Phaedrus' Street Crew
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Posts posted by BigJKO

  1. I recently got Cinema4D R19 at work, which included some very nice updates to the Voronoi Fracture tool. So I've been playing around with that, rendering some tests using Octane Render (a fantastic unbiased render)


    Here's my latest test:




    Here it is in (30fps) video form.

  2. 5 hours ago, TychoCelchuuu said:

    For me, the scene with the Greasers in the cafe was hilarious, the motorcyle chase was great (it's no accident that it's the action scene with the least special effects, I think), Marion is perfect in basically every scene she's in, the opening setpiece  is pretty great before it devolves into the actual chase (which itself is fine), and the atomic bomb scene is a fucking classic up there with my favorite scenes from the other movies, like the gun-sword fight, the flying wing fight, the boulder chase, the Ark melting faces, and the motorcycle chase from The Last Crusade.


    Agree with everything here. :tup: :tup:

  3. I've started watching the latest Netflix version, Ten Years Later and am really enjoying it.


    I don't have a lot of thoughts yet, but I felt I'd make a thread now in case anyone else is watching as well and has any thoughts.


    So here's your official Wet Hot American Summer thread for all your Wet Hot American Summer chat about the movie and the two Netflix seasons. :tup:

  4. Don't get me wrong, I thought it was mostly shallow and devoid of character development. I just loved it nonetheless because of its endless amounts of charm. How affecting you'll find that charm will differ, I guess! :)


    I don't think just the technical aspect of the music-matching and choreography would've worked as well for me without the charming cast, humour, directing. Which is why I wouldn't slot this anywhere near a Zack Snyder movie, which I typically find completely devoid of any charm..


    The movie did seem like it was trying for some subtext about identity during the last act, with all the behind-the-nickname reveals, but it never actually seemed to go anywhere. With the the whole movie directed and shot to very rigid music lengths, I imagine the structure of the story was very rigid after they started shooting. So there's no room for the kind of character building Simon and Nick are so good at when they just improvise whole scenes.

  5. I just bought it! It's pretty neat! :tup:


    I'm "bigjko" on there if anyone wants to play.


    Also, none of my missions have lasted an hour so far. They've been like 10-20 min games, maybe? They're over pretty quickly, I feel. You could, theoretically just not activate the objective and go resource-hunting for hours, I guess?

  6. Here's the opening car chase for anyone who isn't going to go see it in theaters again, but wants to relive that great opening.



    There's lots of great audio/visual matching going on there. First time around I didn't notice that John Bernthals shooting in the bank is timed to the music. Or that the wall blocks whizzing past the camera are in sync with the snare drum at 3:05 and 5:11. The editing here is *fantastic*, but also some great timed stuff, like when they switch the cars at the end. That's one continuous shot where they have 10 seconds to switch places and get into the new car and close the doors before the song ends. :tup:


    I've watchd this opening sequence 10 times now. It's just so much fun!

  7. 13 hours ago, Chris said:


    The last several seconds of Season 2's opening titles, however, rank among the best recurring moments ever committed to television:




    I laughed so hard at that final pause every single episode to the point where my wife got mad at me.. It's A++!!

  8. There was an absolutely crazy amount of that stuff throughout the film. The amount of preparation that must've gone into timing all of these things. I listened to this podcast interviewing Edgar and he says whenever they could they had the music playing on set while acting out the scenes. And when they couldn't they had a choreographer calling out the beats so everyone could time their acting to the music. Simple scenes like them just getting out of a car and getting into a new getaway car are so meticulously timed to the music it's absolutely bonkers. I'm pretty sure Darling never pops her gum without it being timed to the music. I vaguely remember a background character, a cop or a bystander, having dialogue that was identical, and timed, to the lyrics.


    I'm very excited to see it again to be even more on the lookout for this stuff.


    There's a bit during the foot-chase sequence where he runs into a clothing store and the in-store hip hop music beat-matches perfectly to the already playing Hocus Pocus by Focus. There were so many little moments like that. All the clips he watches on the TV get called back later in dialogue (Baby using that Monsters Inc. line *twice* was a great gag!) The entire soundtrack is lying there on the floor when he comes home to find his place trashed. Kevin Spacey's little speech about how his handlers always leave a "Bananas" message, and the corrupt cops appearing at the end shouting "Bananas!"


    I thought the comedy in this film worked especially well because the film was otherwise so straight-faced. I guess I just left the film thinking about the dazzling stunts and meticulous setpieces more than anything else. Every scene, even the simplest dialogue scenes, almost felt like action setpieces! I haven't been able to *stop* thinking about this movie for days now..


    Also, I'm really happy that it seems it did well already. Made on a $34 mil budget and its US box office numbers are already at $39 mil I think (unless that's an estimate?). :tup: Would've been sad if this was the end of big budget Edgar Wright movies.

  10. Baby Driver was fantastic. Absolute blast to watch and I left the theater with a real sense of joy. Have been listening to the soundtrack on repeat since seeing it last night.


    It's a beautiful film, with both action and regular scenes choreographed perfectly to the soundtrack. The film isn't just edited to the music, the scenes are acted in sync with the music in long takes and it's mesmerizing to watch. It's like the jukebox scene from Shaun of the Dead extended to an entire film. The story is super simple, basic car chase/heist film pastiche and knowingly so. It's almost singularly focused on dazzling you and it's well worth it, IMO.




  11. Here's the demo reel from the VFX house in charge of the visual effects in The Return. Suffice to say, they're a bigshot CGI house. They did the effects for the new Cosmos and are currently doing VFX for the new Blade Runner movie.



    It's really exciting to see an established VFX house like this, who are able to create basically anything, directed to create some weird, totally Lynchian effects. They're sparingly used (except in this latest episode) and the CGI stuff they do doesn't always look like standard seamless CGI effects (like that weird effect when Cooper was sucked into the electrical outlet) but it is executed flawlessly from a technical standpoint. :tup:


    If we're lucky, BUF will eventually release a VFX breakdown video for Twin Peaks The Return. We can only hope!


    EDIT: Haha, wow there was even some Batman & Robin footage in that demo reel. Possibly the same people working on Mr. Freeze's effects have now made a flawless slow-motion atom bomb for Twin Peaks. :tup:


  12. Holy shit, that slow-motion atom bomb..


    Like.. this episode was absolutely *packed* with grade A CGI. The slow-motion nuclear blast looked amazing. The insides of the blast effect looked amazing. Even the ocean and long track into the Giant's domain looked fantastic.


    All that really complex CGI coupled with the classic overlaying footage and weird timelapse motion stuff.. I feel like this episode made it absolutely clear that Lynch's visual choices in regards to CGI and compositing are totally considered and deliberate. When he wants things to look real, they look real.


    Sometimes he just wants weird hobos overlaid on top of footage like ghosts... and sometimes Lynch wants realistic, gross liquid simulations coming out of a monster's mouth. :tup: