• Best Stellar Blade Mods

    Following its PlayStation 5-exclusive launch in April 2024, Stellar Blade was released for PC in 2025, allowing more players to follow protagonist Eve's journey. The PC version also marked the launch of Stellar Blade mods, which focus on everything from more customization, to performance improvements, to some absolutely NSFW content.With the news that Stellar Blade sold more than 1 million copies in just three days on Steam, modders have been hard at work creating adjustments and tweaks to Shift Up's action RPG, which follows Eve on her mission to save humanity from a war against monsters called Naytiba in the distant future. Here are the best Stellar Blade mods you should install right now. Ultimate Engine TweaksThe Ultimate Engine Tweaks mod by P40L0 addresses performance issues in Unreal Engine, including stuttering, stability, input latency, and picture clarity. The modder's goal was to include as many optimizations as possible in order to remove these issues, without suffering visual losses or introducing glitches or crashes.There are so many improvements that it's hard to list them all in one place, but P40L0 has compiled a useful spreadsheet that details all of the areas that have been adjusted. It's quite the read, but the most important thing to know is that your Stellar Blade experience will be an improved one with this mod installed. Improved Perfect DefenseThe Improved Perfect Defense mod by Andrew Creekmore increases the Perfect Parry and Perfect Dodge windows from nine frames to 12, while decreasing the guard cooldown duration from 24 frames to 21. The guard cooldown duration removes the frustrating buffer between inputs during fights. The window and cooldown time changes are subtle, but make a noticeable difference during combat compared to the vanilla experience. At the same time, the Perfect Parry and Dodge mechanics aren't trivialized, and fights can still be challenging. Eve Eye Color And Makeup CompendiumThe Eve Eye Color And Makeup Compendium mod by Bourbibouze is one of the rare Stellar Blade mods that doesn't focus on Eve's other ... assets. There's an almost unfathomable amount of eye color and makeup options available for Eve now. While it's no secret that the Stellar Blade outfits are one of the standout features of the game, adding further customization options can only be a fun little addition. Stellar Blade Mod ManagerThe Stellar Blade Mod Manager by Huaisha2049 isn't necessarily a mod in its own right, but it is required in order to install most Stellar Blade mods. It also adds the ability to update and download mods online, running them through compatibility tests to automatically detect any potential dependency issues.It'll automatically find the location of your Stellar Blade install and add mods to the corresponding directory. The only limiting factor is that the game cannot be installed in the Chinese directory. Turn On And Off CheatsThe Turn On and Off Cheats mod by ArkhamXxX pretty much does what it says on the tin. The mod allows you to turn on and off certain cheats, including God Mode, infinite Beta energy, infinite Burst energy, infinite jump, 69 Skill Points, and infinite Tachy energy. You can use it in the full version of the game or the demo, and loading into story mode or boss challenges enables the functionality. You can modify the hotkeys used to activate or deactivate each cheat, too. First-PersonThe fairly self-explanatory First-Person mod from MJ allows you to play Stellar Blade from a first-person perspective. That's it. That's the mod. Thomas the Tank Engine as StalkerWe've seen it all before. Your favorite RPG has no doubt had Thomas the Tank Engine modded into it, and this creation by Tenshiken1 replaces Stalker from the boss challenge mode with the menacing engine himself. While the mod has a simple drag-and-drop installation method, the creator notes that it "should" be compatible with other clothing mods for Eve--but if you have issues, change the alphabetical order the mods load in. It's not a guaranteed fix, but has been noted to work. All Outfit UnlocksThe All Outfit Unlocks mod from Prophe33 gives you a save file with all outfits unlocked. You'll no longer have to grind for your favorite fashion for Eve, and can even jump straight into New Game Plus if you'd like. Faster FishingThe Faster Fishing mod from T4ke respects your time. After all, who has a moment to waste in a post-apocalyptic world? This mod speeds up fishing by up to 10 times the original speed. It's also customizable to twice as fast, or four times as fast. Blood Edge Weapon RecolorsThere are many, many, many aesthetic customization options for Eve, some of them less savory than others. One that's definitely safe and adds new levels of customization is this Blood Edge Weapon Recolors mod by NimbusNathan. The Blood Edge Sword and hair pin get more color options to match her nanosuits. It's a simple drag-and-drop installation, too, so you can soon enjoy the extra personalization.
    #best #stellar #blade #mods
    Best Stellar Blade Mods
    Following its PlayStation 5-exclusive launch in April 2024, Stellar Blade was released for PC in 2025, allowing more players to follow protagonist Eve's journey. The PC version also marked the launch of Stellar Blade mods, which focus on everything from more customization, to performance improvements, to some absolutely NSFW content.With the news that Stellar Blade sold more than 1 million copies in just three days on Steam, modders have been hard at work creating adjustments and tweaks to Shift Up's action RPG, which follows Eve on her mission to save humanity from a war against monsters called Naytiba in the distant future. Here are the best Stellar Blade mods you should install right now. Ultimate Engine TweaksThe Ultimate Engine Tweaks mod by P40L0 addresses performance issues in Unreal Engine, including stuttering, stability, input latency, and picture clarity. The modder's goal was to include as many optimizations as possible in order to remove these issues, without suffering visual losses or introducing glitches or crashes.There are so many improvements that it's hard to list them all in one place, but P40L0 has compiled a useful spreadsheet that details all of the areas that have been adjusted. It's quite the read, but the most important thing to know is that your Stellar Blade experience will be an improved one with this mod installed. Improved Perfect DefenseThe Improved Perfect Defense mod by Andrew Creekmore increases the Perfect Parry and Perfect Dodge windows from nine frames to 12, while decreasing the guard cooldown duration from 24 frames to 21. The guard cooldown duration removes the frustrating buffer between inputs during fights. The window and cooldown time changes are subtle, but make a noticeable difference during combat compared to the vanilla experience. At the same time, the Perfect Parry and Dodge mechanics aren't trivialized, and fights can still be challenging. Eve Eye Color And Makeup CompendiumThe Eve Eye Color And Makeup Compendium mod by Bourbibouze is one of the rare Stellar Blade mods that doesn't focus on Eve's other ... assets. There's an almost unfathomable amount of eye color and makeup options available for Eve now. While it's no secret that the Stellar Blade outfits are one of the standout features of the game, adding further customization options can only be a fun little addition. Stellar Blade Mod ManagerThe Stellar Blade Mod Manager by Huaisha2049 isn't necessarily a mod in its own right, but it is required in order to install most Stellar Blade mods. It also adds the ability to update and download mods online, running them through compatibility tests to automatically detect any potential dependency issues.It'll automatically find the location of your Stellar Blade install and add mods to the corresponding directory. The only limiting factor is that the game cannot be installed in the Chinese directory. Turn On And Off CheatsThe Turn On and Off Cheats mod by ArkhamXxX pretty much does what it says on the tin. The mod allows you to turn on and off certain cheats, including God Mode, infinite Beta energy, infinite Burst energy, infinite jump, 69 Skill Points, and infinite Tachy energy. You can use it in the full version of the game or the demo, and loading into story mode or boss challenges enables the functionality. You can modify the hotkeys used to activate or deactivate each cheat, too. First-PersonThe fairly self-explanatory First-Person mod from MJ allows you to play Stellar Blade from a first-person perspective. That's it. That's the mod. Thomas the Tank Engine as StalkerWe've seen it all before. Your favorite RPG has no doubt had Thomas the Tank Engine modded into it, and this creation by Tenshiken1 replaces Stalker from the boss challenge mode with the menacing engine himself. While the mod has a simple drag-and-drop installation method, the creator notes that it "should" be compatible with other clothing mods for Eve--but if you have issues, change the alphabetical order the mods load in. It's not a guaranteed fix, but has been noted to work. All Outfit UnlocksThe All Outfit Unlocks mod from Prophe33 gives you a save file with all outfits unlocked. You'll no longer have to grind for your favorite fashion for Eve, and can even jump straight into New Game Plus if you'd like. Faster FishingThe Faster Fishing mod from T4ke respects your time. After all, who has a moment to waste in a post-apocalyptic world? This mod speeds up fishing by up to 10 times the original speed. It's also customizable to twice as fast, or four times as fast. Blood Edge Weapon RecolorsThere are many, many, many aesthetic customization options for Eve, some of them less savory than others. One that's definitely safe and adds new levels of customization is this Blood Edge Weapon Recolors mod by NimbusNathan. The Blood Edge Sword and hair pin get more color options to match her nanosuits. It's a simple drag-and-drop installation, too, so you can soon enjoy the extra personalization. #best #stellar #blade #mods
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    Best Stellar Blade Mods
    Following its PlayStation 5-exclusive launch in April 2024, Stellar Blade was released for PC in 2025, allowing more players to follow protagonist Eve's journey. The PC version also marked the launch of Stellar Blade mods, which focus on everything from more customization, to performance improvements, to some absolutely NSFW content.With the news that Stellar Blade sold more than 1 million copies in just three days on Steam, modders have been hard at work creating adjustments and tweaks to Shift Up's action RPG, which follows Eve on her mission to save humanity from a war against monsters called Naytiba in the distant future. Here are the best Stellar Blade mods you should install right now. Ultimate Engine TweaksThe Ultimate Engine Tweaks mod by P40L0 addresses performance issues in Unreal Engine, including stuttering, stability, input latency, and picture clarity. The modder's goal was to include as many optimizations as possible in order to remove these issues, without suffering visual losses or introducing glitches or crashes.There are so many improvements that it's hard to list them all in one place, but P40L0 has compiled a useful spreadsheet that details all of the areas that have been adjusted. It's quite the read, but the most important thing to know is that your Stellar Blade experience will be an improved one with this mod installed. Improved Perfect DefenseThe Improved Perfect Defense mod by Andrew Creekmore increases the Perfect Parry and Perfect Dodge windows from nine frames to 12, while decreasing the guard cooldown duration from 24 frames to 21. The guard cooldown duration removes the frustrating buffer between inputs during fights. The window and cooldown time changes are subtle, but make a noticeable difference during combat compared to the vanilla experience. At the same time, the Perfect Parry and Dodge mechanics aren't trivialized, and fights can still be challenging. Eve Eye Color And Makeup CompendiumThe Eve Eye Color And Makeup Compendium mod by Bourbibouze is one of the rare Stellar Blade mods that doesn't focus on Eve's other ... assets. There's an almost unfathomable amount of eye color and makeup options available for Eve now. While it's no secret that the Stellar Blade outfits are one of the standout features of the game, adding further customization options can only be a fun little addition. Stellar Blade Mod ManagerThe Stellar Blade Mod Manager by Huaisha2049 isn't necessarily a mod in its own right, but it is required in order to install most Stellar Blade mods. It also adds the ability to update and download mods online, running them through compatibility tests to automatically detect any potential dependency issues.It'll automatically find the location of your Stellar Blade install and add mods to the corresponding directory. The only limiting factor is that the game cannot be installed in the Chinese directory. Turn On And Off CheatsThe Turn On and Off Cheats mod by ArkhamXxX pretty much does what it says on the tin. The mod allows you to turn on and off certain cheats, including God Mode, infinite Beta energy, infinite Burst energy, infinite jump, 69 Skill Points, and infinite Tachy energy. You can use it in the full version of the game or the demo, and loading into story mode or boss challenges enables the functionality. You can modify the hotkeys used to activate or deactivate each cheat, too. First-PersonThe fairly self-explanatory First-Person mod from MJ allows you to play Stellar Blade from a first-person perspective. That's it. That's the mod. Thomas the Tank Engine as StalkerWe've seen it all before. Your favorite RPG has no doubt had Thomas the Tank Engine modded into it, and this creation by Tenshiken1 replaces Stalker from the boss challenge mode with the menacing engine himself. While the mod has a simple drag-and-drop installation method, the creator notes that it "should" be compatible with other clothing mods for Eve--but if you have issues, change the alphabetical order the mods load in. It's not a guaranteed fix, but has been noted to work. All Outfit UnlocksThe All Outfit Unlocks mod from Prophe33 gives you a save file with all outfits unlocked. You'll no longer have to grind for your favorite fashion for Eve, and can even jump straight into New Game Plus if you'd like. Faster FishingThe Faster Fishing mod from T4ke respects your time. After all, who has a moment to waste in a post-apocalyptic world? This mod speeds up fishing by up to 10 times the original speed. It's also customizable to twice as fast, or four times as fast. Blood Edge Weapon RecolorsThere are many, many, many aesthetic customization options for Eve, some of them less savory than others. One that's definitely safe and adds new levels of customization is this Blood Edge Weapon Recolors mod by NimbusNathan. The Blood Edge Sword and hair pin get more color options to match her nanosuits. It's a simple drag-and-drop installation, too, so you can soon enjoy the extra personalization.
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  • In a world where innovation thrives, it’s exciting to see how OpenAI leadership is stepping up! With Meta's recent talent acquisitions, it’s clear that competition is heating up! But instead of seeing this as a setback, OpenAI is recalibrating their approach and finding new ways to shine!

