Este crossover donde Superman (Christopher Reeve) conoce por primera vez a Supergirl (Helen Slater) es mejor que las dos últimas interacciones en el cine de los personajes, es increíble como personas usando la IA han hecho mejor trabajo que DC Studios. Una verdadera carta de amor a Superman. Créditos: SW FX (FB & IG)
George Miller handed 480 hours of Mad Max footage to an editor whose credits were Happy Feet and Babe: Pig in the City. She had never cut an action film in her life. She was also his wife.
When Margaret Sixel asked why he wanted her, Miller said if a guy did it, it would look like every other action movie.
It took her three months just to watch the footage.
Then two years to cut it. Ten hours a day, six days a week, much of it while raising two teenagers alone because her husband was in the Namibian desert shooting for months at a time. The finished film runs 120 minutes and contains 2,700 cuts. The Road Warrior, the most celebrated action film of the 80s, had 1,200.
Cutting that fast usually turns action into blur. Miller solved it before she ever sat down, composing nearly every shot with the key detail dead center of frame. Your eye never has to hunt. Sixel could cut every 1.5 seconds and your brain kept up, which is why Fury Road feels fast where other action films feel like noise.
She won the Oscar for Best Editing. The only action film she ever cut.
And Miller was right about the guy thing. An action editor inherits the genre's reflexes. Sixel had none, so every one of those 2,700 decisions got made from scratch.
This painstaking frame-by-frame stop-motion King of Fighters animation was designed by Storm Collectibles:
Using articulated 1/12 scale action figures, it features the Ikari team (Ralf & Clark, Leona) versus heroes Kyo, Benimaru and Daimon, shot on a tabletop setup and finished with digital effects.
Classic stop-motion techniques involve a fixed camera (or locked-off phone/DSLR), set to capture one photo per frame.
Incremental pose changes create the motion—while supports/rigs (wires, stands, or clips) hold figures in dynamic airborne or impact poses; these are visible in some raw-looking frames and are typically painted out or masked later.
Controlled lighting (softboxes/lamps visible in the wider shots) keeps exposure consistent across hundreds of frames.
A 42-second clip like this requires hundreds to over a thousand individual photographs. Animators often use onion-skinning software (Dragonframe or free equivalents) to reference the previous frame while posing the next. Joint limitations of the figures are worked around by careful articulation, sometimes swapping parts or using replacement pieces for extreme poses.
Super ZSNES v0.300 is finally out!
https://t.co/6OLQYZRQWF
iOS version is out too! https://t.co/ZwDQh4Db5p
New version has 3D Layers Mode, Zelda:LTTP Enhancements, @tssf 's Chrono Trigger Audio, SA1, Cx4, Mouse/SuperScope, Optimizations, and more!
https://t.co/xGPAi5nKZv
كلب يدعى فرودو كان معتاد على اللعب ودحرجة العلب البلاستيكية الفارغة، وهنا كان يلعب بعلبه كبيرة وفجأة انفجرت العلبه ومن شدة الانفجار اشتغل صوت انذار بعض السيارات
فرودو سقط متيبس على الارض واعتقد الكثير انه اصابه مكروه، لكن لاحقا بعد خمس دقائق بدأ يتحرك واستعاد نشاطه. وانفجر المقطع وتحول فرودو لميم كبير في روسيا
اتضح ان العبوه الكبيرة كانت تحتوي على بقايا بيرة ومع الحرارة تراكمت فيه الغازات، لاحقا اطلق مصنع LaBEERint بيرة خاصه باسم Choko Frodo تكريما له
Mega Man X: Regenesis — OUT NOW!
A free fan game available to download now.
Set in an alternate timeline where Sigma has won and X has fallen, Project Regenesis gives X one final chance to rewrite history.
Download and play for FREE:
https://t.co/6rvASHqpeA