been chasing this story for some time, but suspected this venerable trade publication would get the drop on me), the production process of “The Mandalorian” is completely unlike any before, and it’s hard to imagine any major film production not using the technology going forward.

“So what the hell is it?” I hear you asking.

Meet “the Volume.”

Formally called Stagecraft, it’s 20 feet tall, 270 degrees around, and 75 feet across — the largest and most sophisticated virtual filmmaking environment yet made. ILM just today publicly released a behind-the-scenes video of the system in use, as well as a number of new details about it.

It’s not easy being green

In filmmaking terms, a “volume” generally refers to a space where motion capture and compositing take place. Some volumes are big and built into sets, as you might have seen in behind-the-scenes footage of Marvel or Star Wars movies. Some are smaller, plainer affairs, where the motions of the actors behind CG characters play out their roles.

But they generally have one thing in common: They’re static. Giant, bright green, blank expanses.

Does that look like fun to shoot in?

One of the most difficult things for an actor in modern filmmaking is getting into character while surrounded by green walls, foam blocks indicating obstacles to be painted in later and people with mocap dots on their face and suits with ping-pong balls attached. Not to mention everything has green reflections that need to be lit or colored out.

Advances some time ago (think prequels-era Star Wars) enabled cameras to display a rough pre-visualization of what the final film would look like, instantly substituting CG backgrounds and characters onto monitors. Sure, that helps with composition and camera movement, but the world of the film isn’t there, the way it is with practical sets and on-site shoots.

Practical effects were a deliberate choice for “The Child” (AKA Baby Yoda) as well.

What’s more, because of the limitations in rendering CG content, the movements of the camera are often restricted to a dolly track or a few pre-selected shots for which the content (and lighting, as we’ll see) has been prepared.

This particular volume, called Stagecraft by ILM, the company that put it together, is not static. The background is a set of enormous LED screens such as you might have seen onstage at conferences and concerts. The Stagecraft volume is bigger than any of those — but more importantly, it’s smarter.

See, it’s not enough to just show an image behind the actors. Filmmakers have been doing that with projected backgrounds since the silent era! And that’s fine if you just want to have a fake view out of a studio window or fake a location behind a static shot. The problem arises when you want to do anything more fancy than that, like move the camera. Because when the camera moves, it immediately becomes clear that the background is a flat image.

The innovation in Stagecraft and other, smaller LED walls (the more general term for these backgrounds) is not only that the image shown is generated live in photorealistic 3D by powerful GPUs, but that 3D scene is directly affected by the movements and settings of the camera. If the camera moves to the right, the image alters just as if it were a real scene.

This is remarkably hard to achieve. In order for it to work, the camera must send its real-time position and orientation to, essentially, a beast of a gaming PC, because this and other setups like it generally run on the Unreal engine. This must take that movement and render it exactly in the 3D environment, with attendant changes to perspective, lighting, distortion, depth of field and so on — all fast enough so that those changes can be shown on the giant wall a fraction of a second later. After all, if the movement lagged even by a few frames it would be noticeable to even the most naive viewer.

Yet fully half of the scenes in “The Mandalorian” were shot within Stagecraft, and my guess is no one had any idea. Interior, exterior, alien worlds or spaceship cockpits, all used this giant volume for one purpose or another.

[gallery ids="1949115,1949123,1949122,1949124"]

There are innumerable technological advances that have contributed to this; “The Mandalorian” could not have been made as it was five years ago. The walls weren’t ready; the rendering tech wasn’t ready; the tracking wasn’t ready — nothing was ready. But it’s ready now.

It must be mentioned that Jon Favreau has been a driving force behind this filmmaking method for years now; films like the remake of “The Lion King” were in some ways tech tryouts for “The Mandalorian.” Combined with advances made by James Cameron in virtual filmmaking, and, of course, the indefatigable Andy Serkis’s work in motion capture, this kind of production is only just now becoming realistic due to a confluence of circumstances.

Not just for SFX

Of course Stagecraft is probably also the most expensive and complex production environments ever used. But what it adds in technological overhead (and there’s a lot) it more than pays back in all kinds of benefits.

For one thing, it nearly eliminates on-location shooting, which is phenomenally expensive and time-consuming. Instead of going to Tunisia to get those wide-open desert shots, you can build a sandy set and put a photorealistic desert behind the actors. You can even combine these ideas for the best of both worlds: Send a team to scout locations in Tunisia and capture them in high-definition 3D to be used as a virtual background.

