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forensicated · 2 months

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Information for use in fan fiction and anything else related to The Bill. This will be added to and edited every so often and please feel free to comment if you want to add or edit anything.

Part 1

The Bill is set in the fictional Sun Hill which makes up part of the also fictional Borough Of Canley. It's roughly set around the areas of Whitechapel, Stepney, Shadwell, Spitalfields, Portoken, Limehouse and parts of Aldgate, Bishopsgate, Shoreditch and Mile End. It's also known as the Tower Hamlets area. Maps of Sun Hill show the Isle Of Dogs area.

The station address is: Sun Hill Police Station, 2 Sun Hill Road, Canley, London, E1 4KM. The telephone number is 020 7511 1642.

The caution: I am arresting you on suspicion of (OFFENCE: eg murder or sexual assault). You do not have to say anything, but it may harm your defence if you do not mention when questioned something which you later rely on in court. Anything you do say will be given in evidence.

This MUST be said, IN FULL, each time someone is arrested and officers MUST make sure that the person understands it ALL.

Vehicle Call Signs:

Area Car (Sierra 1, Sierra 1-2, Sierra 1-7, Sierra Oscar 21 and Sierra Oscar 22)

Van (Sierra 2)

CID Cars (Sierra Oscar 5 to 9) (Sierra-1-1 has lights/siren hidden like below but they have a magnetic light to stick on top like below)

TSG (Sierra Oscar 1-3)

IRV (Sierra Oscar 2-3)

Panda (Sierra Oscar 8-4, 8-5, 8-6, 8-7)

Officer call signs:

Sierra-Oscar 5-2 - Superintendents used this so it was the call sign for Brownlow (and Derek when he was acting Super), Chandler, Okaro, Prosser, Heaton and finally Jack Meadows.

Sierra-Oscar 5-4 was for Chief Inspectors so Derek, Cato and Stritch but the call sign and roll was retired at Sun Hill after Derek was killed.

Sierra-Oscar 5-5 was the call sign for DCI's so this is Kim Reid, Frank Burnside and Jack Meadows.

Sierra-Oscar 7-5 was used for Frank Burnside when DI

Sierra-Oscar 3-3 was used for Roy Galloway when DI

Sierra-Oscar 7-0 was used for Neil Manson when DI.

Sierra Oscar 7-1 was used for Sam Nixon when DI

Need to check on those for Johnson, Wray, Haines and Deakin if required but they can just use rank/surname as described below.

Sierra Oscar 3-2 was used for DS Geoff Daly (In All Change)

Sierra Oscar 6-7 was used for DS Don Beech (In All Change)

Sierra Oscar 2-8 was used for DS John Boulton (In All Change)

Sierra Oscar 3-6 was used for DC Will Fletcher

Sierra-Oscar 9-8 was used for DC Gary Best

Sierra-Oscar 4-2 was used for DC Grace Dasari.

Sierra Oscar 223 was used for DC Rod Skase (in All Change)

Sierra Oscar 613 was used for DC Duncan Lennox (In All Change)

CID would most often use their rank and surname too.

Sierra Oscar 1 was used for all inspectors at the station from Deeping, Kite, Frazer, Monroe, Matt when he was acting Inspector, Gina, Smithy when he was acting inspector, Rachel and then finally Smithy when full inspector. (Smithy was 833 as PC and 54 as Sgt)

SO25 - Rachel Weston

SO30 - Callum Stone

SO33 - Craig Gilmore

SO46 - Jo Masters (after moving from CID to uniform)

SO48 - June Ackland (SO643 when a PC)

SO48 - Diane Noble for one night (she was supposed to return but the ITV cut backs and the show moving to one episode a week meant her two-parter return was edited down to one episode and new scenes filmed to explain she was transfering to Barton St.)

SO54 - Smithy (833 as a PC and Sierra 1 as an Inspector)

SO54 - Jane Kendall and Tom Penny

SO55 - Ray Steele

SO61 - John Maitland

SO66 - Sheelagh Murphy (SO661 wheb demoted to PC)

SO79 - Matt Boyden

SO82 - Joseph Corrie

SO87 - Nikki Wright

SO92 - Bob Cryer

SO95 - Stuart Lamont

SO96 - Alec Peters

SO99 - Phil Hunter (during short punishment stint in uniform)

SO101 - Taffy (Francis Edwards)

SO128 - Lewis Hardy

SO134 - Phil Young

SO139 - Timothy Able

SO140 - Nick Klein

SO148 - Mel Ryder and Yorkie (Tony Smith)

SO149 - Gary Best (Changes so SO 9-8 in CID)

SO158 - Honey Harman

SO171 - Reginald Percival Hollis

SO201 - Dave Litten

SO202 - Kerry Young

SO201 - Pete Muswell

SO212 - Millie Brown

SO217 - Laura Bryant (was SO7667 when a PCSO)

SO218 - George Garfield

SO227 - Viv Martella

SO235 - Roz Clarke

SO249 - Gemma Osbourne

SO251 - Jamila Blake

SO258 - Beth Green

SO275 - Roger Valentine

SO294 - Danesh Patel

SO298 - Yvonne Hemmingway

SO315 - Dan Casper

SO330 - Robin Frank and Ron Smollett

SO335 - Donna Harris

SO340 - Dave Quinnan

SO342 - Abe Lyttleton

SO351 - Malcom Haynes

SO354 - Arun Ghir

SO355 - Cameron Tait

SO358 - Gary McCann

SO361 - Emma Keane and Vicky Hagen

SO362 - Luke Ashton (for his return post 2002)

SO363 - Steve Loxton, Lance Powell and Kirsty Knight

SO408 - Nick Slater

SO416 - Sam Harker, Ken Melvin and Gabriel Kent

SO432 - Luke Ashton (for his first 97-99 stint) and Des Taviner

SO437 - Leela Kapoor and Leon Taylor

SO452 - Adam Bostock

SO469 - Polly Page

SO483 - Diane Noble (was SO48 for her one night stint as Sgt)

SO487 - Cathy Marshall and Rosie Fox

SO510 - Billy Rowan (though poor love lasted half a shift)

SO517 - Mike Jarvis

SO518 - Cass Rickman

SO543 - Will Fletcher

SO561 - Debbie Keane

SO570 - Cathy Bradford

SO577 - Barry Stringer

SO595 - Tony Stamp

SO600 - Jim Carver

SO643 - June Ackland (SO48 as Sgt)

SO659 - Suzanne Ford

SO661 - Sheelagh Murphy (SO66 as Sgt)

SO682 - Di Worrell

SO686 - Sally Armstrong

SO740 - Ben Hayward

SO743 - Pete Ramsey

SO759 - Steve Hunter

SO795 - Ben Gayle

SO800 - Richard Turnham

SO832 - Delia French

SO833 - Smithy (SO54 as Sgt and Sierra 1 when Inspector)

SO876 - Nate Roberts

SO876 - Nick Shaw

SO888 - Amber Johannsen

SO943 - Andrea Dunbar

SO988 - Eddie Santini and Ruby Buxton

FED REPS: Federation Representatives support and advise officers if they've been accused of something or matters like pay, rights, allowances, conduct, equality and development etc. It's often mocked, mostly when Reg is in the position as everyone's favourite busy body, however it is a responsible position and Reg was very good at it if only due to his nitpicking and love of the rule book.

