it's tragic that i'm so amped about oscar season (just for something to be amped about!) but it's going to lead to me having to watch oppenheimer win best picture despite being like the most boring and whatever-y movie i have ever sat through in my one wild and precious life 👎

Still alive btw, am resolved to survive the concert. We'll only be standing through the Requiem and that's only about half an hour long. Nice thing about having a concert dress with pockets: I can stash emergency gummi bears in there.

Francis Planté (2 March 1839 – 19 December 1934) was a French pianist famed as one of the first ever recording artists.

While recordings of pupils of renowned composers like Liszt and Brahms, as well as Rachmaninoff himself, offer glimpses into the musical ethos, the absence of recordings by Chopin and his direct pupils is notable. However, we encounter a captivating exception in the recordings of Francis Planté, a French pianist born in 1839, who not only predates Chopin but also recalls hearing the legendary composer play. Planté’s connection to Chopin, through both direct exposure and association with the composer’s pupils, provides a distinctive window into the musical world of the past.

Francis Planté’s recordings, made in 1928 when he was approaching his 90th birthday, present a rare opportunity to witness a pianist from the 19th century using advanced sound reproduction technology of the early 20th century. Born before the advent of recording technology, Planté’s performances offer a direct link to the era of Chopin, Schumann, and Mendelssohn. The decision to record in Planté’s home, as opposed to a studio, adds an intimate dimension to the recordings. This unconventional choice, suggested by a friend after Planté’s two concerts in 1928, resulted in the preservation of 18 works on nine two-sided discs, totaling approximately 45 minutes.

Despite Planté’s age at the time of recording, the performances showcase a remarkable level of dexterity and musicality. While not in his prime, Planté’s recordings highlight his enduring skill, evidenced by his ability to play Chopin’s Barcarolle exceptionally well even in his advanced years. The recordings reveal moments of agility and precision, with occasional imperfections that were inherent in the technology of the time. Planté’s playing, characterized by a full-bodied sonority, vibrant colors, and rhythmic vitality, reflects an extraordinary musical intelligence. Noteworthy is his emphasis on left-hand harmonic support, an essential element in 19th-century pianism often overlooked in modern interpretations.

In the echoes of Francis Planté’s recordings, we encounter a sonic time capsule that bridges the gap between the 19th and 20th centuries. These recordings, capturing the essence of a pianist born in 1839, offer a poignant glimpse into the artistry of Chopin’s era. Planté’s music, preserved with authenticity in the advanced technology of 1928, stands as a testament to the enduring power of music. The imperfections, a consequence of the recording technology’s limitations, become integral to the narrative, reinforcing the historical authenticity of these artifacts. Planté’s legacy extends beyond mere documentation, inviting contemporary listeners to engage with a living tradition and reaffirming his invaluable contribution to the evolving tapestry of classical music. In the resounding notes of Planté’s piano, we discover not only a historical record but a resonant echo—a reminder that the language of music transcends time, speaking to us across the ages.

One pianist who is particularly fascinating to hear is one who was not only born before Chopin died but was also old enough to actually remember hearing the legendary composer play! Furthermore, this artist also performed with chamber musicians who had played with Chopin himself. This was the French pianist Francis Planté, who was born in 1839 and died in 1934 at the age of 95.

Planté studied with the legendary teacher Antoine François Marmontel and also knew some Chopin pupils, in addition to having heard the composer himself. It must be noted that this does not mean that he necessarily played like Chopin, but it is fascinating to consider what he might have gleaned from his close proximity to the composer and his circle. He also knew Liszt, and he performed with Saint-Saëns; in fact, Arthur Rubinstein provided some fascinating recollections about hearing these two French musicians perform in a way that would certainly be considered unconventional in our time. Here, Rubinstein first discusses Saint-Saëns’s style of playing before discussing how the composer performed together with Planté.

It is remarkable that a pianist of Planté’s generation should have made recordings — and in very good sound. These discs were produced in 1928 when the technology in sound reproduction was vastly superior to even a few years earlier. That said, Planté was naturally not at his prime, as he was approaching his 90th birthday. Nevertheless, the recordings demonstrate that he kept his dexterity at an impressive level, although it was obviously not what one would expect from a younger artist. The renowned pianists Gaby and Robert Casadesus spent an afternoon with Planté at his home around the time that these recordings were made and reported that he played the Chopin Barcarolle remarkably well even at that age.

How these recordings came to be made is fascinating, too. Planté had given two concerts in a single day in May 1928 — he was 89 at the time! — when one of his friends suggested to the Columbia recording company that Planté’s playing be preserved on disc. As the aged French pianist was not interested in going to the studio, the company arranged for the equipment to be sent to his country home, and on July 3 and 4, 1928, a set of nine two-sided discs comprising 18 works was recorded and issued — a total of about 45 minutes. Some film of the artist was also made, albeit silent: you can see Planté playing some Chopin.

Because recording technology at the time did not allow for editing to correct any mistakes, what you hear in Planté’s recordings (and all 78-rpm disc performances) are complete, undoctored performances (unlike heavily edited modern recordings). There are a few moments at which he is definitely less agile and precise, such as in a couple of the Chopin Etudes — in fact, after Planté struggles a bit with the ending of one of these works, we can hear him swear in frustration! — but with the exception of these few passages, his playing is absolutely extraordinary. Even at his advanced age, he produced a gorgeous full-bodied sonority (he was playing on his own Érard piano), beautiful colors, and wonderful pedal effects, playing with astounding rhythmic vitality and buoyancy.

In Planté’s playing, we always hear great intelligence and aliveness in the music, some of which were written during or close to his lifetime (Chopin, Schumann, and Mendelssohn were all alive in his first years). His timing is quite natural, his rubato not as pronounced as that of many of his contemporaries, and his vivaciousness is quite infectious in some of the more upbeat compositions (such as the opening Berlioz work and the Schumann near the end of this selection). Also noteworthy is his clear but unobtrusive highlighting of left-hand harmonic support, an important element in 19th century pianism that is sorely overlooked by many performers today.

