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fandom-and-fantasy · 5 years

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CAPTAIN FANDOM REVIEWS: DISNEY’S THE LION KING (2019) The newest anticipated release from the Walt Disney Studios, The Lion King (2019), a CGI remake of the Golden Globe and Oscar winning animated film of the same name, falls flat on audiences nationwide — a cheap and pale imitation of a Disney Renaissance Classic.

Another film in the seemingly endless stream of Hollywood remakes, The Lion King (2019) fails to deliver on the promise of a renewal of nostalgia or a reverent treatment of a film that was determined by the Library of Congress to be “culturally…significant”. With an all-star cast rounding out the film, it’s a wonder that the overall experience is somehow still lifeless and two-dimensional.

Starring Chiwetel Ejiofor (Doctor Strange) as Scar, James Earl Jones (Star Wars, Lion King 1994) reprising the role of Mufasa, and Donald Glover (Solo: A Star Wars Story) and Beyoncé as Simba and Nala respectively, the film itself could have been a great live-action film with a wonderful POC cast — but now it’s an animated film with an underappreciated POC cast in an underwhelming CGI film. Rather than bolstering the cast’s portrayals with stunning animation, the film puts too much of it’s focus on hyper-realistic visuals instead of characters with emotional range. Every line is hindered by lifeless expressions and stilted movement that feel more like a wildlife documentary than a cinematic experience.

With the entire emphasis placed on realism rather than characters, the story is lost in the spectacle of what current CGI animation software can do to replicate near perfect renditions of fur, feathers, grass, clouds, and water. The laser focus on visuals leaves the story out to dry — James Earl Jones still makes audiences’ hearts weep as the beloved King, but the death of Mufasa comes across as somewhat cardboard in the remake. When the audience knows what is coming and the cinematography and acting (or, in this case, animated facial expressions) can’t capture the depth of the audiences childhood horror at witnessing familial betrayal, is it truly worth it?

The differences in the depth of movement in the original animated film compared to the current remake are staggering. Everything in the CGI animation feels slightly off, as if the lions movements are only coincidentally put to words. It seems strange that if the studio was going to re-animate an entire Disney classic, the least they could have done was put effort into the cinematic experience. But rather than feeling like we are watching real, live, trained animals acting on cue, the entire experience reads like an episode of Discovery Channel’s Planet Earth. Perhaps it would have behooved them to put the cast into motion capture — like Benedict Cumberbatch as Smaug in The Hobbit series. Instead, the animals feel lifeless and stagnant. Is hyper-realism truly “better” if the computer generated creatures can’t emote as effectively as live humans or hand drawn cartoons?

It is relevant to remember that beloved classics have iconic moments that audiences will expect to be given their due attention and respect. The Lion King (2019) fails to deliver on even the simplest of iconic moments. Scar, holding Mufasa at the edge of a cliff, is flat and emotionless as he delivers the sardonic and violent line that sums the entire theme of the film, “Long live the King.” And the vision of Mufasa in the sky (when Simba reaches the height of his character growth) is confusing, lacking heart or feeling, as the clouds rushed by formlessly in flashes of thunder. In a stunning turn of events, The Black Panther felt more true to The Lion King (1994) than The Lion King (2019).

The plot is wrapped up neatly in an anticlimactic fight between the Pride and the Hyenas, and it lacks the emotional buildup of the original. Where the 1994 version succeeded, the remake stumbles and leaves audiences unsatisfied and yearning for the days of Andy Gaskill, Rob Minkoff, and Mark Henn.

Overall: 2/5 — If you enjoyed this movie then you are the target audience. If you, like me, however, were dissatisfied and almost bored by the hollow and cardboard renditions of animals almost too hyper-realistic to enjoy, then I’m sorry you already lost an hour and fifty-eight minutes of your life plus cost of admission. If you’re debating watching in theaters, however, this is my cue to warn you to save your money if you’re tight on cash, and catch it when it hits Netflix or Disney+ (if you’re going in for that, but if your pocketbook is tight, you probably aren’t going to do that either and more power to you.)

Story: 2.5/5 — They tried.

Music: 2/5 — It almost felt… less full and robust than the original. The original score won Oscars for it’s soundtrack, but they couldn’t even bring something new to the table in the remake. Everyone knows Beyoncé can sing, but her original song addition didn’t fit the film setting, and bumped out an actual orchestral piece from the original that was better at hyping up the tension leading up to the climactic final battle.

Another glaring problem is that Can You Feel the Love Tonight took place entirely during the daytime; another point lost for ignoring the theme of the lyrics.

SPFX/VFX: 1/5 — They earned a single point for the quality of the CGI. Otherwise the entirety of the animation was bland, lifeless, and annoying. Why pay an entire animation crew to make something so poorly put together when you could have put them to work on a new and refreshing idea instead of butchering a classic for a little extra cash?