This last option produces an amazing secondary benefit: Reshoots are way easier. If you filmed at a bar in Santa Monica and changes to the dialogue mean you have to shoot the scene over again, no need to wrangle permits and painstakingly light the bar again. Instead, the first time you’re there, you carefully capture the whole scene with the exact lighting and props you had there the first time and use that as a virtual background for the reshoots.

The fact that many effects and backgrounds can be rendered ahead of time and shot in-camera rather than composited in later saves a lot of time and money. It also streamlines the creative process, with decisions able to be made on the spot by the filmmakers and actors, since the volume is reactive to their needs, not vice versa.

Lighting is another thing that is vastly simplified, in some ways at least, by something like Stagecraft. The bright LED wall can provide a ton of illumination, and because it actually represents the scene, that illumination is accurate to the needs of that scene. A red-lit interior of a space station, and the usual falling sparks and so on, shows red on the faces and of course the highly reflective helmet of the Mandalorian himself. Yet the team can also tweak it, for instance sticking a bright white line high on the LED wall out of sight of the camera but which creates a pleasing highlight on the helmet.

Naturally there are some trade-offs. At 20 feet tall, the volume is large but not so large that wide shots won’t capture the top of it, above which you’d see cameras and a different type of LED (the ceiling is also a display, though not as powerful). This necessitates some rotoscoping and post-production, or limits the angles and lenses one can shoot with — but that’s true of any soundstage or volume.

A shot like this would need a little massaging in post, obviously.

The size of the LEDs, that is of the pixels themselves, also limits how close the camera can get to them, and of course you can’t zoom in on an object for closer inspection. If you’re not careful, you’ll end up with Moiré patterns, those stripes you often see on images of screens.

Stagecraft is not the first application of LED walls — they’ve been used for years at smaller scales — but it is certainly by far the most high-profile, and “The Mandalorian” is the first real demonstration of what’s possible using this technology. And believe me, it’s not a one-off.

I’ve been told that nearly every production house is building or experimenting with LED walls of various sizes and types — the benefits are that obvious. TV productions can save money but look just as good. Movies can be shot on more flexible schedules. Actors who hate working in front of green screens may find this more palatable. And you better believe commercials are going to find a way to use these as well.

In short, a few years from now it’s going to be uncommon to find a production that doesn’t use an LED wall in some form or another. This is the new standard.

This is only a general overview of the technology that ILM, Disney and their many partners and suppliers are working on. In a follow-up article I’ll be sharing more detailed technical information directly from the production team and technologists who created Stagecraft and its attendant systems.

[ajayuikey]

“The Mandalorian” was a pretty good show. On that most people seem to agree. But while a successful live-action Star Wars TV series is important in its own right, the way this particular show was made represents a far greater change, perhaps the most important since the green screen. The cutting edge tech (literally) behind “The Mandalorian” creates a new standard and paradigm for media — and the audience will none the wiser.

What is this magical new technology? It’s an evolution of a technique that’s been in use for nearly a century in one form or another: displaying a live image behind the actors. But the advance is not in the idea but the execution: a confluence of technologies that redefines “virtual production” and will empower a new generation of creators.

As detailed in an extensive report in American Cinematographer Magazine (I’ve been chasing this story for some time but suspected this venerable trade publication would get the drop on me), the production process of “The Mandalorian” is completely unlike any before, and it’s hard to imagine any major film production not using the technology going forward.

“So what the hell is it?” I hear you asking.

Meet “The Volume.”

Formally called Stagecraft, it’s 20 feet tall, 270 degrees around, and 75 feet across — the largest and most sophisticated virtual filmmaking environment yet made. ILM just today publicly released a behind-the-scenes video of the system in use as well as a number of new details about it.

It’s not easy being green

In filmmaking terms, a “volume” generally refers to a space where motion capture and compositing take place. Some volumes are big and built into sets, as you might have seen in behind-the-scenes footage of Marvel or Star Wars movies. Some are smaller, plainer affairs where the motions of the actors behind CG characters play out their roles.

But they generally have one thing in common: They’re static. Giant, bright green, blank expanses.

Does that look like fun to shoot in?

One of the most difficult things for an actor in modern filmmaking is getting into character while surrounded by green walls, foam blocks indicating obstacles to be painted in later, and people with mocap dots on their face and suits with ping-pong balls attached. Not to mention everything has green reflections that need to be lit or colored out.

Advances some time ago (think prequels-era Star Wars) enabled cameras to display a rough pre-visualization of what the final film would look like, instantly substituting CG backgrounds and characters onto monitors. Sure, that helps with composition and camera movement, but the world of the film isn’t there, the way it is with practical sets and on-site shoots.

