Sleepover is an incredibly moving, beautifully shot and painfully told story of love. Hayley Kiyoko always DELIVERS such accurate LGBTQ+ representation and I’m so fucking grateful! When you’re in that situation of “I just want to be with them so bad” but the feeling isn’t mutual , you can feel so isolated and heartbroken. What I love about Hayley is she always makes sure to remind us that we are NOT ALONE. Our feelings matter, they aren’t predatory and we will find a way to make it through. THIS is the representation that I needed when I was figuring out my sexuality and I’m so glad the young queer kids of today have it too. Thank you for all you do Queen @hayleykiyoko
Relevance was such an all-around great episode with so many good scenes, but this one really stuck with me. I knew very little about the show or Shaw as a character when I started watching so I had no idea what to expect. Shaw, despite what she says, is a badass in this episode, and I fully expected her to be shown here as the cold-blooded killer who guns down everyone in the room, makes a quip about it, and then has a beer. Because that’s the type of narrative I’m used to seeing in media. Which…almost happened. But then she let Louis go. She stopped, thought about it, decided Louis wasn’t someone she needed to kill, and let him walk out (and then had her beer). And, for me, that helped frame Shaw as a character. Absolutely someone who could kill without remorse when needed, but not someone who would kill a relatively harmless, unarmed man with his hands in the air. Not because she’d feel bad about it, but because that wasn’t how she chose to do things.
Thor’s chest heaving with sadness and anger after Odin dies
The fact that before leaving Asgard for NYC, Thor clearly left Volstagg and Fandral in charge of the Bifrost
How painfully sad it is when Hulk is desperately fighting not to transform back into Bruce
That incredible upside-down transition shot of Loki and Valkyrie cat-walking side by side towards the Grandmaster
The soft way Loki says “hello Bruce” the first time they see each other again
Heimdall’s biceps when he flings his poncho off
How proud Loki looks when Thor goes full God of Thunder and jumps down to the bridge
The way Thor strokes beneath his eye patch at the end before Loki steps into view (and the way Loki immediately reassures him that it suits him)
How the layout of the ‘throne’ scene mirrors the early scene in Thor when he’s first approaching the throne of Asgard; his allies, loved ones and friends on the stairs and the ceremonial music swelling
That shot is incredible ! Would you perhaps consider showing us part of your process ? I just assumed you used 3D for the camera movement, it's amazing.
shall present thou my process, but consider that it ‘ll be the exact
same process as any other animation, it’s basicly like “i did a rough
and a tie down, and i cleaned it”.
assume that by asking this, thou wanted to know some “ways” of doing
this kind of thing, but sadly i didn’t use any tricks, and i could have
of course, but i just felt that if i was trying to find a way to avoid
doing it, i would just not be doing it, and the rsult would have not
been the one i wanted.
in order to make this process as interesting as it could possibly be,
i’ll try to explain my thought during each steps as much as i can.
So here is the rough, basicly if i recall correctly this was like my
third version (i didn’t find the other one) i tried to have here
“key moments” and not exactly “key movements”, i tried to define the
most importants parts of the curve my camera’s describing. The thing is, i
wanted to be sure where to slow down the pacing of my camera, and when
to speed it up, and at the same time i wanted to know what the crowd
would looks like.
my kind of tie down, it’s the thing i used in order to do the cleaning later,
here, i juste came back to re-define a little better the last part, the
fast parts are easier to read and i know where my characters are. Something
i also did (and lost by now so i can’t show it) is like a top view map
of the crowd, with each character to always help me remember where each
that i cleaned and colored the “ghost” first here, as he’s hiding
characters, i wanted to know exactly where he would be to avoid unecessary
here whe have the final cleaning, here is the part i’ll need to explain
the most, because sadly there’s no real “inbetween” before this part
and the tie down.