Production: 1/5 — I’m giving them a whole point here for the fact that yes the CGI was hyper-realistic and they really went with it — you can’t say it wasn’t consistent. But the color palettes were bland, the contrast was low, and the fact that I could barely see during the night sequences always gets a point knocked off from me.

Costumes: 0/5 — Should have done a film with real people. Yes, I know it would have just been an African Hamlet, but it would have been a far better sight than what we’ve been given. The costumes would have also been out of this world. Once again Black Panther rules in this department.

BONUS

Expressions: 1/5 — Redeemed only by Scar, who had pretty decent micro-expressions. Or maybe I was projecting in desperation.

#the lion king #the lion king 2019 #donald glover #simba #beyonce #nala #chiwetel ejiofor #scar #zazu #timon and pumba #the lion king 2019 review #captain fandom reviews

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stanwinstonschool · 5 years

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Learn professional special effects techniques for making realistic horror props: casting, painting, hair work and finishing with one of the top creature effects painters in Hollywood, artist Tim Gore (The Relic, The Lost World: Jurassic Park, Hellboy). What you'll learn: casting a resin and foam urethane head, demolding and surface preparation, resin painting techniques, applying the hair, prop detailing and finishing Try it 7-days for FREE: Link in BIO! @tgoreart #timgore #makeupfx #makeupeffects #spfx #specialeffects #spfxmakeup #specialeffectsmakeup #props #fakehead #horror #stanwinstonschool #onlineschol #instruction #training https://ift.tt/2M35GsG

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mtaylor0083 · 4 years

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What Is Visual Effect (VFX) & What About Its History?

VFX Company, Enhances visualizations (condensed VFX) with the cycle of, which symbolism fabricate or controlled external the setting of a surprisingly realistic shot in filmmaking. The reconciliation of actual to life film and CG components to make sensible symbolism is called VFX. VFX includes the mix of real to life film (embellishments) and produced symbolism (advanced or optics, creatures or animals) which look sensible, however, would be risky, costly, unreasonable, tedious or difficult to catch on film. Visual Effect Company uses Impressive visualizations utilizing PC created symbolism (CGI) have as of late become open to the autonomous movie producer with the presentation of the moderate and generally simple to-utilize activity and compositing programming.

How about we get Into History

In 1857, Oscar Rejlander made the world's first "enhancements" picture by joining various segments of 32 negatives into a solitary shot, making a montage mix print. In 1895, Alfred Clark made what is usually concede as the first-historically speaking film enhancement. While shooting a re-enactment of the decapitation of Mary, Queen of Scots, Clark trained an entertainer to venture up to the square in Mary's outfit. As the killer brought the hatchet over his head, Clark halted the camera, had the entirety of the entertainer's freeze, and had the individual playing Mary venture off the set. He set a Mary sham in the entertainer's place, restarted the recording, and permitted the killer to cut the hatchet down, cutting off the spurious' head. Methods like these would overwhelm the creation of enhancements for a century. It was not just the primary utilization of deceit in film, it was additionally the main sort of photographic dishonesty that was just conceivable in a movie, and alluded to as the "stop stunt". Georges Méliès, an early film pioneer, unintentionally found the equivalent "stop stunt. As indicated by Méliès, his camera stuck while shooting a road scene in Paris. At the point when he screened the movie, he found that the "stop stunt" had made a truck transform into a funeral wagon, people on foot to alter course, and men to transform into ladies. Méliès, the head of the Théâtre Robert-Houdin, was roused to build up a progression of more than 500 short movies, somewhere in the range of 1896 and 1913, in the process creating or imagining such strategies as various presentations, time-pass photography, disintegrates, and hand-painted tone. Due to his capacity to control and change reality with the cinematograph, the productive Méliès is some of the time alluded to as the "Cinemagician." His most celebrated film, Le Voyage Dans la lune (1902), an eccentric spoof of Jules Verne's From the Earth to the Moon, included a blend of surprisingly realistic and liveliness, and fused broad smaller than expected and matte canvas work.

Present-Day Age:

VFX Company, today is vigorously utilized in practically all motion pictures delivered. The most noteworthy earning film ever, Avengers: Endgame (2019), utilized VFX broadly. Around a lot of the film used VFX and CGI. Other than cinema, TV arrangement and web arrangement is additionally known to use VFX.

It’s Composite Services

Embellishments (frequently condensed as SFX, SPFX, F/X or essentially FX) are deceptions or visual stunts utilized in the theatre, film, TV, computer game and test system enterprises to recreate the envisioned occasions in a story or virtual world.

Movement catch (now and then alluded as mocap or mocap, for short) is the way toward recording the development of articles or individuals. It fabricates military, amusement, sports, clinical applications, and for approval of PC vision and advanced mechanics.

Matte Painting A matte canvas is a painted portrayal of a scene, set, or inaccessible area that permits movie producers to establish the deception of a climate that is absent at the recording area.

#Visual Effect

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the-master-cylinder · 4 years

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SUMMARY In the kingdom of Aruk, the high priest Maax is given a prophecy by his witches that he would die facing the son of King Zed. So he sends one of his witches to kidnap and kill the child, but before she can kill him, a villager rescues the child and raises him as his own son. Named Dar while raised in the village of Emur, the child learns how to fight, and has the ability to telepathically communicate with animals. Years later, a fully grown Dar witnesses his people being slaughtered by the Juns, a horde of fanatic barbarians allied with Maax. Dar, the only survivor of the attack, journeys to Aruk to avenge his people. In time, Dar is joined by a golden eagle he names Sharak, a pair of thieving ferrets he names Kodo and Podo, and a panther he names Ruh.

Eventually, Dar meets a redheaded slave girl called Kiri before getting himself lost and ending up surrounded by an eerie half-bird, half-human race who dissolve their prey for nourishment. As the bird men worship eagles, they spare Dar when he summons Sharak and give him an amulet should he need their aid. Dar soon arrives at Aruk where Maax had assumed total control with the Juns’ support. Maax has taken the children of the townspeople, and is sacrificing them to his god Ar. After having Sharak save the child of a townsman named Sacco, Dar learns that Kiri is to be sacrificed. On his way to save her, Dar is joined by Zed’s younger son Tal and his bodyguard Seth, learning that Kiri is Zed’s niece as the three work to save her. While Seth goes to gather their forces, Dar helps Kiri and Tal infiltrate the temple and rescue King Zed.

Zed leads his forces to attack the city, but they’re captured. Dar returns to save them from being sacrificed. In the conflict that follows, Maax reveals Dar’s relationship to Zed before slitting Zed’s throat and facing the Beastmaster. Despite being stabbed, revived by his remaining witch before she was killed, Maax is about to kill Dar when Kodo sacrifices himself to cause the high priest to fall into the sacrificial flames. But the victory is short-lived as the Jun horde is approaching Aruk, arriving by nightfall to face the trap Dar and the people set for them. Tal is wounded as Dar succeeds in burning most of the Juns alive while defeating their chieftain before the bird-men arrive to consume those remaining. The following day, Seth invites Dar to be the new king, but Dar explains that Tal would make a better king, and he leaves Aruk. Dar sets off into the wild with Kiri, Ruh, Sharak and Podo (who has given birth to two baby ferrets) on the path to new adventures.

DEVELOPMENT/PRE-PRODUCTION Beastmaster found a home under the protective wing of Sylvio Tabet’s own production/financing company, Leisure Investments. This arrangement allowed the production company more artistic freedom than studio financing would have permitted. Tabet then proceeded to seed the production staff with the finest artisans and craftspeople he could find.

“We have a very good team, it’s very professional,” Tabet comments. “John Alcott, the cinematographer, made The Shining and Barry Lyndon. He’s an Academy Award winner! He’s giving a tremendous look to this picture. He’s painting the film in a kind of goldish, rust color which gives us the feeling that this picture is of another time. He had a way to light interiors with only torches and candles, using practically no light at all. Again, I think this film has been very challenging for everybody, but the results on screen are incredible—it’s working incredibly well.”

“We spent two years researching Beastmaster. You need it! We studied each movement of the actors because there is a lot of sword fighting in the picture, and you have to choreograph the movements on paper before you can bring it to the screen. We’re also working with a lot of special effects, miniatures and animals. I’ve had to create a whole new world for this film. Or at least, I’m trying.

“It’s very challenging. Sometimes I don’t sleep at night….” Tabet pauses. “But I must say, I’m very pleased with the results. On the screen, the film has a totally different look, much imagination.” And for Tabet, the end result on the screen is his reward for the hard work and lost sleep.

The shoot itself was a demanding one. Bad weather and difficult night shoots plagued the production. Everything in the film had to be built from scratch, and built to last. Film Builders Productions in North Hollywood provided villages, sets and a 70-foot sacrificial pyramid that had to endure five months of location shooting. But Tabet, director Don Coscarelli and producer Paul Pepperman assembled a cast of special effects artisans who had the vision and the ability to meet the demands of budget.

FX Lineup Mike Minor provided the Art Direction for the Special Effects Unit. Under his direction, Will Guest built the miniatures which were photographed by Bill Cruse. Makeup artist Bill Munns created the fantasy makeups, and pyrotechnic wizard Roger George marshalled the explosions.

The fantastic creatures which populate Beastmaster were a pioneering effort in Tabet’s eyes. “There are many new SPFX concepts we are testing,” he explains. “The bird warriors in the picture are one of a kind. They are men who are like bat creatures. We had to create winged clothes on the actors (which were articulated), to close around the enemy. The enemy starts to disintegrate, and you can see the disintegration through the wings.”

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Witch women cling like spiders to the ceilings and fly through rooms, weaving evil spells at the bidding of Maax, their high priest. Jun warriors devastate villages. Zombie death guards sacrifice innocent children. Giants smash cities into ruin. Beastmaster promises a feast of visual effects for its viewers.

“All kinds of special effects!” Tabet chuckles. “It’s a fantasy with a lot of action, a lot of dreams. This kind of film you’ll never see on television. It has a large scope. It is a very ambitious project.”

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“It took me a year to put together,” he says. “I believe in the talent of Don Coscarelli. He sees everything fresh, new ideas.”

“We did a lot of storyboarding,” says Coscarelli, “but it all turned out to be pretty useless once we got to the set. A lot of things changed.” Some of those changes may have had something to do with the special considerations of cinematographer John Alcott (The Shining, Terror Train) and special effects man Roger George (Phantasm), since perhaps 90 percent of the picture was shot in natural illumination and torch or firelight of some kind. “Roger George was in charge of all the pyrotechnics,” says Coscarelli, “and we worked out some incredible things; explosions, and a 200 foot long wall of fire 25 feet high. We shot that same scene for three weeks.” Says Coscarelli of John Alcott, “it was a different experience having another person doing the cinematography, but John Alcott is terrific. He was easy to work with just a real nice guy-and he was very responsive to my wishes.”

The Beast Master by Andre Norton

The Beast Master tells of Hosteen Storm, a Navajo and former soldier who has empathic and telepathic connections with a group of genetically altered animals. The team emigrates from Earth to the distant planet Arzor where it is hired to herd livestock. Storm still harbors anger at his former enemies the Xik, and has sworn revenge on a man named Quade for his father’s murder. According to Kirkus he finds “life and hope” instead.

The animals in Coscarelli’s film are possibly the most unique aspect of it, and were, perhaps, the most difficult. It takes time to film animal scenes, especially if the animal must perform some bit of business that is vital to the plot. Boone Narr, of Gentle Jungle in Burbank, California, supplied the beasts, including some 20 ferrets, each trained to do a different task (so that it would appear that the two ferrets in the story were doing everything), and Kipling, an extremely large Bengal tiger that was colored black for his role as Dar’s pet. “Kipling,” chuckles Coscarelli, “had absolute casting approval.” Had the big cat been less amicable, Marc Singer (Dar) might have wound up as leading meal, rather than leading male. There were only a couple of instances when the tigers (there were three-as stand ins for one another) appeared to get out of hand. One cat got loose in the dark warehouse that was being used for the interior sets. “A black tiger in a dark warehouse!” laughs Coscarelli, “We didn’t hang around to see how they were going to catch him.” The cat was caught, quickly, however, and without incident-credit the animal handlers from Gentle Jungle.

“The animals are really difficult –it’s a matter of sitting around with 80 people, spending a fortune, until you have what you want. Then, when it does happen, it’s like magic; no one can figure how we get them to do it. The ferrets are very workable-we have about 20 of them, to represent the two in the movie. Some are jumpers, some are quick ones, some are trained to carry beads; they’re all trained to do different things, all of them in marked cages waiting for their set call.”

As talented as the animal cast may be, finding the right human cast was one of the most arduous preproduction tasks. Certainly the best-known cast member is Rip Torn, one of New York’s most respected stage actors, reputed to be a very interesting’ person to have in any cast. Pepperman confirms that there were few dull moments while Torn was on the set. “We only had him for a while, and we’ve really missed the action since he left,” says the producer.

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For the part of Lara the slave girl, Tanya Roberts-a former Charlie’s Angel who is exceptional in appearing to be both beautiful and bright-was selected after a lengthy period of open casting calls and dozens of readings. “When she came in, we all agreed that she had the look and the feel that we had in mind for that character, and she’s been wonderful. She does a lot of very athletic things in the film; just two nights ago we were out on top of this 80-foot cliff, with Tanya and a stuntman in the outfit of Maax’s Deathguard, who was to take a high-fall off of it, and the role required her to stand at the very edge looking down. She was letting out a little scream every once in awhile-but she was out there doing it.”