Practical effects were a deliberate choice for “The Child” (AKA Baby Yoda) as well.

What’s more, because of the limitations in rendering CG content, the movements of the camera are often restricted to a dolly track or a few pre-selected shots for which the content (and lighting, as we’ll see) has been prepared.

This particular volume, called Stagecraft by ILM, the company that put it together, is not static. The background is a set of enormous LED screens such as you might have seen on stage at conferences and concerts. The Stagecraft volume is bigger than any of those — but more importantly, it’s smarter.

See, it’s not enough to just show an image behind the actors. Filmmakers have been doing that with projected backgrounds since the silent era! And that’s fine if you just want to have a fake view out of a studio window or fake a location behind a static shot. The problem arises when you want to do anything more fancy than that, like move the camera. Because when the camera moves, it immediately becomes clear that the background is a flat image.

The innovation in Stagecraft and other, smaller LED walls (the more general term for these backgrounds) is not only that the image shown is generated live in photorealistic 3D by powerful GPUs, but that 3D scene is directly affected by the movements and settings of the camera. If the camera moves to the right, the image alters just as if it was a real scene.

This is remarkably hard to achieve. In order for it to work the camera must send its real-time position and orientation to, essentially, a beast of a gaming PC, since this and other setups like it generally run on the Unreal engine. This must take that movement and render it exactly in the 3D environment, with attendant changes to perspective, lighting, distortion, depth of field and so on — all fast enough so that those changes can be shown on the giant wall a fraction of a second later. After all, if the movement lagged even by a few frames it would be noticeable to even the most naive viewer.

Yet fully half of the scenes in The Mandalorian were shot within Stagecraft, and my guess is no one had any idea. Interior, exterior, alien worlds or spaceship cockpits, all used this giant volume for one purpose or another.

There are innumerable technological advances that have contributed to this; The Mandalorian could not have been made as it was five years ago. The walls weren’t ready; The rendering tech wasn’t ready; The tracking wasn’t ready — nothing was ready. But it’s ready now.

It must be mentioned that Jon Favreau has been a driving force behind this filmmaking method for years now; Films like remake of The Lion King were in some ways tech tryouts for The Mandalorian. Combined with advances made by James Cameron in virtual filmmaking and of course the indefatigable Andy Serkis’s work in motion capture, this kind of production is only just now becoming realistic due to a confluence of circumstances.

Not just for SFX

Of course Stagecraft is probably also the most expensive and complex production environments ever used. But what it adds in technological overhead (and there’s a lot) it more than pays back in all kinds of benefits.

For one thing, it nearly eliminates on-location shooting, which is phenomenally expensive and time-consuming. Instead of going to Tunisia to get those wide-open desert shots, you can build a sandy set and put a photorealistic desert behind the actors. You can even combine these ideas for the best of both worlds: Send a team to scout locations in Tunisia and capture them in high-definition 3D to be used as a virtual background.

This last option produces an amazing secondary benefit: Reshoots are way easier. If you filmed at a bar in Santa Monica and changes to the dialogue mean you have to shoot the scene over again, no need to wrangle permits and painstakingly light the bar again. Instead, the first time you’re there, you carefully capture the whole scene with the exact lighting and props you had there the first time and use that as a virtual background for the reshoots.

The fact that many effects and backgrounds can be rendered ahead of time and shot in-camera rather than composited in later saves a lot of time and money. It also streamlines the creative process, with decisions able to be made on the spot by the filmmakers and actors, since the volume is reactive to their needs, not vice versa.

Lighting is another thing that is vastly simplified, in some ways at least, by something like Stagecraft. The bright LED wall can provide a ton of illumination, and because it actually represents the scene, that illumination is accurate to the needs of that scene. A red-lit interior of a space station, and the usual falling sparks and so on, shows red on the faces and of course the highly reflective helmet of the Mandalorian himself. Yet the team can also tweak it, for instance sticking a bright white line high on the LED wall out of sight of the camera but which creates a pleasing highlight on the helmet.

Naturally there are some trade-offs. At 20 feet tall, the volume is large but not so large that wide shots won’t capture the top of it, above which you’d see cameras and a different type of LED (the ceiling is also a display, though not as powerful). This necessitates some rotoscoping and post-production, or limits the angles and lenses one can shoot with — but that’s true of any soundstage or volume.

A shot like this would need a little massaging in post, obviously.

The size of the LEDs, that is of the pixels themselves, also limits how close the camera can get to them, and of course you can’t zoom in on an object for closer inspection. If you’re not careful you’ll end up with Moiré patterns, those stripes you often see on images of screens.

Stagecraft is not the first application of LED walls — they’ve been used for years at smaller scales — but it is certainly by far the most high-profile and The Mandalorian is the first real demonstration of what’s possible using this technology. And believe me, it’s not a one-off.

I’ve been told that nearly every production house is building or experimenting with LED walls of various sizes and types — the benefits are that obvious. TV productions can save money but look just as good. Movies can be shot on more flexible schedules. Actors who hate working in front of green screens may find this more palatable. And you better believe commercials are going to find a way to use these as well.

In short, a few years from now it’s going to be uncommon to find a production that doesn’t use an LED wall in some form or another. This is the new standard.

This is only a general overview of the technology that ILM, Disney, and their many partners and suppliers are working on. In a follow-up article I’ll be sharing more detailed technical information directly from the production team and technologists who created Stagecraft and its attendant systems.

[ad_2] Source link

How ‘The Mandalorian’ and ILM invisibly reinvented film and TV production – TechCrunch “The Mandalorian” was a pretty good show. On that most people seem to agree. But while a successful live-action Star Wars TV series is important in its own right, the way this particular show was made represents a far greater change, perhaps the most important since the green screen.

[magzoso-tech]

How ‘The Mandalorian’ and ILM invisibly reinvented film and TV production

New Post has been published on http://rebrand.ly/t0mcxbu

How ‘The Mandalorian’ and ILM invisibly reinvented film and TV production

“The Mandalorian” was a pretty good show. On that most people seem to agree. But while a successful live-action Star Wars TV series is important in its own right, the way this particular show was made represents a far greater change, perhaps the most important since the green screen. The cutting edge tech (literally) behind “The Mandalorian” creates a new standard and paradigm for media — and the audience will be none the wiser.

What is this magical new technology? It’s an evolution of a technique that’s been in use for nearly a century in one form or another: displaying a live image behind the actors. The advance is not in the idea but the execution: a confluence of technologies that redefines “virtual production” and will empower a new generation of creators.

As detailed in an extensive report in American Cinematographer Magazine (I’ve been chasing this story for some time, but suspected this venerable trade publication would get the drop on me), the production process of “The Mandalorian” is completely unlike any before, and it’s hard to imagine any major film production not using the technology going forward.

“So what the hell is it?” I hear you asking.

Meet “the Volume.”

Formally called Stagecraft, it’s 20 feet tall, 270 degrees around, and 75 feet across — the largest and most sophisticated virtual filmmaking environment yet made. ILM just today publicly released a behind-the-scenes video of the system in use, as well as a number of new details about it.

It’s not easy being green

In filmmaking terms, a “volume” generally refers to a space where motion capture and compositing take place. Some volumes are big and built into sets, as you might have seen in behind-the-scenes footage of Marvel or Star Wars movies. Some are smaller, plainer affairs, where the motions of the actors behind CG characters play out their roles.

But they generally have one thing in common: They’re static. Giant, bright green, blank expanses.

Does that look like fun to shoot in?

One of the most difficult things for an actor in modern filmmaking is getting into character while surrounded by green walls, foam blocks indicating obstacles to be painted in later and people with mocap dots on their face and suits with ping-pong balls attached. Not to mention everything has green reflections that need to be lit or colored out.

Advances some time ago (think prequels-era Star Wars) enabled cameras to display a rough pre-visualization of what the final film would look like, instantly substituting CG backgrounds and characters onto monitors. Sure, that helps with composition and camera movement, but the world of the film isn’t there, the way it is with practical sets and on-site shoots.

Practical effects were a deliberate choice for “The Child” (AKA Baby Yoda) as well.

What’s more, because of the limitations in rendering CG content, the movements of the camera are often restricted to a dolly track or a few pre-selected shots for which the content (and lighting, as we’ll see) has been prepared.

This particular volume, called Stagecraft by ILM, the company that put it together, is not static. The background is a set of enormous LED screens such as you might have seen onstage at conferences and concerts. The Stagecraft volume is bigger than any of those — but more importantly, it’s smarter.

See, it’s not enough to just show an image behind the actors. Filmmakers have been doing that with projected backgrounds since the silent era! And that’s fine if you just want to have a fake view out of a studio window or fake a location behind a static shot. The problem arises when you want to do anything more fancy than that, like move the camera. Because when the camera moves, it immediately becomes clear that the background is a flat image.