In the echoes of Francis Planté’s recordings, we discover a sonic time capsule that bridges the expanse between the 19th and 20th centuries. Born in 1839, Planté’s music reverberates with a living connection to the era of Chopin, Schumann, and Mendelssohn. As we step into the world of his performances, meticulously preserved in the advanced technology of 1928, we are granted a poignant glimpse into the artistry that flourished a century ago.

These recordings, produced when Planté was approaching his 90th year, offer a testament to the enduring power of music. The decision to record in his home, away from the constraints of a studio, adds an intimate dimension to the experience. The imperfections, a consequence of the technology’s limitations, become part of the narrative, reminding us of the authenticity of these historical artifacts.

Planté’s musicality transcends the passage of time. While moments of diminished agility surface, his performances exude a profound understanding of the compositions. The recordings capture his nuanced approach, revealing a pianist with a natural sense of timing and rhythmic vitality. Notably, his emphasis on left-hand harmonic support unveils a facet often overlooked in modern interpretations.

Revisiting Planté’s legacy is not a mere archaeological endeavor but an encounter with a living tradition. His ability to evoke a rich sonority and infectious musical spirit, even in his advanced age, attests to a pianist deeply embedded in the soul of his craft. These recordings, a gift to contemporary listeners, serve as a reminder of Planté’s invaluable contribution to the ever-evolving tapestry of classical music.

In the resounding notes of Planté’s piano, we find more than historical documentation; we discover a resonant echo from the past—a reminder that the language of music, spoken by hands long stilled, continues to speak to us across the ages.

Today we wrapped up 10 hours of recording sessions at CBC Glenn Gould Studio. Yesterday we recorded 'Arabesque' by Christos Hatzis and 'Capriccio Ballo' by Alice Ping Yee Ho. At today's session we recorded 'Skartaris' by Larysa Kuzmenko. All three works are written for solo violin, piano and string orchestra. It will make a unique Sinfonia Toronto CD with pianist Christina Petrowska Quilico, violinist Marc Djokic and maestro Nurhan Arman. #SinfoniaToronto #TorontosChamberOrchestra #violin #violinist #pianist #Piano #orchestra #duo #concert #cd #recording #audio #maestro #composer #CanadianMusic #canadiancomposers #canadianpianist #canadianviolinist #komponist #orchestradacamera #chamberorchestra #doubleconcerto #Symphony (at CBC/Radio-Canada) https://www.instagram.com/p/CkKA5KUA0xJ/?igshid=NGJjMDIxMWI=

Joyce Moreno with Mauricio Maestro - Natureza (produced, arranged & conducted by Claus Ogerman) - full album from 1977 sessions is finally released, today!

Not long after the dawn of her career, as a teenager in Rio de Janeiro, Joyce was declared “one of the greatest singers” by Antonio Carlos Jobim. Yet despite reputable accolades and the fact that she has since recorded over thirty acclaimed albums, Joyce never quite achieved the international recognition of the likes of Jobim, João Gilberto and Sergio Mendes, all of whom became global stars after releasing with major labels in the US. There was a moment when it seemed Joyce might be on the cusp of an international breakthrough. While living in New York, Joyce was approached by the great German producer Claus Ogerman. Ogerman had already played a pivotal role in the development and popularisation of Brazilian music in the 1960s, recording with some of the all-time greats like Jobim and João Gilberto, as well as North American idols like Frank Sinatra, Billie Holiday and Bill Evans. "I met him in New York City, in 1977”, recalls Joyce. “I was living and playing there, and João Palma, Brazilian drummer who used to play with Jobim, introduced me to Claus. We had an audition, he liked what we were doing and decided to produce an album with us.” Featuring fellow Brazilian musicians Mauricio Maestro (who wrote/co-wrote four of the songs), Nana Vasconcelos and Tutty Moreno, and some of the most in-demand stateside players including Michael Brecker, Joe Farrell and Buster Williams, the recordings for Natureza took place at Columbia Studios and Ogerman produced the album, provided the arrangements and conducted the orchestra. But mysteriously, Natureza was never released, and what should have been Joyce’s big moment never happened. As Joyce remembers, “I returned home, but Claus and I remained in contact, by letters and phone calls. He was very enthusiastic about the album and tried to hook me up with Michael Franks. He wanted me to go back to NYC in order to re-record the vocals in English with new lyrics, which I actually wasn’t too happy about. But then I got pregnant with my third child and could not leave Brazil. And little by little our contact became rare, until I lost track of him completely. And that was it. I never heard from him again." While Claus was known to be something of an elusive character, the album’s disappearance might also have been a result of timing. The Brazilian craze was coming to an end, making way for disco and new wave at the end of the seventies, and Ogerman struggled to find a major label interested in a new Brazilian sensation. Additionally, as Joyce mentions, it wasn’t quite finished. Ogerman wanted to add finishing touches to the mix and to record alternative English lyrics for the US and international markets - a critical artistic difference between Joyce and Ogerman. As the military dictatorship’s grip on Brazil began to subside in the 1980s, Joyce had a handful of hits in her home county, including a tribute to her daughters ‘Clareana’, and the iconic ‘Feminina’ - an intergenerational conversation between mother and daughter about what it means to be a woman. But already a feminist pioneer, these successes were hard fought. Joyce had caused controversy as a nineteen-year-old when she became the first in Brazil to sing from the first-person feminine perspective, and the institutional sexism she faced was worsened by the dictatorship who would often censor her music. Even once the Junta was out of the way, Joyce found herself up against the male-dominated major record companies in Brazil, who sought to dictate her career and sexualise her image, before dropping her for refusing to play along. A few years after the success of her albums Feminina and Agua E Luz in Brazil, Joyce’s music began to find its way to the UK, Europe and Japan, and “Feminina” and “Aldeia de Ogum” became classics on the underground jazz-dance scenes of the mid to late-eighties and early-nineties. The full-length version of “Feminina” from the Natureza sessions was first heard on a Brazilian Jazz compilation in 1999 and “Descompassadamente” was licensed for a CD compiling the work of Claus Ogerman in 2002. Following these, word began to get out about an unreleased Joyce album with Claus Ogerman and the legend of Natureza grew. Forty-five years since it was recorded, Natureza finally sees the light of day, as Joyce intended: with her own Portuguese lyrics and vocals. Featuring the fabled 11-minute version of ‘Feminina’, as well as the never before heard ‘Coração Sonhador’ composed and performed by Mauricio Maestro, Natureza’s release is a landmark in Brazilian music history and represents a triumphant, if overdue victory for Joyce as an outspoken female artist who has consistently refused to bow to patriarchal pressure. ***Disclaimer! While “Feminina” and “Descompassadamente'' were mixed by legendary engineer Al Schmitt and mastered from the original master tapes, the remaining five tracks are unmixed. Due to significant deterioration of the master-tapes, the best audio source for these tracks was an unmixed tape copy Joyce had kept of the recordings. The best care has been taken in the restoration and mastering of this release, but the sound quality may differ from other releases on Far Out Recordings. We advise listening to sound clips before buying where possible. Joyce Moreno - Lead vocals, lead guitar (all tracks, except for ‘Coração Sonhador’ and ‘Ciclo da Vida’), rhythm guitar & vocals on ‘Ciclo da Vida’ Mauricio Maestro – Rhythm guitar & vocals on all tracks, lead vocals and guitar on ‘Coração Sonhador’ and ‘Ciclo da Vida’ Buster Williams - Double Bass João Palma - Drums (all tracks except for ‘Moreno’, ‘Pega Leve’ and ‘Descompassadamente’) Naná Vasconcelos - Percussion Tutty Moreno - Percussion, drums on ‘Moreno’ and ‘Pega Leve’ Joe Farrell - Flute (except for ‘Pega Leve’) Ion Muniz - Flute on ‘Pega Leve’ Michael Brecker - Tenor saxophone Mike Manieri – Vibraphone Warren Bernhardt - Keyboards Orchestra arranged and conducted by Claus Ogerman Produced by Claus Ogerman Recorded by Frank Laico at Columbia Studios, NYC, 1977