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Pepperman seems most grateful for having Marc Singer on board. “We literally saw hundreds and hundreds of people for that lead role, through the two casting directors that were with us through preproduction. “Name” people, unknowns, all kinds of people. We were looking for a guy in really good shape-not an overdeveloped bodybuilder type, but somebody normal-looking who was in really good shape. We were looking and looking, and Marc’s name came up twice-once on a list that mentioned him as part of a San Francisco repertory production of Taming of the Shrew. Our casting director at the time said no, that won’t work. Then his name came up again a couple of months later on a list of ‘name’ people to be considered; his credits included a TV movie called The Contender, in which he played a boxer, and another called For Ladies Only, where he played a male stripper. We knew from those roles that he had to have a body, and we knew that if he could handle The Taming of the Shrew he had to be able to act, so we had him in. We found that he had the body, he had the look, and he could act, so he was in. As another plus, we never asked whether he was able to handle a sword-but it turned out that he is a more than adequate fencer, and he does a heck of a lot of his own stunts, too. I imagine that without Marc, we would have been maybe three weeks behind schedule.”

Principal filming will be finished as you read this, and plans call for the edited film to be delivered in early July. “For us that’s working very fast,” says Pepperman, “but then, again, this is the first time that Don has not done the editing entirely on his own.”

During lensing of the sword-and-sorcery adventure, Marc Singer notes he got along well with director Don (Phantasm) Coscarelli. “I’m really happy we turned out such a great movie. I received excellent directorial advice on my character from the man who was sort of ‘helping’ in the direction of Beastmaster, Chuck (Gumball Rally) Bail. He was on set as a ghost entity to help with the production and he gave me clues for Dar’s character. Chuck did so much on that film that I hesitate to say how much he truly did. In my opinion, he was the backbone of the project.”

Playing a warrior who can telepathically bond with animals, Singer found himself in close contact with hawks, tigers and bears– not to mention ferrets. “It was very demanding, working with the animals, but it was also exhilarating,” he says happily. “I would have to say it was more inspiring than it was hard, except for the bear, which had a tendency to want to eat people. That was the only animal you had to stay away from.

Singer to work closely with some beastly co-stars: tigers, eagles and ferrets. The actor remembers the experience with mixed feelings; “At first, I had to work with five different tigers to find the tiger with which I had the best relationship. At one point, one turned around and grabbed me by the leg. Everyone froze for a minute, then the cat let me go.

“I had a very good relationship with my tiger. In fact, I miss it and think of it often. It was like a religious experience everytime I was near this animal, and I developed a great and abiding love for it. I think the reason the tiger accepted me, and was good to me, is that whenever I was on screen with it, I felt it was an enormous privilege. I always let the tiger be the boss. The film may have been titled The Beastmaster, but whenever I was on screen with that tiger, I said to it, ‘This is your forum to tell us of the beauty and majesty of the natural world and why we should take care of it and have a responsibility towards you.’”

The eagle, on the other hand, proved less amenable. According to Singer, the only person it tolerated was its trainer. In one scene, the bird flew directly at Singer, scoring his back with its talons. “It really was a question of the eagle’s maternal instinct fixating itself on its handler. To the eagle, anyone else was an intrusion and a threat,” Singer explains. “Obviously, we had to reshoot the scene.”

Another animalistic incident involved a Japanese grizzly bear. “This was the very first shot of the film,” Singer recalls. “And the handlers said to us, ‘Gentlemen, if you’ll all stand back now, we’re going to bring out the bear and use him in this shot. Please be very quiet and anybody not needed on the set, please go away. Everything will be just fine.’

“They turned around and unlocked the cage. This bear-it’s about eight or nine feet tall jumped right out and began mauling one of the handlers. Just tore him to pieces. They had six guys trying to get it off the trainer and back into the cage.”

SPECIAL EFFECTS Though Phantasm had a goodly number of makeup effects, the size and scope of The Beastmaster required Coscarelli, for the first time, to engage in the creation of a makeup effects unit. It wasn’t easy.

“Our problems in the makeup department,” Coscarelli says, “were chiefly problems of organization. We shopped around for a time, while we were in preproduction. We had something on the order of 50 different things that had to be accomplished. One very well-known outfit priced the job at $300,000, and another group that had just completed a successful sword and sorcery picture figured it at $100,000. For a while, we employed a fellow who had done some work for New World Pictures; he came in, and was very pleasant, and he gave the impression that he could handle everything that we needed. But apparently we made a mistake by not checking more thoroughly into his background-I recall one time that he explained that something we needed wasn’t ready because he had used the wrong fixative on his plastics, and that he’d passed out in his lab for three hours!”

If only for his own safety, it was thought best to let that individual go, and the search resumed for the right effects man. With the schedule grow among his recent credits, has proven to be a valuable addition to the crew. In other areas, however, it has proven, for Pepperman at least, to be a shade less satisfying.

