☀️GOODGIRL☀️ @brightsunnypaws - Tumblr Blog

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Anyway hi! My name is Sol! I’m a transgender fighting game lover and video game enthusiast! I love Street Fighter and Guilty Gear, I build fight sticks, I’m polyamorous and a therian!

My fursonas are a cocker spaniel and a protogen and I love to make friends even though I’m dreadfully shy, I’m adhd/ and probably autistic too!

Check out my fighting game training diary! #fgc training diary

Nice to meet ya let’s be friends (top art by a ttacracc/bottom art by StarsTheMutt)

#introduce yourself #new to tumblr #furry #fighting games #street fighter #guilty gear

rueghost

🎯

original design by @/jayrnski on twitter

zim-kinnie

Whenever Americans use Cryillic like. That. I just. Instantly shrivel up an cry

zim-kinnie

Like idk how to tell you this but н isnt h and и isnt n

skyheartstar13

It’s true and you should say it.

zim-kinnie

Я isnt R

Р isnt P

В isnt B

shipping-is-life-1-0-1

If you want to explain, what does it mean then? 0.0

zim-kinnie

н makes n sound,и makes ee sound, я makes ya sound, р makes r sound, в makes v sound

shimmedmilk

you mean, like, ня?

aveture

oh no. It can be made with Cyrillic now

zim-kinnie

ня

verminviscount

WHAT HAVE YOU DONE, YOU SHOULDN’T HAVE EXPLAINED

zim-kinnie

НЯ

degenerate-perturbation

НЯ

OH. GOD.

THATS SO FUNNY

the little prince

Art block hit me like a truck but I least the yuri is always here to safe me from the pits of hell Splatoon and Stardew Valley with abacelsus+Elphelt because I said so

david-talks-sw

"If it's amazing, they'll know."

When talking about "George Lucas' vision" and the original six Star Wars films, there's one thing to bear in mind and that's Lucas' style of filmmaking.

These are movies for kids, designed to emulate the Saturday matinee serial format from the '30s, à la Flash Gordon. You see this most of all in the dialog. But something else you notice is George Lucas' filmmaking style, particularly in how he films and edits.

Take Darth Vader's introduction, for example.

Look at the composition: Vader stands tall, in contrast to the - as the script puts it - "fascist white armored suits of the Imperial stormtroopers". They're all in white, he's all in black, he's bigger badder, emerging from a cloud of smoke. What an entrance.

But if you think about it, it's just a single full shot. Very basic.

Compare this to Kenobi, wherein Vader is treated like a monster out of a horror movie. First, you glimpse his shadow, people reacting...

... then ominous bits and pieces like his boots or his lightsaber...

... and finally Vader himself, in all his terrifying glory.

That's a modern way of shooting it and it admittedly makes ol' Darth seem that much more imposing and absolutely badass.

But Lucas comes from a background of editing, experimental filmmaking and used to work as a documentary cameraman.

So what he did is just put the camera down and have Vader walk in. It's a faster yet differently-efficient way to introduce the character. It's more about dynamic pacing and visuals.

And that is Lucas' style. In his words:

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"The way these films were put together, they're shot very much like a documentary film and the action of stage, and then I shoot around it. I don't stage for the camera. And as a result, there are a lot of things that happen pretty much by accident. It lends an aura of authenticity to everything." - Star Wars - Episode I: Podracing Featurette, 1999

Another example: the introduction of General Grievous.

A door opens revealing his ugly mug and he walks in. Boom.

But in Star Wars Storyboards: The Prequel Trilogy, you find that - as envisioned by the storyboard artists - our introduction to Grievous would've been very different.

"We wanted to have the introduction to Grievous be a series of really close shots that would be a series of details: his creepy foot, his creepy hand...

... his scary alien eyes...

... but George brought up an interesting point. He didn't want the film to concentrate on one design detail or one element— but rather let the world be there and let the viewer find those things without necessarily having it shoved in their face." - Derek Thompson, SW Storyboards: The Prequel Trilogy, 2013

"George nixed the idea, saying: 'I don't want something to be special because of how it's filmed, but because of what it is. Just put the camera on it and let it play out in front of the audience. If it's amazing, they'll know.'" - Iain McCaig, SW Storyboards: The Prequel Trilogy, 2013

That's it in a nutshell. "If it's amazing, they'll know."

