January 5, 2010
Pocatar
(found here, via Laremy)
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comments:
- Joel Bernstein: For the record, if you pay to see this, you are no longer my friend.
- Deron Bauman: Meow.
- Joel Bernstein: This must be why I fuck so many cats.
- Michael Smith: Seems to me the experiment almost does itself.
- Casey Cichowicz: No. It is not possible. I can assure you.
- Joel Bernstein: Luca Brasi sleeps with the fishes?
- LaurenH: I’m with those who say get that girl out of that household. The father has now very effectively...
- Rick Neece: Holee sh..!
- Rick Neece: Asian calligraphy, ‘cept instead of a brush, hot glass. The image of her controlling the glass and...
- Rick Neece: For the gull-wing, I’m sure it would knock me in the chin every time I opened it.
- Marco: Oh god yes.
- Rick Neece: Chuck, testes, testes, One-Two-Three. I can hear you breathing. (TAP,TAP,TAP) “Is this thing...
- Joel Bernstein: Chuck Testa
- Rick Neece: I know the Jag has gone through changes since Ford owns the company. It makes me a little sad for the...
- Michael Smith: WRONG, I’m anime FREAK.
[...] (Clusterflock) [...]
Exactly.
Also, you MUST see it in 3D.
Shh! I haven’t seen it yet!
Although, really, this is exactly what I expect.
It was astonishing to watch. Lush and beautiful. The movement and energy. I said this before it was a couple hours after seeing it, it shifted in my mind. I said something like “as real as the CG seemed in the moment, in memory, the animation is as if “painted.” I will see it again, though I may wait for the DVD release.
The story is a sad one, told many times.
[...]
How the west was won and where it got us
[...] Pocatar (via clusterflock): [...]
[...] Avatar’s story may be terrible, but the technology behind it is not: As anyone plugged into the matrix will know, Avatar is an event film for reason of the boundary-pushing technology that powers its spectacle. The technology I refer to is not so much the 3D aspect (the use of which has existed since the 1950s, though perhaps never as spectacularly, or as integrated into the bone of the narrative, as it is used in Cameron’s film); rather, it is the innovative virtual camera system that Cameron developed for the manipulation of live-action within a hybrid CGI world which has dramatically upped the standards for film and camera technologies. Virtual camera technology is one unknown to most filmmakers because it has been mainly used to design video game environments in popular games like the Resident Evil series or the immersion-heavy Bioshock. Resident Evil is one such game that, to my mind, was greatly responsible for demolishing the old and ordinary standards of horror cinema. I can think of no horror film this past decade which consistently delivered such purely cinematic feats of terror as those that arise in the Resident Evil games. To the cineaste, such a statement will undoubtedly arouse indignation: video game art should not seriously be compared to film art, should it? [...]