In the Zone: Teezy's Studio Vlog Unveils the Making of Musical Magic

Have you ever wondered what goes on behind the scenes when a rapper steps into the studio to lay down tracks? Well, wonder no more as Teezy, the lyrical maestro from Odessa, Fl, takes us on an exclusive journey through his latest studio vlog. Brace yourself for an inside look at the creation of musical magic!

The Vibe Unleashed: As Teezy steps into the studio, the atmosphere is thick with anticipation. Neon lights dance to the rhythm of the beat, casting a kaleidoscope of colors on the walls. The ambiance is set, and the vibe is nothing short of electric.

Friends and Flames: Surrounded by his crew, Teezy is in his element. Friends bob along to the beats, sharing laughter and camaraderie. It's not just a recording session; it's a gathering of kindred spirits brought together by a shared love for music.

Clouds of Creativity: As the booth door swings open, clouds of creativity, and perhaps a bit of smoke, waft into the studio air. Teezy steps up to the mic, ready to weave words into verses. The room pulses with energy as each line is laid down – a testament to the artistic synergy at play.

Neon Nights and Beats: The neon lights flicker, tracing the rhythm of the beats as Teezy's verses unfold. The studio becomes a canvas, and each lyric paints a picture. It's not just about the music; it's about the stories embedded in every rhyme.

Beyond the Booth: The vlog offers more than just a glimpse into the recording process. Teezy shares snippets of life beyond the booth – the laughter, the camaraderie, and the shared passion for creating something extraordinary.

A Sneak Peek into Teezy's World: For fans and music enthusiasts alike, Teezy's studio vlog is a rare sneak peek into the world of an artist at work. It's a fusion of creativity, friendship, and the unmistakable buzz of a recording session.

Stay Tuned: As Teezy wraps up his session, there's a sense of excitement lingering in the air. The promise of new music hangs like a melody waiting to be heard. Stay tuned as Teezy continues to carve his path through the world of rap, one beat at a time.

Follow Teezy's journey, feel the vibes, and witness the making of musical masterpieces in his latest studio vlog – a testament to the passion and dedication that goes into crafting the tunes we love.

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Sandeep Marwah, A Cultural Maestro, Reinstated in World Book of Records London

London: In an extraordinary feat of cultural diplomacy and advocacy, Dr. Sandeep Marwah, an adorned recipient of over 1100 awards from around the world, has once again etched his illustrious name into the prestigious World Book of Records London. This latest recognition comes for his exceptional role as a Cultural Ambassador and Cultural Representative, as well as Chair of seventy cultural forums representing different nations, a distinction bestowed upon him by the governments of 70 countries within a short span of time.

The distinguished award was conferred by H.E. Manghubhai C. Patel, Governor of Madhya Pradesh, and Diwakar Shukul, Chairperson of WBR London, in a grand ceremony held at the eminent House of Commons, British Parliament. The event witnessed the esteemed presence of notable dignitaries such as Ram das Bandhu Athawale, Union Minister of State, Government of India; Virender Sharma, Member of Parliament, House of Commons; Lord Rami Ranger, Member, House of Lords, British Parliament; Simon N. Ovens DL, Representative Deputy Lieutenant for the London Borough of Harrow; Pam Gosal, Member, Scottish Parliament & Deputy Chairman, Scottish Conservative and Unionist Party; Councillor Sunil Chopra, Mayor of Southwark; Councillor Bhagwanji Chohan, Ex-Mayor of Brent; Guru Ji Rajrajeshwar and Santosh Shukla, CEO, World Book of Records London.

Dr. Sandeep Marwah’s dedication and fervor have led to a beautiful symphony of cultural exchange between India and these 70 nations, fostering closer ties and mutual understanding. He has traversed the globe, passionately spreading awareness and understanding of India’s relationships with these diverse countries.

In a heartfelt acknowledgment, Dr. Sandeep Marwah extends his deep appreciation to the Presidents, Prime Ministers, Governors, Ministers, Ambassadors, and High Commissioners of these 70 nations. Together, they have woven a tapestry of 70 unique forums, each a testament to the power of culture, unity, and diplomacy.