“There’s not as much of our being able to get in there and say, ‘OK, this here’s the way we want it, the way it should be done,’ showing people exactly what you mean. This has been a long, hard haul, and day after day ! promise myself that the next one will be a nice, small movie. This way, there are so many departments, and so many people in each department … it becomes a problem to have little things changed. The prop department needs something, it gets drawn up, then it gets fabricated, and by the time you see it, if something is not quite right, it’s a big process to send it back to have it changed. And it’s necessary sometimes, though we do have a lot of topnotch people.

‘On special effects, there were a lot of things that, on Phantasm, we had to figure out how to do-now we’ve got people who tell us right off the bat what we’re going to do, with mechanical and pyrotechnical effects.”

In addition to the expanded scope of the production, further complications were introduced to the project in the film’s extensive use of prosthetics: witch women-beautiful bodies topped by hideous faces; bird warriors-extra tall, lean actors dressed in elaborate costumes; and various other worldly beasts are all dependent on realistic prosthetics for their convincing portrayal. Add to that the task of shooting many scenes with trained animals, and you may begin to conceive the types of problem is faced and solved by the young filmmakers.

Enter Bill Munns, Munns is the subject of some controversy in special effects circles; his work in The Boogens and Swamp Thing has received some sharp criticism and yet both of these films were made on budgets that require Munns to practically pull his monsters out of a hat. What Munns lacks in terms of a glamor reputation is amply compensated by his growing reputation as an fx man who respects the movie makers’ budgets and schedules. By the time Munns joined Beastmaster, the schedule had been cut desperately short by the previous fx dead ends. “When I saw the things that Bill had done for us,” recalls the director, “I wasn’t immediately pleased with all of them; but everything Bill did was done on time and on schedule. And by taking extra care with the lighting, everything looks good on screen, so, in general, our experience with Bill was a good one.”

The original makeup designer (Michael McCracken, Jr.) did not put any mouth or nostrils on these masks, and the people wearing them couldn’t breathe. I had no time to resculpt and remake the masks, so I just cut discreet holes in the masks and put straws up into the masks and into the actors’ mouths. Then, right before each scene was filmed, I took scissors and clipped the straws off right at the mask surface so they wouldn’t show, but so the actors could still breathe. These photos were my own on-set photos between takes, which is why the straws stick out so obviously. I was just taking reference photos of the suits. Another curious thing about these suits is they have no backs, because there wasn’t enough money left for me to make back-torso sections.

The work I am most proud of on this movie is at the upper right top, the “eye ring”. This curious thing was supposed to be a living eye magically infused into a ring, worn by an unsuspecting person, so the ring could spy on people and report visually back to its magical owner. There were six rings total, three just regular with eye closed (the left ring) and one with the eye open, plus the “Hero” ring with animation built in so the eyelid could open and the eye could look side to side, and finally a ring with a gelatin eye that could be burned and melted with a flaming stick. The “Hero” eye ring was one of my more ingenious feats of engineering, because it was still a practical ring the actor could wear.

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The beginning of the film, where a witch steals the queen’s unborn child from her womb. They wanted to see the unborn baby struggling against the woman’s stomach skin as it was magically being extracted. So I had to build a cable-controlled baby head and hands that could push against the foam latex stomach skin and also build a large air bladder so the belly could be expanded and contracted with air pumped rapidly in and out. At left, the green and black hoses are the air hoses for inflating and deflating the bladder. At the bottom, you can see the baby animation device and the cables controlling them. Bottom right is the foamed latex skin that covers the effects devices.

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SCORE/SOUNDTRACK The Beastmaster (1982) Lee Holdridge

The score was composed and conducted by Lee Holdridge; it was recorded in Rome with members of The Orchestra of the Academy of Santa Cecilia of Rome and the Radio Symphony Orchestra of Rome. The soundtrack album was originally issued by Varèse Sarabande, and subsequently by C.A.M. In 2013 Quartet Records released a 1200-copy limited edition featuring the original album (tracks 1–13, disc 1) and most of the film’s score (Holdridge wrote eighty minutes of music for the film; a few cues could not be found, but the album includes music that was not heard in the finished product).

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CAST/CREW Directed Don Coscarelli

Produced Paul Pepperman Donald P. Borchers Sylvio Tabet

Written Don Coscarelli Paul Pepperman

Based on The Beast Master by Andre Norton

Marc Singer as Dar Billy Jacoby as young Dar Tanya Roberts as Kiri Rip Torn as Maax Donald Battee Don Battee as Chameleon John Amos as Seth Josh Milrad as Tal Rod Loomis as King Zed Vanna Bonta as Zed’s Wife Ben Hammer as Dar’s father Ralph Strait as Sacco Tony Epper as Jun Leader

Tara Candoli … makeup artist Ailen Derderian … makeup effects assistant Katrin Derderian … makeup effects assistant Karen Kubeck … assistant makeup artist Louis Lazzara … makeup artist: second unit David B. Miller … makeup effects artist Michael Mills … prosthetic makeup artist Jaklin Munns … makeup effects assistant William Munns … special makeup effects designer Peter Tothpal … hair dresser Michelle Triscario … makeup effects assistant Mark Shostrom … special makeup effects artist (uncredited)

CREDITS/REFERENCES/SOURCES/BIBLIOGRAPHY Starlog#63 Starlog#84 Starlog#271 Fangoria#18 Fangoria#22

The Beastmaster (1982) Retrospective SUMMARY In the kingdom of Aruk, the high priest Maax is given a prophecy by his witches that he would die facing the son of King Zed.