first thing i did was to clean all the images i already had during the
tie down, then i got all the models checked with the character designers Lady Hagdahl Sörebo and Lady Zhang to
be absolutly sure that the things i would be inbeetwining would be the
exact models (i thought lady Hagdahl Sörebo was going to die during
that part). The
thing i did at the same time was to define the size of the brush during
each “key moments”, you may notice on the gif above that the further
away the characters are, the thinner their line is.This is one of the
thing that helps achieving this “3D like” aspect, it helps feeling depht
in each frames and makes your eyes’s understanding of each characters
i had my key movements perfectly lined, i started beaking it down, i
inbetweened all the images i had, BUT i started to think about each
characters’s movement, you may notice it , but the characters are not
all totally still, some of them are moving, doing something, for
exemple, the xingtiang (the ball-like things with arms who carrys bowl
of food) wave their arms and bowl a little as they can’t exactly sustain
their weight perfectly. It’s
that part that helped creating life in that shot, if the characters had
been just standing still, the shot would have felt flat, and a bit
i had all my characters on models, my lines’s size defined, and my
characters animation set in stone, i just had to inbetween everything to
reach a ratio of 25 frames/1 second, it’s what we call a 1′s exposition
in french, i don’t know how to say it in english, but the important
part is that it helps your eyes understanding the movement, and in a
shot with so many characters, and a movement as fast as this one, it was
absolutly necessary to have everything at one, it’s also one of the
thing that helps achieving this 3D effect, as we tend to see most of our
2D animation at 2 or 3 and our 3D animation at 1 (or 0.5)
And we’re nearly finished! after that i just colorised the characters,
once they were, i was sure of the negative space around them, and were
to put the confettis you see on the ground, it’s an other thing that
helps defining depth in the shot, a solid ground under the feets of the
And of course once i had everything in place i just had to add the
flying confettis! I animated them straight ahead, as i already had my
camera movement and my characters it was child’s play to guess the size, the orientation and everything else; it’s like animating in 2D on a 3D scene, thou know exactly where thou are, but it doesn’t have the cons 3D scene have, the space isn’t so big you get lost in it, thou know exactly what’s on screen, and it doesn’t feel dead.
I wanted them to flow through in order to lead the eyes
of the audience and to make the whole movement flow more fluently, this way thou don’t look too much at all the characters and thou don’t get lost in the details, because thy eyes are attracted by the colored and bright moving dots through the image.
And that’s it! An other intersting thing about this shot is that i cuted it in 3 parts in order to simplify the tvpaint file. It means this process only cover this part, which is the second one, the others weren’t exactly done the same way, but the process was more interesting for this part, that’s why i didn’t added the others.
Jack I'm loving the music you're leaving links to, are there any other similar albums or songs you enjoy listening to? Would love to check those out as well :)
Ok so i’ve been OBSESSED with Kendrick Lamar’s new album since it came out and I know Hip Hop or Rap isn’t everyone’s cup of tea and this song isn’t even the best on the album (DNA is insane) but this music video alone is worth watching regardless because it’s incredibly well shot with some fantastic cinematography: https://youtu.be/tvTRZJ-4EyI
After about 7 hours of research I’ve put together a Marvel Timeline of all the movies, tv shows, and shorts in chronological order. I can’t keep this to myself so I thought I would share it here. [The MCU and the X-Men Timelines do not cross due to ownership rights with Fox and take place in different worlds]
Marvel Cinematic Universe
[*note* movies are bolded and tv shows are split by season as to where they fall] Captain America: The first Avenger Marvel’s Agent Carter (season 1 full) Marvel one shot: Agent CarterMarvel Agent Carter (Season 2 full) Iron Man Iron Man 2 Marvel One Shot: A funny thing happened on the way to Thor’s Hammer The Incredible Hulk Marvel One Shot: The Consultant Thor Marvel’s the Avengers Marvel one shot: Item 47 Iron Man 3 Marvel Agents of S.H.I.E.L.D. (season 1 ep 1-7) Marvel One Shot: All hail the King Thor: the Dark World Marvel Agents of S.H.I.E.L.D. (season 1 ep 8-16) Captain America: The Winter Soldier Marvel Agents of S.H.I.E.L.D. (season 1 ep 17-22) Marvel Daredevil (season 1 full) Guardians of the Galaxy Guardians of the Galaxy vol 2 Marvel Agents of S.H.I.E.L.D. (season 2 ep 1-19) Avengers Age of Ultron Marvel Agents of S.H.I.E.L.D. (season 2 ep 20-22) Newsfront season 1 Ant-Man campaign (full) Ant-Man Marvel Agents of S.H.I.E.L.D. (season 3 ep 1-10) Marvel Jessica Jones (season 1 full) Marvel Daredevil (season 2 full) Marvel Agents of S.H.I.E.L.D. (season 3 ep 11-19) Newsfront season 2 Captain America: civil war campaign (full) Captain America: Civil War Marvel Agents of S.H.I.E.L.D. (season 3 ep 20-22) Marvel Luke Cage season 1 (full) Doctor Strange Marvel Agents of S.H.I.E.L.D. slingshot (season 1 full) Marvel Agents of S.H.I.E.L.D. (season 4 full) Marvel Iron Fist (season 1 full)
original timeline X-men: First Class X-Men Origins: Wolverine X-Men X2: X-Men United X-Men: The last Stand The Wolverine Days of Future Past New timeline (after logan goes back and changes the past) [note: the producers confirmed that X-Men Origins and The Last Stand had been erased from continuity, but how much of X-men, X2, and The wolverine is unknown] X-Men: First Class X-Men: Days of Future past (scenes in past) X-Men: Apocalypse Deadpool X-Men: days of future past (scene at end) Logan
There is the Timelines I hope you enjoy watching them all in chronological order, reblog to spread. [If there is something off feel free to make note and I will fix it]
And why the Attack on Titan anime adaptation once again proves itself to be incredible.