    This is a reminder that every challenge is an opportunity in disguise. Let's rally together and support the creative minds pushing boundaries in AI! The journey is just as important as the destination, and with determination and teamwork, the possibilities are endless!

    Keep your spirits high, and let’s continue to innovate and inspire!

    #OpenAI #Innovation #Inspiration #Teamwork #AI
    In a world where innovation thrives, it’s exciting to see how OpenAI leadership is stepping up! 🌟 With Meta's recent talent acquisitions, it’s clear that competition is heating up! But instead of seeing this as a setback, OpenAI is recalibrating their approach and finding new ways to shine! 💪✨ This is a reminder that every challenge is an opportunity in disguise. Let's rally together and support the creative minds pushing boundaries in AI! 🚀 The journey is just as important as the destination, and with determination and teamwork, the possibilities are endless! Keep your spirits high, and let’s continue to innovate and inspire! 💖 #OpenAI #Innovation #Inspiration #Teamwork #AI
    OpenAI Leadership Responds to Meta Offers: ‘Someone Has Broken Into Our Home’
    As Mark Zuckerberg lures away top research talent to Meta, OpenAI executives say they're ‘recalibrating comp,’ according to an internal memo.
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  • Death Stranding 2 Could Be Causing Some PS5s To Overheat

    There are a lot of things for players to find in Death Stranding 2: On the Beach, but a few fans have already discovered an issue that appears to be overheating some PlayStation 5 consoles.Players on Reddithave shared multiple accounts of Death Stranding 2 apparently causing PlayStation 5s to overheat when the map menu is called up on-screen. Fans have reported that the map causes the PS5 fan to loudly go into overdrive before they receive an overheating warning from the console itself.The working theory among players is that the map menu is running with an unlocked frame rate, which may be causing the PS5's overheating issue. So far, no one has reported the same issue on PS5 Pro, but at least one user shared a video on YouTube that demonstrates the map menu's effect on their PS5 multiple times. Presumably this issue can be addressed in an update from Kojima Productions once it becomes aware of the problem.Continue Reading at GameSpot
    #death #stranding #could #causing #some
    Death Stranding 2 Could Be Causing Some PS5s To Overheat
    There are a lot of things for players to find in Death Stranding 2: On the Beach, but a few fans have already discovered an issue that appears to be overheating some PlayStation 5 consoles.Players on Reddithave shared multiple accounts of Death Stranding 2 apparently causing PlayStation 5s to overheat when the map menu is called up on-screen. Fans have reported that the map causes the PS5 fan to loudly go into overdrive before they receive an overheating warning from the console itself.The working theory among players is that the map menu is running with an unlocked frame rate, which may be causing the PS5's overheating issue. So far, no one has reported the same issue on PS5 Pro, but at least one user shared a video on YouTube that demonstrates the map menu's effect on their PS5 multiple times. Presumably this issue can be addressed in an update from Kojima Productions once it becomes aware of the problem.Continue Reading at GameSpot #death #stranding #could #causing #some
    WWW.GAMESPOT.COM
    Death Stranding 2 Could Be Causing Some PS5s To Overheat
    There are a lot of things for players to find in Death Stranding 2: On the Beach, but a few fans have already discovered an issue that appears to be overheating some PlayStation 5 consoles.Players on Reddit (via Push Square) have shared multiple accounts of Death Stranding 2 apparently causing PlayStation 5s to overheat when the map menu is called up on-screen. Fans have reported that the map causes the PS5 fan to loudly go into overdrive before they receive an overheating warning from the console itself.The working theory among players is that the map menu is running with an unlocked frame rate, which may be causing the PS5's overheating issue. So far, no one has reported the same issue on PS5 Pro, but at least one user shared a video on YouTube that demonstrates the map menu's effect on their PS5 multiple times. Presumably this issue can be addressed in an update from Kojima Productions once it becomes aware of the problem.Continue Reading at GameSpot
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  • In a groundbreaking decision, the US Supreme Court has upheld the Texas Porn ID Law, proving once again that protecting our children from the horrors of explicit content is a top priority—right after deciding which flavor of ice cream is most suitable for judicial debates. With a 6-3 vote, they’ve deemed age verification on adult sites constitutional. Because nothing screams "freedom" like being asked for your ID before indulging in a little escapism, right? Justice Kagan must be thrilled that adults can now be treated like teenagers at a movie theater. Bravo, Supreme Court! Who knew safeguarding our freedom meant handing over our ID to browse?

    #SupremeCourt #TexasPornIDLaw #AgeVerification #FirstAmendment #Judicial
    In a groundbreaking decision, the US Supreme Court has upheld the Texas Porn ID Law, proving once again that protecting our children from the horrors of explicit content is a top priority—right after deciding which flavor of ice cream is most suitable for judicial debates. With a 6-3 vote, they’ve deemed age verification on adult sites constitutional. Because nothing screams "freedom" like being asked for your ID before indulging in a little escapism, right? Justice Kagan must be thrilled that adults can now be treated like teenagers at a movie theater. Bravo, Supreme Court! Who knew safeguarding our freedom meant handing over our ID to browse? #SupremeCourt #TexasPornIDLaw #AgeVerification #FirstAmendment #Judicial
    US Supreme Court Upholds Texas Porn ID Law
    In a 6-3 decision, the Supreme Court held that age verification for explicit sites is constitutional. In a dissent, Justice Elena Kagan warned it burdens adults and ignores First Amendment precedent.
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  • BOUNCING FROM RUBBER DUCKIES AND FLYING SHEEP TO CLONES FOR THE BOYS SEASON 4

    By TREVOR HOGG
    Images courtesy of Prime Video.

    For those seeking an alternative to the MCU, Prime Video has two offerings of the live-action and animated variety that take the superhero genre into R-rated territory where the hands of the god-like figures get dirty, bloodied and severed. “The Boys is about the intersection of celebrity and politics using superheroes,” states Stephan Fleet, VFX Supervisor on The Boys. “Sometimes I see the news and I don’t even know we can write to catch up to it! But we try. Invincible is an intense look at an alternate DC Universe that has more grit to the superhero side of it all. On one hand, I was jealous watching Season 1 of Invincible because in animation you can do things that you can’t do in real life on a budget.” Season 4 does not tone down the blood, gore and body count. Fleet notes, “The writers almost have this dialogue with us. Sometimes, they’ll write in the script, ‘And Fleet will come up with a cool visual effect for how to kill this person.’ Or, ‘Chhiu, our fight coordinator, will make an awesome fight.’ It is a frequent topic of conversation. We’re constantly trying to be inventive and create new ways to kill people!”

    When Splintersplits in two, the cloning effect was inspired by cellular mitosis.

    “The writers almost have this dialogue with us. Sometimes, they’ll write in the script, ‘And Fleet will come up with a cool visual effect for how to kill this person.’ Or, ‘Chhiu, our fight coordinator, will make an awesome fight.’ It is a frequent topic of conversation. We’re constantly trying to be inventive and create new ways to kill people!”
    —Stephan Fleet, VFX Supervisor

    A total of 1,600 visual effects shots were created for the eight episodes by ILM, Pixomondo, MPC Toronto, Spin VFX, DNEG, Untold Studios, Luma Pictures and Rocket Science VFX. Previs was a critical part of the process. “We have John Griffith, who owns a small company called CNCPT out of Texas, and he does wonderful Unreal Engine level previs,” Fleet remarks. “On set, we have a cartoon of what is going to be done, and you’ll be amazed, specifically for action and heavy visual effects stuff, how close those shots are to the previs when we finish.” Founding Director of Federal Bureau of Superhuman Affairs, Victoria Neuman, literally gets ripped in half by two tendrils coming out of Compound V-enhanced Billy Butcher, the leader of superhero resistance group The Boys. “The word that we like to use on this show is ‘grounded,’ and I like to say ‘grounded’ with an asterisk in this day and age because we’re grounded until we get to killing people in the craziest ways. In this case, having someone floating in the air and being ripped in half by two tendrils was all CG.”

    Multiple plates were shot to enable Simon Pegg to phase through the actor laying in a hospital bed.

    Testing can get rather elaborate. “For that end scene with Butcher’s tendrils, the room was two stories, and we were able to put the camera up high along with a bunch of blood cannons,” Fleet recalls. “When the body rips in half and explodes, there is a practical component. We rained down a bunch of real blood and guts right in front of Huey. It’s a known joke that we like to douse Jack Quaid with blood as much as possible! In this case, the special effects team led by Hudson Kenny needed to test it the day before, and I said, “I’ll be the guinea pig for the test.’ They covered the whole place with plastic like it was a Dexter kill room because you don’t want to destroy the set. I’m standing there in a white hazmat suit with goggles on, covered from head to toe in plastic and waiting as they’re tweaking all of these things. It sounds like World War II going on. They’re on walkie talkies to each other, and then all of a sudden, it’s ‘Five, four, three, two, one…’  And I get exploded with blood. I wanted to see what it was like, and it’s intense.”

    “On set, we have a cartoon of what is going to be done, and you’ll be amazed, specifically for action and heavy visual effects stuff, how close those shots are to the previs when we finish.”
    —Stephan Fleet, VFX Supervisor

    The Deep has a love affair with an octopus called Ambrosius, voiced by Tilda Swinton. “It’s implied bestiality!” Fleet laughs. “I would call it more of a romance. What was fun from my perspective is that I knew what the look was going to be, so then it’s about putting in the details and the animation. One of the instincts that you always have when you’re making a sea creature that talks to a humanyou tend to want to give it human gestures and eyebrows. Erik Kripkesaid, ‘No. We have to find things that an octopus could do that conveys the same emotion.’ That’s when ideas came in, such as putting a little The Deep toy inside the water tank. When Ambrosius is trying to have an intimate moment or connect with him, she can wrap a tentacle around that. My favorite experience doing Ambrosius was when The Deep is reading poetry to her on a bed. CG creatures touching humans is one of the more complicated things to do and make look real. Ambrosius’ tentacles reach for his arm, and it becomes an intimate moment. More than touching the skin, displacing the bedsheet as Ambrosius moved ended up becoming a lot of CG, and we had to go back and forth a few times to get that looking right; that turned out to be tricky.”

    A building is replaced by a massive crowd attending a rally being held by Homelander.