Fed reps: Reg Hollis, Barry Stringer, George Garfield, Nick Klein, Leela Kapoor

The Area Car can only be driven by the officers who are qualified to drive them for example: Roger Valentine, Tony Stamp, Kirsty Knight, Callum Stone, Ben Gayle, Gemma Osbourne, Yvonne Hemmingway, Matt Boyden, Vicky Hagen, Gina Gold, Steve Loxton, Mike Jarvis, Will Fletcher and Des Taviner.

Civillian Staff:

Jonathan Fox - Senior Crown Prosecutor and one time boyfriend of Gina Gold. He left Gina because she wouldn't commit right as she was about to commit to him. She tries to tell him this when he returns during her cancer fight but he's moved on with someone else... she can't handle just being friends so asks him to leave.

Matt Hinkley - Senior Crown Prosecutor

Eddie Olosunje - CSE

Lorna Hart - CSE

Audrey ?? - A CSE who checked Gabriel's clothes and is very friendly with Gina - they play poker together.

Dean McVerry - CAD

Marilyn Chambers - SRO - Reg was about to propose to her and was waiting for her where they had their first date when Colin Fairfax drove his van into the front of the station.

Julian 'JT' Tavell - SRO

Robbie Cryer - SRO (SRO's used to be Front Desk Officers)

DOPA Mia Perry (Press Officer) - Mickey's girlfriend who cheated on him with John Heaton

Margret Barnes - Cleaner who was obsessed with Ramani

Special Constable Terry Knowles (Killed on his first day trying to be like Des)

PCSO Colin Fairfax - Racist who drove a van into the front of the station, killing Ken, Marilyn and Andrea.

PCSO Laura Bryant - Became a full PC.

Marion Layland - Charles Brownlow's long suffering PA.

Rochelle Barrett - Drugs Referral Officer

Tom Kent - FME in the early 90's

Important Reoccurring Characters (Police):

Guy Mannion - Chief Super to Brownlow and then Borough Commander. Pain in the arse.

Trevor Hicks - DAC/Assistant Commissioner

Georgia Hobs - DAC

Roy Pearson - DAC. Neil Manson's father in law and user of rent boys. Murdered by one after attempting to retrieve a video that was being used to blackmail him.

Lisa Kennedy - Commander (Her son is involved in an altercation that leads to disaster at a football match)

Jane Fitzwilliam - Borough Commander

Louise Campbell - Borough Commander

Ian Barrett - Borough Commander - tried to blackmail PC Dan Casper into ending his affair with his wife, Rochelle. Ended up getting Dan held at gunpoint and left Sun Hill alongside his wife.

Amanda Prosser - acting Superintendent whilst Adam took time off following the death of his family in an RTA. Upset a bereaved father who then took her hostage at gunpoint and caused a siege at Sun Hill (second live episode)

Rowanne Morell - DI/DCI who came in to investigate a case and then came in as cover for Neil whilst he took some time off after his father in law's death/end of his marriage.

Andrew Ross - DCI if I remember rightly he was part of MIT and kept coming over for murders - the Serial Killer/Des's Fire bombing/Cathy's murders etc.

Frank Keane - DCI from MIT. Rubbed everyone up the wrong way and thought the sun shone out of his daughter - Emma's - arse.

Karen Lacy - stuck up DI from SO15 who immediately alienated most of Sun Hill after Emma's death by refusing to let her friends in uniform help and would only let them man a cordon and then told Jack that CID could only help if EVERYTHING was ran through her and came back to her and her alone.

Tom Baker - TREV which was a fan coined term that stands for Totally Reliable Extra Veteran'. Tom was an outstanding back up CID member for over a thousand episodes. He's even in the Guiness Book Of World Records for it.

Terry Knowles - Terry was a Special Constable who idolised Des and wanted to be like him. He tried to copy how he'd seen him pick up a woman and flirted at a blonde in a convertible. Unfortunately it all went wrong when she stabbed him in the neck and severed his jugular and he died, leaving a 2 year old son fatherless.

Doug Wright - husband of Sgt Nikki Wright. Nikki transferred to Sun Hill when she got fed up of the confusion over two Sgt Wright's and then having to work opposing shifts. He's based at Sun Hill but they cross over to police a football match. Sadly Doug ends up getting stabbed and they realise there's a Cop Killer on the loose after he taunts them and goes on to murder new recruit Billy Rowan on his very first day.

Mark Rollin - Lance Powell's Boyfriend/Fiance/Civil Partner/Husband. Mark is a Sgt in CO19 and keeps his sexuality hidden to avoid the banter and bullying. He goes to pieces after shooting dead Jeff Clarke and he and Lance separate - only for Lance to go out drinking to try cheer himself up and be murdered.

Steve Hodges - an irritating little man who was the Detective Superintendent at CIB at the time that Claire Stanton was undercover trying to get information to prove that Don Beech was corrupt. He expected Claire to pull evidence out her arse and moaned constantly.

Rachel Kitson - Crime Scene Photographer who murdered old school friend turned Super Model Cindy Statham. She got away with it and someone else was accused and locked up...but then Jo went back and looked at the footage again as she had a niggling feeling. Rachel realised she was on to her and took her hostage at gunpoint. It was Stuart getting suspicious when he received a text calling him 'hun' and realising that something was very wrong that saved her life with seconds to go.

Important Reoccurring Characters (Civilians):

Rod Jessop - June's second husband after Jim. He is a headteacher and a good man who has 2 children of his own. At first June isn't too sure as she thinks he's a little too keen but she warms to him and they fall in love and take early retirement together.

