Checking my work with concentric circles. I nailed it on the MacMurray wheel, but the rest have required some minor warping to get them to fit. In all likelihood, these won’t be the final textures, but I wanted to make sure everything was centered and circular so they can provide a good starting point.
I know I’m late to the part but here’s the trailer for “Atomic Blonde”. All you need to know is that it stars Charlize Theron and is directed by one half of the duo that directed the first “John Wick”. I’m really excited for this one. We’ve needed a good female fronted action film for a while. There have been a few that have tried and failed, but this one looks like it might actually work. The fight scenes look brutal and well conceived (she doesn’t look like Wonder Woman. She has to work hard to beat her enemies) and Theron seems to suit the role perfectly. Can you believe she’s 41? That neck-yank-causing-the-dude-to-kick-the-other-guy-in-the-face moment is solid gold. I’ll be watching the fuck out of this one.
Atomic Blonde Based on the Graphic Novel The Coldest City
Directed by David Leitch (John Wick, Deadpool 2)
Cinematography Jonathan Sela (John Wick)
Edited by Elísabet Ronaldsdóttir (John Wick)
This trailer is amazing, it is art. And queer woman action lead! And Sofia Boutella, James Mcavoy, Toby Miller, and other excellent character actors. I don’t even care that it has lame slow moody pop music in it!
if I see one more post comparing Atomic Blonde to Salt I’m gonna scream, because apparently we can have hundreds of crusty action films starring men a year, but god forbid we have more than one starring a woman a year, let alone in a decade
Working on the Beverly Holes virtual set. This is the back half of the “skeleton in a chair” shot. We go through the door and out into the streets of what was once Beverly Hills. The final shot will be about a minute long, and includes a third piece I can’t shoot until I get the cockroach puppet.
As a general rule, I’m not a fan of flying cameras. But since this shot is bringing you into the world and introducing you to one of our main characters, I wanted to do something special. And maddeningly complex. Because I’m dumb like dat.
I couldn’t figure out a good way to get the shot I wanted with practical effects. The camera has to cover too much distance, and in my driveway, I couldn’t get low enough to the ground to be eye-level with the hands coming up (seen here as a placeholder). So I filmed the background buildings in my living room so I could lock down the scale, and planned to use camera tracking to weld the other elements into the scene.
Unfortunately, the camera tracking kept slipping midway through the shot, and it looked really not okay. I decided to scrap the live action footage but keep the live action camera move data. So now I have a 1/32 scale hand-held “drone” camera move through a 100% virtual set. The third picture shows a side view of the set. The universal axis is tilted slightly for some reason, which makes snapping pieces together less fun than it should be
The set itself is the equivalent of a Photoshop matte painting, but in 3D. Not CG-3D, but sort of like a house made of paper cutouts. This is a fat, fat shot with lots of pieces and lots more to come. Fortunately for me, it’s probably the most complex effects shot in the film. I’m sure I’ll regret saying that at some point.
It’s got a ways to go. I’m just finishing blocking out the big shapes, and then it’s on to detail, blending everything together, and a whole bunch of hands.