This bouquet of countries includes Afghanistan, Armenia, Azerbaijan, Bosnia, Bahamas, Belarus, Brazil, Bulgaria, Cambodia, Chile, China, Comoros, Cyprus, Czech Republic, Cuba, Egypt, Fiji, Gabon, Gambia, Georgia, Germany, Ghana, Guatemala, Guyana, Hungary, Iceland, Iran, Iraq, Ireland, Kazakhstan, Kyrgyzstan, Israel, Lebanon, Lesotho, Maldives, Malaysia, Mongolia, Montenegro, Morocco, Myanmar, Nepal, Nigeria, Panama, Papua New Guinea, Palau, Paraguay, Peru, Poland, Romania, Russia, Rwanda, Senegal, Serbia, Slovak, Slovenia, South Africa, Sudan, Tunisia, Turkmenistan, Trinidad & Tobago, United Kingdom, Uzbekistan, Uruguay, Venezuela, Vietnam, Wales, South Korea, DPR Korea, and Mauritius. This global mosaic that Dr. Sandeep Marwah has embraced and championed signifies his pivotal role as a true Global Cultural Ambassador.

Oooh! A great Gavin Finney (Good Omens Director of Photography) interview with Helen Parkinson for the British Cinematographer! :)

HEAVEN SENT

Gifted a vast creative landscape from two of fantasy’s foremost authors to play with, Gavin Finney BSC reveals how he crafted the otherworldly visuals for Good Omens 2.  

It started with a letter from beyond the grave. Following fantasy maestro Sir Terry Pratchett’s untimely death in 2015, Neil Gaiman decided he wouldn’t adapt their co-authored 1990 novel, Good Omens, without his collaborator. That was, until he was presented with a posthumous missive from Pratchett asking him to do just that.  

For Gaiman, it was a request that proved impossible to decline: he brought Good Omens season one to the screen in 2019, a careful homage to its source material. His writing, complemented by some inspired casting – David Tennant plays the irrepressible demon Crowley, alongside Michael Sheen as angel-slash-bookseller Aziraphale – and award-nominated visuals from Gavin Finney BSC, proved a potent combination for Prime Video viewers.  

Aziraphale’s bookshop was a set design triumph.

Season two departs from the faithful literary adaptation of its predecessor, instead imagining what comes next for Crowley and Aziraphale. Its storyline is built off a conversation that Pratchett and Gaiman shared during a jetlagged stay in Seattle for the 1989 World Fantasy Convention. Gaiman remembers: “The idea was always that we would tell the story that Terry and I came up with in 1989 in Seattle, but that we would do that in our own time and in our own way. So, once Good Omens (S1) was done, all I knew was that I really, really wanted to tell the rest of the story.” 

Telling that story visually may sound daunting, but cinematographer Finney is no stranger to the wonderfully idiosyncratic world of Pratchett and co. As well as lensing Good Omens’ first outing, he’s also shot three other Pratchett stories – TV mini series  Hogfather  (2006), and TV mini-series The Colour of Magic (2008) and Going Postal (2010). 

He relishes how the authors provide a vast creative landscape for him to riff off. “The great thing about Pratchett and Gaiman is that there’s no limit to what you can do creatively – everything is up for grabs,” he muses. “When we did the first Pratchett films and the first Good Omens, you couldn’t start by saying, ‘Okay, what should this look like?’, because nothing looks like Pratchett’s world. So, you’re starting from scratch, with no references, and that starting point can be anything you want it to be.”  

Season two saw the introduction of inside-outside sets for key locations including Aziraphale’s bookshop. 

From start to finish 

The sole DP on the six-episode season, Finney was pleased to team up again with returning director Douglas Mackinnon for the “immensely complicated” shoot, and the pair began eight weeks of prep in summer 2021. A big change was the production shifting the main soho set from Bovington airfield, near London, up to Edinburgh’s Pyramids Studio. Much of the action in Good Omens takes place on the Soho street that’s home to Aziraphale’s bookshop, which was built as an exterior set on the former airfield for season one. Season two, however, saw the introduction of inside-outside sets for key locations including the bookshop, record store and pub, to minimise reliance on green screen.  

Finney brought over many elements of his season one lensing, especially Mackinnon’s emphasis on keeping the camera moving, which involved lots of prep and testing. “We had a full-time Scorpio 45’ for the whole shoot (run by key grip Tim Critchell and his team), two Steadicam operators (A camera – Ed Clark and B camera Martin Newstead) all the way through, and in any one day we’d often go from Steadicam, to crane, to dolly and back again,” he says. “The camera is moving all the time, but it’s always driven by the story.” 

One key difference for season two, however, was the move to large-format visuals. Finney tested three large-format cameras and the winner was the Alexa LF (assisted by the Mini LF where conditions required), thanks to its look and flexibility.  

The minisodes were shot on Cooke anamorphics, giving Finney the ideal balance of anamorphic-style glares and characteristics without too much veiling flare.

A more complex decision was finding the right lenses for the job. “You hear about all these whizzy new lenses that are re-barrelled ancient Russian glass, but I needed at least two full sets for the main unit, then another set for the second unit, then maybe another set again for the VFX unit,” Finney explains. “If you only have one set of this exotic glass, it’s no good for the show.” 

He tested a vast array of lenses before settling on Zeiss Supremes, supplied by rental house Media Dog. These ticked all the boxes for the project: “They had a really nice look – they’re a modern design but not over sharp, which can look a bit electronic and a bit much, especially with faces. When you’re dealing with a lot of wigs and prosthetics, we didn’t want to go that sharp. The Supremes had a very nice colour palette and nice roll-off. They’re also much smaller than a lot of large-format glass, so that made it easy for Steadicam and remote cranes. They also provided additional metadata, which was very useful for the VFX department (VFX services were provided by Milk VFX).” 

The Supremes were paired with a selection of filters to characterise the show’s varied locations and characters. For example, Tiffen Bronze Glimmerglass were paired with bookshop scenes; Black Pro-Mist was used for Hell; and Black Diffusion FX for Crowley’s present-day storyline.  

