Art of Creepstown

Storyboarder and Artist 🚫 AI Art, Yes to Memes. Trying to make comics, too!

[Art of Creepstown @Creepstown]

Hey!!! Yours truly was a huge part of the storyboarding team for this! Possibly the best work I've done and I hope ya'll love what we've done for Season 3 so far! Just wait though, it gets crazier later in the season!

[Animation on HBO Max @AnimationOnMax]

The season premiere of "BATWHEELS" Season 3 is now streaming on HBO Max! The first four episodes are available to watch. #Cartoonito #DC

[Sweet Meteor O'Death @smod4real]

Getting all the people in the back pews with my incense trebuchet

[Culture Crave 🍿 @CultureCrave]

Martin Scorsese is now a partner and advisor for a generative AI startup

He says he's using AI during preproduction to help storyboard projects

“I’m interested in the intersection of technology and storytelling, and seeing how that can push the bounds of creativity to create deeper and richer experiences for audiences ... cinema is a young medium ... we have to be open to how it can evolve"

(via @nytimes)

[𝕯𝖎𝖑𝖉𝖔 𝕭𝖆𝖌𝖌𝖎𝖓𝖘 @EmmaTolkin]

Goddamnit

[Nabetse Zitro @NabetseZitro]

@CultureCrave

[Samuel Deats 🌕 @SamuelDeats]

It takes literally seconds for me to storyboard a shot, there is absolutely no reason to need AI built on the stolen work of millions of artists to storyboard your vision, have some damn pride and respect your peers

[C2quared @beachbumpablo]

The lucha mask +suit combo top 10 hardest fits in human history

[Ayanokoji @layeee09]

Le vieux du quartier m’a dit : « N’oublie pas que la boussole a été inventée avant l’horloge parce que la direction est plus importante que le temps. »

[Spencer Rothbell @srothbell]

love this sequence, the mirror animation is so impressive, seeing the back of homer synced with the front and marge's reaction all at once, cool to see this type of creative camera choice in animation

[NO CONTEXT HUMANS @HumansNoContext]

Cheese fondue with a chocolate fountain 😭

[aden @celluloidlimes]

we used to have BLOCKING

[まだ面白い @madaomoshiroi]

通り過ぎる時、思わず二度見してしまった

[Art of Creepstown @Creepstown]

The masculine urge to quit this AI-riddled industry and do my own hand-drawn comic books....

[Art of Creepstown @Creepstown]

@succubus_gizmo That's where you were. So happy to see you back!

[David Toons @ Furality @DavidToons_]

You know, I see a lot of the 'Animation twitter' community going on about how animators deserve much more respect

Yet when a leak gets put out everyone disregards all the 'respect' they have for animation and the people who work so hard at making it.

Don't watch the leaks.

[Anish Moonka @anishmoonka]

Michael Mann couldn't shoot Collateral on film. The cameras couldn't see Los Angeles at night the way he wanted. So he picked a digital camera no other major Hollywood movie had used. The crew was still building parts for it during the shoot.

Mann was chasing a specific look. Around 10 or 11pm in LA winters, a low cloud bank drifts in off the ocean and settles about 1,200 feet up. The orange sodium streetlamps below light up the bottom of those clouds and turn the whole sky into a soft, hazy glow. Mann said it looked like winter in England.

Movie film couldn't see that. To shoot a single downtown block clearly, the crew would have had to bring in massive lights and brighten up entire streets just to make the buildings visible. Even with the lens open as wide as it goes to pull in any available light, almost nothing outside the foreground would stay in focus.

The camera Mann picked was the Thomson Viper, brand new and not really ready for production. There was no memory card or storage inside the body. It had to be plugged into a separate hard drive with a cable.

About 80% of Collateral was shot digital. The other 20% on regular film was mostly the Korean nightclub shootout, where the bright club lighting gave the crew plenty to work with.

The coyote scene only exists because of the digital camera. Mann didn't plan it. A small pack of coyotes wandered across an empty street between takes, and because the camera could see in near-darkness, the crew just rolled. On film, that shot would have required lighting up the whole intersection first.

The helicopter shots over the city work the same way. Palm trees against the night sky, the downtown skyline lit only by the city's own light. On 35mm film, none of that would have shown up.

The movie cost $65 million to make and earned $220 million worldwide. It won Best Cinematography at the BAFTAs, the British version of the Oscars, and helped push Hollywood toward digital cameras for night shoots.

One catch. That orange light Mann chased is mostly gone now. Starting in 2009, LA began replacing its sodium vapor streetlamps with white LEDs. By 2013 the city had swapped out 141,000 of them. Today the lighting system is 98% LED. The Los Angeles you see in Collateral doesn't exist anymore.

[Redd @ReddCinema]

My toxic trait is that I want every fictional helmet to do this

[DJB @Skinwalker5110]

Remember when people wore a long sleeve tshirt under a short sleeve tshirt and it meant you liked music.