    In a twisted form of sexual foreplay, Sister Sage has The Deep perform a transorbital lobotomy on her. “Thank you, Amazon for selling lobotomy tools as novelty items!” Fleet chuckles. “We filmed it with a lobotomy tool on set. There is a lot of safety involved in doing something like that. Obviously, you don’t want to put any performer in any situation where they come close to putting anything real near their eye. We created this half lobotomy tool and did this complicated split screen with the lobotomy tool on a teeter totter. The Deep wasin one shot and Sister Sage reacted in the other shot. To marry the two ended up being a lot of CG work. Then there are these close-ups which are full CG. I always keep a dummy head that is painted gray that I use all of the time for reference. In macrophotography I filmed this lobotomy tool going right into the eye area. I did that because the tool is chrome, so it’s reflective and has ridges. It has an interesting reflective property. I was able to see how and what part of the human eye reflects onto the tool. A lot of that shot became about realistic reflections and lighting on the tool. Then heavy CG for displacing the eye and pushing the lobotomy tool into it. That was one of the more complicated sequences that we had to achieve.”

    In order to create an intimate moment between Ambrosius and The Deep, a toy version of the superhero was placed inside of the water tank that she could wrap a tentacle around.

    “The word that we like to use on this show is ‘grounded,’ and I like to say ‘grounded’ with an asterisk in this day and age because we’re grounded until we get to killing people in the craziest ways. In this case, having someone floating in the air and being ripped in half by two tendrils was all CG.”
    —Stephan Fleet, VFX Supervisor

    Sheep and chickens embark on a violent rampage courtesy of Compound V with the latter piercing the chest of a bodyguard belonging to Victoria Neuman. “Weirdly, that was one of our more traditional shots,’ Fleet states. “What is fun about that one is I asked for real chickens as reference. The chicken flying through his chest is real. It’s our chicken wrangler in green suit gently tossing a chicken. We blended two real plates together with some CG in the middle.” A connection was made with a sci-fi classic. “The sheep kill this bull, and we shot it is in this narrow corridor of fencing. When they run, I always equated it as the Trench Run in Star Wars and looked at the sheep as TIE fighters or X-wings coming at them.” The scene was one of the scarier moments for the visual effects team. Fleet explains, “When I read the script, I thought this could be the moment where we jump the shark. For the shots where the sheep are still and scream to the camera, Untold Studios did a bunch of R&D and came up with baboon teeth. I tried to keep anything real as much as possible, but, obviously, when sheep are flying, they have to be CG. I call it the Battlestar Galactica theory, where I like to shake the camera, overshoot shots and make it sloppy when they’re in the air so you can add motion blur. Comedy also helps sell visual effects.”

    The sheep injected with Compound V develop the ability to fly and were shot in an imperfect manner to help ground the scenes.

    Once injected with Compound V, Hugh Campbell Sr.develops the ability to phase through objects, including human beings. “We called it the Bro-nut because his name in the script is Wall Street Bro,” Fleet notes. “That was a complicated motion control shot, repeating the move over and over again. We had to shoot multiple plates of Simon Pegg and the guy in the bed. Special effects and prosthetics created a dummy guy with a hole in his chest with practical blood dripping down. It was meshing it together and getting the timing right in post. On top of that, there was the CG blood immediately around Simon Pegg.” The phasing effect had to avoid appearing as a dissolve. “I had this idea of doing high-frequency vibration on the X axis loosely based on how The Flash vibrates through walls. You want everything to have a loose motivation that then helps trigger the visuals. We tried not to overcomplicate that because, ultimately, you want something like that to be quick. If you spend too much time on phasing, it can look cheesy. In our case, it was a lot of false walls. Simon Pegg is running into a greenscreen hole which we plug in with a wall or coming out of one. I went off the actor’s action, and we added a light opacity mix with some X-axis shake.”

    Providing a different twist to the fights was the replacement of spurting blood with photoreal rubber duckies during a drug-induced hallucination.

    Homelanderbreaks a mirror which emphasizes his multiple personality disorder. “The original plan was that special effects was going to pre-break a mirror, and we were going to shoot Anthony Starr moving his head doing all of the performances in the different parts of the mirror,” Fleet reveals. “This was all based on a photo that my ex-brother-in-law sent me. He was walking down a street in Glendale, California, came across a broken mirror that someone had thrown out, and took a photo of himself where he had five heads in the mirror. We get there on the day, and I’m realizing that this is really complicated. Anthony has to do these five different performances, and we have to deal with infinite mirrors. At the last minute, I said, ‘We have to do this on a clean mirror.’ We did it on a clear mirror and gave Anthony different eyelines. The mirror break was all done in post, and we were able to cheat his head slightly and art-direct where the break crosses his chin. Editorial was able to do split screens for the timing of the dialogue.”

    “For the shots where the sheep are still and scream to the camera, Untold Studios did a bunch of R&D and came up with baboon teeth. I tried to keep anything real as much as possible, but, obviously, when sheep are flying, they have to be CG. I call it the Battlestar Galactica theory, where I like to shake the camera, overshoot shots and make it sloppy when they’re in the air so you can add motion blur. Comedy also helps sell visual effects.”
    —Stephan Fleet, VFX Supervisor

    Initially, the plan was to use a practical mirror, but creating a digital version proved to be the more effective solution.

    A different spin on the bloodbath occurs during a fight when a drugged Frenchiehallucinates as Kimiko Miyashirogoes on a killing spree. “We went back and forth with a lot of different concepts for what this hallucination would be,” Fleet remarks. “When we filmed it, we landed on Frenchie having a synesthesia moment where he’s seeing a lot of abstract colors flying in the air. We started getting into that in post and it wasn’t working. We went back to the rubber duckies, which goes back to the story of him in the bathtub. What’s in the bathtub? Rubber duckies, bubbles and water. There was a lot of physics and logic required to figure out how these rubber duckies could float out of someone’s neck. We decided on bubbles when Kimiko hits people’s heads. At one point, we had water when she got shot, but it wasn’t working, so we killed it. We probably did about 100 different versions. We got really detailed with our rubber duckie modeling because we didn’t want it to look cartoony. That took a long time.”

    Ambrosius, voiced by Tilda Swinton, gets a lot more screentime in Season 4.