Finney worked closely with the show’s DIT, Donald MacSween, and colourist, Gareth Spensley, to develop the look for the minisode.

Maximising minisodes 

Episodes two, three and four of season two each contain a ‘minisode’ – an extended flashback set in Biblical times, 1820s Edinburgh and wartime London respectively. “Douglas wanted the minisodes to have very strong identities and look as different from the present day as possible, so we’d instantly know we were in a minisode and not the present day,” Finney explains.  

One way to shape their distinctive look was through using Cooke anamorphic lenses. As Finney notes: “The Cookes had the right balance of controllable, anamorphic-style flares and characteristics without having so much veiling flare that they would be hard to use on green screens. They just struck the right balance of aesthetics, VFX requirements and availability.” The show adopted the anamorphic aspect ratio (2:39.1), an unusual move for a comedy, but one which offered them more interesting framing opportunities. 

Good Omens 2 was shot on the Alexa LF, paired with Zeiss Supremes for the present-day scenes.

The minisodes were also given various levels of film grain to set them apart from the present-day scenes. Finney first experimented with this with the show’s DIT Donald MacSween using the DaVinci Resolve plugin FilmConvert. Taking that as a starting point, the show’s colourist, Company 3’s Gareth Spensley, then crafted his own film emulation inspired by two-strip Technicolor. “There was a lot of testing in the grade to find the look for these minisodes, with different amounts of grain and different types of either Technicolor three-strip or two-strip,” Finney recalls. “Then we’d add grain and film weave on that, then on top we added film flares. In the Biblical scenes we added more dust and motes in the air.”  

Establishing the show’s lighting was a key part of Finney’s testing process, working closely with gaffer Scott Napier and drawing upon PKE Lighting’s inventory. Good Omens’ new Scottish location posed an initial challenge: as the studio was in an old warehouse rather than being purpose-built for filming, its ceilings weren’t as high as one would normally expect. This meant Finney and Napier had to work out a low-profile way of putting in a lot of fixtures. 

Inside Crowley’s treasured Bentley.

Their first task was to test various textiles, LED wash lights and different weight loadings, to establish what they were working with for the street exteriors. “We worked out that what was needed were 12 SkyPanels per 20’x20’ silk, so each one was a block of 20’x20’, then we scaled that up,” Finney recalls. “I wanted a very seamless sky, so I used full grid cloth which made it very, very smooth. That was important because we’ve got lots of cars constantly driving around the set and the sloped windscreens reflect the ceiling. So we had to have seamless textiles – PKE had to source around 12,000 feet of textiles so that we could put them together, so the reflections in the windscreens of the cars just showed white gridcloth rather than lots of stage lights. We then drove the car around the set to test it from different angles.”  

On the floor, they mostly worked with LEDs, providing huge energy and cost savings for the production. Astera’s Titan Tubes came in handy for a fun flashback scene with John Hamm’s character Gabriel. The DP remembers: “[Gabriel] was travelling down a 30-foot feather tunnel. We built a feather tunnel on the stage and wrapped it in a ring of Astera tubes, which were then programmed by dimmer op Jon Towler to animate, pulse and change different colours. Each part of Gabriel’s journey through his consciousness has a different colour to it.” 

Among the rigs built was a 20-strong Creamsource Vortex setup for the graveyard scene in the “Body Snatchers” minisode, shot in Stirling. “We took all the yokes off each light then put them on a custom-made aluminium rig so we could have them very close. We put them up on a big telehandler on a hill that gave me a soft mood light, which was very adjustable, windproof and rainproof.” 

Shooting on the VP stage for the birth of the universe scenes in episode one.

Sky’s the limit 

A lot of weather effects were done in camera – including lightning effects pulsed in that allowed both direct fork lightning and sheet lightning to spread down the streets. In the grade, colourist Spensley was also able to work his creative magic on the show’s skies. “Gareth is a very artistic colourist – he’s a genius at changing skies,” Finney says. “Often in the UK you get these very boring, flat skies, but he’s got a library of dramatic skies that you can drop in. That would usually be done by VFX, but he’s got the ability to do it in Baselight, so a flat sky suddenly becomes a glorious sunset.” 

Finney emphasises that the grade is a very involved process for a series like Good Omens, especially with its VFX-heavy nature. “This means VFX sequences often need extra work when it comes back into the timeline,” says the DP. “So, we often add camera movement or camera shake to crank the image up a bit. Having a colourist like Gareth is central to a big show like Good Omens, to bring all the different visual elements together and to make it seamless. It’s quite a long grade process but it’s worth its weight in gold.” 

Shooting in the VR cube for the blitz scenes .

Finney took advantage of virtual production (VP) technology for the driving scenes in Crowley’s classic Bentley. The volume was built on their Scottish set: a 4x7m cube with a roof that could go up and down on motorised winches as needed. “We pulled the cars in and out on skates – they went up on little jacks, which you could then rotate and move the car around within the volume,” he explains. “We had two floating screens that we could move around to fill in and use as additional source lighting. Then we had generated plates – either CGI or real location plates –projected 360º around the car. Sometimes we used the volume in-camera but if we needed to do more work downstream; we’d use a green screen frustum.” Universal Pixels collaborated with Finney to supply in-camera VFX expertise, crew and technical equipment for the in-vehicle driving sequences and rear projection for the crucial car shots. 

John Hamm was suspended in the middle of this lighting rig and superimposed into the feather tunnel.

Interestingly, while shooting at a VP stage in Leith, the team also used the volume as a huge, animated light source in its own right – a new technique for Finney. “We had the camera pointing away from [the volume] so the screen provided this massive, IMAX-sized light effect for the actors. We had a simple animation of the expanding universe projected onto the screen so the actors could actually see it, and it gave me the animated light back on the actors.”  

Bringing such esteemed authors’ imaginations to the screen is no small task, but Finney was proud to helped bring Crowley and Aziraphale’s adventures to life once again. He adds: “What’s nice about Good Omens, especially when there’s so much bad news in the world, is that it’s a good news show. It’s a very funny show. It’s also about good and evil, love and doing the right thing, people getting together irrespective of backgrounds. It’s a hopeful message, and I think that that’s what we all need.” 