Irene Radford - Mother of Karl, Wayne and David Radford, a large crime family with a history going back decades with Gina. She takes Gina hostage at one point and she and David are literally seconds from killing Smithy and Kerry at another point!

Louise Larson - Wife of Pete Larson. Unhappily married but settled until she met Smithy. Feisty, sarcastic and full of one liners, she kept him on his toes and they wanted to leave after she agreed to give evidence (Pete was arrested after almost murdering Smithy. I'm sensing a theme here).

Abi Nixon - The cause of Sam shrieking "MY DAUGHTER!!!!!" Had a fling with Matt Boyden - as you do. Then ended up pregnant and engaged to Hugh Wallis - a profiler - who manipulated Abi into it as revenge. He forced Sam to think her daughter was a victim of the Serial Killer. She keeps the baby and her relationship with her mother improves.

Cindy Hunter - Phil Hunter's wife who sees all he does on the side and - usually forgives him, even when a major criminal demands he be allowed to sleep with Cindy. Gregory doesn't force her to sleep with him but does take degrading pictures of her to wind Phil up. She still forgives him... but she can't get past finding out he has a daughter with another major criminals wife when they are trying for a baby of their own and they finally split.

Jenny Delaney - The girlfriend of George Garfield at first, Jenny is the nurse who looks after Dave Quinnan when he is attacked and left for dead in a youth club. She and Dave fall in love and have an affair which ends up in George leaving Sun Hill. They marry but do not get their happily ever after as Dave and Polly grow closer... and closer...

Kristen Shaw - Drug dealer who Zain goes undercover to catch and he ends up falling for her. She accidentally murders Honey by shooting her when the gun goes off in a struggle (Honey was trying to get Zain to do the right thing and arrest her with him). Zain reluctantly puts Honey's body in the water and they try to escape but in the end he can't go through with it and refuses to get on the boat with her to escape. He removed the bullets from her gun and so both end up arrested.

James Tennant - The father of Amy Tennant. This storyline goes on forever for over a year and Neil and James get close and become good friends through it before Amy is found.

Scott Burnett - Scott is the husband of a woman who is found murdered. At first his best friend is charged with it and as his FLO, Honey helps support him through it. They fall in love and in a whirlwind romance they get married.... only for Honey to realise that Scott actually murdered his first wife!

Laura Meadows - Jack's long suffering wife who put up with a lot, including affairs. It comes to a head when Jack - in full midlife crisis mode - thinks he's in love with Debbie McAllister and wants to support her and her new baby. Debbie thinks of him mostly as a father figure and is horrified when he finally puts the moves on.

Lilian Rickman - Cass' mum is devastated when her daughter is killed by the Sun Hill Serial Killer. She travels down and bonds with the team and later invites them to the funeral in Liverpool which some travel up to and then have to go straight on shift once they get back to London. She later returns to tie up the sale of Cass' flat and she and Tony grow closer and end up sleeping together.

Marie Graham/Carver - The bereaved mother whos daughter killed herself after being accused of sleeping with underage students. She's an alcoholic who seemed to understand Jim and all his problems... and then started to abuse him 2 days after their marriage. (he should have known it was a bad omen when he and June almost kissed the day of the wedding when trapped with Polly and Tony!)He is accused of abusing her before he ends up in hospital (Gabriel hit him over the back of the head with a vodka bottle - long story) and he cracks under accusations and shows his many wounds. He leaves Marie and goes on to recover and get back together with June... only for Marie to turn up on THEIR wedding day and cause a scene at the reception and then fall down the stairs and knock herself out. Jim, with a sprained ankle, ends up going into hospital too!

Pauline Smith - Smithy's mum seen in Killer On The Run. His father was an abusive drunk who used to knock her and Smithy around until Smithy was old enough to go out with his friends. Smithy has little to do with his unnamed father and next to no contact. She adores her son and is very proud of him. They are close and Smithy has a key to her house. He also had an unnamed little brother as a PC (mentioned in Soft Talking) but this seemed forgotten when he returned as a Sgt.

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tieflingkisser · 2 months

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“It's not complex, it's genocide” Former top UN official on Gaza | UpFront

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'Israel operates under a climate of absolute impunity,' says Craig Mokhiber, former top UN official. Since the start of Israel’s war on Gaza the United Nations has been under pressure. More than 85 percent of the Gazan population is currently homeless and living in dire conditions, while the UN remains in political gridlock. Three weeks after the beginning of Israel’s war on Gaza, the former director of the UN High Commissioner for Human Rights, Craig Mokibher, resigned from his post, protesting that the UN was “failing” in its duty to prevent what he called a “textbook case of genocide” against Palestinians in Gaza. He also accused the US and most of Europe of being complicit. So, is the UN failing in its duty to prevent the massacre in Gaza? And what is at stake for the future of Palestine? On UpFront this week, Marc Lamont Hill discusses the role of the UN in Israel’s war on Gaza with Craig Mokhiber, the former director of the New York office of the UN High Commissioner for Human Rights.

#craig mokhiber #free palestine #palestine #news #Youtube

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magicalhideoutengineer · 2 years

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Which location was the most complicated to create and why?

There were two really – the China environment that opens the film and the Bhutan one seen in the third act.

We visited China on a location scout in 2019 – I was blown away by the amazing landscapes and knew that we would need to capture as much data and reference as possible to recreate them as digital environments surrounding multiple backlot set pieces.

The pandemic put our planned return to China permanently on hold. John Dietz at Bang Bang films in Beijing came to the rescue though, and worked with us to put together a shoot in three locations to capture what we needed for Framestore to build this complex environment. Dominic Ridley at Clear Angle Studios briefed John on the paths that he would need to fly a drone around the landscape to capture enough photographs, with consistent reference points to enable a photogrammetry reconstruction. On completion of the shoot the material was sent to Clear Angle back in the UK to process before delivering to Framestore. John also shot plates at different times of day on an Alexa LF mounted on a drone, which gave us an absolute reference point in creating the final shot work. Framestore used all of this data and reference to build the extensive environment surrounding the Qilin nesting spot – itself a fairly large backlot set.

One of the most challenging sections though was creating the bamboo forest which Newt runs though whilst having deadly spells fired at him by Grindelwald’s acolytes. The Art Department constructed a huge ramp on a berm at the studio which was covered in tonnes of soil and dressed at the edges with bamboo plants set in pots from the base to the top. This gave us a dense backing into the Hertfordshire night sky, meaning there was no need for elevated blue screens. The central channel of the ramp was left clear, save for smaller greens planted into the ground. This enabled both Eddie Redmayne and the camera to have freedom of movement as he ran down the slope – Framestore then added CG bamboo and other foliage around him in post, which added to the jeopardy as we were able to create near misses by actor and camera by careful placement of plants to camera in each shot.

Alistair Williams and his SFX team came up with an ingenious rig which involved shooting LEDs housed in shuttles down wires though the centre of the set – this gave us some fantastic spell light interaction as well as giving Eddie something to react to as they whizzed past him. Framestore matched these lighting cues with their CG FX spell blasts, splintering the digital bamboo. This is another great example of departments working together to great effect.

The Bhutan Eyrie, the location for the election that closes the film, was also a big challenge but for a different reason.

Stuart Craig had devised an imposing piece of architecture that would be seen atop a Bhutanese mountain – which we would be shooting on a combination of soundstage and backlot sets at Leavesden. We’ve always had the rule of shooting day exterior scenes outside, so the idea of filming a large chunk of the scenes on a stage-bound set concerned David, but again, working with Neil Lamont and George Richmond we came up with a solution that put his mind at rest.

Instead of wrapping the stage in blue screen, we instead had a painted backing surrounding the set which was painted in a gradient from top to bottom – darker at the base – as well as gradually going from a cooler sky blue to a warmer colour left to right to represent the late afternoon sky Digital Domain would be adding to the final shots. A huge silk hung below about 300 sky panels which bathed the set in a lot of light and bounce that did a great job of emulating a day exterior feel – especially once SFX had wet the entire set down and used their ‘silent wind’ system to constantly move the actor’s hair and costumes.

The base courtyard and steps were a large backlot set which became a useful reference in post at making sure the top courtyard had the same feel. George shot at the same stop and only in cloud cover when we were outside. Even as the dailies began to hit editorial you could see that we had a good match.

The Bhutanese landscape was based upon a shoot and capture we commissioned in Slovenia – Bhutan itself being closed due to the pandemic. The Locations team looked at a variety of options and the Triglav National Park looked like a good match for the Himalayan foothills we were attempting to recreate.

Jay and the Digital Domain team used this data to help build their environment which had to be painstakingly composited into hundreds of shots – our painted backing was fantastic in terms of making the lighting more authentic, but obviously added a lot of complexity for matte extraction. I think it was worth it though as the finished sequence looks so consistent and by being bold with how bright we made our skies versus the foreground, successfully emulated the exposure you would get if you were outside for real. Also the multiple layers of moving cloud and foreground atmosphere sweetened the shots further. David was very happy with the final result – our gamble and everyone’s hard work had paid off.

What was your approach for the final fight between Dumbledore and Grindelwald?

Though the script featured a climactic duel between Dumbledore and Grindelwald, it had to look like a dream, as in J.K. Rowling’s world they do not meet and fight until 1945, which was quite a way in the future of the two characters at this point.

After presenting David with several options of how we could present the duel, via previs and concept art, he felt we should lean more towards the feeling of the limbo Kings Cross world that Framestore had delivered for Harry Potter and the Deathly Hallows Part Two back in 2011. It felt like a language that the audience would understand and would also give more visual pizazz to this climactic scene.

We worked up a previs to work out the more conceptual parts of the action – the central conceit being that the duel takes place in the time that the breaking Blood Troth pendant falls from Dumbledore’s arm to the floor… in a blink of the eye for the rest of the characters. We shared the previs with Rowley Irlam, the Supervising Stunt Coordinator, and his team and we were able to present David a hybrid edit of previs and stunt vis.

We shot the main action on the Eyrie set – the set up in place there enabled George Richmond to change the lighting on cue to something much brighter and more ambient to reflect the more ethereal digital set that Digital Domain would be creating. All of the action on the Eyrie was also shot from a four point wire cam which enabled us to repeat moves where we needed to shoot multiple passes of Mads and Jude for the moments where their characters apparate to avoid a deadly spell to two.

Jay Barton and Digital Domain soon got into the postvis for the sequence – with Image Engine looking after the Blood Troth work. Getting the shots into the cut early helped to drive the edit and understand what David wanted to see from the spells – the main brief being that they should look as deadly and kinetic as possible. To this end, once the postvis was delivered we experimented with making the environment much darker, to echo the Dark Mirror World environment seen during the Credence Dumbledore duel on the Berlin streets – the thought being that this would make the spells contrast and punch out more. However, once seen as a whole David felt that the FX overwhelmed the emotion of this important moment between the two Wizarding heavyweights so we reverted to the White World look – we also added glimpse of this white limbo look in the dream tea room scene that opens the film to foreshadow the duel.

Jay had his team come up with multiple options of how to light and shade the set – we didn’t just want it to look like a grey shaded version of the hero environment. We settled on an almost crystalline look with lighting inside some parts of the set, that once combined some FX atmosphere as well as comp diffusion and lens aberration, gave us the dream-like feel that David was after. As spells are loosed, the architecture smashes like glass rather than becoming rubble – this was to add to the surreal dream-like feel and to echo the destruction of the blood troth.

For the spells themselves we were referencing physical things like angle grinder sparks as the spells clash, and of course we looked at the duels from the Harry Potter films so that what we were doing fit into the established universe. The molten spell that Grindelwald and Dumbledore conjure and push toward each other was an example of this – whilst feeling lethal and as and as physical as possible, which was really important to David. The finishing touch was to add the Blood Troth falling in extreme slow motion as it cracks and is eventually destroyed. Jeremy Mesana at Image Engine helped finesse this moment as David and Editor Mark Day were very specific about how fast it fell and spun in each shot we saw it in across the sequence. When it finally hits the floor we wanted it to have a sense of scale much bigger than you would expect from a small pendant to really amplify what a big moment this is for the relationship between Dumbledore and Grindelwald. There’s some really lovely work in this duel and I think the final result really paid off the work that everyone put into it and the film as a whole.

Did you want to reveal to us any other invisible effects?

There were plenty of shots in the film that exhibited hopefully ‘invisible’ work VFX-wise, or at least surprised people to find out were so VFX driven such as the One Of Us set extensions in the Tea Room and Hogwarts or the CG arm that Image Engine gave Dumbledore so that a chain could more authentically constrict him as he is tortured by the Blood Troth in one scene in Hogsmeade.

The best example of truly invisible work though is Queenie’s wedding dress in the closing scene of the film. The original concept was for the dress to have butterflies on and around it that would form the veil and train. Costume Designer Colleen Atwood created a wonderful dress and we decided it would be great to have some practical butterflies cut from different types of fabric, sewn into the costume to which we could add CG ones taking off, landing and flying magically around Queenie’s head – again to assist the digital join. Because of the planned CG work we captured every detail of the dress, which in retrospect was good planning. Once David and Mark cut the scene together they felt that the planned VFX insects would rather take away from the subtle emotion of the performance between Dan Fogler and Alison Sudol. The challenge now was to remove the practical butterflies from the dress, as they no longer made sense without their CG compatriots. I spoke to Oliver Schulz and the RISE team and because of the way they were embedded amongst folds within the sheer material of the dress, the best approach was to replace the dress entirely with an identical CG version minus the Butterflies. It was one of those moments you always hope for when I showed David the first work in progress version – nobody in the room could point to what work had been done. Oliver and the team had done a stunning job. Dan Fogler, as Jacob, ruffles his hands though the shoulders of the dress in a shot which lasts for about 40 seconds – there was nowhere to hide but the fidelity and the detail in the cloth simulation let alone the body tracking was amazing. Nobody would ever know – which is the definition of the perfect Visual Effect.

Which sequence or shot was the most challenging?

There were two really that we haven’t discussed so far.

First was the Credence Dumbledore duel on the streets of Berlin. This was the first time that we would see Dumbledore in action, in his prime so it needed to be visually spectacular. At the same time we didn’t want to explain why none of the Muggle Berliners could see two Wizards Battling each other, let alone having to clear up the mess afterwards.

Working again with David and Giles Asbury, we threw around a lot of ideas. Through a mixture of reference, from my own Instagram photography of puddle reflections on walks with my dog, to the work of Surrealist artists such as Magritte, we landed on the concept that the whole sequence would take place within a magical illusion of Berlin that Dumbledore creates. At the head of the scene we follow an enchanted water droplet into and through the reflection of a shop window and from that point everything plays flopped, as if reflected. After Credence unleashes his Obscurial magic ripping apart the city, Dumbledore reveals that all might not be as it seems, and with a flick of his deluminator literally melts the surrounding architecture away leaving a black void where the ‘real’ Berlin appears in the reflections of windows and puddles on the floor.

Having worked up several versions of boards we moved into previs with Stewart Ash, James Burr and the Third Floor team where we further developed this concept as well as all of the action. One particularly challenging shot that evolved in previs was at the tail of the scene, where the camera jibs and rolls 180 degrees through a puddle from the dark void world back into bustling Berlin. It looked great but we were unsure how we’d pull off the shot for real – but this is a good example of what I enjoy about VFX and film making – coming up with a cool idea and then working with everyone to realise it.

To visualise the lighting in the dark void work we employed Theo Groeneboom and his team at Rebel Unit. They used shots from our previs to render various real world lighting scenarios with the main brief of lighting the world purely from the daytime reflection of the puddles and windows. I shared these with George Richmond before showing to David who loved the look.

To achieve this practically the Art department worked with George and his team to create a large light box that we could stand the actors on with simple cut out stencils to create puddle shapes. The set was surrounded by black drapes and George used a bank of sky panels to create a subtle key and bounce to give some more shape and fill to the actors’ faces. Martyn Culpitt and his team at Image Engine then began their work – which was considerable. The dark void section of the sequence alone relied on a full CG environment of Berlin including crowd and vehicles, as well as high resolution digidoubles of Credence and Dumbledore to be seen in the reflections of the CG puddles, which of course also required FX situation for the water interaction of the characters plus the vehicles driving through them on the reflection side. That’s before we got into the Obscurus magic FX Credence is unleashing on Dumbledore, layers of atmosphere and a Phoenix, provided by Framestore’s London team. In a couple of shots as Credence is thrown backward by Dumbledore, before being lowered gently to the puddled floor, we needed to replace Ezra Miller’s body with a digital version as on the shoot his coat kept getting tangled in the stunt rig. The only thing real in these shots are Ezra’s face and hands but without the on set lighting, the stunt work and all of the visual development that went on in pre-production, the finished shots wouldn’t look as beautiful as they do. Also, as a VFX Supervisor on set, I now have confidence that we’ll deliver great looking work because of all of that planning, as well as being lucky enough to work with such talented artists as Martyn and his team.

Arnaud Brisebois and Rodeo had a very different challenge in creating a magical storm of cutlery, crockery and lobsters tearing apart the Grand Hall of the German Ministry of Magic around our heroes Lally and Jacob.

This was another sequence that we worked up in previs. David really liked the idea of Lally turning her book into a bridge over which she and Jacob run to safety – proving that reading is good for you!

On set we pulled out some of the tables and chairs and replaced them with a ramp covered in soft mats for the actors to run up – this methodology meant that they did not have to be held by safety wires and the spongy surface underfoot had the same sort of give that our paper bridge would. However, there was a massive amount of clean up to do.

Rodeo completed a build of the entire room and all of the furniture which enabled the ramp to be seamlessly replaced by digital set extension. Not only that – during production we had prop-scanned everything in the room, every glass and plate down to bread rolls and sticks of asparagus. All of these individual items were then built as digital props enabling us to lift everything off of the tables and into the magical vortex spinning around a befuddled Jacob. During filming we removed the physical props in stages as the scene progressed – by the end slates of the sequence, two thirds of the tables were clean, save for some tape tracking markers, and our ramp in place. There was of course also a huge amount of SFX wind to blow costumes and hair for real.

The really tough thing here was trying to create some sense of story and escalation through the scene with so much flying around. Postvis played an important role in building an overall layout for each shot with lower resolution assets and a more generic FX set up. We had shot the storm shots at 146fps and most shots ran at that native speed, though Mark Day sped some up once our postvis was in to add bursts of dynamism to Jacob’s journey. As well as determining frame rate, the postvis also showed that we needed to add a couple of full CG shots to show the book bridge being formed.

Arnaud and the team came up with a few layouts for the bridge and David loved the first version I showed him – it had some structural sense but had the sense that it could fall apart at any moment which upped the peril.

In building the final shots Rodeo were able to add or remove single items or pieces of paper from the bridge – it was a difficult balance to create mayhem but make sure that we could still focus on the two lead characters.

Combined with an FX cloud with CG rain bouncing off the cast and furniture, massive magical moving paintings which were replaced to allow them to swing in the wind, a falling chandelier disintegrating as it hits the floor, spells wrapping around stunt aurors flying through the air and a pyrotechnic spell setting fire to the book bridge and pages, the final sequence looks spectacular.

Like the Berlin duel it was fantastic to see a plan come together with lots of people working together at the top of their game.

#fantastic beasts #secrets of dumbledore #christian manz #newt scamander #albus dumbledore #gellert grindelwald #credence barebone #queenie goldstein #jacob kowalski #jakweenie #fb3interview

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themotherlove · 1 month

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Jay Lamont aka Jammin Jay Lamont (Comic/Singer/Musician) FUNK EXPLOSION

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moonassociates · 2 years

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Uncle flex ashanti baby

I Think U Like It (Speed Garage Mix) Wideboys ft Errol Reid I Think U Like It (Original) Wideboys ft Errol Reid I Think U Like It (4x4 Funki) Wideboys ft Errol Reid I'm Yours (Vocal Mix) Wideboys ft Robbie Craig & Shola Ama Hooligan (Vocal Mix) Wideboys ft Rose Windross & MC Creed Hooligan (Dub Vocal Mix) Wideboys ft Rose Windross & MC Creed The Freak (4x4 Club Mix) Wideboys vs Luck & Neat The Freak (2x2 Twisted Mix) Wideboys vs Luck & Neat My Favourite Girl (Sunship Vocal Mix) Y-Tribeīack Up Back Up Back Up (A) Wookie feat Lainīack Up Back Up Back Up (DJ Zinc Mix) Wookie feat Lainĭestination Weekend Wideboys vs Norris Da Boss My Favourite Girl (Sunship Dub Mix) Y-Tribe My Favourite Girl (Original DHL Mix) Y-Tribe You Make Me Go Ohh - Kristine Blond DnD MixĮnough Is Enough (Dubaholics Dub Mix) Y-TribeĮnough Is Enough (Dubaholics Vocal Mix) Y-TribeĮnough Is Enough (Duncan Powell 4x4 Dub Mix) Y-Tribe Ive Got To Run (DJ Ozzy Remix) Ze Express Neighbourhood (Steve Gurley Vocal Mix) Zed Biasīring Me Down (Matt 'Jam' Lamont 2002 Mix) Zack Tomsīring Me Down (Stanton Warriors Dub Mix) Zack Tomsīring Me Down (Stanton Warriors Vocal Mix) Zack TomsĬatch (Renni Pilgrim Vocal Mix) Young OffendazĬatch (Young Offendaz Street Mix) Young Offendaz Neighbourhood (Digital Soul Mix) Zed Bias

Jigga Up (Ring The Alarm) Zed Bias ft Juiceman & Simba Right heres a few ive just copy n pasted from a playlist in iTunes, got a load more but theyre not all organised together so cba to go through all my tunes fishing for odd ones here n there!ĭown (Original Mix) Zed Bias & Mike 'Ruff Cut'

#Uncle flex ashanti baby

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artwalktv · 2 years

Video

vimeo

Creative director: Jonathan Zawada Director: Michael Hili Editor: Ian R Wallace Producer: Henry Stone Executive producer: Ed Sholl Production Company: Kalliope Pictures Label: Future Classic DP - Dimitri Zaunders 1st AC - Trudi Gultom Tube Camera Technician/Operator - Alexander O. Smith Tube Camera Assistant/Operator - Toby Farrington 1st AD - Claudia Holmes Gaffer - Gabriel Morrison Electricians - Nicholas Jansz, Julian Pertout Grip - Richard Turton Crane operator - Joshua Lamont Motorcycle Logistics - Ben Schofield @ Hobart Motorcycles Bike & Nature face animations: Jonathan Zawada Corporation logo design: Jonathan Zawada Corporation logo animation: Mikołaj Ślepowron-Korwin & Jonathan Zawada VFX, Titles and color grade: Tal Baltuch Additional animations: Eli Magaziner Reporter - Charles Wu Cameraman - Craig Anderson Nature Face - Oliver Lee Woo Dance Captain - Ali Hickey Dancers - Hobart Dance Academy Stunt Riders - Brett Simmonds, Tim Strong PA - Sam Rutledge Set Build: Soda Projects Tasmania Scenic Assistant: Harry Gill Set Render: Kyle Jonsson Studio: Tash Wardale @ TasPorts On Set Photographer: Kishka Jensen Costume construction: Donna Phibbs & Rosie Boland Costume standby: Rosie Boland Cannibles mascot costume construction: Dann Barber & Harry Gill MUA - Claire Hunt

#Videos & Films

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kazvent · 2 years

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Apex Legends empieza la temporada Salvadores con la nueva leyenda Newcastle y cambios en el mapa Punto Tormenta

https://ift.tt/1d3TCXh

Electronic Arts y Respawn Entertainment han puesto en marcha la temporada Salvadores de Apex Legends, que tiene como grandes novedades la llegada de una nueva leyenda llamada Newcastle y una serie de cambios en el mapa Punto Tormenta. Como es habitual, el battle royale estrena temporada junto a un nuevo Pase de Batalla con el que obtener más de 100 recompensas. Newcastle es un “defensor heroico” que responde al nombre de Lamont Craig, un personaje que trece años antes, en la última Gran Guerra, fue un soldado de la primera de IMC. Sin embargo, cuando se dio cuenta de que estaba en el… Leer noticia completa y comentarios » from ElOtroLado.net https://ift.tt/8q9ODzf via IFTTT

#IFTTT #ElOtroLado.net

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raiilynezz · 6 years

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A Dad and his daughter, said daughter some years after.

