Oh You Like This Version Better?
As eagerly anticipated by all bastards, the 65% more cheerful Let It Be will probably be released this spring.
With raw material comprising 55 hours of video and 140 hours of audio, there are enough untapped resources to fuel any director’s vision. Seriously: if Peter Jackson gets too WETI-Fx’y or slo-mo happy hobbit, we need to see a Wes Anderson or Christopher Nolan or David Lynch Let It Be.
Mellotron Variations
Check out my friend and fellow Memphibian Robby Grant (second from right) rocking out on NPR’s Tiny Desk Concerts with motherfucking Pat Sansone.
Dude!
Brand Synergy
Come on down to David Byrne's Giant Suit Emporium – We're burning down the house with savings! @ColbertLateShow @StephenAtHome pic.twitter.com/LxxlThSt4D
— David Byrne (@DBtodomundo) March 21, 2018
I’ll Just Confess…
I’ve never watched The Last Waltz.
I agree to report to my musical probation officer as required.
Friday Parade of Zombies
These three great songs have been stuck in my head the past couple of days. That’s a good thing, because usually my brain torments me with annoying songs, some of which I haven’t heard in decades. Someone needs to study just what makes a song catchy in a good or annoying way.
This Blew My Mind
Truly, we are living in the future.
Over 50 percent of The Mandalorian Season 1 was filmed using this ground-breaking new methodology, eliminating the need for location shoots entirely. Instead, actors in The Mandalorian performed in an immersive and massive 20’ high by 270-degree semicircular LED video wall and ceiling with a 75’-diameter performance space, where the practical set pieces were combined with digital extensions on the screens. Digital 3D environments created by ILM played back interactively on the LED walls, edited in real-time during the shoot, which allowed for pixel-accurate tracking and perspective-correct 3D imagery rendered at high resolution via systems powered by NVIDIA GPUs. The environments were lit and rendered from the perspective of the camera to provide parallax in real-time, as if the camera were really capturing the physical environment with accurate interactive light on the actors and practical sets, giving showrunner Jon Favreau, executive producer and director Dave Filoni, visual effects supervisor Richard Bluff, and cinematographers Greig Fraser and Barry Baz Idoine, and the episodic directors the ability to make concrete creative choices for visual effects-driven work during photography and achieve real-time in-camera composites on set.
The technology and workflow required to make in-camera compositing and effects practical for on-set use combined the ingenuity of partners such as Golem Creations, Fuse, Lux Machina, Profile Studios, and ARRI together with ILM’s StageCraft virtual production filmmaking platform and ultimately the real-time interactivity of the Unreal Engine platform.
This Is How You Shoot A Video
Surrounded by a roomful of adorable dancing young women. And you just know they all smell amazing.
Not a bad song, either. This one’s pretty old, though. I should probably see what these guys are up to now.
Top Spinster Complaints
From your favorite Victorian era magazine – Tit-Bits – the ladies provide insight regarding their unmarried status:
”Because I do not care to enlarge my menagerie of pets, and I find the animal man less docile than a dog, less affectionate than a cat, and less amusing than a monkey.”
”Because men, like three-cornered tarts, are deceitful. They are very pleasing to the eye, but on closer acquaintanceship prove hollow, and stale, consisting chiefly of puff, with a minimum of sweetness and an unconquerable propensity to disagree with one.”
Ouch.
More here.
Moe Howard On The Mike Douglas Show
From back in 1973. This is too cool.