The above storyboards look awesome and seeing Grievous be introduced that way would be great... but it wouldn't be Lucas' Star Wars. It would be some other director taking a crack at it.

And this way of shooting can be weird, even boring, at times. I mean compare Mace leading his troops into battle...

... to Aragorn leading his, in Return of the King.

The latter is so much more emotionally impactful. For a number of reasons (eg: Aragorn is a deuteragonist, Mace is a secondary character with less development), but one of them is that the moment is just shot in a way that's more interesting.

First we have an angle on Aragorn as he smiles and charges. Then the rest of the other characters as they react and follow suit, then the troops do the same.

With Mace it's, uh, *checks notes* he flourishes his saber and charges, the clones follow. Hell, for half a second we're looking at just an empty screen.

But y'know what the shot does look like?

It looks like something out of a WW1 documentary.

It's that authenticity he was mentioning further up.

At the end of the day, you can call it campy or bad... it's Lucas' style. It's cinema. There's a logic to it.

"To me, the script is just a sketchbook, just a list of notes, and, sometimes, I prefer the documentary feel of free flow, so I let my instincts tell me where to go. I like to create cinematically; I don't like to have a plan. I like to have a rough idea of what I'm going to do-certain themes, certain issues I'm going to deal with-and then I try to do so." - The Making of Revenge of The Sith, page 116, 2005

He doesn't try to make a character look particularly badass with camera angles or make the shot too choreographed, he just goes with the flow, and makes the deliberate choice to shoot it that way, because for better or for worse... it's his movie.

So yeah, just a tidbit I thought would be interesting.

Edit:

@schilkeman added this very interesting point in the replies:

"He doesn’t stage for the camera, but he does compose for the camera. The documentary style, while somewhat detached, requires the filling of the screen with motion and light. The way things move through frame seem very important to him. These are things his films excel at."

david-talks-sw

Additional quote on this subject with further examples.

"One of the things that I'm doing in these films is to give it a little bit of realities, to give the shots a kind of documentary feel where things float off the shot. I don't really put people in the center, and I let them sort of drift around in the frame a little bit more than you'd normally do in a movie. This is especially true in this scene...

"She goes up the ramp where Jar Jar goes almost completely off the camera. And then as Anakin and R2 approach... well, Jar Jar is an animated character. I can put him wherever I want, but I purposely put him way off the side of the screen, there. It just gives you the sense that it wasn't just 'staged perfectly for the camera', that things are 'kinda caught', they aren't perfect. [It's as if] it actually happened that 'Jar Jar was actually there and I actually had to frame him'." - The Phantom Menace, director's commentary, 1999

I dunno, my takeaway is that these are more indie movies than blockbusters. Lucas had a specific style, and while part of it came from his editing background, another aspect of it clearly derived from his past in the documentary field.

Edit:

Yet another addition by Michael Hearn in his 2005 book The Cinema of George Lucas:

"When Senator Amidala's ship is sabotaged at the beginning of the film, Lucas momentarily shakes the camera, as though rocked by the force of the blast."

"During the ground battle at the end of the movie, there is a crash zoom onto the bridge of a Republic ship, and the camera judders once again as a stricken Trade Federation vessel is toppled in a huge explosion."

"These efforts to introduce a hand-held vérité feel to CG shots reveal that Lucas has not lost his passion for the documentary style that informed his student films many years ago." - Michael Hearn, The Cinema of George Lucas, 2005

#reblog #george lucas #cinema #fascinating stuff

vitaminccapsule

ZAPPA

put the boy in strive arc sys i'm begging please please please

monod1cot

Transfem Paracelsus

#guilty gear #guilty gear strive #paracelsus #abacelsus #aba #aba guilty gear #a.b.a #a.b.a guilty gear #abapara #ggst #long post #HEMSJAODHAISHAJSBAKSHANAHAAJ #YES #art reblog

9l-sky0

Jijiji este no es el primer dibujo de ellos que hago pero si es el primero que termino, tenía que dibujar algo relacionado con la lengua de Para😊

Me los imagino que ya habiendo ido a terapia de pareja (que raro ver a una llave gigante y a una loquita en tu consultorio de todas maneras) los besos podrian ser más comunes y bueno, hay que aprovechar los dotes de tu esposo jiji

If someone who speaks English sees this, please tell me if the image is translated correctly. oo"