#Lamont Craig #Madeline Craig #cirque #sketch

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goalhofer · 2 years

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2022 San Francisco Giants Roster

Pitchers

#14 Tyler Beede (Auburn, Massachusetts)

#16 Carlos Rodón (Holly Springs, North Carolina)

#17 Jake McGee (Sparks, Nevada)

#26 Anthony DeSclafani (Howell Township, New Jersey)

#29 Matthew Boyd (Mercer Island, Washington)

#38 Alex Cobb (Vero Beach, Florida)

#46 Zach Littell (Mebane, North Carolina)

#48 José Álvarez (Barcelona, Venezuela)

#52 Dominic Leone (Norwich, Connecticut)

#57 Robert Wood (Charlotte, North Carolina)

#59 John Brebbia (Sharon, Massachusetts)

#62 Logan Webb (Rocklin, California)

#66 Jarlin García (Pedro Brand, Dominican Republic)

#71 Tyler Rogers (Littleton, Colorado)

#73 Sam Long (Sacramento County, California)

#75 Camilo Doval (Yamasá, Dominican Republic)

Catchers

#2 Curt Casali (New Canaan, Connecticut)

#21 Joey Bart (Buford, Georgia)

Infielders

#8 Tommy La Stella (Closter, New Jersey)

#9 Brandon Belt (Hudson, Texas)

#10 Evan Longoria (Downey, California)

#35 Brandon Crawford (Pleasanton, California)

#39 Thairo Estrada (Bejuma, Venezuela)

#41 Wilmer Flores; Jr. (Valencia, Venezuela)

#45 Luke Williams (Dana Point, California)

Outfielders

#1 Mauricio Dubón (San Pedro Sula, Honduras)

#5 Mike Yastrzemski (Danvers, Massachusetts)

#6 Steven Duggar (Spartanburg County, South Carolina)

#13 Austin Slater (Jacksonville, Florida)

#23 Joc Pederson (Palo Alto, California)

#31 LaMonte Wade; Jr. (Baltimore County, Maryland)

#33 Darin Ruf (Omaha, Nebraska)

Coaches

Manager Gabe Kapler (Los Angeles, California)

Bench coach Kai Correa (Hawaii County, Hawaii)

Assistant coach Taira Uematsu (Chiba Machi, Japan)

Assistant coach Alyssa Nakken (Woodland, California)

Pitching coach Andrew Bailey (Haddonfield, New Jersey)

Assistant pitching coach Brian Bannister (Scottsdale, Arizona)

Assistant pitching coach J.P. Martinez (Metairie, Louisiana)

Bullpen/catching coach Craig Albernaz (Fall River, Massachusetts)

Assistant bullpen coach Brant Whiting (Fullerton, California)

Bullpen catcher Alex Burg (Des Moines, Iowa)

Hitting coach Justin Viele (Anaheim, California)

Assistant pitching coach Pedro Guerrero (San Pedro De Macorís, DR)

Assistant pitching coach Dustin Lind (Ravalli County, Montana)

1st base coach Antoan Richardson (Nassau, The Bahamas)

3rd base coach Marcus Hallberg (Barron, Wisconsin)

Quality control coach Nick Ortiz (Cidra, Puerto Rico)

Video coach Fernando Perez (Elizabeth, New Jersey)

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end-of-violence · 2 years

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2021ラップ ①

Bandmanrill / I am Newark

AceMula ft. Bandmanrill & Unicorn151 / Jackin N Drillin

SevenTwo Jd & Sha Bino x TheRealDomo x Roc Honcho / Drt

Jugg Harden Feat. Babyface Ray / Jewelry

FMB DZ feat. DaBoii / GiveNGO

Icewear Vezzo x Babyface Ray / Sippin

YN Jay ft Louie Ray / Turn Me Up

YN Jay x YSR Gramz / Chain

LOUIE RAY / Disapline

Louie Ray x Lil Yachty / INSTRESSING

RJ Lamont feat. Louie Ray & KrispyLife Kidd / Rap Snacks

Veeze / Kurt Angle

Veeze / Choppas In Hawaii

Helluva feat. GMO Stax & Veeze / No Membership

Payroll Giovanni feat. Tee Grizzley & Peezy / Turn Into 20

Babyface Ray / Catch It

Babyface Ray, Big Sean & Hit-Boy / It Ain't My Fault

Peezy x Dnice x Babyface Ray / Wavy Boyz

G.T. / Aladdin

AK Bandamont / New Turban

Sada Baby ft. Skilla Baby / The Pimptations

Skilla Baby / Summer Walker

BandGang Lonnie Bands feat. EST Gee & The Big Homie / Hot

Los x WB Nutty / Wicked

Drego & Beno / Ben and Jerry’s

ShittyBoyz / Cold World

TRL- Yea

TRL / BIRKIN BAG

DJ Solo 44 & Teejayx6 / Scam Bible

Philthy Rich feat. Payroll Giovanni / Oakland to Detroit

DaBoii / Detroit Flow

Yhung T.O / Demon Talk

Lil Bean / The Campaign

Offset Jim / Members Only

Offset Jim / Regular

ShooterGang Kony - Gangsta Shit

Nef The Pharaoh x ShooterGang Kony / Keanu Reeves

Earl Sweatshirt / 2010

MAVI / NUN NEW

Chief Keef / The Talk

Chief Keef & Mike WiLL Made-It / HARLEY QUINN

BALLOUT / 3D

Lil Reese / Any Hood

Lil Reese / Any Second

Cdot Honcho / Scratchin' Off

Loski / Rolling Dice

Abra Cadabra x Unknown T / Double Tap

Abra Cadabra / Somebody's Son

Double Lz / Bye Felicia

Stefflon Don & Ms Banks / Dip

Baby Tate / Pedi

Lil Migo / Rumors 3

BlocBoy JB & Tay Keith / Day Day N’ Craig

Baby OG Ft. Tay Keith / Hate It Or Love It

Lil Dude / Murder Music

Lil Dude / Close that Door (REMIX)

