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CarloOos

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  1. It’s very similar to the Sam Smith one, but actually good. I can imagine the visuals to going along with it well. The Quantum of Solace theme is underrated IMO, much like the film.
  2. CarloOos

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    Considering this article was publicised as a celebration and reunion old friends, it reads like half of them have fallen out and they the interviewer had to scrape together some tepid quotes. Can anyone remember why biglime hated Simon Pegg so much? It was long before his film career had taken off.
  3. You need to read the transcript of Lucas and Spielberg pitching Raiders of the Lost Ark to Kasdan where Lucas effectively comes up with every single setpiece from the first three films over a single conversation, all while Spielberg is chatting dumb shit and Kasdan just sounds confused.
  4. I’m not talking about the non-linear timeline (which I thought was a decent idea but clumsily handled), I’m talking about all the heavy-handed voiceovers and dream sequences that are repeatedly relied on to hammer home character motivations which should already be obvious from the plot. Almost every episode has a moment where a character is knocked out, has some sort of vision and/or flashback to remind you what their motivation is, and then wakes up disorientated. When people compare this unfavourably to GoT I think it has more to do with tired storytelling tropes like these than any inherent embarrassment with the fantasy genre. The whole thing needs tightening up, because it’s on the cusp of being great.
  5. I suspect something went a bit wrong during the production of this. Maybe they couldn't get Cavill for as long as they needed him or they went way over budget, but besides the chronology being needlessly fucked with there's also some really dodgy direction and editing for such a high profile show. They regularly have quite good and sharp dialogue getting completely lost during weird cuts and wide angles, it's a bit of a mess. Each individual director has a decent credit list and yet the issues feel consistent throughout. For me it started poorly, peaked strongly in the middle with the more stand-alone monster-of-the-week stories which had plenty of the core cast bouncing off each other, and then ended on a bum note. Geralt, Yennefer and the Bard are all great but Ciri quickly became an irritating combination of Kim Bauer and Sansa Stark with her scenes consistently dragging things down. Generally speaking though I did enjoy it and I'm looking forward to more, so hopefully they can sort the issues out and hit the ground running next time. But please, no more mysterious prophetic visions and flashbacks, there's already been way, way too much of that shit and it's lazy as fuck.
  6. I don't mind the rest of the Goldeneye score, I actually have quite a lot of nostalgia for that weird BONK noise he uses throughout it, but fuck me that is dreadful. It's quite amazing how much that single element can completely sap the energy from the scene.
  7. Can anyone confirm whether the Gamepass version of this is just the vanilla game?
  8. Well, that depends on the projector. The vast majority of cinemas are 2k (and out of focus, and too dark). That example I was trying to give could apply to anything between a £30,000 reference monitor and your standard 55-inch OLED TV, all of which we also use. I think what footle might have been referring to is that film in general, unlike most games, isn’t actually meant to look too sharp. Sharp images are ugly, they’re not something most cinematographers actually desire. Seeing games finally moving away from their obsession with extreme clarity has been my favourite development of this generation, despite being guaranteed to wind up the purists who want to disable everything and play with a FOV of 180.
  9. I regularly work with 2k, 4k and 8k footage and I'm 100% with @petrolgirls on this, from a consumer perspective it's almost entirely placebo nonsense. We regularly have big name directors coming in to review things, cache their shot/film/show/whatever in 2k (because it's so much quicker to work with) and just not bother telling them because they can't tell the difference, even on a cinema screen. That said it does make a much bigger difference for games than it does for films, since they mostly in-focus and actually render all the extra detail. Even for games you'd never need more than 4k though, I sit about 2m away from 55-inch screen and a well processed image is pretty much flawless as it is.
  10. There won’t be a ‘finished’ alternative cut of RoS either. Everyone always hugely underestimates how close to the wire the post goes on films of this scale.
  11. I don’t think we will, nor will we ever see the original cuts of Solo or Rogue One. It’s too close to an admission of what went on behind closed doors, along with all the corporate hubris and face-saving that goes along with it. The last thing Disney want confirmed for anyone is how the sausage is made.
  12. Sounds like what I expected; a client that doesn’t know what they actually want, only what they don’t want, and some seriously shoddy planning during the actual production. None of that is anything new, but when you add a super tight turnaround on top there’s nowhere left to hide. I don’t think there’s any blame to be laid at the VFX houses for this, besides the on set supervisors maybe. One of the posts in that thread says you can literally see tracking markers appearing on Judi Denchs’ face during one scene, I hope that hasn’t been patched yet because I’m morbidly fascinated to see it now.
  13. The bottom one in particular is something that’s stood out for me ever since TFA.
  14. I think the thing with those deepfakes is they only really work in relatively static head-on shots, and all the hard work of narrowing his face will already have been done in the ones chosen. But since we know what DeNiro actually looked like young, it's much more immediately pleasing to see his actual young face rather than some VFX amalgamation. If they could sort out the seam in the skin texture it would be pretty much there. I'm sure it's only a matter of time before some production decides to go all in on the 2D face replacement & lots of cleanup route, I'm not sure how well it would work over a whole film with characters actually moving through different lighting setups but I'm sure it would be far cheaper.
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