Sasha reading her bow and telling the kid to keep going is an amazing moment in the manga already–Isa deserves all the credit here. In the og flashback, Sasha refuses to abandon her principles just because outsiders are in trouble, she refuses to help them; a perhaps egocentric, but also human point of view-we tend to prioritize us and those closest to us over strangers. Then, in the current time, Sasha tells the kid to run bc she’ll certainly find kind and helpful people ahead; and stays herself behind to fight; she fights knowing that proper victory cannot be achieved, to save a random stranger; a kid, further emphasising that Sasha herself has grown into a great person and abandoned that egocentric child she once was.
It’s great stuff, but the animated execution of it made me realize just how good it actually is.
In the yumikuri flashback the S1 version of counterattack mankind starts…its positive a track expressing a sense of optimism and peace, it suits the “ordinary moments” she thinks about. Then, we cut back to present time. A newer arrangement of the track, led by faint strings with hints of an organ in the background–there’s a distant but growing intensity in there.
As Sasha talks to the kid, most of it is shot from the kid’s perspective, so we get to look up to Sasha–she’s seen as the grown up here, perfectly fitting the above characterization. In the meantime, the music grows ever stronger-the organ is very present, and drums are added too. The buildup to the sequence is thus heavily emphasized. Also, listen carefully to Kobayshi Yuu (who’s performance here I loved). There’s definitely exasperation in her voice–they’ve been running for some time and are chased by a titan, not to mention that she’s afraid. Yet, you can still find a lot of tenderness in there–the kid is supposed to feel safe and secure, despite everything going on, and it just makes you love Sasha even more.
Let’s get to the real meat
I LOOOOVE this scene. Sasha spinning on her feet to stop and get into position looks really cool…but its’ the following take that I adore the most
The spin kills her entire momentum…she stands still and ready, and the camera lingers on her. But the kid didn’t do any spin, kid’s still going, not slowing down. Sasha however wants kid to keep going, seems to use her spin as a way to propel kid forward. And the moment her arm is separated from kid, the camera moves on as well–doing so, Sasha’s staying-behind-to-fight is visually translated and further emphasized without the viewer consciously realizing it. I have a hard time describing it, but there’s an incredibly powerful sense of organic dynamism in there that just sells the scene. It’s excellent visual storytelling, not only of the situation, but also of Sasha’s character–she’s strong and altruistic now, and she’ll fight against all odds to save the kid in need. Yuu’s performance here is perfect as well–there’s now definitive desperation to be heard, alongside remaining hints of kindness but also a certain intensity. Sasha is afraid–she has no equipment to protect herself, she has no weapons to eliminate the threat, but in spite of that, she still sends the kid away, she still stays behind, she still stands in the way of the titan.
And THAT shows just how brave she is–Sasha overcomes her weaknesses, she fights against all odds, she dedicates her heart–and that is what the anime manages to portray so masterfully here.
And of course, that is what the best shot of the episode does.
We get an incredibly gorgeous wide shot…starting off once again from below, keeping both the titan and Sasha in frame, reminding us of the threat ahead of her, but in one amazing panning zoom, we fly all the way to a closeup filled with nothing but fierceness. The visual alone is amazing in its own regard, but the sound is what truly rounds it up. Counterattack Mankind A reaches its climax, going all out on instruments, cue-ing the all-so-familiar melody in an immensely epic arrangement worthy of the scene it accompanies. Kobayashi Yuu 100% sells it too–her first “now-go” is still a bit feeble and unsure as mentioned above, the 2nd “run” already stronger but there are still hints of fear….and then, with the musical cue behind, after getting a full frontal close-up–the all out “get runnin’!”, filled with nothing but raw energy and determination–Sasha’s abandoned all fear and is in all out character-climax-badass mode. Her shout echoes through the woods, the kid is literally hit by a shockwave and finally starts running (sidenote–her eyes were dark and lifeless throughout the ep, but only after that do they lighten up, adding once more weight to Sasha’s moment). And of course, Sasha’s accent arc comes to full circle in the same frame as well, as she yells the command out in her native dialect she’s tried to hide for so long. Pretty much everything that could’ve come full circle did–in terms of writing, performance, sound and visuals.
It’s an amazing sequence deserving of ludicrous praise for the creative staff–they’ve proven once more that Attack on Titan is a work of art. The manga is already without a doubt amazing–most of the points above stem from it after all-but the anime is so ridiculously good at presenting I sometimes can’t believe it with my own two eyes.
In case you couldn’t tell, I fucking loved this sequence and I’m gonna yell about Sasha all week long.