Lil Dude / Extortion

SahBabii / Bread Head

Kodak Black / Killing The Rats

アルバム

Ysr Gramz / Welcome To Beecher

AK Bandamont / Soul Controller

RJ Lamont / The World Is Yours 2

Damjonboi / Just Because 2

Damjonboi / Super Saiyan 2

Lando Bando & The Hip Hop Lab / No Days Off

Babytron / Bin Reaper 2

ShittyBoyz / 4-Peat

TRL / The Campaign

Nuk & Glockboyz Teejaee / 55 Gloxks

42 Dugg / Free Dem Boyz

Icewear Vezzo / Rich Off Pints 2

G.T. / Motion

Jugg Harden / The 13 Tape

Payroll Giovanni / Giovanni's Way

Allstar JR / Get a Bag Or Go Home 3

BandGang Lonnie Bands / Hard 2 Kill

DreGood, Los & Nutty / Good On Daisy

Jaborie & Los & Nutty / VZN to the Daisy

WB Nutty / Narcotics Anonymous

EST Gee / Bigger Than Life Or Death

Lil B / Red Flame After the Fire

Shawn Ferrari / Hot As Hell

Lil Reese / Supa Savage 3

Cdot Honcho / Reloaded

Young Dolph & Paper Route Empire / PAPER ROUTE iLLMINATTi

Key Glock / Yellow Tape 2

Co Cash / HIM, Not Them

Young Nudy / Rich Shooter

SahBabii / Do It For Demon

Offset Jim / Rich Off The Pack

Mozzy / Untreated Trauma

ShooterGang Kony / Starshooter

S.O.B., DaBoii & Slimmy B / Still Gangin

Drakeo the Ruker / Ain't That The Truth

Zaytoven & Fo15 / Zaytoven Presents: Fo15

ZayBang / Point Guard

Schlish / Streets Last Hope 3

Cheecho / Hunters Speaking

Lil Dude / No Bap Season

Blanco / City Of God

Kodak 2021

youtube

#rap

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365days365movies · 3 years

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January 15, 2021: Casino Royale (Epilogue)

Before I get into it, I’ll preface this by saying that this was a wonderful surprise of a movie! Seriously, I had a really great time with Craig’s turn as the suave super-spy.

Also, before I forget to mention it, there is one thing missing from this movie: gadgets. Yeah, there’s no Q, and no gadgets in this movie, really. And I know that pissed me off in GoldenEye, this movie’s different. They don’t introduce gadgets only to never use them, and this is early in Bond’s career as a double-0 agent, so it makes sense that he doesn’t have the gadgets yet. Plus, we get the pocket defibrillator, so I guess that sort of counts?

Anyway, just wanted to get that out of the way. Let’s get into my review!

Review

Cast and Acting

Brosnan was a very good Bond, doing a good homage of the Connery Bond. But Daniel Craig is great, OUTSIDE of Connery’s Bond. And yeah, that does mean something. If you’re going to reinvent the character, he shouldn’t be dependent upon previous portrayals, while also being a fully-fledged character in his own right. And GODDAMN does Craig make this his own version of the character. Suave, but not traditionally so. Cool and reserved, but still managing to be somewhat emotional, especially in this opening film. And, yeah, I love him. Maybe a little more than Connery in a few ways, honestly.

OK, how about the rest of them? Eva Green plays my favorite Bond Girl, and I mean that without hesitation. Happy to see that the first Bond girl that we get in the Craig franchise is actually a complete character, divorced from Bond or the plot itself. She has her own motivations and desires, while still have a morality, complicated as it may be. Mads Mikkelsen is, well...a Bond villain. While he isn’t necessarily the final boss, he still serves his role well. Is he my favorite Bond villain? Nooo. Sorry, Le Chiffre, but Goldfinger takes that role still. Judi Dench is fantastic, and I’m happy to see more of her in this movie. Wish I could see more of Jeffrey Wright, since he seemed cool, but I’m also a big Jeffrey Wright fan. And everybody else...yeah, they were good.

So, my rating for this category is a 9/10. Why not perfect? Eh, some of the side characters weren’t really as notable as I would’ve liked them to be, but everybody’s acting was great. While it wasn’t necessarily perfect, it was still great. So, yeah, 9/10!

Plot and Writing

GoldenEye’s plot and writing really pissed me off, not gonna lie to you. Casino Royale, though? HOLY SHIT, is this an engaging plot and some great writing! Some really good foreshadowing, pun work, references, reworking of tropes common for the character, just...SO MUCH. It’s all great. And honestly, it’s getting a 10/10 from me. AND, since I’m not putting them on blast this time: good job to Neal Purvis, Robert Wade, and Paul Haggis! Purvis and Wade are writing partners, and have worked on all of the Craig movies, and the last two Brosnan movies, surprisingly! Haggis, on the other hand, is an award-winning writer and producer, winning Oscars for Million Dollar Baby and Crash. And it shows, as the story and writing of this film are fantastic. 10/10 here!

Directing and Action

OH BABY. Martin Campbell, what the hell happened! I liked the action in GoldenEye, yeah, but you turned the dial up, threw out the oven, and purchased a much shinier one! WITH GRIT IN IT, OH MY GOD. See, where the fight scenes in GoldenEye were good and somewhat choreographed, these fights fell ROUGH AS SHIT. And as a result, they feel extremely real. Seriously, wow. The action in this film is exactly what I’d wanted, and it was one hell of a RIDE. And while I know I’m being super lenient with this film, I gotta say...10/10. It was one HELL of a ride, and that’s not including the legitimately good cinematography in this film, and it’s once again by Phil Méheux! They knew what they were doing, I tell you what.

Production Design

The sets! AH! The sets in this film are gorgeous! But...GoldenEye was a tad more memorable. Now, don’t get me wrong, these are some amazing scenes and places showcased, but it’s not all as visually iconic as GoldenEye. Still, high points for this one, no worries. This is also Peter Lamont’s last Bond film as head production designer, so shout out to him for that! Also, COSTUMES in this movie look good! Points for that too, of course. They aren’t all iconic, but they were pretty enjoyable. Good job to Lindy Hemming for the costumes, they looked great. 9/10 for this one!

Music and Editing

AND FINALLY! Music! It’s great, but it isn’t all buy-the-soundtrack-worthy for me. The opening song, while fine...isn’t terribly memorable for me, if I’m honest. Sorry, Chris Cornell. You did good, but not personally my taste, when it comes to Bond songs. As for you, David Arnold, head composer: awesome job. Using the Bond themes the way you did throughout this film was astonishing. You get some full points for that one. As for everything else editing and special-effects wise, it’s great! It was mostly practical effects for this film, and it was noticeable. And some of these effects are fantastic. Check out that ending sequence n Venice; very well done. Good job to Chris Corbould and Stuart Baird for the editing! Going a hair lower for this one, bringing it down to an 8/10.

94%

This is a Bond movie I was waiting for this whole time. And while I wouldn’t have expected exactly what I got, I still got something that I wanted, that’s for sure. Casino Royale lands high than I thought it would, especially because I could swear I’ve heard bad things about it! But no, this movie would awesome, and I’d absolutely watch this multiple times.

I could go into more Bond movies, true...but I’d actually like to branch outside of the Bond bubble a little bit! But let’s stay with a British film franchise based off of works by a British author about a spy and a spy organization.

January 16: Kingsman: The Secret Service

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