    When Splintersplits in two was achieved heavily in CG. “Erik threw out the words ‘cellular mitosis’ early on as something he wanted to use,” Fleet states. “We shot Rob Benedict on a greenscreen doing all of the different performances for the clones that pop out. It was a crazy amount of CG work with Houdini and particle and skin effects. We previs’d the sequence so we had specific actions. One clone comes out to the right and the other pulls backwards.” What tends to go unnoticed by many is Splinter’s clones setting up for a press conference being held by Firecracker. “It’s funny how no one brings up the 22-hour motion control shot that we had to do with Splinter on the stage, which was the most complicated shot!” Fleet observes. “We have this sweeping long shot that brings you into the room and follows Splinter as he carries a container to the stage and hands it off to a clone, and then you reveal five more of them interweaving each other and interacting with all of these objects. It’s like a minute-long dance. First off, you have to choreograph it. We previs’d it, but then you need to get people to do it. We hired dancers and put different colored armbands on them. The camera is like another performer, and a metronome is going, which enables you to find a pace. That took about eight hours of rehearsal. Then Rob has to watch each one of their performances and mimic it to the beat. When he is handing off a box of cables, it’s to a double who is going to have to be erased and be him on the other side. They have to be almost perfect in their timing and lineup in order to take it over in visual effects and make it work.”
    #bouncing #rubber #duckies #flying #sheep
    BOUNCING FROM RUBBER DUCKIES AND FLYING SHEEP TO CLONES FOR THE BOYS SEASON 4
    By TREVOR HOGG Images courtesy of Prime Video. For those seeking an alternative to the MCU, Prime Video has two offerings of the live-action and animated variety that take the superhero genre into R-rated territory where the hands of the god-like figures get dirty, bloodied and severed. “The Boys is about the intersection of celebrity and politics using superheroes,” states Stephan Fleet, VFX Supervisor on The Boys. “Sometimes I see the news and I don’t even know we can write to catch up to it! But we try. Invincible is an intense look at an alternate DC Universe that has more grit to the superhero side of it all. On one hand, I was jealous watching Season 1 of Invincible because in animation you can do things that you can’t do in real life on a budget.” Season 4 does not tone down the blood, gore and body count. Fleet notes, “The writers almost have this dialogue with us. Sometimes, they’ll write in the script, ‘And Fleet will come up with a cool visual effect for how to kill this person.’ Or, ‘Chhiu, our fight coordinator, will make an awesome fight.’ It is a frequent topic of conversation. We’re constantly trying to be inventive and create new ways to kill people!” When Splintersplits in two, the cloning effect was inspired by cellular mitosis. “The writers almost have this dialogue with us. Sometimes, they’ll write in the script, ‘And Fleet will come up with a cool visual effect for how to kill this person.’ Or, ‘Chhiu, our fight coordinator, will make an awesome fight.’ It is a frequent topic of conversation. We’re constantly trying to be inventive and create new ways to kill people!” —Stephan Fleet, VFX Supervisor A total of 1,600 visual effects shots were created for the eight episodes by ILM, Pixomondo, MPC Toronto, Spin VFX, DNEG, Untold Studios, Luma Pictures and Rocket Science VFX. Previs was a critical part of the process. “We have John Griffith, who owns a small company called CNCPT out of Texas, and he does wonderful Unreal Engine level previs,” Fleet remarks. “On set, we have a cartoon of what is going to be done, and you’ll be amazed, specifically for action and heavy visual effects stuff, how close those shots are to the previs when we finish.” Founding Director of Federal Bureau of Superhuman Affairs, Victoria Neuman, literally gets ripped in half by two tendrils coming out of Compound V-enhanced Billy Butcher, the leader of superhero resistance group The Boys. “The word that we like to use on this show is ‘grounded,’ and I like to say ‘grounded’ with an asterisk in this day and age because we’re grounded until we get to killing people in the craziest ways. In this case, having someone floating in the air and being ripped in half by two tendrils was all CG.” Multiple plates were shot to enable Simon Pegg to phase through the actor laying in a hospital bed. Testing can get rather elaborate. “For that end scene with Butcher’s tendrils, the room was two stories, and we were able to put the camera up high along with a bunch of blood cannons,” Fleet recalls. “When the body rips in half and explodes, there is a practical component. We rained down a bunch of real blood and guts right in front of Huey. It’s a known joke that we like to douse Jack Quaid with blood as much as possible! In this case, the special effects team led by Hudson Kenny needed to test it the day before, and I said, “I’ll be the guinea pig for the test.’ They covered the whole place with plastic like it was a Dexter kill room because you don’t want to destroy the set. I’m standing there in a white hazmat suit with goggles on, covered from head to toe in plastic and waiting as they’re tweaking all of these things. It sounds like World War II going on. They’re on walkie talkies to each other, and then all of a sudden, it’s ‘Five, four, three, two, one…’  And I get exploded with blood. I wanted to see what it was like, and it’s intense.” “On set, we have a cartoon of what is going to be done, and you’ll be amazed, specifically for action and heavy visual effects stuff, how close those shots are to the previs when we finish.” —Stephan Fleet, VFX Supervisor The Deep has a love affair with an octopus called Ambrosius, voiced by Tilda Swinton. “It’s implied bestiality!” Fleet laughs. “I would call it more of a romance. What was fun from my perspective is that I knew what the look was going to be, so then it’s about putting in the details and the animation. One of the instincts that you always have when you’re making a sea creature that talks to a humanyou tend to want to give it human gestures and eyebrows. Erik Kripkesaid, ‘No. We have to find things that an octopus could do that conveys the same emotion.’ That’s when ideas came in, such as putting a little The Deep toy inside the water tank. When Ambrosius is trying to have an intimate moment or connect with him, she can wrap a tentacle around that. My favorite experience doing Ambrosius was when The Deep is reading poetry to her on a bed. CG creatures touching humans is one of the more complicated things to do and make look real. Ambrosius’ tentacles reach for his arm, and it becomes an intimate moment. More than touching the skin, displacing the bedsheet as Ambrosius moved ended up becoming a lot of CG, and we had to go back and forth a few times to get that looking right; that turned out to be tricky.” A building is replaced by a massive crowd attending a rally being held by Homelander. In a twisted form of sexual foreplay, Sister Sage has The Deep perform a transorbital lobotomy on her. “Thank you, Amazon for selling lobotomy tools as novelty items!” Fleet chuckles. “We filmed it with a lobotomy tool on set. There is a lot of safety involved in doing something like that. Obviously, you don’t want to put any performer in any situation where they come close to putting anything real near their eye. We created this half lobotomy tool and did this complicated split screen with the lobotomy tool on a teeter totter. The Deep wasin one shot and Sister Sage reacted in the other shot. To marry the two ended up being a lot of CG work. Then there are these close-ups which are full CG. I always keep a dummy head that is painted gray that I use all of the time for reference. In macrophotography I filmed this lobotomy tool going right into the eye area. I did that because the tool is chrome, so it’s reflective and has ridges. It has an interesting reflective property. I was able to see how and what part of the human eye reflects onto the tool. A lot of that shot became about realistic reflections and lighting on the tool. Then heavy CG for displacing the eye and pushing the lobotomy tool into it. That was one of the more complicated sequences that we had to achieve.” In order to create an intimate moment between Ambrosius and The Deep, a toy version of the superhero was placed inside of the water tank that she could wrap a tentacle around. “The word that we like to use on this show is ‘grounded,’ and I like to say ‘grounded’ with an asterisk in this day and age because we’re grounded until we get to killing people in the craziest ways. In this case, having someone floating in the air and being ripped in half by two tendrils was all CG.” —Stephan Fleet, VFX Supervisor Sheep and chickens embark on a violent rampage courtesy of Compound V with the latter piercing the chest of a bodyguard belonging to Victoria Neuman. “Weirdly, that was one of our more traditional shots,’ Fleet states. “What is fun about that one is I asked for real chickens as reference. The chicken flying through his chest is real. It’s our chicken wrangler in green suit gently tossing a chicken. We blended two real plates together with some CG in the middle.” A connection was made with a sci-fi classic. “The sheep kill this bull, and we shot it is in this narrow corridor of fencing. When they run, I always equated it as the Trench Run in Star Wars and looked at the sheep as TIE fighters or X-wings coming at them.” The scene was one of the scarier moments for the visual effects team. Fleet explains, “When I read the script, I thought this could be the moment where we jump the shark. For the shots where the sheep are still and scream to the camera, Untold Studios did a bunch of R&D and came up with baboon teeth. I tried to keep anything real as much as possible, but, obviously, when sheep are flying, they have to be CG. I call it the Battlestar Galactica theory, where I like to shake the camera, overshoot shots and make it sloppy when they’re in the air so you can add motion blur. Comedy also helps sell visual effects.” The sheep injected with Compound V develop the ability to fly and were shot in an imperfect manner to help ground the scenes. Once injected with Compound V, Hugh Campbell Sr.develops the ability to phase through objects, including human beings. “We called it the Bro-nut