Finney is no stranger to the idiosyncratic world of Sir Terry Pratchett and Neil Gaiman.

Natureza / Joyce

Feminina

Having a lot of feelings this morning about the oboe solo in "La course à l'abîme" in La Damnation de Faust (side note: the last 20 minutes of La Damnation de Faust are among the absolute greatest bangers ever written).

A while back I read this, from a Met program note:

I really like this but I would like to suggest a slightly different take on the oboe solo! Each of the three principals has a slightly different orchestral "palette" associated with them: tense strings for Faust, growling horns for Mephistopheles, yearning reeds for Marguerite. Uniquely, in Berlioz' version of the story, Faust trades his soul to rescue Marguerite from the gallows--his arrangement with Mephistopheles having been on a fairly informal basis thus far--and as they set off on giant demon horses I think that wistful little tune is meant to represent Faust's image of her by way of her general instrumentation.

Things get progressively more weird as they continue on their course--they scare off some peasant women (that part is a lot of fun, incidentally, major Dracula vibes there) and get chased by a monster and some hideous birds. All things that could happen in the real world, assuming the monster is really something else--and then the music slows to a halt and we hear the death knell ring. Mephistopheles offers Faust one last chance to turn back, but Faust refuses to abandon Marguerite to her fate (although we have the sinking feeling it's too late) and they redouble their efforts. We hear the oboe melody one last time, as if Faust's dwindling consciousness is bidding her a last farewell, and after that the dancing skeletons come in and the blood rain starts and the ground opens up and the screaming begins: Faust and Marguerite, it appears, have essentially and very romantically died in the same moment, but Mephistopheles has come out on top in this twisted little love triangle. Je suis vainqueur, indeed.

Today a part of a catalogue from Victor Records 1918 about La Bohème and Don Carlos. Click on the pics for best view. A nice antique item.

Resenha álbum Live in England

Resenha by Corban Skipwith from Serpenttongue94 Comentários implacáveis ​​com Corbz Luis Maldonalle (ao vivo na Inglaterra)Eu não digo o suficiente, pois ao mesmo tempo não escrevo o suficiente ‘EU AMO revisar álbuns ao vivo’ não é todo dia que você recebe um e sempre me proporciona mais diversão e variedade do que o seu ‘álbum de estúdio’ usual como as apresentações ao vivo, a energia e a…

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And The Sun Is Silent (Yandere!Wriothesley/Reader)

Unreliable Synopsis: You, a former writer, received a fan letter. Truly a curious thing, for the contents appear more personal than what it should be.

A/n: I am not back. I posted this cuz first off, I adore Joe Zieja and all his works and I was so hyped when I saw he voiced Wriothesley and second, mfer gave me C4 qiqi. i love my daughter but cmon wrio, I literally got the same haircut as you do now-

CW: nothing really. Just a lil mind frick ig

“When I saw his hands wrapped around his dearest new spouse, cutting that vile wedding cake together, I wanted nothing more than to take that knife and slit his throat.”

(Y/n) was a serialized author in Fontaine whose works were primarily geared towards detective novels. However, their words were less laced with objectivity and “irrefutable facts” as the heavy pockets do when spinning their tales. Unfortunately, they weren’t meant to fill their coffers with hit-release masterpieces. (Y/n)– pen name “Maestro Justiniano” – was more engrossed in the perpetrators' psychology like the barkeeps and magicians do. They were the main characters– the sung hero of the tale. The glorified violence thrived in each passing page for the only mystery to be solved was “who will they target next?”

If young fans of other authors were seen as aspiring detectives or law enforcers, those who were known as fans of the Maestro were unjustifiably labeled as “future degenerates.” For (Y/n), it was funny. Overhearing grandparents waste their already fleeting energy to scold their grandchild’s love for their sinful work was their source of joy.

But (Y/n) (L/n) was not Maestro Justiano in public.

They were Duke Wriothesley’s spouse. Maestro Justiano is but a shade and (Y/n) is a human. The maestro does not feed on earth nor mora, but (Y/n) is obliged to. He bought his title, and he bought his spouse.

Gone was their free fourth finger. With a golden shackle, they sealed their fate to a wealthy man for table scraps. Perhaps it is fortunate that he is generous with his pockets, but to (Y/n), they would rather starve themselves writing than sit through another seminar about the nation’s ever-changing laws.

The Maestro’s life used to be so full of thrill; the “pelf” they received for each writing commission was a life worth their breaths. 

The Maestro’s life used to be coated in moonlight; sneaking out and running gigs was their bread and butter.

But now the sun is silent, and (Y/n) stands with a tail behind their legs. 

“(Y/n), do you need anything?”

Wriothesley asked even when he could guess the answer. Lazily, (Y/n) shifted from the covers, peering over with half-closed eyes.

“Nothing, Your Grace.” (Y/n) yawned. “Close the door.”

The Duke nods, understanding their fatigue. He silently shuts the door, and nothing of interest is to be noted afterward.

This has been their canned script every Wednesday to Friday without fail for the past 3 years. 

In (Y/n)’s eyes, Wriothesley is a mere animal with whom they mate for survival. Barely any true emotional trysts occurred in their first two years of marriage. They’re a “friend” of fortune. With him always away from home, (Y/n) is left with nothing but their thoughts. 

The nights were warm, but the mornings were cold. 

And the sun is silent.

Their husband has never been quite the same after an incident during their 2nd year of marriage. 

On the night they were attacked in the comfort of their shared home, a gear in his head was stolen.

Wriothesley held them, audibly more alarmed and broken than (Y/n)– the victim– was. He shook, afraid of what you must’ve gone through in his absence. Robbery, that’s what the records say. An armed man entered their home with the intent to steal. Black were his gloves and hair. The perpetrator thought they had been away on a business trip and pulled the trigger by surprise when they emerged from the kitchen. 

That thief had failed to steal material possessions, but their husband had lost his good of intellect. He cannot stand the notion of leaving them alone. What is a collector’s item if it’s not in great condition? Wriothesley has locked the gates and kept (Y/n) in, and he’ll continue to do so to preserve their value.