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directdownloadlinksnet · 4 years

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Download Packt Publishing Sharepoint: SPFx Development Model Description Sharepoint: SPFx Development Model One of the training courses of Packt Publishing company that teaches you to develop online SharePoint solutions with free toolchain.

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eduzek · 19 days

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https://www.eduzek.com/courses/sharepoint-online-spfx-training/

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lipstick-and-arsenic-blog · 7 years

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#musicmood - zombie ghost train : graveyard queen👻 ... .. . #spfx #mua #vamp #gothgoth

#mua #musicmood #spfx #vamp #gothgoth

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enterinit · 5 years

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Microsoft Teams Announcements from Build 2019

Microsoft Teams Announcements from Build 2019. Partner Center support for Teams apps: coming soon We will be giving partners the ability to submit Microsoft Teams apps from Partner Center straight into Microsoft Teams. Partner Center, the same system used by Windows and Xbox developers, replaces the Seller Dashboard tool, and will provide a simpler, more reliable, and more streamlined experience for developers. Creating offers and app purchase: coming soon We believe that a healthy app ecosystem requires a viable business model for partners. This (Northern Hemisphere) summer, we will allow partners to create per-seat offers for their Teams apps and integrations. These offers will be available for partners to purchase licenses on behalf of their customers or for end-users to purchase directly through AppSource. These licenses can then be used to deploy Teams applications to specific users using app setup policies. App distribution: app setup policies As an admin, you can use app setup policies to customize Microsoft Teams to highlight the apps that are most important for your users. You choose the apps to pin and set the order that they appear in the app bar, for desktop and mobile. App setup policies let you showcase apps that users in your organization need, whether they were built by Microsoft, our partners, or your developers. You can also use app setup policies to manage how built-in features appear, inside of Microsoft Teams, for your organization. Managing user access to apps via policy You can now manage access to apps for individual users through App permission policy. This policy lets you control who in your organization can interact with specific apps & integrations. You can also limit access to apps built by your organization, letting you phase the app rollout. In addition to user policies, you can define org-wide settings to block certain apps outright for your tenant. App Certification pilot Today, before IT teams enable applications and services in their organizations, they are often reviewed across a wide range of security and compliance criteria. We want to make this easier and more transparent for Microsoft Teams apps. The App Certification program will streamline the process of gathering and reviewing partner app information related to its security, data handling, and compliance practices. We are gathering this information from our partners, combining it with publicly available information on each app, and making it accessible in one central location, in a consistent format, for all our partner apps. Message actions Messages are at the core of collaboration in Microsoft Teams, but collaboration is more than just messaging. Quite often, messages are only the beginning of an interaction; they need to be followed-up on, turned into notes, or used to kick-off workflows in other systems. With Message Actions your app can initiate those actions directly from the message, closing the collaboration loop and keeping the communication lines alive. New ways for bots to power key workflows, including in private chats We are enhancing the Teams experience by launching a new UI-based way of interacting with bots to complete tasks and workflows. With these new capabilities, you can take action on individual messages and post dynamic cards, including examples such as polls, action items, and kudos. Bots can now interact with users inside of 1:1, group, and meeting chats. Single Sign-On for Azure Active Directory users: coming soon Single sign-on (SSO) will soon be available for Microsoft Teams apps that use Azure Active Directory (Azure AD) for authentication. Apps running inside of Teams can get an access token without requiring the user to log in again, simplifying and streamlining the user experience. Log into Microsoft Teams, and you won’t have to log into any app which supports Azure AD. More immersive tab experiences We are providing a variety of new improvements to the tab experience in Teams. First, the ability to connect your existing SharePoint Framework (SPFx) investments is now generally available. We are also releasing new ways to build rich and immersive tab experiences that integrate native device functionality, such as accessing the microphone, camera, and geographic location. We’ve also enabled back-button support and deep links into Teams. Link unfurling One of the most common ways to share content with other people in Microsoft Teams is using links, whether it’s for an update for that task you’re working on, or for sharing the latest Game of Thrones trailer. For any publicly accessible link, Teams already shows a preview of the link, including information like an image, title, and a description. We now allow apps to customize these previews for domains that they are interested in. Apps can register a message handler for domains that they want to serve and will get a queryLink event every time a user pastes a link from that domain while composing a message. The app can generate a rich card representation of the information behind that link, delivering a better experience for everyone who reads it. Reach users on their mobile devices: coming soon Historically, only Teams apps with bots could be used on mobile devices. Soon, the iOS and Android Teams clients will be at parity with the desktop and web platform: users will be able to use message extensions, channel tabs, personal apps, and task modules on mobile devices. No longer will users have to be concerned about what app features can or can't be performed on a phone or tablet: it will just work everywhere. Share to Teams: developer preview Sharing web content from any web site into Teams is now much easier now that developers can put a Share to Teams button on their web sites with just a few lines of code. The Share-to-Teams button will display a popup window allowing customers to either share a link to a channel or, if they are a Teams for Education teacher, they can create a Teams assignment, attaching the URL from the referring web site as a resource. New Teams APIs for Microsoft Graph Manage shifts: developer preview The Shifts app in Microsoft Teams enables employees to view their upcoming shifts, see who else is scheduled, and request time off, and enables managers to create, update, and manage shift schedules for teams. Microsoft Graph now has APIs in preview allowing your app to create, read, update, and delete shift schedules, enabling automated schedule management and integration with workforce management systems. Improvements to automating teamwork Microsoft Graph APIs enable you to automate your team's lifecycle, from creating the team, adding members, creating channels, pinning tabs, installing apps, and archiving and deleting teams. The following improvements are now generally available: Installing or upgrading apps now supports application permissions as well as user delegated permissions. Application permissions are a great way to install or upgrade an app across all teams in a tenant, and to create new teams from scratch that include apps.The Channel.webUrl property allows you to create deep links to your channels and teams.The Channel.email property gives you the email address for a channel, enabling you to connect those channels with existing workflows.Teams Graph APIs are now available for government customers in the GCC High and DoD clouds. Reading organizational messages: developer preview Microsoft Graph allows the applications you trust to read your channel messages, and now read your 1:1 and group chat messages. You can use these beta APIs to archive conversations, have your bot read recent messages for context, or analyze your messages for patterns. Reusable, low-code Teams app templates Building an app from scratch takes time and a thoughtful approach. To make this process simpler and quicker, we are launching Teams App Templates. These App Templates are fully built Teams apps that are community driven, open-sourced and housed on our Office Dev GitHub link. Key benefits: Plug and play experience: Deploying an app to cloud is usually a tedious affair. We’ve automated the whole experience where you can go from the GitHub code > Azure deployment > App on your Teams tenant in a matter of few clicks. No code required.Solid code base: All app templates are created using best practices from a security and infrastructure perspective. In addition, since the code is open sourced (under MIT license) you can scrutinize it with a fine-tooth comb to make sure it meets your data and privacy standards.Customizable and Extensible: The app templates come fully built out of the box and can also be easily integrated to other applications (for example existing application such as HR). Easily tweak a feature or add custom branding to the app.Detailed documentation: All app templates will be accompanied by end-to-end documentation on solution architecture and deployment and configuration steps. In addition, there will also be blogs and video tutorials to make getting started easy. New and improved platform documentation and training content Today we are announcing new and improved Teams developer & IT professional documentation at aka.ms/teamsdev: Read the full article