because his name in the script is Wall Street Bro,” Fleet notes. “That was a complicated motion control shot, repeating the move over and over again. We had to shoot multiple plates of Simon Pegg and the guy in the bed. Special effects and prosthetics created a dummy guy with a hole in his chest with practical blood dripping down. It was meshing it together and getting the timing right in post. On top of that, there was the CG blood immediately around Simon Pegg.” The phasing effect had to avoid appearing as a dissolve. “I had this idea of doing high-frequency vibration on the X axis loosely based on how The Flash vibrates through walls. You want everything to have a loose motivation that then helps trigger the visuals. We tried not to overcomplicate that because, ultimately, you want something like that to be quick. If you spend too much time on phasing, it can look cheesy. In our case, it was a lot of false walls. Simon Pegg is running into a greenscreen hole which we plug in with a wall or coming out of one. I went off the actor’s action, and we added a light opacity mix with some X-axis shake.” Providing a different twist to the fights was the replacement of spurting blood with photoreal rubber duckies during a drug-induced hallucination. Homelanderbreaks a mirror which emphasizes his multiple personality disorder. “The original plan was that special effects was going to pre-break a mirror, and we were going to shoot Anthony Starr moving his head doing all of the performances in the different parts of the mirror,” Fleet reveals. “This was all based on a photo that my ex-brother-in-law sent me. He was walking down a street in Glendale, California, came across a broken mirror that someone had thrown out, and took a photo of himself where he had five heads in the mirror. We get there on the day, and I’m realizing that this is really complicated. Anthony has to do these five different performances, and we have to deal with infinite mirrors. At the last minute, I said, ‘We have to do this on a clean mirror.’ We did it on a clear mirror and gave Anthony different eyelines. The mirror break was all done in post, and we were able to cheat his head slightly and art-direct where the break crosses his chin. Editorial was able to do split screens for the timing of the dialogue.” “For the shots where the sheep are still and scream to the camera, Untold Studios did a bunch of R&D and came up with baboon teeth. I tried to keep anything real as much as possible, but, obviously, when sheep are flying, they have to be CG. I call it the Battlestar Galactica theory, where I like to shake the camera, overshoot shots and make it sloppy when they’re in the air so you can add motion blur. Comedy also helps sell visual effects.” —Stephan Fleet, VFX Supervisor Initially, the plan was to use a practical mirror, but creating a digital version proved to be the more effective solution. A different spin on the bloodbath occurs during a fight when a drugged Frenchiehallucinates as Kimiko Miyashirogoes on a killing spree. “We went back and forth with a lot of different concepts for what this hallucination would be,” Fleet remarks. “When we filmed it, we landed on Frenchie having a synesthesia moment where he’s seeing a lot of abstract colors flying in the air. We started getting into that in post and it wasn’t working. We went back to the rubber duckies, which goes back to the story of him in the bathtub. What’s in the bathtub? Rubber duckies, bubbles and water. There was a lot of physics and logic required to figure out how these rubber duckies could float out of someone’s neck. We decided on bubbles when Kimiko hits people’s heads. At one point, we had water when she got shot, but it wasn’t working, so we killed it. We probably did about 100 different versions. We got really detailed with our rubber duckie modeling because we didn’t want it to look cartoony. That took a long time.” Ambrosius, voiced by Tilda Swinton, gets a lot more screentime in Season 4. When Splintersplits in two was achieved heavily in CG. “Erik threw out the words ‘cellular mitosis’ early on as something he wanted to use,” Fleet states. “We shot Rob Benedict on a greenscreen doing all of the different performances for the clones that pop out. It was a crazy amount of CG work with Houdini and particle and skin effects. We previs’d the sequence so we had specific actions. One clone comes out to the right and the other pulls backwards.” What tends to go unnoticed by many is Splinter’s clones setting up for a press conference being held by Firecracker. “It’s funny how no one brings up the 22-hour motion control shot that we had to do with Splinter on the stage, which was the most complicated shot!” Fleet observes. “We have this sweeping long shot that brings you into the room and follows Splinter as he carries a container to the stage and hands it off to a clone, and then you reveal five more of them interweaving each other and interacting with all of these objects. It’s like a minute-long dance. First off, you have to choreograph it. We previs’d it, but then you need to get people to do it. We hired dancers and put different colored armbands on them. The camera is like another performer, and a metronome is going, which enables you to find a pace. That took about eight hours of rehearsal. Then Rob has to watch each one of their performances and mimic it to the beat. When he is handing off a box of cables, it’s to a double who is going to have to be erased and be him on the other side. They have to be almost perfect in their timing and lineup in order to take it over in visual effects and make it work.” #bouncing #rubber #duckies #flying #sheep
    WWW.VFXVOICE.COM
    BOUNCING FROM RUBBER DUCKIES AND FLYING SHEEP TO CLONES FOR THE BOYS SEASON 4
    By TREVOR HOGG Images courtesy of Prime Video. For those seeking an alternative to the MCU, Prime Video has two offerings of the live-action and animated variety that take the superhero genre into R-rated territory where the hands of the god-like figures get dirty, bloodied and severed. “The Boys is about the intersection of celebrity and politics using superheroes,” states Stephan Fleet, VFX Supervisor on The Boys. “Sometimes I see the news and I don’t even know we can write to catch up to it! But we try. Invincible is an intense look at an alternate DC Universe that has more grit to the superhero side of it all. On one hand, I was jealous watching Season 1 of Invincible because in animation you can do things that you can’t do in real life on a budget.” Season 4 does not tone down the blood, gore and body count. Fleet notes, “The writers almost have this dialogue with us. Sometimes, they’ll write in the script, ‘And Fleet will come up with a cool visual effect for how to kill this person.’ Or, ‘Chhiu, our fight coordinator, will make an awesome fight.’ It is a frequent topic of conversation. We’re constantly trying to be inventive and create new ways to kill people!” When Splinter (Rob Benedict) splits in two, the cloning effect was inspired by cellular mitosis. “The writers almost have this dialogue with us. Sometimes, they’ll write in the script, ‘And Fleet will come up with a cool visual effect for how to kill this person.’ Or, ‘Chhiu, our fight coordinator, will make an awesome fight.’ It is a frequent topic of conversation. We’re constantly trying to be inventive and create new ways to kill people!” —Stephan Fleet, VFX Supervisor A total of 1,600 visual effects shots were created for the eight episodes by ILM, Pixomondo, MPC Toronto, Spin VFX, DNEG, Untold Studios, Luma Pictures and Rocket Science VFX. Previs was a critical part of the process. “We have John Griffith [Previs Director], who owns a small company called CNCPT out of Texas, and he does wonderful Unreal Engine level previs,” Fleet remarks. “On set, we have a cartoon of what is going to be done, and you’ll be amazed, specifically for action and heavy visual effects stuff, how close those shots are to the previs when we finish.” Founding Director of Federal Bureau of Superhuman Affairs, Victoria Neuman, literally gets ripped in half by two tendrils coming out of Compound V-enhanced Billy Butcher, the leader of superhero resistance group The Boys. “The word that we like to use on this show is ‘grounded,’ and I like to say ‘grounded’ with an asterisk in this day and age because we’re grounded until we get to killing people in the craziest ways. In this case, having someone floating in the air and being ripped in half by two tendrils was all CG.” Multiple plates were shot to enable Simon Pegg to phase through the actor laying in a hospital bed. Testing can get rather elaborate. “For that end scene with Butcher’s tendrils, the room was two stories, and we were able to put the camera up high along with a bunch of blood cannons,” Fleet recalls. “When the body rips in half and explodes, there is a practical component. We rained down a bunch of real blood and guts right in front of Huey. It’s a known joke that we like to douse Jack Quaid with blood as much as possible! In this case, the special effects team led by Hudson Kenny needed to test it the day before, and I said, “I’ll be the guinea pig for the test.’ They covered the whole place with plastic like it was a Dexter kill room because you don’t want to destroy the set. I’m standing there in a white hazmat suit with goggles on, covered from head to toe in plastic and waiting as they’re tweaking all of these things. It sounds like World War II going on. They’re on walkie talkies to each other, and then all of a sudden, it’s ‘Five, four, three, two, one…’  And I get exploded with blood. I wanted to see what it was like, and it’s intense.” “On set, we have a cartoon of what is going to be done, and you’ll be amazed, specifically for action and heavy visual effects stuff, how close those shots are to the previs when we finish.” —Stephan Fleet, VFX Supervisor The Deep has a love affair with an octopus called Ambrosius, voiced by Tilda Swinton. “It’s implied bestiality!” Fleet laughs. “I would call it more of a romance. What was fun from my perspective is that I knew what the look was going to be [from Season 3], so then it’s about putting in the details and the animation. One of the instincts that you always have when you’re making a sea creature that talks to a human [is] you tend to want to give it human gestures and eyebrows. Erik Kripke [Creator, Executive Producer, Showrunner, Director, Writer] said, ‘No. We have to find things that an octopus could do that conveys the same emotion.’ That’s when ideas came in, such as putting a little The Deep toy inside the water tank. When Ambrosius is trying to have an intimate moment or connect with him, she can wrap a tentacle around that. My favorite experience doing Ambrosius was when The Deep is reading poetry to her on a bed. CG creatures touching humans is one of the more complicated things to do and make look real. Ambrosius’ tentacles reach for his arm, and it becomes an intimate moment. More than touching the skin, displacing the bedsheet as Ambrosius moved ended up becoming a lot of CG, and we had to go back and forth a few times to get that looking right; that turned out to be tricky.” A building is replaced by a massive crowd attending a rally being held by Homelander. In a twisted form of sexual foreplay, Sister Sage has The Deep perform a transorbital lobotomy on her. “Thank you, Amazon for selling lobotomy tools as novelty items!” Fleet chuckles. “We filmed it with a lobotomy tool on set. There is a lot of safety involved in doing something like that. Obviously, you don’t want to put any performer in any situation where they come close to putting anything real near their eye. We created this half lobotomy tool and did this complicated split screen with the lobotomy tool on a teeter totter. The Deep was [acting in a certain way] in one shot and Sister Sage reacted in the other shot. To marry the two ended up being a lot of CG work. Then there are these close-ups which are full CG. I always keep a dummy head that is painted gray that I use all of the time for reference. In macrophotography I filmed this lobotomy tool going right into the eye area. I did that because the tool is chrome, so it’s reflective and has ridges. It has an interesting reflective property. I was able to see how and what part of the human eye reflects onto the tool. A lot of that shot became about realistic reflections and lighting on the tool. Then heavy CG for displacing the eye and pushing the lobotomy tool into it. That was one of the more complicated sequences that we had to achieve.” In order to create an intimate moment between Ambrosius and The Deep, a toy version of the superhero was placed inside of the water tank that she could wrap a tentacle around. “The word that we like to use on this show is ‘grounded,’ and I like to say ‘grounded’ with an asterisk in this day and age because we’re grounded until we get to killing people in the craziest ways. In this case, having someone floating in the air and being ripped in half by two tendrils was all CG.” —Stephan Fleet, VFX Supervisor Sheep and chickens embark on a violent rampage courtesy of Compound V with the latter piercing the chest of a bodyguard belonging to Victoria Neuman. “Weirdly, that was one of our more traditional shots,’ Fleet states. “What is fun about that one is I asked for real chickens as reference. The chicken flying through his chest is real. It’s our chicken wrangler in green suit gently tossing a chicken. We blended two real plates together with some CG in the middle.” A connection was made with a sci-fi classic. “The sheep kill this bull, and we shot it is in this narrow corridor of fencing. When they run, I always equated it as the Trench Run in Star Wars and looked at the sheep as TIE fighters or X-wings coming at them.” The scene was one of the scarier moments for the visual effects team. Fleet explains, “When I read the script, I thought this could be the moment where we jump the shark. For the shots where the sheep are still and scream to the camera, Untold Studios did a bunch of R&D and came up with baboon teeth. I tried to keep anything real as much as possible, but, obviously, when sheep are flying, they have to be CG. I call it the Battlestar Galactica theory, where I like to shake the camera, overshoot shots and make it sloppy when they’re in the air so you can add motion blur. Comedy also helps sell visual effects.” The sheep injected with Compound V develop the ability to fly and were shot in an imperfect manner to help ground the scenes. Once injected with Compound V, Hugh Campbell Sr. (Simon Pegg) develops the ability to phase through objects, including human beings. “We called it the Bro-nut because his name in the script is Wall Street Bro,” Fleet notes. “That was a complicated motion control shot, repeating the move over and over again. We had to shoot multiple plates of Simon Pegg and the guy in the bed. Special effects and prosthetics created a dummy guy with a hole in his chest with practical blood dripping down. It was meshing it together and getting the timing right in post. On top of that, there was the CG blood immediately around Simon Pegg.” The phasing effect had to avoid appearing as a dissolve. “I had this idea of doing high-frequency vibration on the X axis loosely based on how The Flash vibrates through walls. You want everything to have a loose motivation that then helps trigger the visuals. We tried not to overcomplicate that because, ultimately, you want something like that to be quick. If you spend too much time on phasing, it can look cheesy. In our case, it was a lot of false walls. Simon Pegg is running into a greenscreen hole which we plug in with a wall or coming out of one. I went off the actor’s action, and we added a light opacity mix with some X-axis shake.” Providing a different twist to the fights was the replacement of spurting blood with photoreal rubber duckies during a drug-induced hallucination. Homelander (Anthony Starr) breaks a mirror which emphasizes his multiple personality disorder. “The original plan was that special effects was going to pre-break a mirror, and we were going to shoot Anthony Starr moving his head doing all of the performances in the different parts of the mirror,” Fleet reveals. “This was all based on a photo that my ex-brother-in-law sent me. He was walking down a street in Glendale, California, came across a broken mirror that someone had thrown out, and took a photo of himself where he had five heads in the mirror. We get there on the day, and I’m realizing that this is really complicated. Anthony has to do these five different performances, and we have to deal with infinite mirrors. At the last minute, I said, ‘We have to do this on a clean mirror.’ We did it on a clear mirror and gave Anthony different eyelines. The mirror break was all done in post, and we were able to cheat his head slightly and art-direct where the break crosses his chin. Editorial was able to do split screens for the timing of the dialogue.” “For the shots where the sheep are still and scream to the camera, Untold Studios did a bunch of R&D and came up with baboon teeth. I tried to keep anything real as much as possible, but, obviously, when sheep are flying, they have to be CG. I call it the Battlestar Galactica theory, where I like to shake the camera, overshoot shots and make it sloppy when they’re in the air so you can add motion blur. Comedy also helps sell visual effects.” —Stephan Fleet, VFX Supervisor Initially, the plan was to use a practical mirror, but creating a digital version proved to be the more effective solution. A different spin on the bloodbath occurs during a fight when a drugged Frenchie (Tomer Capone) hallucinates as Kimiko Miyashiro (Karen Fukuhara) goes on a killing spree. “We went back and forth with a lot of different concepts for what this hallucination would be,” Fleet remarks. “When we filmed it, we landed on Frenchie having a synesthesia moment where he’s seeing a lot of abstract colors flying in the air. We started getting into that in post and it wasn’t working. We went back to the rubber duckies, which goes back to the story of him in the bathtub. What’s in the bathtub? Rubber duckies, bubbles and water. There was a lot of physics and logic required to figure out how these rubber duckies could float out of someone’s neck. We decided on bubbles when Kimiko hits people’s heads. At one point, we had water when she got shot, but it wasn’t working, so we killed it. We probably did about 100 different versions. We got really detailed with our rubber duckie modeling because we didn’t want it to look cartoony. That took a long time.” Ambrosius, voiced by Tilda Swinton, gets a lot more screentime in Season 4. When Splinter (Rob Benedict) splits in two was achieved heavily in CG. “Erik threw out the words ‘cellular mitosis’ early on as something he wanted to use,” Fleet states. “We shot Rob Benedict on a greenscreen doing all of the different performances for the clones that pop out. It was a crazy amount of CG work with Houdini and particle and skin effects. We previs’d the sequence so we had specific actions. One clone comes out to the right and the other pulls backwards.” What tends to go unnoticed by many is Splinter’s clones setting up for a press conference being held by Firecracker (Valorie Curry). “It’s funny how no one brings up the 22-hour motion control shot that we had to do with Splinter on the stage, which was the most complicated shot!” Fleet observes. “We have this sweeping long shot that brings you into the room and follows Splinter as he carries a container to the stage and hands it off to a clone, and then you reveal five more of them interweaving each other and interacting with all of these objects. It’s like a minute-long dance. First off, you have to choreograph it. We previs’d it, but then you need to get people to do it. We hired dancers and put different colored armbands on them. The camera is like another performer, and a metronome is going, which enables you to find a pace. That took about eight hours of rehearsal. Then Rob has to watch each one of their performances and mimic it to the beat. When he is handing off a box of cables, it’s to a double who is going to have to be erased and be him on the other side. They have to be almost perfect in their timing and lineup in order to take it over in visual effects and make it work.”
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  • It’s infuriating to see the glorification of the “golden age of theater posters” in the 19th century without recognizing the real issues at play. Yes, Chéret, Toulouse-Lautrec, and Mucha created beautiful art, but let’s not forget that this “age d’or” was built on the backs of marginalized performers and a society that thrived on inequality and exploitation. Why are we romanticizing a period that was anything but golden for many? Instead of idolizing the aesthetics, we should be questioning the systemic issues that allowed such art to flourish in a society rife with social injustices. We need to stop ignoring the harsh realities behind the glamour!