“I want to meet you somewhere someday, in a place where the sun is no longer silent. I want to crawl and bury myself under your skin where I can read through your mind. The house is too quiet. I want to trace your collarbones. I want to bite into your flesh, and I need you to look into my eyes as I tear myself apart. I am in love with you, (Y/n). It’s unbelievable, but it’s true. I live within these walls. I am what keeps you grounded with a golden ring. But why does the sun hide from me?”

Despite how much closer the couple are now, (Y/n) feels more distant than before. Not that they had the right to say "The duke was not the man I married" when they rarely talked— but it surely felt that way.

And in one Sunday night, the forcibly retired author used their words not to immerse readers, but to intimidate guards to grant entry to their "beloved" husband's office.

"You fucking bitch…"

"Lovely to see you too, honey."

"You made me lose my job!!!"

"Here I thought you refer to it as a side-line."

"Are you fucking for real right now?!" They screamed and slammed a fist down on the table. The pain hasn't hit them yet as their unbridled shock and rage hit overdrive. "Since when did you have the right to just take my–"

"Your hobbies away?" Wriothesley placed down his chamomile tea and shrugged. "Honey, I'm not doing anything like that. No, I'm only protecting you."

"Oh, great!" They waved a hand around dramatically before slapping it back to their thigh, rolling their eyes. "Let me guess, there's a biiiig explanation that fits into one giant puzzle."

"You know me too well for someone who never initiates conversation." He smiled mockingly. 

"You're right. Court Dense Publishing House is being investigated for numerous allegations. Toxic working environment, which included stalking and superiors leveraging pay for sexual favors might I add, and tax fraud. The details of the latter will bore you." Wriothesley continued.

He sighed. "Can't you tell? I'm just being a decent husband. What if you were being harassed and you were afraid to tell me?" 

"Like hell, I was–" They took a sharp deep breath in. "Listen. Let me get back to my work and we won't have any problems, Your Grace."

"No can do. You're an ex-Maestro now."

“And you're an ex-con.” They quickly retorted.

…

…

“... You're calling me an ex-con?" Wriothesley laughed dryly. The lone sound made them inch their heels slightly backward.

His eyelids lowered as his dull gray eyes peeked behind underneath his tilted glare.

They had never seen him this serious.

"Who do you think turned me into one?”

…

…

…

They blinked.

His words– though not making sense without context– carried a heavy weight they had unfortunately missed.

His gaze and words were accusingly pointed.

At them.

…

…

Wriothesley laughed.

"I'm kidding, of course. Don't be so tense."

(Y/n) didn't laugh.

He smiled. They can't tell if it was fake or not. He's been too good at pretending to be nice that they never knew when he genuinely dropped the act.

Like Maestro Justiniano, that argument is history now. 

And maybe that's why (Y/n) first thought it would be a comforting experience to read a story written by an avid fan.

It was a long manuscript. Sigewinne claimed it came from a fellow Melusine who wanted her favorite author's thoughts on how to write a criminal male lead. When asked for the writer's name, she refused to say it. (Y/n) respected it since they too posted anonymously…

But this reading sounds less like a professional job and more like a stalker's confession…

“When I first finished a book of yours in two sittings, I had formed a vague fantasy on how you looked like. You were a tall man, thin, long-necked, sharp-nosed, with a body slightly bent forward. Needless to say, I was stoked to find that description failed to perfectly describe who you were in person. I hope that with my new appearance, my description perfectly describes how your husband used to look as well. These black gloves just don’t fit me right.”

These black gloves…?

"Honey, I'm home!!! Oh, and Sigewinne's here too."

As soon as they heard the door open, (Y/n) shoved the fan's manuscript inside their drawer. Wriothesley hates seeing any semblance of creative writing inside the house.

"Can you brew two cups of tea for us?" Wriothesley asked as he removed his jacket, placing it recklessly on the sofa. "We're exhausted."

(Y/n) nodded. They never tell him how they make his tea. For a bottle weighing 8 fl oz, they'd take a rounded scoop of sunsettia powder to the pitcher and pour steamed 2% milk to whatever was the appropriate line. Once aerated for 3 seconds, they fill it with their macha mix with ¼’’ foam and ¾’’ more below the rim for the aesthetic. 

The process is not as difficult as it sounds, but they like withholding information. Why else won't friends and family know that they're a prolific writer, right?

"Sure. I'll be right back."

They left.

Their “husband” picked up the letter they hastily hid, a faint smile playing on his face.

Were you frightened after reading it? 

How did his favorite author react?

He wished he knew. But he’s no detective– he’s a present “degenerate”. He won’t find clues just by looking at the parchment. "Wriothesley" placed it back to where it was earlier and adjusted his black gloves to fit just right. 

“Wriothesley” glanced at Sigewinne with a giddy smile.

“So, do you think they liked my writing?”

"(P.S: I finally figured out how you make your coffee. It's 3 pumps of Fonta, 1 shot of espresso roast, chilled milk, and stirred with ice. This unique combination would've perplexed me if I didn't find out you made it out of spite. 

But it does taste good. I promise. After all, in the cold solitude of your sunless prison, I'll be the one brewing you coffee. May each sip be a reminder of my affection. The sun may be silent too in the Fortress, but maybe in there, you'll finally appreciate my warmth.")

little miss pressure • armin artlert

armin was notorious for his wild ways and sexscapades but ends up meeting his match in the form of a girl he’d never expect. And it leaves the notorious playboy stuck on his new fixation.

plus size black reader, (y/n) works in the adult entertainment industry, alcohol and weed use, armin and reader are some FREAKS, reader is very hyper sexual and tbh a bad bitch 😝 (this is nasty, I apologize in advance!)

════ ⋆★⋆ ════ ════ ⋆★⋆ ════ ════

producer!armin has always been a man synonymous with a less than savory lifestyle. Sex, drugs, fame and glory..it was all he ever desired. To live each day as if it were his last and let the consequences happen as they may. His vices were those every other music industry maestro that got into it for all the wrong..and selfish reasons. Especially when it came to women, which may have been his greatest weakness.