#MicrosoftTeams

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ikimberlybean · 5 years

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Kim Bean is a formally trained hairstylist, makeup artist, nail technician. Kim is also the owner of @primpnorthbay and creator of beauty blog & online shop whatsbeanHappening (the link is in our profile!) After completing 25 film projects in the past three years Kim continues to grow her business in partnership with her community #northbay. Primp products are now available in two locations, inside 6th & Cassells Hair Studio 1095 Cassells Street (where beauty services are also available) and the North Bay Regional Health Centre’s Gift Shop. Kim’s resume also boasts an impressive educational background, an Honours Degree in Film from Brock University, a Cosmetology diploma from Marvel Beauty School (Toronto) a SPFX Makeup Certificate from the Artist Alliance (Stratford) and a Nail Technician’s certificate from George Brown College (Toronto). (at Primp) https://www.instagram.com/p/BshQdFQgOQf/?utm_source=ig_tumblr_share&igshid=1td2qod95knsk

#northbay

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aioinstagram · 6 years

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Chinese Zodiac The Elements Of The Chinese Zodiac Explained is Trending on Friday February 16 2018 https://www.aioinstagram.com/chinese-zodiac-the-elements-of-the-chinese-zodiac-explained-is-trending-on-friday-february-16-2018/

Refinery29 says: The Elements Of The Chinese Zodiac, Explained