The innovation in Stagecraft and other, smaller LED walls (the more general term for these backgrounds) is not only that the image shown is generated live in photorealistic 3D by powerful GPUs, but that 3D scene is directly affected by the movements and settings of the camera. If the camera moves to the right, the image alters just as if it were a real scene.

This is remarkably hard to achieve. In order for it to work, the camera must send its real-time position and orientation to, essentially, a beast of a gaming PC, because this and other setups like it generally run on the Unreal engine. This must take that movement and render it exactly in the 3D environment, with attendant changes to perspective, lighting, distortion, depth of field and so on — all fast enough so that those changes can be shown on the giant wall a fraction of a second later. After all, if the movement lagged even by a few frames it would be noticeable to even the most naive viewer.

Yet fully half of the scenes in “The Mandalorian” were shot within Stagecraft, and my guess is no one had any idea. Interior, exterior, alien worlds or spaceship cockpits, all used this giant volume for one purpose or another.

There are innumerable technological advances that have contributed to this; “The Mandalorian” could not have been made as it was five years ago. The walls weren’t ready; the rendering tech wasn’t ready; the tracking wasn’t ready — nothing was ready. But it’s ready now.

It must be mentioned that Jon Favreau has been a driving force behind this filmmaking method for years now; films like the remake of “The Lion King” were in some ways tech tryouts for “The Mandalorian.” Combined with advances made by James Cameron in virtual filmmaking, and, of course, the indefatigable Andy Serkis’s work in motion capture, this kind of production is only just now becoming realistic due to a confluence of circumstances.

Not just for SFX

Of course Stagecraft is probably also the most expensive and complex production environments ever used. But what it adds in technological overhead (and there’s a lot) it more than pays back in all kinds of benefits.

For one thing, it nearly eliminates on-location shooting, which is phenomenally expensive and time-consuming. Instead of going to Tunisia to get those wide-open desert shots, you can build a sandy set and put a photorealistic desert behind the actors. You can even combine these ideas for the best of both worlds: Send a team to scout locations in Tunisia and capture them in high-definition 3D to be used as a virtual background.

This last option produces an amazing secondary benefit: Reshoots are way easier. If you filmed at a bar in Santa Monica and changes to the dialogue mean you have to shoot the scene over again, no need to wrangle permits and painstakingly light the bar again. Instead, the first time you’re there, you carefully capture the whole scene with the exact lighting and props you had there the first time and use that as a virtual background for the reshoots.

The fact that many effects and backgrounds can be rendered ahead of time and shot in-camera rather than composited in later saves a lot of time and money. It also streamlines the creative process, with decisions able to be made on the spot by the filmmakers and actors, since the volume is reactive to their needs, not vice versa.

Lighting is another thing that is vastly simplified, in some ways at least, by something like Stagecraft. The bright LED wall can provide a ton of illumination, and because it actually represents the scene, that illumination is accurate to the needs of that scene. A red-lit interior of a space station, and the usual falling sparks and so on, shows red on the faces and of course the highly reflective helmet of the Mandalorian himself. Yet the team can also tweak it, for instance sticking a bright white line high on the LED wall out of sight of the camera but which creates a pleasing highlight on the helmet.

Naturally there are some trade-offs. At 20 feet tall, the volume is large but not so large that wide shots won’t capture the top of it, above which you’d see cameras and a different type of LED (the ceiling is also a display, though not as powerful). This necessitates some rotoscoping and post-production, or limits the angles and lenses one can shoot with — but that’s true of any soundstage or volume.

A shot like this would need a little massaging in post, obviously.

The size of the LEDs, that is of the pixels themselves, also limits how close the camera can get to them, and of course you can’t zoom in on an object for closer inspection. If you’re not careful, you’ll end up with Moiré patterns, those stripes you often see on images of screens.

Stagecraft is not the first application of LED walls — they’ve been used for years at smaller scales — but it is certainly by far the most high-profile, and “The Mandalorian” is the first real demonstration of what’s possible using this technology. And believe me, it’s not a one-off.

I’ve been told that nearly every production house is building or experimenting with LED walls of various sizes and types — the benefits are that obvious. TV productions can save money but look just as good. Movies can be shot on more flexible schedules. Actors who hate working in front of green screens may find this more palatable. And you better believe commercials are going to find a way to use these as well.

In short, a few years from now it’s going to be uncommon to find a production that doesn’t use an LED wall in some form or another. This is the new standard.

This is only a general overview of the technology that ILM, Disney and their many partners and suppliers are working on. In a follow-up article I’ll be sharing more detailed technical information directly from the production team and technologists who created Stagecraft and its attendant systems.

[embedded content]