Switching them out like his latest pair of Amiris or his brand new Audemars. Picking them up at every illustrious strip club or his infamous house parties..working his way through a ten mile long roster of girls. Comprised of every bachelorette (and sometimes others wives) this side of South Beach. He didn’t care about what followed or if he hurt their feelings. All he wanted was his one night and a good nut. After that, what they did was none of his concern. And hell, with his good looks, he could get away with just about anything. Until you came along…until (y/n) showed up at one of his little soirées. Invited by a friend of a friend, who had spoken all about the engineer and all his antics. About the hits he’s produced, his track record and extremely high body count. Something that didn’t particularly off put you, seeing as how promiscuity was your entire profession. You were an upcoming adult film star, taking the internet and nsfw spaces by storm. A brick house of a woman who didn’t mind flaunting that beautiful body and working it in ways that many wish they could. Sex with you had been described a ‘spiritual experience’ by many. From the incredible head game to the pussy that had gotten many of your bills paid. A month after working with a couple of creators and collaborating with a few porn production companies, it all took off. Your OnlyFans was jumping and everyone wanted a taste of the newest BBW on the scene. And tonight, you were out prowling for some trouble to get into. You had your fair share of good hookups but you needed the man that was going to give you the type of dick that would change your life. It came not a moment too soon when you got some alone time with Mr. Artlert. Trust, he was more than well aware of your reputation and he wanted to see if it preceded you. And the feeling was mutual..

seeing as how you had only ever spotted him with skinny model types and BBL bodies..not that anything was wrong with it but you were a bit skeptical. Not questioning if you could pull him or anything but if he could truly handle you! Would he truly be worth the hype. But after downing a few daiquiris; making subtle eye contact from the room, he’d approach you with that signature smug look on his face, flashing you a toothy grin and boldly greeting you with a hug. “Yeah, (friend name) told me all about you..it’s very, very nice to meet you, miss (y/n). So glad you made it out.” Sealing it with a classic peck to the back of your hand..by the look on his face, he was more than likely assuming that you’d be easy pickings. Insecure and lacking self esteem as a bigger woman. That you’d be happy that someone like him was even looking in your direction. But was he sorely mistaken! Especially when hours later, after chatting you up the whole night and once the rest of his guests had gone home..he got you up to his bedroom and out of that designer on your body. “Are the rumors true, sweetheart?” “Find out for yourself if you’re man enough.” All it took was a shared spliff and a little more liquor before you had him spread across his own bed, toes curling midair as he released loud screams. “Ohhhhh fuck! (Y/N)…goddamn.” Howling from the head he received..engulfing all eight and a half inches of that veiny girth as if you lacked a gag reflex of any sort. “Yeah, fuck this throat. Don’t play with me.” Emitting strings of spit and covering that cock in it. Flicking your tongue around his sack and momentarily over his asshole. All while jerking him off. Never in his life had he had a bitch so nasty and he loved it! God, he loved how you abandoned every bit of your morals in the bedroom. Making his nut from sucking his dick when no one woman had ever done so before. “They weren’t lying, huh?” “Told you..”

but he was no minute man himself. See, after getting slurped up like that, he had to a little something to prove..and he’d do so by devouring your pussy while he ushered you atop his mouth. “Don’t look at me like that, sit the fuck down, baby. I can take it.” Assured in his abilities and absolutely infatuated with your flavor…moaning as he inhaled your scent and flicked his tongue all over your clit. Kneading his hands into that thick ass and hips, even prompting you to bounce up and down on his face. Causing a collision with those heavy cheeks. “Yes! Right there…oh God..” drawing out high pitched wails from your sore throat and sweet juices from that tightness. Coating his entire chest in your squirt. And from there, he couldn’t let up off of you. At least not until he pinned those legs back and put that dick stomach deep. “Wet this dick up then since it’s like that.” With those substances coursing your systems, it brought forth an even nastier side for both of you..if that were even possible! “Ion think you’ll leave me alone if I do.” Your feet plastered to the headboard as he pounded you relentlessly. “This pussy so fucking good!…” cracking only a few minutes and strokes in because he had never felt it this wet and gushy before. It was like being encompassed and coddled in a warm blanket that nestled his dick as if were made especially for him. Folding you into a mating press and having to bare all of his body weight just to reign you in. His one hundred seventy pounds in comparison to your nearly three hundred. He had piped many women in his young life but you were the true definition of pressure. Making loud smacking noises from the slick dribbling from that plump cunt. The fatter the pussy, the wetter and he was learning first hand. Burrowed over your face and feeding you slow, sloppy kisses, along with tons of slaps and spit..another first for the philandering bachelor. He didn’t want to leave it if he were being frank.

“Yeah, beat that motherfucker up, daddy. Keep going!” Reaching down to massage your bud with those coffin shaped claws as you glared into his eyes and done something that would truly drive him insane. “F—fuck! Squeezing me like that..gonna make me nut all in your shit.” Throbbing and fully swollen inside of you. Posing the statement like a threat but that was exactly what you were hoping for! And when he couldn’t control himself another moment, you found yourself filled to the brim and with a heavy slap to your ass, he’d command you all fours where he all but shoved his face between your cheeks, eating you out once more because he loved drinking it in. Shortly after, stuffing your other hole with a thumb and your pussy full of his still erect cock. Placing a foot on your head, beating your shit in and making you arch your back. That ass moving like water nearly drove him insane. The best backshots he’s ever given. And after rounds and rounds of fucking each other senseless..all for footage for your page, the producer was all but unconsciousness from exhaustion. Housing his entire load into your womb without so much as a second thought. He was sure to be sleeping peacefully, even telling you that you could spend the night. Words he had never uttered prior. Knowing that you had gotten him hooked and it surely wouldn’t be the last you’d be seeing of Armin Artlert. But for now..you’d gotten what you came for..

and you’d be gone before the sun could rise.

@lusts1ck 🫶🏾

Godzilla horning in on one of Maestro Akira Ifukube's recording sessions in the Toho recording studio.

I was one of the last visitors to this studio in 2016, right before Toho tore it down and rebuilt it.