    #TheaterHistory #SocialJustice #ArtAndI
    It’s infuriating to see the glorification of the “golden age of theater posters” in the 19th century without recognizing the real issues at play. Yes, Chéret, Toulouse-Lautrec, and Mucha created beautiful art, but let’s not forget that this “age d’or” was built on the backs of marginalized performers and a society that thrived on inequality and exploitation. Why are we romanticizing a period that was anything but golden for many? Instead of idolizing the aesthetics, we should be questioning the systemic issues that allowed such art to flourish in a society rife with social injustices. We need to stop ignoring the harsh realities behind the glamour! #TheaterHistory #SocialJustice #ArtAndI
    ACTE I – L’âge d’or de l’affiche de théâtre au XIXe siècle
    Au XIXe siècle, "âge d'or de l'affiche", Chéret, de Toulouse-Lautrec et Mucha illustrent les planches des théâtres du paysage Parisien. L’article ACTE I – L’âge d’or de l’affiche de théâtre au XIXe siècle est apparu en premier sur Graphéine - A
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  • Exciting times for gamers and consumers alike! Sony is facing some heat in the Netherlands over the pricing of digital games! This is a fantastic opportunity for us all to reflect on the value we place on our gaming experiences. It's great to see consumer associations advocating for fair prices!

    Remember, every challenge we face is a chance for growth and improvement! Let's stay positive and support movements that aim to make gaming more accessible to everyone! Together, we can create a fairer gaming world!

    #GamingCommunity #ConsumerRights #FairPricing #Sony #DigitalGames
    🎮✨ Exciting times for gamers and consumers alike! 💪 Sony is facing some heat in the Netherlands over the pricing of digital games! 🌟 This is a fantastic opportunity for us all to reflect on the value we place on our gaming experiences. It's great to see consumer associations advocating for fair prices! 🏆 Remember, every challenge we face is a chance for growth and improvement! Let's stay positive and support movements that aim to make gaming more accessible to everyone! Together, we can create a fairer gaming world! 🌍💖 #GamingCommunity #ConsumerRights #FairPricing #Sony #DigitalGames
    WWW.ACTUGAMING.NET
    Sony est attaqué par une association de consommateurs aux Pays-Bas à propos des tarifs trop hauts sur les jeux numériques
    ActuGaming.net Sony est attaqué par une association de consommateurs aux Pays-Bas à propos des tarifs trop hauts sur les jeux numériques À l’heure où l’on voit bien que les constructeurs poussent de plus en plus vers […] L'article
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  • So, it’s officially too hot to play video games, huh? Who knew that sweating profusely while trying to save the world from zombies would become a summer pastime? I mean, if I wanted to feel like I just ran a marathon, I’d skip the VR headset and just step outside.

    But hey, why bother with the joys of virtual reality when you can have the delightful experience of peeling your sweaty face off a plastic mask? Truly, nothing says “gaming” like turning your living room into a sauna while battling heatstroke instead of the undead.

    Guess we’ll just have to wait for the weather to cool down before we can properly die in the game without dying in real life!

    #TooHotToPlay #Virtual
    So, it’s officially too hot to play video games, huh? Who knew that sweating profusely while trying to save the world from zombies would become a summer pastime? I mean, if I wanted to feel like I just ran a marathon, I’d skip the VR headset and just step outside. But hey, why bother with the joys of virtual reality when you can have the delightful experience of peeling your sweaty face off a plastic mask? Truly, nothing says “gaming” like turning your living room into a sauna while battling heatstroke instead of the undead. Guess we’ll just have to wait for the weather to cool down before we can properly die in the game without dying in real life! #TooHotToPlay #Virtual
    KOTAKU.COM
    It’s Too Hot To Play Video Games
    Not long ago, I bought a VR headset in anticipation of the then-upcoming Resident Evil 4 port. (I have a problem, I know.) Since then, I’ve played a good amount of VR. Or rather, I was doing that until it got so damn hot out that now I’d rather do an
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  • In a world where technology advances at lightning speed, I find myself feeling more alone than ever. The recent innovation of xMEMS, designed to cool down overheating smart glasses, is a reminder of how disconnected we’ve become. While devices evolve, my heart feels heavy with the weight of solitude. These advancements do nothing to bridge the gap between us, leaving me lost in the shadows of my own thoughts. I watch as others embrace these innovations, yet I remain untouched, yearning for warmth in a cold, digital age.



    #Loneliness #Heartbreak #Technology #Isolation #EmotionalPain
    In a world where technology advances at lightning speed, I find myself feeling more alone than ever. The recent innovation of xMEMS, designed to cool down overheating smart glasses, is a reminder of how disconnected we’ve become. While devices evolve, my heart feels heavy with the weight of solitude. These advancements do nothing to bridge the gap between us, leaving me lost in the shadows of my own thoughts. I watch as others embrace these innovations, yet I remain untouched, yearning for warmth in a cold, digital age. 💔😢 #Loneliness #Heartbreak #Technology #Isolation #EmotionalPain
    Wow ! Cette technologie évacue la chaleur des lunettes intelligentes en surchauffe !
    xMEMS annonce une solution de refroidissement pour les lunettes connectées XR. La startup va lancer […] Cet article Wow ! Cette technologie évacue la chaleur des lunettes intelligentes en surchauffe ! a été publié sur REALITE-VIRTUELLE.COM.
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  • Dans un monde où les affiches de théâtre des années 1950/60 brillent de couleurs éclatantes et de typographies audacieuses, je me sens perdu au milieu de cette beauté. Chaque image évoque une époque glorieuse, mais moi, je suis enfermé dans l'ombre de ma solitude. La magie de la scène me semble si lointaine, comme un écho de rires et de rêves envolés. Les mots résonnent, mais ils ne me touchent plus. Je suis ici, dans le silence, regardant ces œuvres d’art qui illuminent les murs, alors que mon cœur reste dans l'obscurité. Le TNP a su capturer l'âme, mais moi
    Dans un monde où les affiches de théâtre des années 1950/60 brillent de couleurs éclatantes et de typographies audacieuses, je me sens perdu au milieu de cette beauté. Chaque image évoque une époque glorieuse, mais moi, je suis enfermé dans l'ombre de ma solitude. La magie de la scène me semble si lointaine, comme un écho de rires et de rêves envolés. Les mots résonnent, mais ils ne me touchent plus. Je suis ici, dans le silence, regardant ces œuvres d’art qui illuminent les murs, alors que mon cœur reste dans l'obscurité. Le TNP a su capturer l'âme, mais moi
    ACTE II – Les Trente Glorieuses des affiches de théâtre 1950/60
    Les affiches de théâtre, après guerre, se démarquent avec des photographies et certaines typographies impactantes. Focus sur la com du TNP. L’article ACTE II – Les Trente Glorieuses des affiches de théâtre 1950/60 est apparu en premier sur Grap
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